Rock & Roll

Elvis Presley – (You’re The) Devil in Disguise

Introduction

Full view

“(You’re the) Devil in Disguise” is a 1963 single by Elvis Presley, written by Bill Giant, Bernie Baum, and Florence Kaye. Published by Elvis Presley Music in June 1963, the song achieved notable success on various charts.

The single reached No. 3 on the Billboard Hot 100 chart on August 10, 1963, and No. 9 on the Billboard Rhythm and Blues singles chart. It marked Presley’s last top-ten single on the R&B charts. The Recording Industry Association of America (RIAA) certified the single as “Gold” for sales exceeding 500,000 units in the United States.

In Japan, “(You’re the) Devil in Disguise” topped the Utamatic record chart in the fall of 1963. The song was also featured on the British television show Juke Box Jury in June 1963, where guest John Lennon of The Beatles voted it as a “miss,” stating that Elvis Presley was “like Bing Crosby now.” However, despite this assessment, the song went on to reach No. 1 in the UK for a single week.

The recording session for “(You’re the) Devil in Disguise” took place on May 26, 1963, at RCA Studios in Nashville, Tennessee, with Bill Porter as the engineer. The song was recorded alongside its flipside, “Please Don’t Drag That String Around,” for a full-length album scheduled for release in 1963. However, RCA opted to release the album piecemeal on singles and as bonus tracks on soundtrack albums.

The song features bass singer Ray Walker of The Jordanaires, Presley’s backing vocalists during much of his early career. Walker’s deep voice is prominent in the song, particularly in the repeated phrase, “Oh, yes, you are,” representing the devil. The recording was later included in the 1968 RCA Victor compilation album “Elvis’ Gold Records Volume 4.”

Video

https://youtu.be/emjLXdsj6xA?si=c1t_u69xlHSDo8fY
Post Views: 24

Related Post

Rock & Roll

BREAKING: “I Won’t Make It to 50” — The Day Elvis Presley Knew He Was Already Dying

Rock & Roll

Elvis and his band returned to the stage, recording five extra songs for the US broadcast after the live “Aloha From Hawaii” broadcast ended and the audience left.

Rock & Roll

Despite his public image as a ladies’ man, Elvis Presley was far more reserved in private than most realized. While millions of women adored him, those closest to Elvis revealed that he avoided sexual intimacy with nearly all of his early girlfriends—including Priscilla, until after their marriage in 1967.

You Missed

Oldies Musics

NETFLIX ANNOUNCES “Till the End: The Phil Collins Story” — A Defining Force of Modern Music & Culture

Country Music

LORETTA LYNN HAD FOUR CHILDREN BEFORE SHE TURNED TWENTY. NASHVILLE HAD NOT HEARD HER NAME, BUT THE SONGS WERE ALREADY STARTING IN THE KITCHEN. Loretta Webb was fifteen when she married Oliver “Doolittle” Lynn. He was a war veteran from Kentucky. She was a coal miner’s daughter from Butcher Hollow who had barely been away from the hills where she grew up. Not long after the wedding, they left for Custer, Washington — a logging town far from Appalachia, far from Nashville, and far from any place that looked like a music career. Loretta was pregnant with her first child when they arrived. By the time she was twenty, she had four children. There were diapers, laundry, meals, bills, and a small house crowded with the ordinary work of keeping a young family alive. Doolittle worked. Loretta worked at home. Nobody was waiting in Nashville for a woman with four little children and no record deal. Then Doolittle bought her a guitar. It was a seventeen-dollar Sears guitar. Loretta did not know many chords. She learned them one at a time. She played around the house, then at local clubs, then wherever somebody would let her stand near a microphone long enough to prove she could sing. The songs came from the life she already had. They came from women who worked all day and still had to deal with a husband coming home drunk. Women who had babies too young. Women who knew what it felt like to be left behind, talked down to, cheated on, or expected to smile anyway. Loretta did not need Nashville to invent those women for her. She had grown up around them. In 1960, she recorded “I’m a Honky Tonk Girl.” Doolittle helped press the records, mail them, and drive from station to station trying to get disc jockeys to listen. The song became a hit. Then came Nashville. Then “Success.” “You Ain’t Woman Enough.” “Don’t Come Home a-Drinkin’.” “Coal Miner’s Daughter.” But the real beginning was earlier. It was a young mother in Washington State, with four children in the house and a cheap guitar close enough to reach after the work was done.

Oldies Musics

Maurice Gibb: The Quiet Genius Behind the Bee Gees’ Greatest Triumphs—and the Song He Could Never Escape

Country Music

10 STUDIO ALBUMS. 13 COMPILATIONS. MILLIONS OF RECORDS SOLD. BUT BEHIND COUNTRY MUSIC’S GREATEST DUET HID A BOND THAT EVEN DEATH COULD NOT SILENCE. For decades, Conway Twitty and Loretta Lynn ruled the Nashville charts. When they stepped up to the microphone to sing “Louisiana Woman, Mississippi Man,” the chemistry was so electric that fans swore they were witnessing a real-life romance. They were the undisputed king and queen of the country duet, delivering fiery hits with a gaze that could melt an arena. But the truth offstage was far more profound. They weren’t hiding a scandalous love affair; they were building an unbreakable, platonic devotion. Through the chaotic machinery of the music industry, they became each other’s safest harbor. It wasn’t just about perfectly timed harmonies; it was about late-night conversations, shared laughter in dressing rooms, and a trust that never wavered. When Conway passed away suddenly, that harmony was broken. Loretta didn’t just lose a singing partner; she lost the brother she never had. For years, she had to stand on those stages alone, singing their songs while the silence of his absence echoed in the room. Today, as fans remember Conway’s heavenly birthday, the sorrow of his departure is replaced by the warmth of what they left behind. Conway and Loretta are both gone now, reunited somewhere beyond the stage lights. But drop a needle on one of those old records, and they are instantly alive again. Every duet needs its echo. And as long as country music exists, theirs will never fade.