THE GOLD STANDARD SERIES was revamped for the fourth and final time in 1976 with a new look. Along with the rest of the RCA catalog, the modern look and layout of the previous orange and red labels was jettisoned and the company opted for a retro look: black was back and so was Nipper!
But the effect was cheesy: the paper used for the labels seemed of a lesser quality—a dull black rather than the high gloss stock of the past. The whole thing looked as though it hadn’t been properly thought out, or hadn’t passed through any kind of peer review. Of course, by this time the American record industry was raking in record amounts of profits and did what American capitalism dictates: they cut quality and pocketed even more profit as they sold an increasingly inferior product to American record buyers. Few seemed to notice.
This is one of several articles with discographies and current market values to be found on the A Touch Of Gold website; refer to the postscript below for more information on the other articles.
This is part 8 of the most complete discography and accurate price guide to Elvis’ Gold Standard 45s on the Internet.
Following Presley’s death in 1977, massive quantities of these records were manufactured at several pressing plants on a round-the-clock basis for months (years?). The production process apparently cut a few corners in quality control, as the unevenness of the paper quality gave many brand new records an unfinished cast to them—if not an actual ‘used’ look. This was hardly something one expected from one of the giants of the recording industry.
As for its retro aspect: instead of the full logo, only “RCA” graced the top of the label. Whereas Nipper had looked just right below that logo and above the spindle hole, here the poor dog looks forced into a place to the right of the logo (at 2 o’clock), giving the label a cramped feel.
The weirdest part of the layout was a huge blank spot left on the left side from 7 to 11 o’clock. This gave the label a lopsided look. Some pressings fill a small portion of that space with the side’s recording date, but it still looks mighty empty.
On top is the original look for the Gold Standard Series 1959–1965: glossy black label with “RCA Victor” and Nipper at the top. Below is the new look that greeted record buyers in 1976: black label with only “RCA” at the top and Nipper to the side. While the earlier design included technical data on the left side, the new label was either blank of had this one line noted the recording date.
Indianapolis pressings
Since the ’60s, RCA’s Indianapolis plant manufactured the vast majority of GS 45s. Indianapolis records are easily recognized: by the matrix numbers are machine-stamped into the trail-off area (the dead wax around the label).
There should also be a capital ‘I’ with serifs (referred to as a cross-beam ‘I’) stamped into the same area, but this marking can be difficult to see in some light.
RCA’s basic label template
The basic label template that RCA shipped to the regional printers that worked with their pressing plants had only three bits of information:
• “RCA” in white, open-block letters at the top (12 o’clock).
• Nipper near the top to the right of the logo (1 o’clock).
• “TMK(s)” and other trademark information in tiny type on two lines laid across the bottom of the label.
Every label has that information in the same style and in the same places. The rest of the label data was set by local shops working with RCA instructions on the rest of the layout:
• The song title (all caps), the songwriter’s credits (lowercase), and the artist’s name (all caps) in plain block type were below the spindle hole.
• “Gold Standard” with the catalog and matrix numbers were on the right side between approximately 2 and 3 o’clock.
These three lines of type were flushed left with a hard vertical line. The variations on New black label 1 and New black label 2 take place on both sides of the spindle hole.
New black label 1: without publishing data
This label 1 can also be called the simple version due to its having less information than label 2. There are three bits of information on four lines on the right side: 1) “Gold Standard” with 2) the 447 catalog number followed by 3) the matrix number. Like so:
GOLD STANDARD
[catalog number]
[matrix number]
These three lines are usually flushed left and usually with a hard vertical line. Minor type-setting errors may exist.
New black label 2: with publishing data
A more detailed variation (the complex version) has five bits of information on at least seven lines of type on the right side. Like the simple version, there is 1) “Gold Standard” with 2) the 447 catalog number. Next, we find 3) the song’s publisher with either ASCAP or BMI taking up two or three lines. Then comes 4) the matrix number followed by 5) the side’s running time. Like so:
GOLD STANDARD
[catalog number]
[publishing data]
[matrix number]
[time]
These lines are flushed left with a hard vertical line. Again, don’t be surprised to find similar type-setting errors.
A few more discrepancies
As the new black label is the one that has had the least amount of attention paid it by collectors, it is the least documented and the least understood. This discography is the best attempt so far to place these dog-near-top, new black Gold Standard 45s into some kind of rational order as collectables and it is woefully lacking.
Because of the pandemonium following Presley’s death, pressing plants all over the US and Canada were leased by RCA and given 24/7 assignments. The variety of misprintings on the label are many, if minor. But there may be more major boners that would interest collectors like the one associated with GB-11988 (see below).
There are several other discrepancies with the new black label GS 45s for which I have not found a pattern.
• Copies may be found with a recording date on the labels.
• Copies may be found without a recording date on the labels.
• The recording date may be the month, day, and year.
• The recording date may simply be the year.
• “GOLD STANDARD” may be on the label.
• “GOLD STANDARD” may not be on the label.
• Copies may have “TMK(s) REGISTERED” in all uppercase at bottom of the label.
• Copies may have “TMK(s) Registered” in upper/lower case at bottom of the label.
The pressing plants
By this time, RCA only used its Indianapolis, Indiana, plant for pressing Gold Stand 45s. This plant manufactured records with vinyl into the late ’70s, so most if not all of the new black dog-near-top pressings from 1976–77 should be on vinyl with an “I” stamped or engraved into the trail-off area. In the discography below, I assume that there is an Indianapolis vinyl pressing for each number.
In 1979, Indianapolis began using a polystyrene compound for records, so records with an “I” in the trail-off area on translucent wax are Indianapolis pressings from the ’80s.
With Presley’s death in August 1977, RCA had to lease several other plants to press product (mostly LPs) to keep up with the demand. Most or all of the GS 45s were pressed on the new black label at other plants, including Shelley Products of Huntington Station, New York, and Allied Record Company in Los Angeles, California. Apparently, both these plants used polystyrene, so pressings with translucent wax could be from one or the other.
Other plants may have been used and those plants may have pressed records with vinyl or styrene. At this time, that data is not available.
There are two variations with each listing below: the first is for a vinyl record assumed to be from Indianapolis; the second is a styrene record which could be from Indianapolis or Allied or Shelley or an as yet unidentified fourth pressing plant. So the second variation reads “Indianapolis, Allied, or Shelley pressing on translucent wax.”
Note that wax is an older record collecting term used to refer to the make-up of the record, whether it is a polyvinyl-based or polystyrene-based or some other esoteric compound. Translucent indicates that light shines through the black record with a brown or sepia tint. I assume that one of each exists but you know what they say about assumptions.
This is an example of a computer-created designated promo. The NOT FOR SALE stickers were apparently placed by hand, as there is neither rhyme nor reason to their placement: right side or left, top or bottom. They could be on one side of a record or on both—some are even upside down!
Designated promos
The term designated promo refers to a stock copy of a record (here a 7‑inch single) designated for promotional use with a NOT FOR SALE sticker affixed to the label on one or both sides. After Presley’s death in 1977, new black label GS 45 with these stickers were everywhere . . .
A small white sticker reading NOT FOR SALE in black type could be found affixed to one or both sides of the record. A record with this sticker will probably cost you a bit more when buying from a knowledgeable dealer.
Gold Standard company sleeves
Each GS 45 was shipped in a protective paper sleeve. These sleeves may have been plain white or brown paper with no print whatsoever; this was the most inexpensive way to go and every record company used such sleeves.
The record companies also had specially manufactured sleeves that featured the record company’s name, often with a logo or an eye-catching design. These generic sleeves did not identify individual records by having titles or catalog numbers printed on them!
For the Perfect Elvis Collection, each Gold Standard 45 should be housed in a Gold Standard sleeve that was manufactured at the time of the record for use with that particular record.
That is, these sleeves merely identified the record within as company product without specifying what the individual product was. Record collectors refer to these by several terms:
• manufacturers sleeves
• factory sleeves
• company sleeves
These are effectively synonymous terms but it is company sleeves that I favor and use exclusively in my articles on record collecting.
For the Perfect Elvis Collection, each GS 45 should be housed in a GS sleeve manufactured at the time for use with that record. Of course, overlapping of older sleeves with newer records was common with the Gold Standards, but that should not stop a collector from seeking out the correct sleeve for each record in his collection.
For this article, I am listing those sleeves that were manufactured contemporaneously with the new black label records listed below. For more information on all Gold Standard company sleeves, refer to “elvis gold standard 45s part 2.”
Company sleeve design 4
This sleeve was introduced in 1976 along with the new black label. This sleeve was shipped with this new label and with thousands of red label records. Ideally, every one of your new black GS 45s should be accompanied by one of these sleeves.
Company sleeve design 5a
This sleeve was introduced in 1989 and was shipped with the new black label numbers. It can be found in two colors—a yellow-gold and a burnt-gold.
Company sleeve design 5b
This sleeve was introduced in 1994 and was shipped with the new black label numbers. It lasted through the end of the Age of Vinyl. The only significant difference between design 5a and 5b is that Nipper was increased in size and move from a position of insignificance in the lower right corner to the more prominent spot just below the die-cut window.
A tip for collectors
All Gold Standard company sleeves were made equal: these sleeves were used with GS 45s by other RCA artists, most of whom are not very collectable. Should you be flipping through stacks of 45s and come across a Gold Standard record by other artists in NM sleeves and the seller wants a couple of quarters for the record, buy it! The sleeve can be removed and used to replace an anomalous sleeve on one of the Presley platters in your collection.
The low number in the value reflects what these records might be purchased for when sold by someone not aware of the record’s actual worth—which is most of the sellers on the Internet.
Assigning the values
Each record below is assigned a value for the record in near mint condition. Here, NM means that the labels and the vinyl on both sides of the record are almost ‘like new.’ The assigned value for most records has a generous spread to allow for the diversity in the prices paid for these records on the Internet, where many sellers are clueless about grading a record correctly.
If I am correct, the high number in the assigned values more accurately reflects rarity and real value—and what these records might fetch when sold by a knowledgeable dealer to a knowledgeable collector.
The low number reflects what these records might be purchased for when sold by someone not aware of the record’s actual worth. (That is, a non-knowledgeable dealer, which is most of the sellers on the Internet.)
The numbers were arrived at by hours of research on the Internet, primarily the Popsike, Collectors Frenzy and Gripsweat websites. My own ‘common sense’ based on forty years of activity in buying and selling records and writing about buying and selling records also came into play.
Please note that copies of these records in less than NM condition usually sell for significantly lower prices. For records in VG+ condition, start at half the value of a NM copy and work down from there.
Copies of most numbers in VG condition have little value.
Every one of these numbers with an orange label is rather rare records. Some of the harder-to-find numbers (and they may be the big hits or the not-so-big hits) are probably undervalued below . . .
I don’t own the records that are illustrated below. I pulled these images off the Internet, hence the variable quality of those images. They are placed in the discography below to break up the monotony of the list, although each image is can be found near its listing.
And now for the discography
The discography and price guide section that follows should be self-explanatory. I assume that most readers have seen and used some form of price guide for some sort of collectable. Since I know that I should never assume anything, let’s take a quick walk through it anyway.
The records are listed in chronological order based on the catalog numbers. Each listing has three lines of information:
• Line 1 has the catalog number followed by the titles of the two songs on the record.
• Line 2 notes that it is, in fact, a new black label record, which is followed by the assigned value.
• Line 3 notes that the record was pressed at Indianapolis and is identified as such by machine-stamped numbers in the trail-off vinyl.
Any record with engraved or etched numbers in the trail-off area probably indicates another pressing plant’s product. These would probably be rather rare records and I would certainly appreciate your notifying me of their existence.
For those ‘historians’ who believe that RCA swayed Elvis in the direction of mannerisms and contrived effects, I give them Milkcow Blues Boogie: “Well, I woke up this morning and I looked out the door. I can tell that old milk cow by the way she lowed . . . Hold it fellows, that don’t moo-ve me. Let’s get real, real gone for a change.” You can’t get much more contrived than that outside of Tin Pan Alley cornball songs and arrangements. 1
1976–1977
447‑0600 I Forgot To Remember To Forget / Mystery Train
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0601 That’s All Right / Blue Moon Of Kentucky
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0602 Good Rocking Tonight / I Don’t Care If The Sun Don’t Shine
Black labels with only “RCA” on top (vinyl) $ 6–12
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 6–12
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0603 Milkcow Blues Boogie / You’re A Heartbreaker
Black labels with only “RCA” on top (vinyl) $ 8–16
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 8–16
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0604 Baby, Let’s Play House / I’m Left, You’re Right, She’s Gone
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0605 Heartbreak Hotel / I Was The One
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0607 I Want You, I Need You, I Love You / My Baby Left Me
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0608 Hound Dog / Don’t Be Cruel
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
On August 31, 1956, RCA dumped seven new Presley singles on the market (the next seven listed below), including all twelve tracks of his first LP. Within two weeks, each record had sold more than 100,000 copies! On September 22, Billboard’s reviewer wrote, “Of the seven singles released by Victor two weeks ago, this disc, with emphasis on Blue Moon, is stepping out and starting to move.” Despite having already been included on two best-selling albums (LPM-1254 and EPA-830), Blue Moon managed seventeen weeks on Billboard’s Top 100, peaking at #55. In stark contrast, it spent only three weeks on the Cash Box survey but all of them at a higher position than Billboard’s: #42, #48, and #45.
447‑0609 Blue Suede Shoes / Tutti Frutti
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0610 I Got A Woman / I’m Counting On You
Black labels with only “RCA” on top (vinyl) $ 10–20
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 10–20
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0611 I’ll Never Let You Go (Little Darlin’) / I’m Gonna Sit Right Down And Cry (Over You)
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0612 Tryin’ To Get To You / I Love You Because
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0613 Blue Moon / Just Because
Black labels with only “RCA” on top (vinyl) $ 8–16
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 8–16
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0614 Money Honey / One Sided Love Affair
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0615 Shake, Rattle And Roll / Lawdy, Miss Clawdy
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0616 Love Me Tender / Any Way You Want Me (That’s How I Will Be)
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0617 Too Much / Playing For Keeps
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0618 All Shook Up / That’s When Your Heartaches Begin
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0619 Jailhouse Rock / Treat Me Nice
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0620 (Let Me Be Your) Teddy Bear / Loving You
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
The pressing does have the recording date on the left but does not have the publishing data on the right. Hence two large empty fields of black, giving the record a lost look. Had these two pieces of information been placed at 3 and 9 o’clock, there would at be some balance.
447‑0621 Don’t / I Beg Of You
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0622 Wear My Ring Around Your Neck / Doncha Thinks It’s Time
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0623 Hard Headed Woman/ Don’t Ask Me Why
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0624 One Night / I Got Stung
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0625 (Now And Then There’s) A Fool Such As I / I Need Your Love Tonight
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0626 A Big Hunk O’ Love / My Wish Came True
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0627 Stuck On You / Fame And Fortune
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
This pressing has the publishing data on the right side but not the recording date on the left side. Looks incomplete. Lopsided. Was this due to the loosening of quality control and oversight to meet the demand for all things Elvis that followed in the months after his death in 1977 and lasting into ’78?
447‑0628 It’s Now Or Never / A Mess Of Blues
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0629 Are You Lonesome Tonight / I Gotta Know
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0630 Surrender / Lonely Man
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0631 I Feel So Bad / Wild In The Country
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0634 Little Sister / (Marie’s The Name) His Latest Flame
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0635 Can’t Help Falling In Love / Rock-A-Hula Baby
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0636 Good Luck Charm / Anything That’s Part Of You
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0637 She’s Not You / Just Tell Her Jim Said Hello
Black labels with only “RCA” on top (vinyl) $ 8–16
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 8–16
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0638 Return To Sender / Where Do You Come From
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0639 Kiss Me Quick / Suspicion
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0640 One Broken Heart For Sale / They Remind Me Too Much Of You
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0641 (You’re The) Devil In Disguise / Please Don’t Drag That Skin Around
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0642 Bossa Nova Baby / Witchcraft
Black labels with only “RCA” on top (vinyl) $ 8–16
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 8–16
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0720 Blue Christmas / Wooden Heart
Black labels with only “RCA” on top Not released
447‑0643 Crying In The Chapel / I Believe In The Man In The Sky
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
Never one of Presley’s better singles, Kissin’ Cousins / It Hurts Me is usually one of the more difficult titles to find as a GS 45. So far, that is not reflected in the prices paid for it on the Internet.
447‑0644 Kissin’ Cousins / It Hurts Me
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0645 Such A Night / Never Ending
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0646 Viva Las Vegas / What’d I Say
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
This new picture sleeve for 447‑0647 was issued in 1977 and as it carries the same catalog number and the same song titles like the original 1965 picture sleeve, sellers on eBay can get it wrong—so be aware when buying it!
447‑0647 Blue Christmas / Santa Claus Is Back In Town
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
Picture sleeve without “Gold Standard Series” $ 5–10
NOTE: This sleeve has a red border at the top and a photo of Elvis from 1969.
447‑0648 Do The Clam / You’ll Be Gone
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0649 Ask Me / Ain’t That Loving You, Baby
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0650 Puppet On A String / Wooden Heart
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0651 Joshua Fit The Battle / Known Only To Him
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0652 Milky White Way / Swing Down, Sweet Chariot
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0653 (Such An) Easy Question / It Feels So Right
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0654 I’m Yours / (It’s A) Long Lonely Highway
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0655 Tell Me Why / Blue River
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
Twenty years ago, I knew a few collectors who were looking for this record (Frankie And Johnny / Please Don’t Stop Loving Me) and willing to pay $10 when most collectors laughed at the new black GS 45s.
447‑0656 Frankie And Johnny / Please Don’t Stop Loving Me
Black labels with only “RCA” on top (vinyl) $ 10–20
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 10–20
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0657 Love Letters / Come What May
Black labels with only “RCA” on top (vinyl) $ 8–16
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 8–16
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0658 Spinout / All That I Am
Black labels with only “RCA” on top (vinyl) $ 8–16
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 8–16
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0659 Indescribably Blue / Fools Fall In Love
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0660 Long Legged Girl (With The Short Dress On) / That’s Someone You Never Forget
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
447‑0661 There’s Always Me / Judy
Black labels with only “RCA” on top $ ___
NOTE: The existence of this record is unverified; there is no assigned value.
While the demarcation point for Presley’s “comeback” is generally given as the October ’68 release of If I Can Dream, his transmutation from lifeless Hollywood hack to engaged folk-blues artist began a year earlier with the release of bouncy, relatively rugged reading of Bog Boss Man. Elvis followed through with the promise of this record with Guitar Man and U.S. Male and even his next soundtrack single, Let Yourself Go (all listed below). Alas, he had to wait until late ’68 for a real breakthrough in public perception of this transformation.
447‑0662 Big Boss Man / You Don’t Know Me
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0663 Guitar Man / Hi Heel Sneekers
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0664 U.S. Male / Stay Away
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0665 You’ll Never Walk Alone / We Call On Him
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0666 Let Yourself Go / Your Time Hasn’t Come Yet Baby
Black labels with only “RCA” on top (vinyl) $ 10–20
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 10–20
• Indianapolis, Allied, or Shelley pressing on translucent wax.
How did those-whose-job-it-is-to-warn-us-of-the-coming-of-the-beast overlook this record: number 666 with a song titled Let Yourself Go? Check out these satanic instructions from the lyrics: “Trust me. honey. everything’s gonna be all right.” “You gotta do like I do, there ain’t nothing to it.” “Now don’t be afraid, just relax and take it real slow.” “Just do like I tell you, everything’s gonna be just fine.” “Baby, I’m the only one here in line.” “All you gotta do is just let yourself go.” Shades of Charlie Manson! How did we all miss this?!!? 2
447‑0667 A Little Less Conversation / Almost In Love
Black labels with only “RCA” on top (vinyl) $ 10–20
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 10–20
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0668 If I Can Dream / Edge Of Reality
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0669 Memories / Charro
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0670 How Great Thou Art / His Hand In Mine
Black labels with only “RCA” on top (vinyl) $ 10–20
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 10–20
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0671 In The Ghetto / Any Day Now
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0672 Clean Up Your Own Back Yard / The Fair Is Moving On
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
In 1969, many of us Elvis aficionados saw Clean Up Your Own Backyard as the third part in Presley’s coming of age in the dawning of the Age of Aquarius. Like If I Can Dream and In The Ghetto, it was a ‘message song’ with a sense of social consciousness. I heard the message here as a variation on the maxim, “Let he who is without sin cast the first stone.” As a statement in 1969, it was a good one. As a single that followed up a Big Hit like, In The Ghetto, it was a disastrous choice.
447‑0673 Suspicious Minds / You’ll Think Of Me
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0674 Don’t Cry, Daddy / Rubberneckin’
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0675 Kentucky Rain / My Little Friend
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0676 The Wonder Of You / Mama Liked The Roses
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0677 I’ve Lost You / The Next Step Is Love
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0678 You Don’t Have To Say You Love Me / Patch It
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0679 I Really Don’t Want To Know / There Goes My Everything
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
After the run of superfine singles (eleven 45s from If I Can Dream through I Really Don’t Want To Know) and equally fine albums (six LPs from the NBC TV soundtrack through ELVIS COUNTRY), in 1971 the promise ended. Where Did They Go, Lord / Rags To Riches and LOVE LETTERS FROM ELVIS were bummers—and harbingers of a less focused, less creative, less successful future. (PS: 447‑0680 is harder to find as a new black GS 45 than the value below suggests.)
447‑0680 Where Did They Go, Lord / Rags To Riches
Black labels with only “RCA” on top (vinyl) $ 8–16
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 8–16
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0681 If Every Day Was Like Christmas / How Would You Like To Be
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0682 Life / Only Believe
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0683 I’m Leavin’ / Heart Of Rome
Black labels with only “RCA” on top (vinyl) $ 8–16
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 8–16
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0684 It’s Only Love / The Sound Of Your Cry
Black labels with only “RCA” on top (vinyl) $ 10–20
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 10–20
• Indianapolis, Allied, or Shelley pressing on translucent wax.
447‑0685 An American Trilogy / Until It’s Time For You To Go
Black labels with only “RCA” on top (vinyl) $ 10–20
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 10–20
• Indianapolis, Allied, or Shelley pressing on translucent wax.
With the change over to a new company-wide numbering system, the Gold Standard Series replaced the 447 prefix with ‘GB’ and switched from a four-digit number to five. The first Presley release within this new system was also a change: two A‑side that had already been issued as GS 45s were coupled as a new record. I haven’t a clue as to whether or not this had any impact on sales.
GB-10156 Burning Love / Steamroller Blues
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
GB-10157 If You Talk In Your Sleep / Raised On Rock
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
GB-10485 I’ve Got A Thing About You, Baby / Take Good Care Of Her
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
GB-10486 Separate Ways / Always On My Mind
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
GB-10487 T‑R-O-U-B-L‑E / Mr. Songman
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
GB-10488 Promised Land / It’s Midnight
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
GB-10489 My Boy / Thinking About You
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
1978
GB-11326 Moody Blue / For The Heart
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
1979
GB-11504 Way Down / My Way
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
1980
GB-11988 Are You Sincere / Unchained Melody
Black labels with only “RCA” on top (vinyl) $ 5–10
• Indianapolis pressing with an “I” in the trail-off area.
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
Black labels with “RCA Victor” on top $ 200–400
This a printing error with “RCA Victor” at the top of the labels, as it was in the ’50s and early ’60s. How many such sports were pressed and found their way onto the marketplace is unknown. What is known is that the only copy of this record auctioned on eBay sold for $350 in 2013! How many other label misprintings of this nature—ones that would attract the interest of collectors—exist of new black GS 45s are still unknown. 3
This is how GB-11988 should look. Note that it is housed in a company sleeve associated with releases from the ’90s.
1983
GB-13275 Suspicious Minds / You’ll Think Of Me
Black labels with only “RCA” on top (polystyrene) $ 5–10
• Indianapolis, Allied, or Shelley pressing on translucent wax.
The last new Gold Standard 45 with Elvis recordings appears to have been GB-13275, which is appropriate given that Suspicious Minds is as much a defining moment of the last third of Presley’s career as anything he would record in the last nine years of his life.
HEADER IMAGE: The image at the top of this page is a photo of Elvis on stage at the Springfield Civic Center on July 14, 1975. By this time, the end was near, although few fans were aware. Critics were getting downright nasty about Presley’s appearance and his performance, which both were often erratic and often bloated. And there will probably be endless debate as to whether the increasingly gaudy outfits were as okeydokey as feathers on a peacock or were getting downright goofy . . .
POSTSCRIPTUALLY, I want to stress to collectors that finding some of the variations listed here in “Elvis’ Gold Standard 45s Part 8” is far more difficult than the rather low values above would indicate. Now, here are all the articles on the Elvis Gold Standard 45s listed in the suggested reading order:
1. The Elvis Presley Gold Standard 45s Part 1 (Foreword)
2. The Elvis Presley Gold Standard 45s Part 2 (Company Sleeves)
3. The Elvis Presley Gold Standard 45s Part 3 (1958–1965)
4. The Elvis Presley Gold Standard 45s Part 4 (1964)
5. The Elvis Presley Gold Standard 45s Part 5 (1965–1968)
6. Those Bloody Rare Orange Label Gold Standard 45s
7. The Elvis Presley Gold Standard 45s Part 6 (1969)
8. The Elvis Presley Gold Standard 45s Part 7 (1969–1976)
9. The Elvis Presley Gold Standard 45s Part 8 (1976–2000)
FOOTNOTES:
1 Milkcow Blues Boogie was Presley’s third single for Sun Records and it nearly ended his burgeoning career! Sales were so minuscule that it is far and away the rarest of the five Sun records.
2 Speedway was yet another movie that involved fast cars and a hot chick singer, this time Nancy Sinatra. Of course, unlike Ann-Margret, Nancy couldn’t act or dance like Ann-Margret (who could?) and her presence did little to save this movie from the quick death it deserved, But it did feature better music than we had come to expect, including the single, Let Yourself Go.
3 It’s possible that other numbers have this misprinting on their labels. If so, assume a similar value for each until documented elsewise elsewhere.
Mystically liberal Virgo enjoys long walks alone in the city at night in the rain with an umbrella and a flask of 10-year-old Laphroaig who strives to live by the maxim, “It ain’t what you know that gets you into trouble; it’s what you know that just ain’t so.
I’ve been a puppet, a pauper, a pirate, a poet, a pawn, and a college dropout (twice!). Occupationally, I have been a bartender, jewelry engraver, bouncer, landscape artist, and FEMA crew chief following the Great Flood of ’72 (and that was a job that I should never, ever have left).
I am also the final author of the original O’Sullivan Woodside price guides for record collectors and the original author of the Goldmine price guides for record collectors. As such, I was often referred to as the Price Guide Guru, and—as everyone should know—it behooves one to heed the words of a guru. (Unless, of course, you’re the Beatles.)
Hi I read that you’d like to be contacted about a record with numbers engraved on the trail away area. I have an Elvis record with just that. I’d love to get your thoughts on it!
ALISON
Thanks for the comment!
I’d be happy to help you identify your record(s). Answer these questions:
1. What are the record’s title and catalog number?
2. What is the number that is engraved in the trail-off area?
Hope this helps.
NEAL
I’ve recently seen a label variation with “Gold Standard” on top under “RCA” and not on the side. Do you have any research on these types of variations?
LVSFAN1
Yes! I have been working on updating the entire series of articles and discographies on the Gold Standard Series singles for a looong time. The ‘new black’ labels with “Gold Standard” at the top and on the side and not there at all will be addressed.
Unfortunately, I cannot tell you when these updates will be ready.
N
FYI the catalog numbers 0619 and 0620 are reversed. Also, I have a third label variation of a few of these records: (top to bottom) “Gold Standard” on right side with catalog number, matrix number, publishing info, time (publishing and matrix numbers reversed).
LVSFAN1
Thanks for catching that! I corrected those errors.
I am working on updating all the Gold Standard articles and the one the still needs attention is the black label version with only “RCA” on top that came into use in 1976. Variations of this label include “Gold Standard” on the right side of the spindle hole and “Gold Standard” above the hole.
I am hoping to get back to these articles in the next few months.
Thanks and keep on keepin’ on!
NEAL
As much as I reference this site, I only just noticed a double entry for 447‑0624, “One Night” / “I Got Stung.”
Cheers,
Leigh
Redundant entry removed!
Thank you—thank you very much.