Back in Memphis: The American Sound Studio Sessions

1968 was over and Elvis was happy. His little daughter was turning one and his marriage was going well; his last film that year, "Live a Little, Love a Little", was not a success, but it had a script more in line with what he always wanted to do - serious cinema - and the soundtrack for this production had three songs almost at the top of the charts. Even more memorable was his return to the stage, although only to record the "'68 Comeback Special", and the resounding success of the attraction's soundtrack, which reached the Top 10. The presentation of the special on TV, on December 3, reached the biggest audience of the year and closed 1968 with a flourish for Elvis.

Although he still needed to film one last production (Change of Habit) in compliance with the contract signed with Singer and NBC-TV the previous year, the King of Rock had already settled his priorities for 1969: recording new albums with current hits and his favorite songs, and return to the stage once and for all.

The day after his 34th birthday, Elvis met with Felton Jarvis and began discussing recording sessions in Nashville. This displeased Marty Lacker, who just listened to the conversation and made negative movements with his head; Elvis asked his friend what was going on and Lacker just said that "I'd like you to try Chips Moman's boys at American Sound Studio here in Memphis." The King of Rock then replied "maybe one day I'll go there" and the conversation ended before dinner, but not without Marty still showing signs of irritation.

Shortly afterwards, Elvis called him and asked that the Memphis sessions be arranged, with the impossible condition that they should begin the following Monday, January 13th. Chips had sessions with Neil Diamond that day, but when he heard from Lacker that Elvis wanted to record, he responded with a resounding "screw Diamond, tell Elvis he's booked!" On the same night, Felton Jarvis arranged the financial part with Chips on behalf of RCA and the sessions were ordered.

During dinner, Marty asked Elvis to get good songs to record with the best crew he would ever see and was invited to the King's suite to hear demos from a new songwriter named Mac Davis - among them were "In the Ghetto" and "Don't Cry Daddy". As they all sounded like genuine hits, Elvis and Marty ended the night in great happiness.

The one who wasn't happy was the Colonel. For the second time (in 1968 Elvis and Steve Binder bypassed Parker to produce the '68 Comeback Special) he saw what always scared him - Elvis taking control of the situation. As one of the singer's conditions for recording at American Sound was that the sessions were closed to anyone other than Moman or the musicians, Parker found himself excluded and maneuvered to place an informant with Elvis.

Lamar Fike, a longtime friend of the King and coordinator of the Hill & Range music publishing company, which benefited the Colonel, slipped into the studio almost unnoticed. He was Parker's main weapon: friend of Elvis, employee of H&R - thus able to take songs from the publisher to be recorded - and informant. In the end, Elvis only recorded two H&R songs, "Wearin' That Loved On Look" and "Kentucky Rain", which was the only one that Fike really thought had potential.

Colonel Parker, Lamar Fike and Elvis at American Sound Studio; January 1969

Chips began preparing for Elvis by separating songs from his own library that he knew the singer could work with. Some he had recorded with other artists, some hadn't worked out well - and "Suspicious Minds" was one of them. Chips had recorded it with the song's writer, Mark James, in 1968, but it never charted. Despite this, the producer thought he had a good chance with Elvis, whose voice and intensity were perfect for the song. When it came time to record, Chips used the same arrangement as James', believing that only Elvis was the missing ingredient for a successful record - and he was right. However, it would be the last time the King of Rock would have a number one hit on the Hot 100.

Elvis had a cold when he first arrived at American Sound that night and was somewhat surprised by the condition of the studio, which was run down enough for a number of rats to feel comfortable in; "What a cool studio!" he announced, responding to the sound of rodents fighting in the ceiling.

For their part, the musicians were not very impressed to have someone of Elvis Presley's stature there, having already worked with many big names until then. But they were surprised by the charisma he exuded before the session even began. Elvis quickly gained the respect of musicians for the way he worked hard. His vocals were recorded while musicians were arranging a song, with the understanding that he would record a final vocal later.

However, Elvis gave it his all during the early recordings, with saxophonist/arranger Glen Spreen marveling at how he effectively delivered a full studio performance with spins, jumps and pelvic thrusts. And despite the cold, Elvis himself felt energized by his work. Chips only recorded three songs that night and yet the session ended at five the next morning, but everyone seemed satisfied.

On the way back to Graceland, Elvis turned to the guys in the back of the car and told them what seemed obvious: "Man, that was great. I can't tell you how good I feel... I really just want to see if I can have a number one record once again." He would later say that he never worked as hard in the studio as during the American sessions.

Elvis and the talented American Sound Studio musicians

Elvis's cold gave his voice an appealing rasp, but after three nights, when he developed full-blown laryngitis, he took time off to recover. Meanwhile, American's band, known as "The Memphis Boys", continued working on tracks for Elvis to put his voice on later. "Come Out, Come Out (Wherever You Are)" was one of those tracks, but it never received a vocal overdub by Elvis.

Resting at Graceland, Elvis listened to demos sent by the Colonel and was frightened by the lack of material that interested him. It was Marty Lacker who once again drew Elvis' attention to what the market wanted at that moment and made him decide - to the Colonel's anguish - that he would only record the songs that interested him, whether they were from Hill & Range or not. Marty, Red West and George Klein were recruited by the singer to obtain good quality material, which led him to record Neil Diamond's hit "And the Grass Won't Pay No Mind" in the February sessions.

Elvis finally returned to American on January 20, and the size of his entourage had dwindled. Both the musicians and Moman had been impressed by the number of friends and associates at the first sessions, whose presence seemed to be more of a distraction. Chips had been tough on those who shouldn't have been there and apparently Elvis had understood his indignation. And it was like that, without "the rabble", as Chips would define some of the King's friends, that the hits began to appear.

"In the Ghetto" sparked a discussion about whether or not Elvis should record it, at the risk of appearing condescending because he was a white man singing about the problems of black people in the ghetto; Chips was supportive, while George Klein thought it was dangerous. In the end, Elvis spent a good part of the session on the 20th doing 23 takes of the song. He then recorded a vocal track for "Gentle On My Mind" and ended the session, early in the morning, with "Rubberneckin'".

The following night began with a heavily improvised version of "Hey Jude". Elvis planned to record a final vocal later (due to him not knowing all the words), but this never happened, and the song was released as-is, plus overdubs, on the album "Elvis Now" in 1972. The singer went on to spent most of the night doing overdubs, then recorded a rollicking version of "From a Jack to a King", partly to the delight of his father, who attended the late-night sessions; the song was one of Vernon's favorites.

The 22nd was the last night of scheduled sessions, and Elvis began with the dramatic ballad "Without Love (There is Nothing)"; Next came the blues "I'll Hold You in My Heart ('Til I Can Hold You in My Arms)" and the romantic country "I'll Be There". The sessions would end with what would become another historic track, "Suspicious Minds", which would be Elvis Presley's biggest hit in years and quickly become the centerpiece of his shows. However, the song was almost not recorded.

Elvis and the American Sound Studio backing vocals; circa January 20, 1969

At first, Elvis wasn't too sure about the song, but Joe Esposito convinced him to record it. On American they were recording the "modern way", where Elvis would do a track with the rhythm section, then the overdubs would be done with horns or strings and backing vocals, and then Elvis would come back and sing one last vocal track. Elvis did not like this method and it was the only time in his career that he recorded this way. In fact, because of this process, "Suspicious Minds" was a combination of three different takes.

It was obvious that "Suspicious Minds" and "In the Ghetto" would be big hits. Tom Diskin of H&R and Freddy Bienstock of RCA began to get nervous. They caught Chips alone in the hallway and began trying to secure a share of the royalties from the songs he owned. But Chips had the last word and warned them that if they wanted to take anything from him, they might as well take his unfinished tapes and walk away, never to return.

Surprisingly, Harry Jenkins from RCA contacted Chips and reassured him that everything was going to be fine. Diskin was furious and went to Elvis to plead his case, but the singer had already made up his mind: he wasn't going to let the Colonel, H&R or RCA ruin his sessions. He politely told Diskin to let him work things out with Felton and Chips. Elvis then did something that surprised even Moman: he asked the producer how they could eliminate the difficulties; Chips told him to just get everyone out of there. And that's what he did.

Diskin ran to the phone and told the Colonel everything - Parker's hair stood on end. He ordered Diskin to abandon everything and return to RCA in Nashville to teach Elvis a lesson, believing that "when he got his feet on the ground" he would realize the mistake he had made in disobeying a superior order. That didn't happen, and Elvis went to Las Vegas to promote his shows and do marketing, supervising the construction work on the International Hotel.

At the end of the January sessions at the American Sound Studio, Elvis received a visit from one of his favorite singers - Roy Hamilton. The King of Rock was already familiar with Hamilton's lyrics, having recorded "You'll Never Walk Alone" in 1968, and presented him with a song called "Angelica", which Roy recorded but was unsuccessful. This would be the singer's last single, as he sadly passed away on July 20 of that year. Elvis would record another one of his hits, "Unchained Melody", in 1977.

Roy and Elvis read the lyrics to "Angelica" at American Sound; circa January 23, 1969

Despite tensions arising over the publications, six further sessions were scheduled at the American in February 1969, beginning on the 17th and ending on the 22nd. The sessions began with Elvis continuing a long tradition at the American, playing a Chips Moman composition, "This Time". He sang an improvised version of the number, throwing in a few lines from "It's My Way", then finishing with "I Can't Stop Loving You". Then it was time to get down to business, with Elvis delivering stellar renditions of "True Love Travels On a Gravel Road," "Stranger in My Own Home Town," and Neil Diamond's hit "And the Grass Wont Pay No Mind" .

On the 18th, Elvis had a great time with the powerful "Power of My Love", took over the piano for a heartfelt "After Loving You", a song he had performed for his own enjoyment for years, and really nailed it with "Do You Know Who I Am", which was the type of ballad he specialized in. With no cold to hold him back, Elvis worked steadily over the next few days, recording "Kentucky Rain" and "Only the Strong Survive" on the 19th, and "Any Day Now", "It Keeps Right On A-Hurtin'" and "If I'm a Fool (For Loving You)" (the latter previously recorded by Bobby Wood) on the 20th.

By now, available material was running low (this time, publication had been secured on all the songs before they were recorded), and on the 21st, only two songs were worked on - "The Fair's Moving On" and "Memory Revival", although Elvis never recorded a vocal for the latter. On the 22nd, the last of the sessions, Elvis recorded vocal overdubs and another new song, "Who Am I?", a religious theme by Bobby Wood.

As such, the American sessions were a personal triumph for Elvis, an artist at a turning point who that winter in Memphis was once again sharp, eager and alive. And the music he created will always prove that.

Elvis and Bobby Wood; American Sound Studio, February 1969

RECORDING SESSIONS

Dates:
January 13 - 22 and February 17 - 22, 1969
Studio:
American Sound Studio
Location:
Memphis, Tennessee

Musicians:
Voice: Elvis Presley
Guitar: Elvis Presley, Reggie Young
Accoustic guitar: John Hughey
Bass: Tommy Cogbill, Mike Leech
Drums: Gene Chrisman
Piano: Elvis Presley, Bobby Wood
Organ: Bobby Emmons
Citara: Reggie Young
Harmonica: Ed Kollis
Trumpet: R. F. Taylor, Wayne Jackson, Dick Steff
Saxophone: Jackie Thomas, Andrew Love, Ed Logan, Glen Spreen, J. P. Luper
Trombone: Jack Hale, Jackie Thomas, Gerald Richardson
Tambourine: Gene Chrisman
Viola: Glen Spreen, Mary Snyder, John Wehlan, Nono Ravarino, Vernon Taylor, Mike Leech, Fred Lewing
Violin: Noel Gilbert, Gloria Hendricks, Albert Edelman, Robert Snyder, Anna Oldham, Hal Sanders, Edward Freudberg, Nate Evans, Arvid Blumberg
Gypsy violi: Sydney Sharp
Cello: Anne Kendall, Peter Spurbeck, Ann Spurbeck, Joshua Langfur
Horns: Joe D'Gerolamo, Tony Cason
Backing vocals: Elvis Presley, Ronnie Milsap, Mary Greene, Mary Holladay, Ginger Holladay, Donna Thatcher, Susan Pilkinton

Sound engineer / Recording engineer:
Felton Jarvis, Chips Moman, Al Packucki, Roy Shockley, Glen Spreen

JANUARY 13, 1969
                                Long Black Limousine XPA5 1142-09
                                This Is The Story XPA5 1143-02
                                Come Out Come Out (Wherever You Are) (track) XPA5 1144-02
                                Wearin' That Loved On Look XPA5 1145-15

JANUARY 14, 1969
                                You'll Think Of Me XPA5 1146-23
                                I'm Movin' On XPA5 1147-02
                                A Little Bit Of Green XPA5 1148-03
                               Gentle On My Mind XPA5 1155-NA

JANUARY 15, 1969
                                Don't Cry Daddy (track) XPA5 1149-03
                                Poor Man's Gold (track) XPA5 1150-12
                                Inherit The Wind (track) XPA5 1151-04
                                Mama Liked The Roses (track) XPA5 1152-04

JANUARY 20, 1969
                                In The Ghetto XPA5 1154-22
                                Gentle On My Mind (track replacement / vocal repair) XPA5 1155-NA
                                Gentle On My Mind (harmony vocal overdub) XPA5 1155-NA
                                Rubberneckin' XPA5 1156-02

JANUARY 21, 1969
                                Hey Jude XPA5 1157-07
                                My Little Friend (vocal overdub) XPA5 1153-NA
                                Inherit The Wind (vocal overdub) XPA5 1151-NA
                                Mama Liked The Roses (vocal overdub) XPA5 1152-NA
                                Mama Liked The Roses (harmony vocal overdub) XPA5 1152-NA
                                Wearin' That Loved On Look (vocal replacement) XPA5 1145-NA
                                You'll Think Of Me (vocal replacement) XPA5 1146-NA
                                This Is The Story (vocal replacement) XPA5 1143-NA
                                In The Ghetto (vocal replacement) XPA5 1154-NA
                                I'm Movin' On (vocal replacement) XPA5 1147-NA
                                Long Black Limousine (vocal repair) XPA5 1142-NA
                                Don't Cry Daddy (vocal overdub) XPA5 1149-NA
                                Don't Cry Daddy (harmony vocal overdub) XPA5 1149-NA
                                Poor Man's Gold (vocal overdub) XPA5 1150-01
                                From A Jack To A King XPA5 1158-05

JANUARY 22, 1969
                                Wearin' That Loved On Look (overdub) XPA5 1145
                                Long Black Limousine (overdub) XPA5 1142
                                Without Love (There Is Nothing) XPA5 1159-05
                                I'll Hold You In My Heart ('Till I Can Hold You In My Arms) XPA5 1160-01
                                I'll Be There XPA5 1161-03
                                Suspicious Minds XPA5 1227-08
                                Suspicious Minds (harmony vocal overdub) XPA5 1227-NA

FEBRUARY 17, 1969
                                Stranger In My Own Home Town XPA5 1266-01
                                True Love Travels On A Gravel Road XPA5 1265-03
                                It's My Way (Of Loving You) / This Time / I Can't Stop Loving You (jam) WPA5 2513-01
                               True Love Travels On A Gravel Road XPA5 1265-11
                               And The Grass Won't Pay No Mind XPA5 1267-06

FEBRUARY 18, 1969
                                Power Of My Love XPA5 1268-07
                                After Loving You XPA5 1269-04
                                Do You Know Who I Am? XPA5 1270-07

FEBRUARY 19, 1969
                                Kentucky Rain XPA5 1271-NA
                                Kentucky Rain (remake) XPA5 1271-10
                                Only The Strong Survive XPA5 1272-29

FEBRUARY 20, 1969
                                It Keeps Right On A-Hurtin' XPA5 1273-03
                                Any Day Now XPA5 1274-06
                                If I'm A Fool (For Loving You) XPA5 1275-09

FEBRUARY 21, 1969
                                The Fair's Moving On XPA5 1276-01
                                Memory Revival (track) XPA5 1277-NA

FEBRUARY 22, 1969
                                Any Day Now (vocal repair) XPA5 1274-NA
                                True Love Travels On A Gravel Road (Harmony vocal overdub) XPA5 1265-NA
                                And The Grass Won't Pay No Mind (vocal replacement) (?) XPA5 1267-NA
                                Power Of My Love (harmony vocal overdub) XPA5 1268-NA
                                Do You Know Who I Am? (vocal repair) (?) XPA5 1270-NA
                                Do You Know Who I Am? (harmony vocal overdub) (?) XPA5 1270-NA
                                Only The Strong Survive (vocal replacement) (?) XPA5 1272-NA
                                The Fair's Moving On (vocal replacement) (?) XPA5 1276-NA
                                Who Am I? XPA5 1278-01

SESSION LOGS

RELATED SINGLES AND LPS (RCA, 1969-72)

IN THE GHETTO (SINGLE)

April 15, 1969

1. In the Ghetto

2. Any Day Now

FROM ELVIS IN MEMPHIS (LP)

June 2, 1969

1. Wearin' That Loved On Look
2. Only the Strong Survive
3. I'll Hold You In My Heart
4. Long Black Limousine
5. It Keeps Right On A-Hurtin'
6. I'm Movin' On
7. Power of My Love
8. Gentle On My Mind
9. After Loving You
10. True Love Travels On a Gravel Road
11. Any Day Now
12. In the Ghetto

CLEAN UP YOUR OWN BACK YARD (SINGLE)

June 5, 1969

1. Clean Up Your Own Back Yard
2. The Fair's Moving On

SUSPICIOUS MINDS (SINGLE)

August 26, 1969

1. Suspicious Minds

2. You'll Think of Me

BACK IN MEMPHIS* (LP)

*From Memphis to Vegas / From Vegas to Memphis

October 14, 1969

1. Inherit the Wind

2. This Is the Story
3. Stranger In My Own Hometown
4. A Little Bit of Green
5. And the Grass Won't Pay No Mind
6. Do You Know Who I Am?
7. From a Jack to a King
8. The Fair's Moving On
9. You'll Think of Me
10. Without Love

DON'T CRY DADDY (SINGLE)

November 1969

1. Don't Cry Daddy

2. Rubberneckin'

KENTUCKY RAIN (SINGLE)

January 29, 1970

1. Kentucky Rain
2. My Little Friend

LET'S BE FRIENDS (LP)

April 1970

1. Stay Away, Joe

2. If I'm a Fool (For Loving You)

3. Let's Be Friends

4. Let's Forget About the Stars

5. Mama

6. I'll Be There

7. Almost

8. Change of Habit

9. Have a Happy

MAMA LIKED THE ROSES (SINGLE)

April 20, 1970

1. Mama Liked the Roses
2. The Wonder of You (18/02/70 DS)

WORLDWIDE 50 GOLD AWARD HITS, VOLUME 1* (LP)
*LP nº 4

August 8, 1970

1. (You're The) Devil In Disguise
2. Bossa Nova Baby
3. Kissin' Cousins
4. Viva Las Vegas
5. Ain't That Loving You Baby
6. Wooden Heart
7. Crying In The Chapel
8. If I Can Dream
9. In The Ghetto
10. Suspicious Minds
11. Don't Cry Daddy
12. Kentucky Rain
13. Excerpt From Elvis Sails

ELVIS' CHRISTMAS ALBUM

(LP, RCA CAMDEN)

November 20, 1970

1. Blue Christmas

2. Silent Night

3. White Christmas

4. Santa Claus Is Back In Town

5. I'll Be Home For Christmas

6. If Every Day Was Like Christmas

7. Here Comes Santa Claus (Right Down Santa Claus Lane)

8. Oh Little Town Of Bethlehem

9. Santa Bring My Baby Back (To Me)

10. Mama Liked the Roses

ALMOST IN LOVE (LP)

October 1970

1. Almost in Love
2. Long Legged Girl (with the Short Dress On)
3. Edge of Reality
4. My Little Friend
5. A Little Less Conversation
6. Rubberneckin'
7. Clean Up Yor Own Back Yard
8. U.S. Male
9. Charro!
10. Stay Away, Joe*
*replaced by "Stay Away" on post-1973 re-releases

YOU'LL NEVER WALK ALONE (LP)

March 1971

1. You'll Never Walk Alone

2. Who Am I?

3. Let Us Play

4. (There'll Be) Peace In the Valley (For Me)

5. We Call On Him

6. I Believe

7. It Is No Secret (What God Can Do)

8. Sing You Children

9. Take My Hand (Precious Lord)

10. Swing Down Sweet Chariot*

*present only in the UK version of the album

ELVIS NOW (LP)

February 20, 1972

1. Help Me Make it Through the Night

2. Miracle of the Rosary
3. Hey Jude

4. Put Your Hand In the Hand

5. Until it's Time For You to Go

6. We Can Make the Morning

7. Early Mornin' Rain

8. Sylvia
9. Fools Rush In (Where Angels Fear to Tread)
10. I Was Born About Ten Thousand Years Ago

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With  excerpts from: Elvis Australia
Photos: Elvis Australia, Google

Research: EAP Index | http://www.eapindex.com

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