Ellis Creative: PR/Marketing/Project Mgmt: The Bluegrass Elvises

Some careers can be described with a couple of words, but Shawn Camp's isn't one of them. A bold and distinctive singer, a songwriter who's provided material for artists ranging from Ralph Stanley, Del McCoury and Ricky Skaggs to Garth Brooks and Brooks & Dunn, and a multi-instrumentalist who's played with everyone from Yonder Mountain String Band and Alan Jackson to the Osborne Brothers and John Prine—Camp's music sprawls across the lines that divide country, Americana, bluegrass and roots rock.

"I dragged around a guitar from the time I could walk," Camp says. But it was with the fiddle that he first walked through the door to a career in music. Born and raised in Arkansas, Camp grew up surrounded by music—everything from his mother's Elvis and his father's Merle Haggard records to picking parties at his home to the sounds of living legends and local heroes at the bluegrass festivals his family regularly visited. "That's kind of where I learned to play, under the shade trees," he notes, and before he had finished high school he was playing for country dances around his home and hitting festival stages around the Midwest as a member of bands with names like the Grand Prairie Boys and Freddie Sanders & Signal Mountain.

Spotted by the Grand Ole Opry's Osborne Brothers at an Iowa festival when he was 20, Camp moved to Nashville in 1987 to play fiddle with the legendary bluegrass act, and over the next few years, he lived the life of a sideman, touring for short runs and long stretches alike with country stars and newcomers ranging from the Burch Sisters to Jerry Reed, Alan Jackson, Suzy Bogguss and Trisha Yearwood. Before long, he became a prolific songwriter, too—thanks to a fortuitous encounter at Nashville's songwriting Mecca, the Bluebird Café. "I'd always written little sketches of what I thought would be songs, but I'd never really thought enough of them to finish anything," he recalls. "And then one night I was sitting at the bar at the Bluebird, and I got to talking with this guy, and kind of just said, ‘yeah, I'm a songwriter.' It turned out to be Dean Miller, and before the night was through, we had written a song together. After that, we just kept going, non-stop, and wound up with about 40 of them."

Camp got his first cut in 1991 with "Fallin' Never Felt So Good." Though he claims that he began singing simply in order to pitch his songs—"I think it just evolved from having to perform them in order for somebody to hear them," he says—Camp was signed to Reprise Records the following year. He released his self-titled major label debut in 1993. But mainstream success proved elusive, especially when work on his second album ground to a halt over creative differences the following year. "Emory Gordy produced that album," he says proudly. "And I had Bill Monroe and the Blue Grass Quartet; Patty Loveless was singing a couple of songs; we had players like James Burton, Jerry Douglas and Bobby Hicks on it. Looking back on it today, every song on it might not play exactly the way I'd like it to, but mostly I was proud of and felt strongly about it. But the head of the label wanted me to take it all off and put electric guitars on it; he said it didn't sound like the current John Michael Montgomery album. I told him I'd think about it, but I wound up calling him back and telling him that I couldn't change anything—that he needed to give me a release date or a release from the record label."
Undismayed, Camp remained in Nashville and plunged into a songwriting career supplemented by occasional forays as a sideman. His catalog grew steadily, and so did the list of his songs recorded by major country artists, including his first No. 1—Garth Brooks' 1997 recording of "Two Piña Coladas." Yet even as Camp was scoring hits with the mainstream, he kept close to his roots, too, co-writing with friends like Guy Clark and another writer with a bluegrass background, Jim Lauderdale. The commercial success of songs like "How Long Gone," a No. 1 for Brooks & Dunn in 1998 was matched by critical acclaim for the likes of "Forever Ain't No Trouble Now," which appeared on the 2002 Grammy-winning Lauderdale-Ralph Stanley collaboration, Lost In The Lonesome Pines.

Still, by the end of the 90s, Camp grew intent on recording his songs in his own voice, and in 2001 he released Lucky Silver Dollar on his own Skeeterbit Records label. Combining his own versions of songs like "How Long Gone" and "Can't Have One Without The Other" (previously recorded by Tracy Byrd) with new material like "Tune Of The Twenty Dollar Bill," the Mark Miller-Allen Reynolds produced album earned rave reviews. Yet despite the enthusiastic reception it got from those who found it, Lucky Silver Dollar was stymied by a lack of exposure—"I had no airplay, and I had no booking agent, so I had no shows," Camp recalls. He continued to focus on songwriting until early 2003, when a spur-of-the-moment decision to record a couple of bluegrass shows at a favorite hang-out resulted in Live At The Station Inn, released the following year on John Prine's Oh Boy Records.

Camp called together an all-star bluegrass cast showcasing a trio of fiddle-driven numbers he'd written with Guy Clark; favorites from the Lost In The Lonesome Pines album; originals that had already found their way into the Del McCoury Band's repertoire; and others soon to be recorded by some of bluegrass's biggest names. Live At The Station Inn jump-started Camp's performing career by re-introducing him to the tightly knit, supportive bluegrass community. Appearances followed at high-profile venues like Colorado's famed Rockygrass festival, the Northwest String Summit and the International Bluegrass Music Association's annual World of Bluegrass convention including performances with Yonder String Band throughout the year.
John Prine invited Camp to open for him on an extended tour of the northwest. "I was so nervous, because he's got such a great audience, and such an intelligent one—I was thinking, ‘Man, am I smart enough to sing for these people?" Camp laughs, but like the bluegrass audience, Prine's fans embraced his music.

In 2006 Camp released Fireball. Loaded with a fresh batch of songs the album reveals his strengths as a rootsy yet modern country stylist—and, as always, a songwriter who memorably connects contemporary sensibilities to forms that evoke memories of classics that traverse the range of country music history.

In 2007, Josh Turner's recording of Camp's "Would You Go With Me" was nominated for an Academy of Country Music Award.

Billy Burnette

Billy Burnette is the epitome of a rock star – he exudes talent, good looks, and the overall rock star aura wherever he goes and understandably so, given his journey as a musician, singer, songwriter, and guitarist of choice and his personal history. Born in Memphis, singer/songwriter/guitarist, Dorsey William Burnette III (aka Billy Burnette) spent most of his youth in the presence of father Dorsey and uncle Johnny (of the legendary Rock and Roll Trio). Billy even got into the family tradition of making great music. The Trio made the Rockabilly name famous by combining the name Billy and his cousin Rocky for the 1953 "Rockabilly Boogie" – thus making the term Rockabilly a household name. The legendary Rock and Roll Trio influenced a diverse array of Rock icons including: the Elvis, Beatles, Led Zeppelin, Rod Stewart, Aerosmith, and Ricky Nelson. Elvis used to spend many evenings jamming with the band in the Lauderdale Courts laundry room. "I met Paul McCartney once and he said that the Trio were one of his and John's (Lennon's) influences – nobody was making music like that back then."
It's not surprising; given his upbringing that Billy's list of accomplishments in the music arena is both impressive and diverse. With over four decades of recording music, writing songs, and performing, Billy embarked upon his career at age 7. His first single, a Christmas song, "Hey Daddy" was recorded on Dot Records. When only 11 Billy recorded several songs for A&M Records, including one from Dr. Seuss titled "Just Because We're Kids," which Herb Albert produced and played trumpet on. By 13, the young Burnette was entertaining the troops with Brenda Lee to the Far East. But, it wasn't until he was fifteen or sixteen that Billy picked up a guitar and began writing songs. Heavily influenced by the Beatles, Delaney, Bonnie & Friends, and his dad's music, Billy embarked upon his songwriting journey learning the craft from some of the greats. "It's really funny because I grew up thinking that everyone wrote songs. I mean my dad did it, my uncle did it..."

At 18, Billy Burnette was only a week out of high school when he recorded his Columbia Records album with famed Memphis hit-making producer, Chips Moman (Elvis "Suspicious Minds" and "In the Ghetto" as well as multiple hits for the likes of Aretha Franklin and BJ Thomas). Burnette continued to write and record numerous records as a solo artist as well as a band member. In his early 20's, Billy played guitar for Roger Miller as well as for his father, Dorsey Burnette. Billy continued his solo career, recording records and writing for such hit makers as Rod Stewart, Ray Charles, Roy Orbison, Tammy Wynette, Jerry Lee Lewis, The Everly Brothers, Conway Twitty, Loretta Lynn, Glen Campbell, Eddy Raven, and many more.
In 1980, Billy Burnette made the biggest solo record recording deal in history with Columbia Records. Shortly after signing on with Columbia Records, Burnette met Mick Fleetwood (of Fleetwood Mac) at an "American Bandstand" party. The two musicians became fast friends and formed the band, Mick Fleetwood's Zoo in 1983, establishing a relationship that eventually led to collaborating with all Fleetwood Mac members. The Zoo was a Hollywood star-studded jam band, who was sometimes joined by artists such as Stevie Nicks, Roy Orbison, Bob Seger, Eddy Van Halen and others. During that time, Burnette did not stray from his solo career, constantly penning tunes and introducing Country music to a new sound. By 1985 Burnette signed on with MCA/Curb.
During that year, Billy was nominated as "Best New Male Vocalist" by the Academy of Country Music, competing against Randy Travis, Keith Whitley, Marty Stuart, and T.Graham Brown. His promising Country music career took a sudden turn with one phone call. Burnette tells the story: "I was in an LA studio with Roy Orbison, cutting a song I'd written, "Dream You," for the Mystery Girl album when Mick (Fleetwood) called and ask me to join Fleetwood Mac." With a number one record worldwide and a sold out world tour, Billy began his journey with one of the greatest rock bands of all time. Burnette toured with Fleetwood Mac between 1987-1995 and appears on such records as: The Chain, Fleetwood Mac/Greatest Hits, Behind the Mask and The Very Best of Fleetwood Mac.

At the height of his Fleetwood Mac stint, Billy's songs were being recorded by such famed artists as: Roy Orbison, Ray Charles, Rod Stewart, Cher, Faith Hill, Greg Allman, (see…. for compiled list). Billy's natural good looks and ease on stage did not go unnoticed in Hollywood, as Burnette landed parts in several feature films including: Richy Rich, The Addams Family Reunion, Casper and Wendy, Not Like Us, and the leading role in Saturday Night Special, which featured Burnette's songs throughout the film.

Burnette returned to Nashville and landed a recording contract with Warner Bros. Records, and recorded the aptly named Coming Home. With Coming Home, Burnette re-entered the Country charts with the hit "Tangled Up in Texas." Burnette teamed up with Bekka Bramlett, also of Fleetwood Mac association, to record Bekka and Billy. The Bekka and Billy record was well-received by music fans, artists, and critics alike.
Fast forward to 2003 – when Billy Burnette was tapped to play with none other than one of the most prolific songwriters of our time, Bob Dylan. Burnette's talent as one of the most solid guitarists worldwide has garnered him more attention, complete with backing vocals and his stellar stage presence. And, the legendary Creedence Clearwater Revival lead man, John Fogerty has also rallied for Billy to come on board as part of several tours, including the current Willie Nelson Tour.

This year, 2006, Billy Burnette also recorded one of the most revered Rockabilly albums of his career, for its display of raw talent, Memphis in Manhattan. Memphis was recorded "live" in Manhattan at the St. Peter's Church altar.

Burnette thrived on the vibe, "Doing it live brings out a certain energy in you, because you know you're under the gun and you have to get it right then and there. And there's something to be said for that. It was pretty wild. I had a lot of fun recording this record…it was a great experience, and it's something I'm really proud of overall." On Memphis, Burnette not only recorded several original tunes – five of which were written with friend Shawn Camp (a successful songwriter and Bluegrass recording artist), but also payed tribute to his father and uncle, by recording "It's Late" and "Tear it Up". Burnette also recorded an Everly Brothers classic, "Bye, Bye Love" and a song made popular by none other than Burnette's own Memphis neighbor, Elvis "Big Hunk of Love."

Billy has just put together a new band with Mick Fleetwood – expect to see them touring in 2007. When asked what the future holds for Billy Burnette: "to write that one great song and do another solo record next year."

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Quotes

coming soon

Press Releases

Feel A Hunk O' Burnin' Love with The Bluegrass Elvises, Volume One
Shawn Camp & Billy Burnette
Available August 16, 2007 to commemorate the 30th anniversary of the death of Elvis Presley

May 10, 2007 - Nashville, TN

On July 6, 1954, in a 30 x 18 foot recording studio at 706 Union Avenue in Memphis, TN., a 19-year old hopeful with the unlikely name of Elvis Presley grabbed an acoustic guitar and dared to do the unthinkable. With a doghouse bass and a primitive electric guitar egging him on, he put a gnawing scrub rhythm to Bill Monroe's "Blue Moon of Kentucky," changing Monroe's elegant waltz to a 4/4 rockabilly tune, and charging both forms with the slurred vibrato that would become his signature. "Fine, man! Hell, that's different," Sun Studio owner Sam Phillips famously remarked. "That's a pop song now, nearly 'bout!"

What had started as a parody became the B-side of Presley's first single. But in the fall of 1954, when Elvis played Monroe's 1947 classic on his only appearance on the Grand Ole Opry, he approached the Father of Bluegrass backstage in his dressing room and apologized.

"I thought he had a beautiful voice," Monroe recalled in the '80s, speaking in his brittle husk of a tenor. "I told him, "Well, if it give you your start, it's all right with me." But it also made Monroe re-think his own composition, and the elder musician later re-recorded the song, shoving the tempo up into overdrive and showcasing a syncopated mandolin break as a hallmark of the bluegrass idiom.

Rules, it seems, are made to be broken. Which brings us to the Bluegrass Elvises, aka bluegrass/country singer Shawn Camp and rockabilly/country performer Billy Burnette, who spent nearly a decade with Fleetwood Mac and now tours frequently with John Fogerty. Shawn is ying to Billy's yang. And both men are steeped in the snaky soul of the Tennessee-Arkansas mythology of the '50s, born of the spirit of Elvis.

Billy, whose father Dorsey and uncle Johnny Burnette used to kick a young Elvis out of their rehearsals in the laundry room at the Lauderdale Courts housing project, had so many connections to Presley—with Crown Electric and Humes High figuring prominently in their shared stories—that they felt like kin.

"They were all good buddies, they all knew the same people, [guitarist] Scotty Moore and [bass player] Bill Black," Billy says. "Elvis used to call the house a lot." Things were happening so fast in the early '50s--when Billy and his cousin, Rocky, were born three weeks apart, their dads named their new "rockabilly" style after them—that at first it was hard to tell which Memphis practitioner would get famous first. Billy, with a pair of black sideburns in his future, would meet them all, including Elvis on a downtown Memphis street during his "Teddy Bear" era.

Two hundred miles over in Arkansas, Shawn would grow up grooving on his parents' Sun singles, his fascination eventually leading to a peanut butter and banana-fed addiction. In years to come, Presley fervor would take such a firm grip on his psyche that he would get, as Elvis might put it, "real, real gone." He'd make all the pilgrimages—stopping at Graceland every time he went through Memphis, even seeking out the forgotten grave of Elvis's paternal grandfather in Louisville. The cab of his truck became a cocoon, a nesting room spun from the sounds of the Sirius Elvis channel. And when he put his mind to it, he could imitate Elvis's Whitehaven-via-Tupelo drawl so perfectly as to maybe even fool mama Gladys.

Fate has a way of bringing such people together, of course. Labelmates at Warner Bros. in the early '90s, Billy and Shawn eventually joined to play a little music together, and to write more than 100 songs, including Alan's Jackson's "Burnin' the Honky Tonks Down" and Del McCoury's "My Love Will Not Change."

Then, in 2003, as on that seminal day at Sun in 1954, genius raged. Shawn, mindful that country music was at the heart of such early Elvis offerings as "I'm Left, You're Right, She's Gone" and "I Forgot to Remember to Forget," made a furtive notation on a piece of paper...something about doing an album of Elvis songs high-lonesome style. A few weeks later, he and Billy were at the Nashville studio of Cowboy Jack Clement – the famed engineer who watched it all go down at Sun and has the scratches Elvis made on his guitar to prove it – when producer David Ferguson walked in and off-handedly suggested they cut a bluegrass Elvis record. "It all came together right then," Shawn remembers. "And a month later we started cutting on this thing."

First session: January 8, Elvis's birthday, at Ferguson's tiny Naughty Pines studio. With Dave Talbot on banjo and Terry Eldridge thumping bass--Aubrey Haynie would later replace Shawn's own fiddle parts--they kicked into "Good Rockin' Tonight," "Mystery Train," and "A Big Hunk O' Love." Even they were surprised with what they had. When they played back the 'grassy yipping on "Good Rockin' Tonight," a delightfully eerie sound that threatened to reach into the stratosphere, everybody's hair stood on end.

The melding of bluegrass and rockabilly turned out to be such an organic synthesis that it went down smooth and easy, Billy's rocking, back-alley swagger twining with Shawn's joyous, hillbilly tenor in a sweet siren call of seduction: "She said, 'Meet me in a hurry out behind the barn'/Don't you worry baby I'll do you no harm.'" At the end, it's easy to imagine the ghost of Bill Monroe crowing, "That's different! That's a bluegrass song now, nearly 'bout!"

Still, the album languished for several years, until Shawn mentioned it to Tamara Saviano, the Grammy winning founder of American Roots Publishing. Saviano enthusiastically sanctioned the project, and a second session was quickly underway, this time at the Butcher Shoppe with sidemen Scott Vestal (banjo), Chris Henry (mandolin), Aubrey Haynie (fiddle) and Mike Bub (bass). As before, the vibe in the studio was blue suede bliss, beginning with the 28-second intro, "2007: A Bluegrass Oddity," a brilliant, if hilarious take on "Also Sprach Zarathustra," the Richard Strauss tone poem widely known from Stanley Kubrick's 1968 film "2001: A Space Oddyssey," and which Presley used to open his shows in the '70s.

"We're not making fun of either bluegrass or Elvis, but we laughed a lot on this record, hearing some of the classic Elvis licks done in a bluegrass fashion," Billy says, recalling the fiddle flourishes on "Little Sister," the mandolin fills on "Hound Dog," and the banjo zings on "A Big Hunk O' Love." (The latter rendition was inspired as much by Bonnie Raitt's version as Presley's.) Most of the songs have been totally recast, "Don't Be Cruel" standing as one of the few songs that retain the original tempo. For "Blue Suede Shoes," the two pulled nuances from Bill Monroe's "Heavy Traffic Ahead," and added jazz, western-swing, and jump blues stylings.

Other surprises abound: Shawn's masterful and heartfelt recitation on "Are You Lonesome Tonight," where Haynie lays down a mournful twin-fiddle effect; Billy's switchblade sharp vocal on "Jailhouse Rock," perhaps the first understandable reading of the lyrics; and the inclusion of original verses of "Hound Dog" that Elvis chose not to record.

"I did the Elvis version up front, and then at the end I did the Big Mama Thornton lyric, but a little bit from the male perspective," Shawn says of the latter song. "And I used her attack, the way she emphasized specific words."

The project was so inventively fun that everyone stayed behind long after the sessions had ended. "I'll tell you," Shawn recalls, "it's rare that you work on a record and even at the mix stage, listen back and enjoy it so much that you're almost dancing around. And everybody in the studio was doing it. It all just fell into place. Maybe that was the spirit of Elvis, coming back and guiding us along."

Billy got a stronger jolt from the blue when his cell phone rang and the caller I.D. spelled out Graceland. "That was so cool! Elvis on the line!" It turned out to be an invitation from [Elvis cronie and DJ] George Klein to appear on a radio show. But Billy and Shawn often ponder what Elvis would be like today if he had lived. The two wrote a song about it, which they may include on a second volume. Which seems sorely needed. After they finished volume one, Billy realized, "God, we forgot to do 'Blue Moon of Kentucky!'"

Chances are, Elvis will haunt them until they make it right. The polite Mr. Presley will want to repay Bill Monroe for the favor of a song that started it all. Thirty years after his death, Elvis is still influencing a broad spectrum of genres, even as he once borrowed from them.

- Alanna Nash

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Reviews

All reviews are downloadable PDF documents unless otherwise noted.

Album Credits

Produced by Dave Ferguson, Shawn Camp & Billy Burnette
Executive Producer: Tamara Saviano
Engineer: Dave Ferguson
Assistant Engineer: Luke Chalk
Mastered by Dave Shipley at Foxwood Mastering
Photographer: Kay Williams
Stylist: Mary Elizabeth Long
1956 Cadillac courtesy of Don Clark
Liner Notes: Alanna Nash
Designed by Aimee Roberts-Mazurek for Luna Graphic Design

"Good Rockin' Tonight," "A Big Hunk O' Love," and "Mystery Train" recorded at Dave Ferguson's Naughty Pines Recording Studio with the following musicians:

Billy Burnette – Guitar/Vocals
Shawn Camp – Guitars/Mandolin/Vocals
Terry Eldridge – Bass
Dave Talbot – Banjo
Aubrey Haynie – Fiddle

All other tracks recorded at The Butcher Shoppe with the following musicians:

Billy Burnette – Guitars/Vocals
Shawn Camp – Guitars/Vocals
Chris Henry – Mandolin
Scott Vestal – Banjo
Mike Bub – Bass
Aubrey Haynie – Fiddle

Except "2007: A Bluegrass Oddity"

Aubrey Haynie – Mandolin/Fiddle
Shawn Camp – Guitar/Bass

Songs

1) 2007: A Bluegrass Oddity (:28)
(public domain)
Arrangement by Shawn Camp & Billy Burnette Copyright © 2007

2) Don't Be Cruel (2:26)
(Elvis Presley and Otis Blackwell)
Copyright © 1956 Elvis Presley Music (BMI)
Rights for Elvis Presley Music administered by
Cherry River Music Co. (BMI)
All Rights Reserved. Used By Permission.

3) All Shook Up (2:21)
(Elvis Presley and Otis Blackwell)
Copyright © 1957 Elvis Presley Music (BMI)
Rights for Elvis Presley Music administered by
Cherry River Music Co. (BMI)
All Rights Reserved. Used By Permission.

4) Little Sister (3:18)
(Doc Pomus and Mort Shuman)
Copyright © 1961 Elvis Presley Music (BMI)
Worldwide rights for Elvis Presley Music administered by
Cherry River Music Co. (BMI)
All Rights Reserved. Used By Permission.

5) Jailhouse Rock (4:24)
(Jerry Leiber and Mike Stoller) Sony/ATV Tunes, LLC (ASCAP)

6) Good Rockin' Tonight (2:16)
(Roy Brown) Brown Angel Music (BMI)

7) Burnin' Love (4:19)
(Dennis Linde) Sony/ATV Songs LLC (BMI)

8) Are You Lonesome Tonight (2:59)
(Roy Turk and Lou Handman) Bourne Company/Cromwell Music, Inc. (ASCAP)

9) A Big Hunk O' Love (2:11)
(Aaron Schroeder and Sidney Wyche)
Copyright © 1959 Elvis Presley Music (BMI) /
Rachel's Own Music (ASCAP) / Regent Music Corp. (BMI)
Rights for Elvis Presley Music is administered by
Cherry River Music Co. (BMI) All Rights Reserved. Used By Permission.

10) Mystery Train (2:30)
(Sam Phillips and Herman Parker, Jr) Unichappell Music/Hi Lo Music/Unichappell Music, Inc. (BMI)

11) That's Alright Mama (2:44)
(Arthur Crudup) Unichappell Music, Inc. (BMI)

12) Hound Dog (2:41)
(Jerry Leiber and Mike Stoller)
Copyright ©1956 Elvis Presley Music, Inc./Lion Publishing Co., Inc.
Copyright renewed and assigned to Gladys Music
Administered by Cherry Lane Music Publishing Company, Inc./MCA Music, A Division of MCA, Inc.
International Copyright secured. All Rights Reserved.
Gladys Music has 100% Administration for the United States.
Writers Granted U.S. Renewal Rights to Gladys Music

13) Blue Suede Shoes (2:59)
(Carl Perkins) Wren Music Company/Carl Perkins Music (BMI)

Shawn & Billy thank:

Kerry O'Neil, Tamara Saviano, Cowboy Jack Clement, Don Clark for the use of his '56 Caddy, Gibson Guitars, Guild Guitars, and D'Addario Strings, and most of all, Elvis.

Tamara Saviano thanks:

Shawn & Billy – the coolest cats in Tennessee; Alanna Nash for unwavering friendship, sisterhood, and her insights on the King of Rock n' Roll; Kerry O'Neil for his witty humor and continual mentoring; Kay Williams, Don Clark, Aimee Roberts-Mazurek, David Macias, Al Moss and Shirley Hutchins for their enthusiasm for this project; My Leadership Music Class of 2007 for inspiration; Mom for her devotion to Elvis; and Paul Whitfield, my love.

Track Listing

1. 2007: A Bluegrass Oddity (:28)
2. Don't Be Cruel (2:26)
3. All Shook Up (2:21)
4. Little Sister (3:18)
5. Jailhouse Rock (4:24)
6. Good Rockin' Tonight (2:16)
7. Burnin' Love (4:19)
8. Are You Lonesome Tonight (2:59)
9. A Big Hunk O' Love (2:11)
10. Mystery Train (2:30)
11. That's Alright Mama (2:44)
12. Hound Dog (2:41)
13. Blue Suede Shoes (2:59)

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