Introduction
Here’s a carefully researched, approximately 300‑word introduction to “Such a Night” by Elvis Presley:
Introduction to “Such a Night” – Elvis Presley
“Such a Night” began its life in 1953 as a rhythm-and‑blues song penned by songwriter Lincoln Chase, later recorded by Clyde McPhatter and The Drifters in 1954. The song’s steamy, suggestive lyrics quickly caused concern among more conservative audiences—some radio stations even banned Johnnie Ray’s version the following year for being too risqué . Chase’s captivating melody and the Drifters’ soulful delivery set the stage for a track that pushed the boundaries of early R&B’s acceptability.
When Elvis returned from his stint in the U.S. Army in 1960, he was eager to explore grittier material. During the “Elvis Is Back!” sessions in Nashville on April 4, 1960, Presley recorded “Such a Night” with his trusted band—Scotty Moore and D.J. Fontana—alongside session luminaries like Floyd Cramer and Boots Randolph, lending the track a polished yet raw rock & roll energy . His rendition, brimming with breathy oohs, playful vocal flips, and sly smiles, transformed the song from its R&B roots into something confidently swaggering and undeniably Elvis .
Though it initially appeared on the 1960 album Elvis Is Back!, RCA didn’t release the track as a single until July 14, 1964—B‑sided with “Never Ending.” The single sold an impressive 400,000 copies and reached No. 16 on the U.S. Billboard Hot 100, also hitting No. 13 on the UK charts and securing top‑10 positions in Australia and several European countries. Yet this success didn’t spark a stylistic renaissance in Presley’s career; it instead remained a standout moment of creativity amid a period marked by formulaic soundtrack releases .
“Such a Night” stands today as both a testament to Elvis’s post-army vocal maturity and an early example of pop culture pushing its sexual boundaries. It remains cherished by fans for its electrifying groove, candid sensuality, and the King’s charismatic delivery—one of the most fun and unforgettable moments of his early 1960s repertoire.
Let me know if you’d like a shorter version, translation, or deeper analysis!