"From Elvis In Memphis - is the only Elvis Presley record you need"


EIN Spotlight - 2015

'July 1969…..man walked on the moon and Elvis Presley's new album 'From Elvis In Memphis' hit the US charts. 

Both events would prove to be monumental, albeit in different ways.'


Is this the only Elvis Presley album you need to own?


Kenneth Partridge recently contributed his thoughts for the on-line A.V Club - while EIN also adds their additional comments.


"From Elvis In Memphis is the only Elvis Presley record you need" writes Kenneth Partridge for the A.V Club website....

Elvis Presley was at his most fascinating in the ’50s and the ’70s, when he seemed extraterrestrial.
He came to this world a sexy hillbilly Superman and left it a sequined celebrity Jesus, and whether ascendant or freefalling, he was something to behold.

No one thinks much about Elvis in the interim. The ’60s were his humdrum human years, a decade of missed opportunities. After getting out of the army, he shellacked his pompadour, packed on a few pounds, started wearing tacky shirts, and shot a bunch of forgettable movies, each with its own forgettable soundtrack. He was still a handsome bastard and one of the biggest stars on the planet, but he slid into something like a routine, and there’s nothing cool about that.

At the very end of the decade, though, he made the one Elvis Presley album everyone should own if they’re only going to own one. Released in June 1969, six months after NBC aired what’s become known as the ’68 Comeback Special, From Elvis In Memphis was Presley’s real return to form. It contains everything that was ever great about the King Of Rock ’N’ Roll.

For starters, there’s rock ’n’ roll—a sound Presley had spent the preceding years neutering for Hollywood musicals. There’s also country, blues, and most importantly soul, which in the late ’60s was undergoing a major renaissance in Elvis’ hometown of Memphis. By reconnecting with the sounds he was raised on, Elvis rediscovered his voice and created an album that recalls his past triumphs and foreshadows his tragic demise. In its own grown-up way, From Elvis In Memphis nearly matches the mysterious brilliance of his early Sun Records stuff and the energy of his self-titled 1956 RCA debut. And yet with its strings and horns, it never lets you forget you’re hearing Presley on the eve of those gaudy ’70s, when he became a whole other kind of edgy. Some people prefer jumpsuit Elvis, and they’ll find his beginnings here.

'From Elvis In Memphis' presents a 34-year-old Elvis caught somewhere between nice Southern boy with otherworldly charm and reclusive millionaire basket case. Within that gap, there’s plenty of room to move. Presley plays grunting sex beast on the bluesy "Power Of My Love," lovesick wretch on the country weeper "It Keeps Right On A-Hurtin’," and faithful life companion on "True Love Travels On A Gravel Road," all sweetness and warmth. The orchestral-soul burner "Any Day Now" is about loving something and setting it free. "In The Ghetto" traces the structural cages keeping inner-city blacks down.

Controversial for its time, "Ghetto" reached No. 3 on the Billboard Hot 100, giving Elvis his first non-gospel Top 10 hit since 1963. On the chart-topping follow-up "Suspicious Minds" — a brilliant non-album single included on subsequent 'From Elvis In Memphis' CD reissues — Elvis gets a little shady, warning his woman of jealous feelings that, let’s be honest, are probably totally justified.

The best song is "Long Black Limousine," the first one he tracked for the sessions that began on January 3, 1969, at American Sound Studio. This was Elvis’ first time recording in Memphis since he’d left Sun in the ’50s, and the homecoming didn’t simply mean a short commute. Reinvigorated by the NBC special and determined to "never sing another song that I don’t believe in," as he told TV producer Steve Binder, Elvis picked American Sound on the suggestion of buddy Marty Lacker. He had a feeling that studio boss Lincoln "Chips" Moman could give Presley what he needed, and for once, advice from Elvis’ inner circle wound up being sound.

Moman had founded American after working at Stax, the label at the core of the ’60s Southern soul explosion, and like his former employers, he dealt in sweaty, funky roots music that couldn’t have shared less with the soundtrack pap Elvis had been pumping out. Moman also had an ear for hits, and he chose a bunch of songs he knew Elvis would sing the shit out of.

"Long Black Limousine" was one of those. If Elvis hadn’t shown up at American Sound raring to go, despite some nervousness and a nasty cold, "Limousine" might have scared him out of giving some great performances. That is, of course, if he was self-aware enough to hear in Vern Stovall and Bobby George’s lyrics a bit of his own life story and a pretty chilling prophecy.

The song is told from the perspective of a man who’s watched someone special — maybe a good friend, though more likely a lover — move off to the big city in search of fame and fortune. This dreamer gets seduced by the dark side and winds up riding in the kind of limo thousands of Memphians would gape at eight years later, in August 1977, after the King died in his bathroom at 42. The only difference is that Elvis’ car was white.
"The tension as the song opens is almost unbearable," famed rock critic and noted Elvis scholar Greil Marcus writes in his book Mystery Train: Images Of America In Rock ’N’ Roll Music.

Marcus isn’t exaggerating. "Limousine" opens with funeral bells and churchy organ that give way to bittersweet piano tinkling, and then Elvis sets the scene: "There’s a long line of mourners / Driving down our little street." The twist ending is right up front, and still Presley maintains the drama. The hoarseness that would halt the recording two days later adds to the vocal, and by the time he gets to the "Well I never, never, never" part, he’s obviously feeling something. He wasn’t enough of an actor to fake it.

"He is completely convincing," Marcus writes in Mystery Train, adding, "When he smashes through the contradictions of his career with such music, we have Elvis at his greatest."

The other song selected for these sessions that was sure to get Elvis’ grits boiling was "Only The Strong Survive," a muscular soul tune with a driving chorus bass line. The lyrics are filled with advice from a mother to her heartbroken son, and in the spoken-word intro, Elvis sets up the pep talk he’s about to relay.

"I remember my first love affair," he says, as female backup singers repeat the keywords "I remember." "Somehow or another the whole darn thing went wrong. My mama had some great advice, so I thought I’d put it into words of this song… "

Even in ’69, more than a decade after Elvis had lost his mother, Gladys, those lines must have given him pause. He’d grown up a hardcore mama’s boy, calling Gladys "baby" and reportedly sharing a bed with her into his early teens. When she died in 1958, he was inconsolable.

"You cannot mistake the personal resonance that Elvis finds in the song," writes Peter Guralnick in Careless Love: The Unmaking Of Elvis Presley, the second installment of his definitive two-volume Presley biography.
In Guralnick’s opinion, the track ranks up there with "Suspicious Minds" and "In The Ghetto" and "represents perhaps the most finely crafted achievement of the American sessions."

In addition to marking what Guralnick calls "the birth of a new hybrid style" of country-soul music, "Only The Strong Survive" plays into Elvis’ weird, mystical back-story, adding an element of Oedipal intrigue that certainly isn’t needed to appreciate the album but can’t be dismissed, not when we’re talking about one of the most overanalyzed figures to ever walk the earth.

Elvis’ legend persists because you can read so much into his story. He’s Christ, Icarus, Superman, the manifestation of the American dream, and the ultimate cautionary tale—all of those things plus whatever else anyone with a thesis and a keyboard cares to make the case for. As with any major historical figure (Lincoln, Hitler, JFK, etc.), Presley’s life is no longer bound by facts.

Except, maybe, when it comes to music. Whatever the Presley saga becomes 500 or 1,000 years from now, it’ll be a way-gone tall tale with only a passing resemblance to the one Guralnick or anyone else has told.

But 'From Elvis In Memphis' will still provide the best single-disc reminder of why anyone bothers to push the story forward.


Back in 2009 EIN provided a seven-thousand word review - "The King Reclaims his Throne!" of the 40th Anniversary 'From Elvis In Memphis' Legacy release.

Included in our thorough investigation was a comment about Elvis' backing band, sadly missed from the review above....

" The element contributed by his stellar Memphis Boys should not go unnoticed. 

Central to the success of American Sound Studio recordings was the tight knit and highly talented group of studio musicians engaged by Moman, referred to as the Memphis Boys. 

The Memphis Boys were, and are, an exceptional group, and Elvis had previously played with most of them. 

There was Reggie Young on lead guitar; Mike Leech and Tommy Cogbill on bass; Bobbie Emmons, who had earlier played organ for Bill Black, on drums; Bobby Wood on piano; Gene Chrisman (notable for his stint with the “Killer”, Jerry Lee Lewis); John Hughey on steel guitar; and Ed Kollis on harmonica. 

In addition, with the Jordanaires unavailable to make his harmonies, for his live Las Vegas return Elvis would engage The Imperials and a female group (who also recorded at American Sound) The Sweet Inspirations to back him.  

Chips Moman however would employ other notable names for his backing-vocals overdub phase, including vocalists Millie Kirkham, Ronnie Milsap (on Kentucky Rain), and Sandy Posey (famous for her hit single, Single Girl) along with Mary Holladay, Mary Greene, Donna Thatcher, and Ginger Holladay.

In American Studio:Elvis and backing vocalists Mary Holladay, Mary Greene, Donna Thatcher, and Ginger Holladay - Circa Jan 20 1969. - (From FEIM booklet)

The Memphis Horns were also used including Wayne Jackson ( read Wayne’s interview with EIN) plus numerous others, including R.F. Taylor on trumpet; Ed Logan on trombone and Joe D’Gerolamo on the French horn, were part of something special, even if many of them did not realise it at the time (such are the vagaries of making music).

Great Right-Left channel separation means both backing vocals and instrumentation complement Elvis's searing vocals to perfection.

Listening to the tracks recorded by Elvis over 10 nights in January and February 1969, the Chips Moman factor is obvious.  Post production work would see Chips add another wonderful element, superb overdubs by the Memphis Horns, and on many tracks these would shine.  Unfortunately, the potency of these overdubs has not been fully evident since 1969. That is until the Legacy edition of the From Elvis In Memphis sessions in 2009!

The sound made between Elvis, his backing vocalists, the Memphis Boys and the many overdub musicians is totally in the groove, gelling wonderfully to produce an formidable and undeniable part of music history."


So, to be honest, to the question, "Is 'From Elvis In Memphis' the only Elvis Presley record you need" the answer has to be NO!

But to, "Is 'From Elvis In Memphis' the best Elvis album to introduce new fans to" the answer has to be YES!
Not only that, but the "best Of" session outtakes without overdubs (FTD's The Memphis Sessions) also provides a fabulous look at Elvis and The Memphis Boys in studio soulful creativity without the later overdubs.

The haunting 'In The Ghetto' without added overdubs would never sound more haunting, emotional or perfect!

FINAL NOTE - The value-add provided by 'From Elvis In Memphis' (2009 40th Anniversary Legacy edition) is delivered in spades! Glorious, remastered sound, expertly produced by the legendary Vic Anesini and some of Elvis’ greatest studio work add up to a ridiculously pleasing aural pleasure spread across 2 great discs. Anesini is renowned in the Elvis world for his exemplary remastering work.  Elvis would never approach this level of creative genius again in the recording studio. His career was still to experience one final artistic high (Elvis: Aloha From Hawaii), but after the 1969 American Sound Studio sessions it would never really be the same again.

Please go HERE for EIN's detailed review. "The King Reclaims his Throne!"

The A.V. Club is an entertainment website published by The Onion and presents a "Weekly reviews of movies and music, articles, and interviews" go here to check it out.

Spotlight compiled by Piers Beagley.
-Copyright EIN February 2015
EIN Website content © Copyright the Elvis Information Network.


Comment on this Spotlight

The SONY 'F.E.I.M Legacy' double-cd release is available for only $12 from Amazon - YES, every Elvis fan should purchase this quality bargain.



Elvis Vegas '69 may prove to be the perfect complement to From Elvis In Memphis:

read all about this great new book by Ken Sharp

And for more on the American Sound Studio sessions check out EIN's informative articles:

'From Elvis To Garth' Bobby Wood & The Memphis Boys;

Chips Moman's American Studios - A Turning Point In History':

EIN Review of FTD - Memphis Sessions

'Suspicious Minds' - Elvis' Greatest Single?: 'Suspicious Minds' was released on August 26th 1969. While the NBC '68 TV Special, along with the single 'In the Ghetto' had pushed Elvis back to the forefront of popular culture, it would be the release of Elvis' last US Number 1 single that would ultimately prove to all the critics that Elvis was a still relevant contemporary musical force.

To celebrate the 40th anniversary EIN looks back in detail at the history of this classic song, including new interviews with Marty Lacker and Bobby Wood, as well as insights from composer Mark James and producer Chips Moman.

Go here for this fascinating spotlight

(Spotlight, Source; EIN)

'In The Ghetto' - The 40th Anniversary: 'In The Ghetto' was released forty years ago today on April 14th 1969. While the NBC '68 TV Special, along with the single 'If I Can Dream', had pushed Elvis back to the forefront of popular culture once more, it would be the release of 'In the Ghetto' that would prove to everyone that Elvis was once again a powerful and relevant contemporary musical force.
To celebrate the 40th anniversary EIN looks back in detail at the history of this classic song, including insights from Marty Lacker, as well as an interview with composer Mac Davis.

Go here for this fascinating spotlight


(Spotlight, Source; EIN)

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