Don't Leave Me Now may refer to:
Loving You is the third studio album by Elvis Presley, issued on RCA Victor Records in mono, LPM 1515, in July 1957. Recording sessions took place on January 15, 16, 17, and 18, 1957, at the Paramount Pictures Scoring Stage, and on January 12, 13, 19, and February 23 and 24, 1957, at Radio Recorders in Hollywood. These are the first sessions where Steve Sholes is officially listed as producer. It spent ten weeks at No. 1 on the Billboard Top Pop Albums chart. It was certified Gold on April 9, 1968 by the Recording Industry Association of America.
Content
The soundtrack includes seven songs composed expressly for the movie Loving You from writers contracted to Elvis Presley Music and Gladys Music, the publishing companies owned by Presley and his manager, Colonel Tom Parker. An eighth song intended for but not appearing in the movie, "Don't Leave Me Now", was included on the album, and a new recording would appear on the soundtrack for his next film, Jailhouse Rock.
"Don't Leave Me Now" is a song by Pink Floyd. It appears on The Wall album (1979) and was released as a B-side on the single of "Run Like Hell".
Composition
The main section of "Don't Leave Me Now", recorded with synthesizer bass, organ, piano, and a delay-treated guitar, does not adhere to one single key, but rather cycles slowly through four dissonant and seemingly-unrelated chords, for two measures of each: An E augmented chord, followed by a D flat major seventh chord, a B flat dominant seventh chord with a suspended second, followed by a G Major chord, which, after one bar, augments its fifth, before returning to the beginning of the progression. The first three chords all sustain the notes G♯/A♭ and C, and this interval is then lowered chromatically by one semitone for the conclusion on G Major. Furthermore, the roots of this chord progression (E, D♭, B♭, and G) outline the intervals of a diminished seventh chord. The roots relate to each other as a pair of tritones - the E and B♭ form one tritone, and the D♭ and G form the other. Musicologist and author Phil Rose described this section of the song as "entirely non-functional harmonically" and stated that "[M]ost of the time when a phrase ends, Waters is either singing one of the most dissonant notes in the accompanying chord, or a non-chord tone." There is no percussion, and the tempo is very slow.