From Elvis in Memphis

From Elvis in Memphis
Studio album by Elvis Presley
Released June 1969 (1969-06)
Recorded January–February 1969
Studio American Sound Studio in Memphis, Tennessee
Genre Soul, country, rhythm and blues, pop
Length 36:42
Label RCA Records
Producer Chips Moman, Felton Jarvis
Elvis Presley chronology
Elvis
(1968)		 From Elvis in Memphis
(1969)		 From Memphis To Vegas/From Vegas To Memphis
(1969)
Singles from From Elvis in Memphis
  1. "In the Ghetto"
    Released: April 14, 1969[1]

From Elvis in Memphis is the fifteenth studio album by American rock and roll singer Elvis Presley, released on RCA Records. It was recorded at American Sound Studio in Memphis in January and February 1969 under the direction of producer Chips Moman and backed by its house band, informally known as "The Memphis Boys". Following the success of Presley's 1968 Christmas television special and its soundtrack, the album marked Presley's return to non-soundtrack albums after the completion of his film contract with Paramount Pictures.

Presley's entourage convinced him to leave the RCA studios and record this album at American Sound, a new Memphis studio at the peak of a hit-producing streak. The reason for going to Moman's studio was for the soul sound of the house band, 'the Memphis Boys'. The predominance of country songs among those recorded in these sessions gives them the feel of the "country soul" style. This impression is emphasized by the frequent use of the dobro in the arrangements. In any case, the Memphis Boys have a solidly southern soul sound.

From Elvis in Memphis was released in June 1969 to favorable reviews. The album peaked at number 13 on the Billboard 200, number two on the country charts and number one in the United Kingdom, and its single "In the Ghetto" reached number three on the Billboard Hot 100. The album was certified gold by the Recording Industry Association of America in 1970. In later years, it garnered further favorable reviews, while it was ranked number 190 on Rolling Stone magazine's 2003 list of the 500 greatest albums of all time.

Background

After Presley's 1960 return from military service, his manager, Colonel Tom Parker, shifted the focus of the singer's career from live music and albums to films and soundtracks.[2] In March 1961, he performed what would become his last live concert for the next eight years: a benefit for the construction of the USS Arizona Memorial at Boch Arena in Pearl Harbor, Hawaii.[3] During the first half of the 1960s, three of Presley's soundtrack albums reached number one on the pop charts and a number of his most popular songs were from his films, including 1961's "Can't Help Falling in Love" and 1962's "Return to Sender".[4]

After 1964, Parker decided that Presley should only record soundtrack albums. He viewed the films and soundtracks as complementary, with each helping to promote the other.[5] As it turned out, the commercial success of Presley's films and soundtracks steadily diminished (Paradise, Hawaiian Style; Easy Come, Easy Go; Speedway),[4] while he was increasingly disappointed with the quality of his work.[2] From 1964 to 1968, Presley had just one top-ten hit: "Crying in the Chapel" (1965), a gospel number recorded in 1960. Only one LP of new material by Presley was issued: the gospel album How Great Thou Art (1967), which won him his first Grammy Award in the Best Sacred Performance category.[4]

In 1968, Colonel Parker arranged a deal with NBC for a Christmas television special starring Presley in front of a live audience. Parker originally planned to have Presley sing Christmas carols only, but producer Steve Binder convinced the singer to perform songs from his original repertoire. The high ratings received by the special and the success of its attendant LP re-established Presley's popularity.[6] During the making of the special, Presley said to Binder: "I'll never sing another song that I don't believe in, I'm never going to make another movie that I don't believe in."[7] As part of his decision to refocus on music rather than film, Presley decided to record a new album.[6]

Recording

Presley left his usual musicians and studios (Radio Recorders in Hollywood, California and RCA Studio B in Nashville, Tennessee), recording new material in Memphis.[8] After the special he approached Scotty Moore and D. J. Fontana, who had played with Presley during his early hit-making career, and who rejoined him on the television show. Presley asked Moore about using Music City Recorders in Nashville, but that suggestion never came to fruition.[9]

During a January 1969 meeting at Graceland, Presley told his usual producer, Felton Jarvis, that he did not want to record his next album at RCA Studios. Two of Presley's friends, DJ George Klein and Marty Lacker, suggested that he use American Sound Studio, an up-and-coming studio with which Lacker was involved.[9] RCA contacted the studio's producer Chips Moman. Willing to work with Presley, Moman postponed a session with Neil Diamond after being asked to produce the sessions with Felton Jarvis as second producer.[10] It was agreed that Presley's recordings would take ten days and cost $25,000.[11] He would be backed by the studio's house band, the 827 Thomas Street Band (informally known as "The Memphis Boys"),[12] which consisted of Reggie Young on guitar, Tommy Cogbill and Mike Leech on bass, Gene Chrisman on drums, Bobby Wood on piano, and Bobby Emmons on organ.[13]

Although RCA Records oversaw their company policy to record only in their own studios, the label sent their personnel out to American Sound.[14] Recording began on January 13, 1969, when Presley arrived at the studio nursing a cold.[15] In addition to his personal entourage, he was accompanied by Hill & Range publisher Freddy Bienstock, Colonel Parker's assistant Tom Diskin, producer Felton Jarvis, executive Harry Jenkins and engineer Al Pachucki, representing RCA Records. With Pachucki on the board, American Sound engineer Ed Kollis joined the musicians on harmonica.[16] The session, which produced recordings of "Long Black Limousine", "Wearin' That Loved On Look" and several non-album songs, continued until 5:00 am.[17] After the first day's recording, Moman and his colleagues expressed discomfort with the size of Presley's entourage, and the singer was accompanied by fewer people for the remaining sessions.[10]

The next day Presley recorded "I'm Moving On" and "Gentle on My Mind", leaving the studio while working on the latter to rest his throat.[18] The following night, he did not appear, as his cold worsened,[17] and on January 15 and 16 the house band recorded backing tracks for subsequent sessions. Presley returned on January 20, recording "In the Ghetto" in 23 takes and finishing the vocal track for "Gentle on My Mind". On January 22, he recorded Eddy Arnold's "I'll Hold You in My Heart (Till I Can Hold You in My Arms)" and the non-album single "Suspicious Minds".[19] Presley then took a break from recording for a vacation trip to Aspen, Colorado to celebrate his daughter Lisa Marie's first birthday.[18]

During Presley's absence, Moman was approached by Bienstock, who was concerned about possible future disputes concerning the songs' publication. Moman and Presley decided not to record Hill & Range compositions, instead using songs by American Sound writers. Bienstock, particularly interested in the non-album "Suspicious Minds" and "Mama Liked the Roses", warned that Moman would have to surrender the publishing rights to release the songs. In response, Moman told Bienstock to take all the recordings and leave the studio.[20] RCA vice-president Harry Jenkins interceded, siding with Moman and ordering Bienstock to stay away from the studio and let Presley work with the staff.[10] Meanwhile, Diskin informed Presley about the publishing issues. Presley supported Moman, assuring Diskin that he and the producer would handle the session work. Diskin contacted Parker, who told him to return to California.[21] Moman retained the publishing rights, and the sessions were scheduled to resume several weeks later.[22]

Presley returned on February 17, recording "True Love Travels on a Gravel Road" and "Power of My Love", and Eddy Arnold's "After Loving You" and "Do You Know Who I Am?" the following day.[23] On February 19, he devoted most of the session to the non-album single "Kentucky Rain", one of the few Hill & Range songs used on the American Sound recordings. Presley followed with a recording of "Only the Strong Survive", a hit for Jerry Butler the previous year, which took twenty-nine takes.[24] On February 20, he recorded Johnny Tillotson's "It Keeps Right on a Hurtin'" in three takes and "Any Day Now" in six.[25] Presley's final session was on February 22, when he recorded vocal overdubs for "True Love Travels on a Gravel Road" and "Power of My Love" and vocals for several non-album cuts.[26] The following month, Mike Leech and Green Spreen began work on the string and horn overdubs to finish the album;[27] several brass overdubs were recorded by The Memphis Horns.[28]

Music

Moman moved away from the usual Presley pop recordings aimed at an established audience. A developer of the Stax Records sound, he incorporated a Memphis sound integrating soul, country, gospel and rural and electric blues.[29] Many arrangements lean heavily on the rhythm section, with lesser contributions from strings, brass and woodwinds.[30][31] Arrangers Green Spreen and Mike Leech changed Presley's image on the tracks with the addition of violas, cellos and French horns. The arrangers intended to blend the tracks for a distinctive sound; the strings are used in counterpoint, rising when the track fades and vice versa.[32] The violas play the same lines as the French horns, with cello used for darker tones. Syncopation was incorporated by bowing.[27]
"Wearin' That Loved on Look"
The first track on side one introduces Memphis soul, with a bass lead used for the first time on a Presley recording.[33]
"Power of My Love"
Beginning with his American Sound recordings, soul music became a central element of Presley's stylistic fusion. The opening track of side two features lyrics full of sexual innuendo.[34]
Problems playing these files? See media help.

The twelve tracks on the album were selected from thirty-one which were recorded in the American Sound sessions.[35] The first song, "Wearin' That Loved On Look" features an electric-bass lead for the first time in a Presley recording. The second is "Only the Strong Survive", with Presley backed by bass and drums. He plays piano on the third track, the country song "I Hold You in My Heart ('Till I Can Hold You in My Arms)".[36] Presley's voice is roughened by a cold on the fourth song, the country-rhythm-and-blues "Long Black Limousine"[27] featuring a trumpet solo.[30] The fifth song, Johnny Tillotson's traditional country-western "It Keeps Right on A-Hurtin'", was arranged to sound more like Memphis soul. Side one ends with a version of Hank Snow's country-western "I'm Moving On" with a strong bass line and driving rhythm.[30]

Side two begins with Florence Kaye and Bernie Baum's "Power of My Love".[37] The song has a blues-based sound, with Presley backed by a brass section, drums and electric guitar and organ.[30] The lyrics include double entendres ("Crush it, kick it / You can never win / I know baby you can't lick it/ I'll make you give in)", with groans by backing female singers emphasizing sexuality.[37] The second track, a cover of John Hartford's "Gentle on My Mind" follows. The string-laden arrangement was inspired by Glen Campbell's 1967 Grammy-winning version of the song. The next song, Eddy Arnold's 1962 hit "After Loving You", is arranged in a 12/8 tempo rhythm-and-blues style. This is followed by Dallas Frazier's "True Love Travels on a Gravel Road" and Chuck Jackson's 1962 hit, "Any Day Now".[38]

The twelfth and final song of the album, selected as a single, is Mac Davis' "In The Ghetto".[38] The song was chosen by Billy Strange, who had previously picked material for other Presley sessions.[39] The protest song denounces the consequences of poverty, with compassion for inner-city youth. Because of "In the Ghetto"'s lyrics, controversial for its time, Presley originally did not plan to record the song because he thought it might alienate fans. After Moman said he might give the song to Rosey Grier, Presley's friends Joe Esposito and George Klein (initially opposed to "In the Ghetto"), convinced the singer to record it.[40]

The album cover is a still from the "Trouble"-"Guitar Man" production number of NBC's Elvis special. Presley is featured with a red electric guitar, wearing a black leather suit with a red scarf around his neck, with silhouettes of guitar players at the back of the set.[41][42] From Elvis in Memphis became one of American Sound Studio's best-known productions, with Dusty Springfield's Dusty in Memphis;[43] both albums reflected similar times and musical trends on the Memphis scene.[29]

Release and reception

The single "In the Ghetto" was released on April 15, with 300,000 copies shipped by RCA. In its second week after release it entered the charts, where it remained for thirteen weeks (reaching number three on June 14).[27] The single sold a million copies in the United States. Meanwhile, it reached number two on the British Singles chart.[44] However, its success triggered a confrontation between RCA and American Sound. During the sessions, Presley's usual producer, Jarvis, grew increasingly worried about losing control of Presley and his recordings.[26] During its first two weeks on the chart, "In the Ghetto"'s production was credited to Jarvis. Lacker then called Billboard and had them correct the producer credit to Moman. During the fourth week, Parker asked Billboard to remove the production credit from the song's entry entirely (arguing that Presley's records did not traditionally list a producer credit).[27]

Professional ratings
Review scores
SourceRating
AllMusic[45]
Billboard(favorable)[46]
High Fidelity(favorable)[47]
MusicHound[48]
PopMatters[49]
Rolling Stone(favorable)[50]
The Rolling Stone Album Guide[51]
Rough Guides[52]
Sputnik Music[53]

From Elvis in Memphis was released in June 1969. The album topped the UK Albums Chart, disposing for one week Jethro Tull's Stand Up.[54] In the United States, it reached number thirteen on Billboard's Top LP's,[55] and was ranked number seventeen on the magazine's Top Country albums of 1969.[56] By January 28, 1970, the album was certified gold by the Recording Industry Association of America after selling over 500,000 copies.[57]

On August 23, 1969 Presley was featured on the cover of Rolling Stone, with the album receiving the lead review.[58] Peter Guralnick, the magazine's reviewer, described it as "great ... Flatly and unequivocally the equal of anything (Presley) has ever done" and praised the "evident passion which (Presley) has invested in this music", adding: "(he) is trying, and trying very hard, to please us. he needs to have our attention ... It is his involvement after all which comes as the surprise."[59] Billboard also published a positive review, saying that Presley had "never sounded better, and the choice of material is perfect".[46] High Fidelity wrote, "Elvis has been through a number of stages, and his latest is the best".[47]

From Elvis in Memphis has continued to receive praise in retrospective reviews. In 2009 Rolling Stone described it as "extraordinary" and attributed the sessions' success to Presley's "newfound maturity and soulfulness" and Moman's "warm, distinctly Southern musical backing".[60] AllMusic gives it five stars out of five, and highlights it as an "AllMusic album pick". Critic Bruce Eder said that together with 1956's Elvis Presley, From Elvis in Memphis was Presley's "greatest album". Eder called it "one of the greatest white soul albums (and one of the greatest soul albums) ever cut", with Presley "rejuvenated artistically (while) he's supported by the best playing and backup singing of his entire recording history".[45]

PopMatters has described From Elvis in Memphis as "some of the best music Elvis Presley ever made".[49] Sputnik Music's reviewer considered that the album "rivaled" Presley's early recordings in "terms of historical importance and innovation", and was "downright essential, for any Elvis fan and for any music fan".[53]

Legacy

Following the American Sound sessions, Presley returned to Hollywood. Between March–April 1969, he recorded the soundtrack and starred in his thirty-first and last motion picture as an actor, Change of Habit.[61]

When the album was due for release, Parker arranged Presley's return to live performing. He made a deal with Kirk Kerkorian, owner of the Las Vegas International Hotel for Presley to play the newly built, 2,000-seat showroom for four weeks (two shows per night, with Mondays off) for $400,000.[62] For his appearance, he assembled a band later known as the TCB Band: James Burton (guitar), John Wilkinson (rhythm guitar), Jerry Scheff (bass-guitar), Ronnie Tutt (drums), Larry Muhoberac (piano) and Charlie Hodge (rhythm guitar, background vocals). The band was complimented by the backing vocals of The Sweet inspirations and The Imperials.[61] His initial Las Vegas show attracted an audience of 101,500, setting a new Vegas performance record.[62] By 1970, Presley began to tour the United States for the first time in thirteen years.[63]

Reissues

In 2000 RCA released a remastered compact disc of From Elvis in Memphis, including six bonus tracks (released as A- or B-sides) recorded during the album sessions. The reissue received five stars out of five from Rolling Stone.[64] "Don't Cry Daddy" and "Kentucky Rain" were minor hits in 1970, but "Suspicious Minds" became one of Presley's signature songs and was the final chart-topper of his career.[65] In 2003, the album was number 190 on Rolling Stone's list of the 500 greatest albums of all time.[66] In 2009, Sony Music Entertainment issued a Legacy RCA Edition of the album for its 40th anniversary:[67] two discs (From Elvis In Memphis and the studio disk of From Memphis To Vegas/From Vegas To Memphis), four outtakes and ten tracks originally released as monaural singles (including "Suspicious Minds" and "Kentucky Rain").[68]

Personnel

Overdubbed

Track listings

Original release

Side one
No. TitleWriter(s)Recording date Length
1. "Wearin' That Loved On Look"  Dallas Frazier, A.L. OwensJanuary 13, 1969 2:46
2. "Only the Strong Survive"  Jerry Butler, Kenny Gamble, Leon HuffFebruary 19, 1969 2:42
3. "I'll Hold You in My Heart (Till I Can Hold You in My Arms)"  Eddy Arnold, Thomas Dilbeck, Vaughan HortonJanuary 22, 1969 4:34
4. "Long Black Limousine"  Bobby George, Vern StovallJanuary 13, 1969 3:38
5. "It Keeps Right On A-Hurtin'"  Johnny TillotsonFebruary 20, 1969 2:36
6. "I'm Movin' On"  Hank SnowJanuary 14, 1969 2:43
Side two
No. TitleWriter(s)Recording date Length
1. "Power of My Love"  Bernie Baum, Bill Giant, Florence KayeFebruary 18, 1969 2:36
2. "Gentle on My Mind"  John HartfordJanuary 14, 1969 3:21
3. "After Loving You"  Janet Lantz, Eddie MillerFebruary 18, 1969 3:05
4. "True Love Travels on a Gravel Road"  Dallas Frazier, A.L. OwensFebruary 17, 1969 2:38
5. "Any Day Now"  Burt Bacharach, Bob HilliardFebruary 20, 1969 2:59
6. "In the Ghetto"  Mac DavisJanuary 20, 1969 2:45

1998 CD reissue

2009 CD reissue

Charts

Chart Peak
position
1969
Australian Albums Chart[69] 5
Belgium Albums Top 50 77
Canadian Top 50 Albums[70] 10
French Top Albums[71] 9
German Albums Chart[72] 14
Greece Top 75 Albums Chart[73] 27
Netherlands Top 100 Albums[74] 10
Norwegian Top 40 Albums[75] 1
UK Albums Chart[76] 1
US Billboard 200[77] 13
US Country Albums[77] 2
2009
Belgium (Wallonia) 100 Albums[78] 77
US Top Pop Catalog Albums[79] 29
Preceded by
Stand Up by Jethro Tull		 UK Albums Chart number-one album
30 August 1969 – 6 September 1969 		Succeeded by
Stand Up by Jethro Tull

Release history

Region Date Label Format Catalog
North America June 1969 RCA Victor stereo LP LSP-4155
Stereo 8 P8S-1456
United Kingdom June 1969 RCA Victor stereo LP SF 8029
North America December 1970 RCA Victor Quadraphonic 8-track PQ8-1456
North America 1970 RCA Victor cassette PK-1456
Various May 16, 2000 RCA Records CD 07863 67932 2
Worldwide reissue July 28, 2009 RCA Records/Legacy Recordings double CD 88697 51497 2

Footnotes

  1. ↑ RCA Records staff 2002, p. 15, 16.
  2. 1 2 Doll, Susan 2009, p. 19.
  3. ↑ Doll, Susan 2009, p. 134.
  4. 1 2 3 Marsh, Dave 2004, p. 650.
  5. ↑ Doll, Susan 2009, p. 133.
  6. 1 2 Doll, Susan 2009, p. 20, 21.
  7. ↑ Guralnick, Peter 1993, p. 38-40.
  8. ↑ Fortas, Alan 2008, p. 278.
  9. 1 2 Gaar, Gillian 2010, p. 112.
  10. 1 2 3 Gaar, Gillian 2010, p. 119.
  11. ↑ Guralnick, Peter 1999, p. 327.
  12. ↑ Klein, George; Crisafulli, Chuck 2011, p. 193.
  13. ↑ Gordon, Robert; McAdams, Tara 2009, p. 3.
  14. ↑ Nash, Alanna 2008, p. 268.
  15. ↑ Guralnick, Peter 1999, p. 328.
  16. ↑ Jones, Roben 2010, p. 203.
  17. 1 2 Guralnick, Peter 1999, p. 330.
  18. 1 2 Slaughter, Ted 2006, p. 127.
  19. ↑ Collins, Ace 2005, p. 215.
  20. ↑ Gaar, Gillian 2010, p. 132.
  21. ↑ Jones, Roben 2010, p. 213.
  22. ↑ Guralnick, Peter 1999, p. 336.
  23. ↑ Gaar, Gillian 2010, p. 147.
  24. ↑ Gaar, Gillian 2010, p. 148.
  25. ↑ Gaar, Gillian 2010, p. 149.
  26. 1 2 Gaar, Gillian 2010, p. 150.
  27. 1 2 3 4 5 Guralnick, Peter 1999, p. 338.
  28. ↑ Jones, Roben 2010, p. 202.
  29. 1 2 Perone, James 2012, p. 219.
  30. 1 2 3 4 Perone, James 2012, p. 221.
  31. ↑ Brackett, Nathan; Hoard, Christian David 2004, p. 649.
  32. ↑ Gaar, Gillian 2010, p. 135.
  33. ↑ Perone, James 2012, p. 219, 220.
  34. ↑ Jorgensen, Ernst 2000, p. 277.
  35. ↑ Gaar, Gillian 2010, p. 155.
  36. ↑ Perone, James 2012, p. 220.
  37. 1 2 Gaar, Gillian 2010, p. 131.
  38. 1 2 Perone, James 2012, p. 222.
  39. ↑ Guralnick, Peter 1999, p. 331.
  40. ↑ Guralnick, Peter 1999, p. 332.
  41. ↑ Humphries, Patrick 2003, p. 61.
  42. ↑ Gaar, Gillian 2010, p. 159.
  43. ↑ Hoffman, Frank 2005, p. 1382.
  44. ↑ Gaar, Gillian 2010, p. 139.
  45. 1 2 Eder, Bruce 2009.
  46. 1 2 Billboard staff 1969, p. 51.
  47. 1 2 High Fidelity staff 1969, p. 130.
  48. ↑ Graff, Gary; Durchholz, Daniel (eds) (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. pp. 891–92. ISBN 1-57859-061-2.
  49. 1 2 Loar, Christel 2009.
  50. ↑ Guralnick, Peter 1969, p. 34-35.
  51. ↑ "Elvis Presley: Album Guide". rollingstone.com. Archived from the original on September 18, 2013. Retrieved June 20, 2015.
  52. ↑ Simpson, Paul (2004). The Rough Guide to Elvis. London: Rough Guides. pp. 132–33. ISBN 1-84353-417-7.
  53. 1 2 De Sylvia, Dave 2006.
  54. ↑ Warwick, Neil; Kutner, Jon; Brown, Tony 2004, p. 12.
  55. ↑ Davis, Sharon 1998, p. 37.
  56. ↑ Billboard staff 2 1969, p. 17.
  57. ↑ RIAA 2014.
  58. ↑ Nash, Alanna 2008, p. 270.
  59. ↑ Guralnick, Peter 1969, p. 34.
  60. ↑ Kemp, Mark 2009.
  61. 1 2 Eder, Mike 2013, p. 173.
  62. 1 2 Jeansonne, Glen; Luhrssen, David; Sokolovic, Dan 2011, p. 183.
  63. ↑ Wolff, Kurt 2000, p. 283.
  64. ↑ Hunter, James 2001.
  65. ↑ Jorgensen, Ernst 2000, p. 416-419.
  66. ↑ Rolling Stone staff 2013.
  67. ↑ Perry, Andrew 2009.
  68. ↑ Memphis Magazine staff 2009.
  69. ↑ Kent, David 2005.
  70. ↑ RPM staff 1969.
  71. ↑ Durand, Dominic 2012.
  72. ↑ Charts.de staff 2011.
  73. ↑ Dutch Charts - From Elvis in Memphis
  74. ↑ Dutch Charts staff 2011.
  75. ↑ Norwegian Charts staff 2011.
  76. ↑ Official Charts staff 2011.
  77. 1 2 Rovi Corporation staff 2011.
  78. ↑ Ultratop staff 2011.
  79. ↑ Billboard staff 2009, p. 40.

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