"From Elvis In Memphis" - Special Edition 40th anniversary

[Rocker]

This should be a great CD. Combining the two Memphis-albums plus all the official released masters from those sessions.





After returning from service in the US Army, Elvis Presley spent the next several years focusing on his acting career, yielding hit films and blockbuster soundtracks. It was, however almost a decade away from the stage and recording proper studio albums. In January 1969, seeking to gain back some artistic control, Elvis produced some of his most significant work ever during a two week long series of recording sessions at American Studios in Memphis. These were the first recording sessions after his triumphant comback TV special ELVIS that aired in December of 1968 and the first recording sessions in Memphis since he left Sun Records for RCA in 1955. A total of 32 masters were cut, the first release was the LP From Elvis In Memphis featuring the hit single 'In The Ghetto', followed by three hit single releases; 'Suspicious Minds', 'Don't Cry Daddy', and 'Kentucky Rain'. A second album was released as one half of the double album From Memphis To Vegas-From Vegas To Memphis, which features the utterly brilliant Percy Mayfield blues 'Stranger In My Own Home Town' and 4 additional tracks were later released on different LPs. In a career that was full of triumphs, Elvis' recordings at American Studios stand as one of the absolute highlights.
This is the Legacy Edition of one of Elvis' most significant albums, the critically acclaimed June 1969 release, From Elvis In Memphis. This brand new 2-CD set contains all tracks from the sessions recorded at American Studios in Memphis in January and February of 1969, newly remastered for optimum sound quality.

[Bean Bag]

 

[donald]

Will this feature songs from his Melungeon period?

[donald]

That would be the early Melungeon period.  Before learning to drive the truck.

[Rocker]

That would be the early Melungeon period.  Before learning to drive the truck.

Sorry, I don't understand what you're talking about.... 

[donald]

Just joking.   Some appalachian sociologists have speculated that Elvis was a Melungeon.

[Rocker]

Just joking.   Some appalachian sociologists have speculated that Elvis was a Melungeon.

Ah, I see. Never heard about that, though. 

[Sciencefriction]

I like the look of this, any idea when it's coming out?  I've loved his version of Hey Jude, it's one of those songs that just seemed made for Elvis.

[Rocker]

I like the look of this, any idea when it's coming out?  I've loved his version of Hey Jude, it's one of those songs that just seemed made for Elvis.

I don't have any release date, but I don't htink it will take too long.

Funny, because "Hey Jude" was nothing more than a jam with some overdubbing. Elvis didn't really try to sing it, it was more like what he probably sounded like while taking a shower (although "G.I. Blues" shows something else ). I kinda like it too, can't put my finger on it though. Just imagine what it would've sounded like, if he really did it as a regular recording...

[Sciencefriction]

I got'cha.  Well, we're halfway through the year so sometime in the next 6 months is fine with me. 

Maybe it's the effortless of it that is nice.  The chance to see Elvis at ease with himself and enjoying what's going on, that's nice.  I'm sure it would have been incredible sounding as a regular recording.  I can see them taking it further in the gospel direction and Elvis delivering a big vocal with tightly arranged strings- brilliant!  I don't know why Rubberneckin' ended up as b-side either, such a great tune.  I figure it was one of those songs that Elvis didn't really like doing so that's why it ended up like that.  Anyway, I'm really glad this is coming out like this, it's probably my favorite work from Elvis. 

[Rocker]

I don't know why Rubberneckin' ended up as b-side either, such a great tune.  I figure it was one of those songs that Elvis didn't really like doing so that's why it ended up like that. 

If he didn't like doing it, he wouldn't have recorded it at all. I guess he just wanted "Don't cry daddy" (I believe this was the A-side, am I right?) to be the top-side.
BTW ever heard his live-version of "Rubberneckin'"? Great stuff  http://www.youtube.com/watch?v=4OUvFaELRgI
incl. false start

I like this periode myself very much. But I think it wasn't his best though. It's quite terrific to see with how much ease in such a short time he could go from "Speedway" to this. Remember, this was '69 and the Beatles' newest work was "Abbey Road". Imo "From Elvis in Memphis" easily stands at least eye-to-eye with that album.

[Sciencefriction]

Good point.  I recall hearing that Elvis didn't like a lot of his early hits and I always thought Rubberneckin' was a bit like some of that higher energy stuff.  I quite like it!  Ah, this live version is good!  I think my Mother saw Elvis live, I wouldn't have minded seeing him live even later in his life.

I think I'm partial to his 60's period mainly because of the movies he made, but I always felt aside from his debut this was his best album.  I'm not much an Elvis expert so I'm sure there is a lot I need to listen to.  I think in terms of what boths artists were doing in 1969 they do seem to be on even playing fields.

[Rocker]

I recall hearing that Elvis didn't like a lot of his early hits

He loved doing them. He did record what he wanted to. He was one of the first artists who had absolute control over his recordings in the 50s and one of the first self-produced acts.
But he seemed tired of doing the oldies in the later 70s. Maybe that's what you've heard.
Unfortunately there's alot of wrong information out there and people tend to believe that stuff.

I tell ya, I might even like the 60s the best. Especially the early 60s. You can't beat the StudioB recordings with Bill Porter engineering. Elvis' voice was pure gold and his creativity in full swing. I think the "Elvis is back"-album (imo probably his best album) is one of the best sounding albums ever. Right along with "Sunflower"; it's really that good.
And re: his soundtracks, there are much more good or decent ones than most people seem to think. And even the bad ones have at least one or two good-very good songs on them (e.g. "Sand castles" on "Paradise Hawaiian Style").

[Sciencefriction]

Ah, I got'cha, that makes sense.  Elvis had a very interesting career, I wonder if he was able to do everything he wanted or not.  The early 60s recordings are some of my favorites, but that might be because of the movies, etc.   I think me and my girlfriend are planning to rent a bunch of Elvis movies soon so we'll probably pick up a few albums too.  Summers always a good time to enjoy Elvis' art. 

[Rocker]

Elvis had a very interesting career, I wonder if he was able to do everything he wanted or not. 

Well, in a way he did everything he wanted to do. He wanted to be a famous entertainer, bingo. He wanted to be a famous actor, bingo 2 (he was even the highest paid actor in Hollywood in the 60s). The problem is, that the more songs you need for a specific scene in a movie, the worse the songs get. He had contracts to fulfill and did just that, because he was a professional (the contracts were about "movies" and not "a-class-movies" and they were signed for some years, so he couldn't just say no without breaking his contracts). He was not happy with the material, but one has to remember that he went and did the "How great thou art"-album in '66, which won him a grammy and imho ranks as one of the best albums of that special year.
Apart from the soundtracks, he had total control of what he wanted to record and what he didn't. Though he also chose the songs for the movies, you can imagine how bad some of the songs must've been if the one he recorded were as bad as "Queenie wahini's papaya" (again from "Paradise hawaiian style")
I think his most entertaining movies (family entertainment-wise) asre "Fun in Acapulco" and "Girls girls girls" and the ones from those years (early 60s). The soundtracks to those two mentioned above are terrific, his singing top-notch. 


You know what I love listening to the most for the last weeks (if not months)? Three songs that he recorded in '71 with just him on piano and vocals. Terrific performances. Just listen to his voice...
Here's one of those songs

http://www.youtube.com/watch?v=-OF2HMTnOOs

[Sciencefriction]

I'm glad I posted, I now feel a good more educated about Elvis' career, thank you.

If only Elvis had been a brilliant songsmith, that would have out of this world!  I know he did contribute in other ways, and sometimes in the songwriting area, but the later not as often- right?  Those early 60s movies are amazing, and the others are always enjoyable just because Elvis is good in most of them.  He had a lot of talent, that's for sure.

That song is beautiful, thanks for sharing.  He never lost his voice really, at least that much can be said about him throughout his career.

[Rocker]

Hey, I enjoy it too to talk with someone about Elvis who's willing to learn. There are enough people who have an opinion without ever listening to this guy.

Yeah, I love those three songs he did on the piano. A complete album of this would've been awesome.

Elvis didn't write songs. The only one he co-wrote is "You'll be gone" and he came up with the title to "That's someone you never forget". He's credited as a co-writer on some other stuff, but that was just a royalty-thing. I agree, it would've been interesting to hear what kind of songs he would came up with. But anyway, he knew that he wasn't a writer and he had some of the best people writing for him. Then he took a song and made it totally his own.

[Rocker]

Here's some interesting update on the "From Elvis in memphis"/"Back in Memphis"-special edition:

FROM ELVIS IN MEMPHIS: LEGACY EDITION
CELEBRATES 40th ANNIVERSARY OF AMERICAN STUDIOS SESSIONS, 36 TRACKS ACROSS 2 CDs, INCLUDING
10 ORIGINAL MONO SINGLE MASTERS

The sessions delivered a year of ‘comeback’ hits:
“In the Ghetto,” “Suspicious Minds,” “Don’t Cry Daddy” and “Kentucky Rain”

Liner notes by Memphis music historians Robert Gordon and Tara McAdams
Out July 28, 2009, through RCA/Legacy


“The implicit challenge was accepted, and all sank in for hard work, real work.. The biggest hits of Elvis’ latter career came from these sessions: ‘Suspicious Minds,’ ‘In The Ghetto,’ ‘Don’t Cry Daddy,’ and ‘Kentucky Rain’… He went from selling a couple hundred thousand singles to having several hits that sold more than a million… Once again Elvis arose and again, Elvis triumphed.”
– from the liner notes by Robert Gordon and Tara McAdams

In January-February 1969, after 13 years of recording studio albums and movie soundtracks in Nashville and Hollywood, the time was right for Elvis Presley (1935-1977) to set foot once again in a Memphis studio. Those sessions at Chip Moman’s American Studios yielded a year-long string of ‘comeback’ hit singles: “In the Ghetto,” “Suspicious Minds,” “Don’t Cry Daddy” and “Kentucky Rain.”

FROM ELVIS IN MEMPHIS: LEGACY EDITION collects that entire American Studios output, and then some. The specially-designed 40th anniversary double-CD package will be available at all physical and digital retail outlets starting July 28th through RCA/Legacy, a division of SONY MUSIC ENTERTAINMENT.

The extensive 2,400-word liner notes essay for FROM ELVIS IN MEMPHIS: LEGACY EDITION was written by the homegrown Memphis team of Robert Gordon (whose books include It Came From Memphis and The Elvis Treasures, and whose documentary films include Respect Yourself: The Stax Records Story and Shakespeare Was A Big George Jones Fan: Cowboy Jack Clement’s Home Movies) and his wife Tara McAdams, author of The Elvis Handbook among other works.

Individually, disc one of FROM ELVIS IN MEMPHIS: LEGACY EDITION includes the 12 songs of 1969’s original From Elvis In Memphis LP. Among these are “In the Ghetto” (written by Mac Davis, the song that jump-started his career the next year as a Columbia Records artist), and powerful covers of Gamble & Huff’s “Only The Strong Survive” (via Jerry Butler), Johnny Tillotson’s “It Keeps Right On A-Hurtin’,” Hank Snow’s “I’m Movin’ On” (famously covered by the Rolling Stones back in ’65), John Hartford’s “Gentle On My Mind,” and Burt Bacharach’s “Any Day Now” (via Chuck Jackson).

The 12 songs are augmented by four bonus tracks, songs that showed up on various LPs over the next couple of years “Who Am I?”, “If I’m A Fool (For Loving You),” and covers of Bobby Darin’s “I’ll Be There” and the Beatles’ “Hey Jude.”

Disc two of FROM ELVIS IN MEMPHIS: LEGACY EDITION includes the 10 songs that comprised LP two of the double-LP From Memphis To Vegas – From Vegas To Memphis (more on this album below). Among these are Percy Mayfield’s “Stranger In My Own Home Town,” Neil Diamond’s “And The Grass Won’t Pay No Mind” (ironically, it was Neil Diamond who yielded his studio time at American to accommodate Elvis), Bobby Russell’s “Do You Know Who I Am?,” Ned Miller’s “From A Jack To A King,” and Mort Shuman’s “You’ll Think Of Me.”

These 10 songs are augmented by another 10 bonus tracks, grouped as The Original Mono Single Masters.

Four are (mono) reprises of songs that appeared on the aforementioned LPs: “In The Ghetto,” “Any Day Now,” “The Fair’s Moving On,” and “You’ll Think Of Me.” The other six were all originally non-LP single sides at the time of their first release: “Suspicious Minds” (the Grammy Hall Of Fame and Rock And Roll Hall Of Fame inductee, written by Mark James); “Don’t Cry Daddy” (Mac Davis) b/w “Rubberneckin’”; Eddie Rabbitt’s “Kentucky Rain” b/w Shirl Milete’s “My Little Friend”; and finally, guitarist Johnny Christopher’s “Mama Liked The Roses.”

Elvis Presley’s multi-faceted performing career underwent a heroic rebirth in 1968 and 1969, ignited by three factors: his NBC-TV “comeback” special of December 1968 (taped in June, his first live show before an audience in over seven years); his landmark sessions at Chip Moman’s American Studios in January-February 1969 (Elvis’ first official recording in his hometown of Memphis since leaving Sun Records in November 1955); and his triumphant return to Las Vegas (the International Hotel) in August 1969, which led to his return to touring for the rest of his life.

The back-story originates with the NBC-TV broadcast of “The ’68 Comeback Special.” A colossal success by every standard, the tv special (and those indelible black leather images) invigorated Elvis and everyone around him, including the two most formidable figures in his career at the time, Colonel Tom Parker (his manager) and Felton Jarvis of RCA Records (his A&R man and staff producer).

Several members of Elvis’ entourage had long-standing connections with producer and songwriter Chips Moman. As busy as Memphis and the surrounding area’s studios were – Stax Records, Willie Mitchell’s Hi Records, and in Alabama, Rick Hall’s FAME Studios and the new Muscle Shoals Sound – it was Chips’ American Studios on Thomas Street that had all but eclipsed the competition, a steady rise in business that began in 1965. Like those other studios, American had its core rhythm section of world-class players: guitarist Reggie Young, bassists Tommy Cogbill and Mike Leech, Bobby Emmons on organ, Bobby Wood on piano, drummer Gene Chrisman, plus the Memphis Horns led by Wayne Jackson and Andrew Love, and a dazzling array of background vocalists. Holding it together was Chips Moman, a songwriter (“Dark End Of the Street,” Aretha Franklin’s “Do Right Woman Do Right Man”) and experienced producer since his earliest days at Stax Records.

According to Peter Guralnick, American reportedly charted 120 hits between November 1967 and January 1971, landing 28 records on the Billboard charts in one memorable week. There were early national hits with local acts Sam the Sham (“Wooly Bully”), Sandy Posey (“Born a Woman”), the Box Tops (“The Letter”), Merrilee Rush (“Angel Of the Morning”), the Gentrys (“Keep On Dancin’”), and many others. Atlantic Records became a major client, as producer Jerry Wexler steered Aretha Franklin (“Think”), Wilson Pickett (“I’m a Midnight Mover”), Dusty Springfield (Dusty In Memphis), Cissy Houston and the Sweet Inspirations (“Sweet Inspiration”), Herbie Mann (Memphis Underground), and many other label acts to Chips’ American Studios.

A lifelong Memphis resident (since age 13) whose story – and the story of the birth of rock and roll itself – is inextricably linked for all time, Elvis Presley arrived at American Studios at the perfect moment: January 13, 1969. It was just six weeks after the NBC-TV broadcast of December 3rd, and a month after the release of the TV Special soundtrack LP, a platinum seller whose climactic closing number, “If I Can Dream,” was turning into Elvis’ first hit single since 1966.

With the exception of the impromptu “Million Dollar Quartet” session of December 1956 at Sun Studios with Jerry Lee Lewis, Carl Perkins and Johnny Cash (officially unreleased until 1990), it was the first time Elvis was recording in his hometown in over 13 years. The first results of the American Studio sessions came quickly; “In the Ghetto” was issued as a non-LP single in May 1969, and was welcomed as a platinum-selling hit.

In June 1969, From Elvis In Memphis presented 12 of the 32 master recordings that Elvis completed at American Studios, climaxing with “In the Ghetto.” The album became his first gold-selling studio (non-movie soundtrack) LP since 1961. In August, “Suspicious Minds” (b/w “You’ll Think Of Me”) was released as a new non-LP single. “Suspicious Minds” not only hit the million-selling mark, but became Elvis first #1 hit since 1962 (“Good Luck Charm”) and the last #1 of his career.

Also in August, buoyed by his comeback chain of events, Elvis kicked off a four-week run at the brand new International Hotel in Las Vegas, following Barbra Streisand’s run in the 2,000-seat showroom. Live recording over the course of six nights was produced by Felton Jarvis, and five months later in November, the double-LP From Memphis To Vegas – From Vegas To Memphis was released.

The first LP gathered 13 songs recorded live at the hotel; the second LP brought out another 10 of the American Studio tracks. The concurrent November single release, however, was not drawn from the album tracks. Instead, it came from the American sessions, as “Don’t Cry Daddy” chalked up another million-selling Top 10 hit. Two months later in January 1970, “Kentucky Rain” extended the string, a Top 20 gold-selling hit.

A couple of as-yet unreleased American tracks - Bobby Darin’s “I’ll Be There,” “If I’m A Fool (For Loving You)” - surfaced on Let’s Be Friends, a Camden budget LP released April 1970. In November, RCA spun off the studio half of the double-album as a single LP, Back In Memphis. In March 1971, another as-yet unreleased American track – “Who Am I” – surfaced on Elvis’ Christmas Album, also a Camden budget LP. And in February 1972, one more as-yet unreleased American track – the Beatles’ “Hey Jude” – popped up in the middle of Elvis Now. It was the last time that the non-LP American sides were heard from until the 1993 box set, From Nashville to Memphis: The Essential 60's Masters.

Elvis Presley scored a major conquest with the music he recorded at American Studios that winter of 1969, a triumphant return to his hitmaking ways in the company of another Mid-South visionary, Chips Moman. “But fires must be fed, or else they go out,” Gordon and McAdams warn. Still, “After revisiting the spirit of home, Elvis had a victory he could reflect upon, a confirmation that he was capable of more, a know­ledge of the fire burning inside us all that we call hope.”


FROM ELVIS IN MEMPHIS: LEGACY EDITION by ELVIS PRESLEY (RCA/Legacy 88697 51497-2)
CD One – Selections: 1. Wearin’ That Loved On Look • 2. Only The Strong Survive • 3. I’ll Hold You In My Heart (Till I Can Hold You In My Arms) • 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 • Bonus tracks: 13. I’ll Be There • 14. Hey Jude • 15. If I’m A Fool (For Loving You) • 16. Who Am I?

Notes: Tracks 1-12 from From Elvis In Memphis, originally issued June 1969, as RCA 4155.
Tracks 13 & 15 from Let’s Be Friends, originally issued April 1970, as Camden 2408.
Track 14 from Elvis Now, originally issued February 1972, as RCA 4671.
Track 16 from You’ll Never Walk Alone, originally issued March 1971, as Camden 2472.


CD Two – Selections: 1. Inherit The Wind • 2. This Is The Story • 3. Stranger In My Own Home Town • 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 (There Is Nothing) • Bonus tracks – The Original Mono Single Masters: 11. In The Ghetto • 12. Any Day Now • 13. The Fair’s Moving On • 14. Suspicious Minds • 15. You’ll Think Of Me • 16. Don’t Cry Daddy • 17. Rubberneckin’ • 18. Kentucky Rain • 19. My Little Friend • 20. Mama Liked The Roses.

Notes: Tracks 1-10 from LP Two of the double-LP From Memphis To Vegas/From Vegas To Memphis, originally issued November 1969, as RCA 6020; tracks 1-10 re-released November 1970 as single LP Back In Memphis, RCA 4429.

[Sciencefriction]

What a read!  The release date is perfect, just in time for my birthday. 

Elvis is certainly someone I think most people have an opinion about and stick to it, which is a shame.  I think there is a lot to learn about and from Elvis, and people often write him off as another performer these days.  My generation (not that I like that!) don't pay much attention to him I don't think.  Either way, maybe this release will open a few eyes.  It's a great collection and I'm excited to hear they are including mono remasters!

That's too bad, I suppose I always hoped that Elvis contributed a bit more than that, but it's not a big deal that he didn't.  As far as I'm concerned the things he did with his songs and they way he shaped them more than counts as musical creativity.  It wasn't just his voice that brought so many songs alive. 

[Rocker]

That's too bad, I suppose I always hoped that Elvis contributed a bit more than that, but it's not a big deal that he didn't.  As far as I'm concerned the things he did with his songs and they way he shaped them more than counts as musical creativity.  It wasn't just his voice that brought so many songs alive. 

Ther's a release on his collectors-label "Follow that dream" called "Writing for the king" which includes several demos done by the writers of the songs and given to him. It's very interesting, because you can hear what he did with a song, and how he changed the arrangement, etc.  So in fact you could say he contributed alot. The role of a songwriter/producer in Elvis' way of working was very different to that of the Beach Boys.
If I may ask, how old are you? I'm 25 and from what you wrote, I guess we're not very far apart age-wise.

[Sciencefriction]

I'll have to look that up, I like hearing the begins of things, demos, etc.  I think as long as the music is good and the artist is genuine that's all that matters, and in Elvis certainly had both of those things.  I'll be 21 by the end of the month, so yeah, not too far off. 

[Rocker]

Just wanted to wish you a happy birthday the Presley-way:

http://www.youtube.com/watch?v=Krh0nrJHx1c

[Sciencefriction]

Thanks I appreciate it!  I used to live about 4 hours from Norfolk, Virginia but now I live in Ohio so this song is actually really touching.  Thanks again Rocker. 

[Bean Bag]

If anyone hasn't gotten this yet...it's great.  Sound quality upgrade is nice.  I was also very pleasantly surprised by the 2nd disc.  I didn't have much of this stuff from the "Back in Memphis" lp.  It's fantastic!  I picked it up for 12.99!!! at Best Buy.

How can you go wrong?   

[Rocker]

If anyone hasn't gotten this yet...it's great.  Sound quality upgrade is nice.  I was also very pleasantly surprised by the 2nd disc.  I didn't have much of this stuff from the "Back in Memphis" lp.  It's fantastic!  I picked it up for 12.99!!! at Best Buy.

How can you go wrong?   

I don't have it yet, but I have heard some great reviews... Nice to see some of the original mono-single-mixes appear