is the fourth studio album by American singer Elvis Presley, released on April 8, 1960 by RCA Victor.

During Presley's two-year military service in Germany, RCA Victor and Paramount Pictures progressively released material he had completed prior to enlistment.

During his last months in the Army, Presley began preparing material and working on improving his performance for his first session in Nashville, scheduled to take place upon his return.

Fontana from his original band, the Blue Moon Boys, for two blocks of sessions in late March and early April.

The material on the album has some influences from the rock and roll of Presley's early work, but it also offers a mix of sophisticated pop, blues, R&B and the "Nashville sound" production values associated with Chet Atkins, who co-produced the recording sessions with Steve Sholes.

[4] Following his third and last appearance on the Ed Sullivan Show, Presley received a notice from the Memphis draft board on January 8, 1957.

He was granted a deferment so he could finish the forthcoming film King Creole, which had already received an investment of $350,000 from Paramount Pictures and producer Hal Wallis.

[10] Soon after starting basic training at Fort Hood, Texas, he received a visit from Eddie Fadal, a businessman he had met on tour in January 1956.

[12] Media reports echoed Presley's concerns about his career, but RCA Victor producer Steve Sholes and Freddy Bienstock of Hill and Range had carefully prepared for his two-year absence.

[16] During his final months in the Army, Presley started to experiment with new material and thinking ahead to his anticipated return to recording.

For his first scheduled recording session, Presley considered The Four Fellow's "Soldier Boy", the Golden Gate Quartet's "I Will Be Home Again", The Drifters' "Such a Night" and Jesse Stone's "Like a Baby".

For inspiration, Presley used Roy Hamilton's "I Believe" and his version of "Unchained Melody", the traditional Irish song "Danny Boy", and Tony Martin's "There's No Tomorrow" (an English adaptation of "'O sole mio").

Parker also obtained an increase in Presley's salary and a profit share from producer Wallis, and negotiated an appearance on The Frank Sinatra Show.

[22] Meanwhile, to assure publishing royalties, Bienstock commissioned new lyrics for "O Sole Mio" since the tune was already in the public domain.

Fontana, pianist Floyd Cramer, guitarist Hank Garland, bassist Bobby Moore, percussionist Buddy Harman and the backing group The Jordanaires.

For the last song of the session, Lowell Fulson's "Reconsider Baby", Presley played the lead using his Gibson Super 400 guitar.

[2] Critics generally agreed that Presley had acquired a "deeper, harder voice quality",[33] and said his interpretations were "increasingly sophisticated".

The album includes a variety of material; Presley and the session musicians, known as "The Nashville A-Team", had the benefit of recording equipment that was state-of-the-art for its time.

The back cover features an image of Presley grinning; he is dressed in an Army regulation fatigue jacket and cap.

[36] The second track is a cover of "Fever", which Presley based on Peggy Lee's version, although his recording incorporates finger-snapping[37] and the sounds of the two percussionists are divided between the two channels of the stereo mix.

[43] The first single from Elvis Is Back!, "Stuck on You", was released two days after its recording with "Fame and Fortune" on the B-side, attracting 1.4 million advanced orders.

[47] HiFi/Stereo Review magazine also remarked on the change in Presley's style, calling the album "musically schizoid" despite deeming the overall recording "good".

[49] Will Hermes of Rolling Stone praised its "wildly varied material, revelatory singing, impeccable stereo sound".

Yet Elvis Is Back ... is arguably Presley's masterpiece, in which he tackles ballads, blues, rock, pop and gospel with a quality of control that somehow makes his innate sensuality even more potent.