I had done some soundtrack things earlier in the sixties with him. I never felt Elvis was a man out of time. What you have to understand is that his music never died. You know, at the time, a lot of people were saying he didn’t have a hit record for a couple of years; his career is over. I never thought that at all. It never would enter my mind. Because I know, from the first time I saw him on Ed Sullivan to the days I got to work with him, that this guy could go on forever. The only guy who will stop this guy from going on is himself. That night in 1968 I got the Elvis call. I remember one thing, it was on a Saturday and we all were making a fortune. Double scale. Golden time. Big time. I know this was a little different for Elvis working with us. Sometimes he sang live with us and sometimes he overdubbed. As a matter of fact he sat down at the piano with me a few times for me to straighten out the part he had to sing on ‘Jailhouse Rock.’ We were on the incidental and interstitial music that was all over the soundtrack. What’s more important than hearing Elvis in headphones is that I got to hear him as a human being, having chats, going back and forth. He had a musicality to him. Look, Elvis has innate musical skills. I guess we were all taking Elvis into a different world. It was a completely different thing for him from the A band, or the Memphis band. Just having the Blossoms on the sessions. Elvis loved the Blossoms. He knew Darlene Love and he was now playing with the Wrecking Crew. Hal Blaine, Tommy Tedesco, Mike Deasy, Tommy Morgan, Chuck Berghoffer, Frank De Vito, vocal contractor BJ Baker and yoursutruly.

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "I had done some soundtrack things earlier in the sixties with him. I never felt Elvis was a man out of time. What you have to understand is that his music never died. You know, at the time, a lot of people were saying he didn’t have a hit record for a couple of years; his career is over. I never thought that at all. It never would enter my mind. Because I know, from the first time I saw him on Ed Sullivan to the days I got to work with him, that this guy could go on forever. The only guy who will stop this guy from going on is himself. That night in 1968 I got the Elvis call. I remember one thing, it was on a Saturday and we all were making a fortune. Double scale. Golden time. Big time. I know this was a little different for Elvis working with us. Sometimes he sang live with us and sometimes he overdubbed. As a matter of fact he sat down at the piano with me a few times for me to straighten out the part he had to sing on ‘Jailhouse Rock.’ We were on the incidental and interstitial music that was all over the soundtrack. What’s more important than hearing Elvis in headphones is that I got to hear him as a human being, having chats, going back and forth. He had a musicality to him. Look, Elvis has innate musical skills. I guess we were all taking Elvis into a different world. It was a completely different thing for him from the A band, or the Memphis band. Just having the Blossoms on the sessions. Elvis loved the Blossoms. He knew Darlene Love and he was now playing with the Wrecking Crew. Hal Blaine, Tommy Tedesco, Mike Deasy, Tommy Morgan, Chuck Berghoffer, Frank De Vito, vocal contractor BJ Baker and yoursutruly." in the context of "Studio pianist Don Randi, on working with Elvis diring the filming and recording of the 1968 TV Special, as told to his Baked Potato club venue in Studio City, in 2008." to mean that wisdom is timeless.