A double banger at least from me and I wished they had issued it as a single 1969/70. Blues, Rock, drive, and that rasping edge to his vocals, was for me everything you could want from an Elvis song.
I totally agree. Elvis would have had another banger if he released it as a single. He had quite a few great songs after his ‘68 Comeback Special. This album is one of the best! Thanks Seph for another banger! 😊
Seph, you are so fun to listen to and WATCH!! I have never had so much fun on a UA-cam channel! This one just gives me chills. Elvis had the power!! The power of his love was experienced by all of his fans many times over. ❤❤❤
It doesn't get better than this 10 out of 10. The coolest song and it never grows old, it's a forever hit. No live recording of this one, that's the worst thing. This one would have been a showstopper.
Yay another banger - can't keep up with them all ☺ Love this song and performance - he never ceases to amaze me with his versatility - to think this was recorded 55 years ago - he was way ahead of his time - love it 💙🎧🎵🎤🎶
And this is why you are my favorite reactor. I never know what to expect from you. In slang terms lick it means to overcome it, defeat it, conquer it. When you licked your hand 🤣🤣🤣🤣!!
I think Seph, thatyou have long since noticed that within Elvis’ massive back catalogue, there is a plethora of hidden gems. Most of these are either of the ballad, country or gospel variety and very few from the rock genre. Thi song definetly fits into the latter category and can be found on the much lauded “From Elvis In Memphis” album. Recorded by Elvis on 18 February 1969 during Elvis’ landmark American Sound sessions in Memphis it is a track full of raunchy sexual energy. You can hear the fun that Elvis is having with the lyrics as he practically growls his way through the song.
Amazing Song - Elvis' Vocal Phrasing is LIKE NONE OTHER!!!! *BANGERRRR* Found THIS - INFO ON ELVIS AWARDS WOW HE RECIEVED THE MOST RIAA'S OF ANY SINGER -- Elvis Presley (USA, 1935-77) had earned 171 gold, 94 platinum and 34 multi-platinum discs - 299 awards in total - for his albums and singles as of 21 March 2018, according to the Recording Industry Association of America (RIAA). Albums: 117 gold, 67 platinum, 27 multi-platinum; 146.5 million certified units Singles: 54 gold, 27 platinum, 7 multi-platinum; 50.5 million certified units Most certified album: Elvis' Christmas Album, 10x multi-platinum, 9 September 2011 Most certified single: "Hound Dog"/"Don't Be Cruel", 4x multi-platinum, 15 July 1999 Most recent album awards: 17 albums, including Elv1s: 30 #1 Hits, 6x multi-platinum, 8 March 2018 Most recent single award: "A Little Less Conversation", gold, 31 March 2006 Minimum units required for certification: gold - 500,000; platinum - 1 million; multi-platinum - 2 million (increments of 1 million thereafter)
Sexy man. It is so intense, he was in American Studios. If he could have kept his co lab with Chips Moman he would have been even greater. The colonel put a stop to it because he didn't like the direction Elvis was going in. Great reaction to a great song. Elvis was so good.
Parker was only concerned with losing control of his golden goose. He didn’t want anyone getting close to Elvis who could influence him away from Parker. Just ask Leiber & Stoller!
After listening to this, listen to It's Now or Never, You'll Never Walk Alone, Can't Help Falling in Love, maybe throw in Little Cabin on the Hill. What you'll come away with is that he was the most diverse singer ever... he's alone on the mountaintop. No one will ever come close to his greatness as a singer.
Seph started his Elvis train listening to EP's catalog in chronological order. (Whew! Impressive goal. 😳) He's now reacting in order by year, without repeating any songs. And then he plans to start on the live performances/interviews, etc. (He has an extensive Elvis playlist already and he's only up to '69.) He says because it would take him "10 years to get to 1977" if he listened to songs he's already reacted to - I'm planning to stick around and see just how long it takes him to watch/listen to all things Elvis anyway. 🤣
@@janetb.8683I'm not necessarily talking to Seph, but to anyone who's unfamiliar with Elvis. Those 5 songs show his diversity as a singer. I don't know any of performer who could sing so well in so many different genres.
@@randalldeetz8659 My humble apologies, I wrongly assumed your comment was meant for Seph. You have chosen a perfect selection of songs to make your point.
Everytime I listen to this, it's just a "Wow" feeling. Utterly breathtaking, power-house of a song, with Elvis at his seductive best!!! Yet at the same time, Elvis is showing us his playful side, I mean to say, who else does this! Seph, lyrics are open to the listener's interpretation 😋 haha
This album has been on loop for me lately, and this track is one of my favorites! It’s such a great song for Elvis’s vocals and personality, and the lyrics are pretty over-the-top so that Elvis had to laugh at it, as was his wont. And, honestly, who can fight the power of Elvis’s love? He has a multi-generation, multi-million devoted fan base that can attest to the fact that, no, you can’t lick it! 😂❤
Immagine if they had put Suspisious minds on this album too (but the cornel dident want to have all the singles on the albums). Still this is among my top 5 Elvis albums.
I would have swapped out "It Keeps Right On A-Hurtin'" and "In the Ghetto" and replaced them with "Stranger in My Own Home Town" and "You'll Think of Me" for a more consistent sounding "From Elvis in Memphis" album. The hits "In the Ghetto", "Suspicious Minds", "Don't Cry Daddy" and "Kentucky Rain" would be more compatible together for "Back In Memphis" album IMHO.
OMG! You almost had me like... "Not a banger?! What?!" 😭 But then 2 seconds later you're like, "It's a BANGER!" And I'm like, "Oh thank God!" Because seriously this song speaks to me. It's almost like nirvana for the ears, brain, heart, body, and soul 😍 (I'm keeping it PG 13 here, okay? I'm trying, guys.) Yes, this song is very spicy. Very spicy. And that laugh Elvis does after he sings, "You can't lick it," is all kinds of wicked (in a good way of course 😉) And in this lyrical context that line is what we today call a double entendre. Elvis is saying that she can't beat back the strong emotions he makes her feel. (Old American slang word "lick" was used in place of how we use the word "kick" as in "I'll kick your a** for that." Using the word "lick" in the same context: "You can't lick me. I'll wipe the floor with you first!" Meaning that Guy #2 is not only not gonna get beat in a fight with Guy #1 but he's also beat Guy #1 in a fight and then use him as one would a mop. I can just hear the collective British groan... "Ahhh- mehhhrrr- ehhh- ccciiihhhnnnsss... Bloody hell why are you always getting into a fight for?" American answer: "You wanna go, bro?" British confusion ensues: "Go? Go where?" Okay, okay, I'm having fun here, forgive me. Anyway, one could also interpret the line "No, baby, you can't lick it," in another, shall we say, spicy action sort of way... Okay, I tried to keep it PG 13 here.) Moving on! "Power Of My Love" was written by Bernie Baum, Bill Giant, and Florence Kay (Seph you may remember once back in the early 1960's movie years how many of their songs you started to rate as not quite your favorites, so yeah, for you this I imagine is a bit of a shock, but a very pleasant one). Recorded at American Sound Studio in Memphis, Tennessee on February 18, 1969 Hours: 7:30 p.m.- 10:30 p.m Producers: Felton Jarvis/ Chip Moman Engineer: Al Pachucki Technician: Roy Shockley Musicians: Guitar: Reggie Young Drums: Gene Chrisman Organ: Bobby Emmons Bass: Tommy Cogbill Piano: Bobby Wood Piano: Elvis Presley ("After Loving You" Takes 1&2) Take 1: Short False Start + Playback: 4:44 (preceded by rehearsals- followed by intro- tape rewound) Take 2: Short False Start: 1:01 (preceded by rehearsals) "This is 2" Take 3: Playback: 3:20 "Three" Take 4: 4x False Start: 3:20 (followed by rehearsals) "Are You Waiting For Me" Take 5: Long False Start 0:36 Take 6a: False Start: 0:27 "Okay, this is six" Take 6b: Long False Start + Playback: 5:38 (Long False Start announced as "Seven") "Amen" V.O. (Master) 1:13+ Harmony vocals by Elvis on February 22, 1969 Overdub (Master) Brass overdubs on March 19, 1969 (evening) Overdub (Master) 2:51 Back up vocals on March 20, 1969 unedited master Faded Master 2:36 Master faded *Note*: "Are You Waiting Just For Me" is a song written and recorded by Ernest Tubb (American country singer- songwriter): first recorded on January 14, 1945 & released in June 1945 on Single "Careless Darlin'" on Decca (Record Label). Finally: Link to "Power Of My Love" From First Take To Master (courtesy of Leon): m.ua-cam.com/video/6vKy8J-w3Ew/v-deo.html And that is it Seph & everyone! I'm ALL done now! FABULOUS REACTION SEPH! SO MUCH FUN 🙌💃🙌💃 & 🎶TOO MUCH🎶 🔥🔥🔥🔥🔥🔥 THANKS AGAIN FOR ANOTHER 💎💎💎💎💎 REACTION 💐 Peace ✌, light 🌞, love 💖, & blessings 🙏 to you & yours & to one & all here as well 💕
Hi Sammy. I love me some Ernest Tubb. One of my favorite old-time country western singers. Very distinctive, unmistakable voice. Also Lefty Frizzell. Also Hank Snow, Marty Robbins, etc., etc. All distinctive and worth a listen. It was so much better than country music today.
@@jjbud3124 Hey there 🙋 I cannot profess to be a country music aficionado however Patsy Cline is one of my favorite female vocalists of all time, hands down. Yes, I have listened to Hank Snow after I had gotten into Elvis and I have to agree, he does have a very distinctive voice. I have listened to Carl Perkins, Hank Williams, Glenn Campbell, Don Gibson, and of course Johnny Cash. I do have to admit I do not think I have listened to Ernest Tubb yet. But he has an indirect Elvis connection: Wanda Jackson ended up cutting her first rock and roll record at Ernest Tubb's recording studio in Nashville, TN and she showed up on a spaghetti strap dress with fringe all over it (even though this was this the 1950's and that look wouldn't be popular until around a decade or so later) and short above the knee hem and cowgirl boots. Ernest Tubb took one look at her and told her if she wanted to cut a record she would have to "cover up" first. Wanda Jackson's Dad, who was with her, took off his cowboy hat and put it on his daughter's head and told Ernest Tubb something to the effect of, "There. She's covered. Now are you gonna let her record here or we gonna have to have words?" Ernest Tubb let Wanda Jackson continue on with recording. Anyway, just a little fun story 😊 I'll give Ernest Tubb a listen! I was planning to anyway. Especially since Elvis did seem to be a fan of his.
@@sammy_the_uncool2702 You are so full of interesting stories. I'm so glad you're here. Most of those old country singers from the 40's and 50's had their own distinctive voices and style. I used to love them, but not into them so much any more. I do think that there are not many singers with distinctive voices like back then. There wasn't one that I didn't know instantly when they came on the radio on Saturday nights.
@@jjbud3124 Thank you so much for the compliment! Truly appreciate the kind words 😊 Well I found a clip from 1961 of Ernest Tubb performing live on some television show and with none other than Bobby Emmons on the slide guitar (yeah, the same guy listed as the organ player for Elvis during these American Sound Studio recordings) 😯 If you are interested, here is the link: Ernest Tubb "Drivin' Nails In My Coffin": ua-cam.com/video/qnEMOQTh27s/v-deo.htmlsi=SAXmPnEqW8D1wq6K
@@sammy_the_uncool2702 I guess the professional musician world is a small one. 🙂 Thanks for the link. Tubb has a very distinctive voice doesn't he? I grew up in a house with classical music and pop, got into country, then big band stuff, and then Elvis. You might say I have a very eclectic taste in music. My collection now includes 50's rock, classical, and Elvis. and a little bit of country, but Elvis beats them all.
There are so many things I love about this song, but one of them, minor thing that it is, is the way he says "haunt you" with his southern accent -- as if it rhymes with "don't".
Can't wait for your reaction to Depeche Mode - The Darkest Star. One of their best songs from Playing the Angel (I only skip one song from that album - Lilian)
Two separate comments today. This first one is going to be broken up in parts. Also: I am providing this information before I watch your reaction, Seph. Elvis Extra Article (sourced from credible Elvis history content website)- read on below: It was bitter cold the evening of January 13, 1969, in Memphis, Tennessee. Producer Chips Moman and the searing band of musicians he had assembled at American Sound Studios were waiting for the arrival of Elvis Presley and his notorious retinue. It would be the first evening of a scheduled ten-day recording venture. It would also be Elvis' first such session outside of Nashville or Hollywood since he cut his last side for Sam Phillips at Sun Studio in 1955. The next few weeks were to be a milestone in Elvis Presley's career. On his own initiative, with considerable encouragement and prodding from his friends, he would slip from under his agent's conservative and protective control to work with one of the hottest house bands and one of the hottest producers in the country. He would break many well-worn habits that had put his career in neutral. He would make a sustained effort to recreate himself and re-establish his musical dominance. And he would assemble strong new material for an adventurous live act set to open July 31st, later that year in Las Vegas. Nashville or Memphis? Graceland, the evening of Thursday, January 9, 1969, one day after Elvis' 34th birthday. Elvis met with RCA producer, Felton Jarvis, in the Jungleroom to discuss going to Nashville to record what he hoped would put him back on top of the charts. Marty Lacker was sitting there in the Jungleroom that evening, seething, as he listened to Elvis and Felton finalize the dates for Nashville. He began to unconsciously shake his head back and forth (his head was big, bald and round and as a result his nickname was Moon). Marty fought back his frustration. Elvis snapped at him, 'What the hell's the matter with you?' and Lacker got the opening he needed to lay it on the line one last time: 'Marty Lacker: I just wish for once you'd try Chips Moman and his rhythm section, they're great Elvis'. And Elvis said, 'Well, maybe someday I will'. Then everybody got up to go in the dining room, but I just sat there. I did not want to go in there and listen to them discuss the Nashville session. Elvis said to me, 'C'mon, let's go eat'. I told him I wasn't hungry and he knew I was lying because he knew I never saw a meal I didn't like, especially steak which was being served that night. So I kept sitting in the chair ... Well, it wasn't two minutes before Felton came out and said 'Elvis wants to see you'. I said, 'Felton, I don't want to go in there. With all due respect to you and Nashville, I really don't want to hear about it'. And he said, 'No he wants to talk to you about cutting in Memphis'. With that, I was out of that chair in a flash and in the dining room. With Felton standing next to me I said to Elvis, 'Is he kidding me, you want to cut in Memphis?' he said, 'Yes, but I have to start Monday night'. 'You and Felton set it up with Chips Moman'. Felton and I went to the front hallway to the phone and I called the studio, they told me Chips was at home so I called him there. I said, 'Lincoln, (his real name), do you still want to cut Elvis', he said, 'Hell yes'. I then said, 'Well you got him but you have a problem. He has to start Monday night and you already have Neil Diamond booked'. Chips said, 'Fuck Neil Diamond, he'll just have to be postponed. Tell Elvis he's on'. I then told him the session had to be a closed one and nobody who does not have anything to do with it cannot be invited. He said, 'No problem, you can handle that'. He said that even though I was not working for him at that time I didn't become General Manager of the studio until a few months later when he asked me to. I then handed the phone to Felton who made the financial deal with Chips on behalf of RCA. When he got through with that we went and sat at the table where I sat next to Elvis on the right. I waited until he finished eating and then I said, 'Elvis would you do me a favor?' He asked what. I then said, 'With this session, you're gonna have a great and talented producer and some of the most creative and talented musicians, the sound of the studio is fantastic and we all know you can sing, would you please get some good songs this time?' Elvis looked at me and said, 'Well I was waiting to finish eating and then I wanted you to come upstairs and listen to some new songs by this new songwriter, Scott Davis' that was Mac Davis' real first name. We went upstairs to his room and he played a tape of songs to me and the guys including, In The Ghetto and Don't Cry Daddy. I was happy because they sounded like hits to me. Another was, 'Home' but he didn't do that one. Colonel Parker had lost control of his number one asset during an evening dinner at Graceland. His greatest fear was being realized. Elvis had actually made a major decision without seeking either his advice or permission. The question for Parker became how to keep the situation from spinning totally out of his sphere of influence. Felton Jarvis was too close to Elvis to be counted on to keep a real eye on things. Besides, he had abdicated his position to Chips. He might be able to play a part in post-production, but Chips' take charge, no bullshit attitude ruled out any serious input in the studio. Parker could only send Diskin and RCA vice-president Harry Jenkins to the sessions to make sure everyone on the gravy train was having his interests considered. Those interests may have been primarily Parker's, but they were also, the Colonel genuinely felt, Elvis'. Oh, and Parker could also send music, lots and lots of music from the Hill and Range catalog. On that count, he thought he was well set up, believing that he had practically placed an insider in the Presley camp. Lamar Fike was one of Elvis' oldest and closest personal friends. At the request of Elvis' mother, Gladys, he had accompanied Private Presley to Germany, where he served as chauffeur and valet. Throughout the years he would be an integral part of the organization. Fike was trusted and always played an important role. He introduced Elvis to Felton Jarvis in 1966, in an attempt to lure him away from Hollywood and back to Nashville. Fike started working at H & R in 1962, at times in close association with Parker and the home office. And though Fike was a champion of H & R, and worked on their behalf and had practically been placed in the job by the Colonel, he was a team player. After all, what was good for H & R was making money for Elvis too. Fike was selling one song, Kentucky Rain by Eddie Rabbitt and Dick Heard, that he had a really good feeling about. Elvis wasn't too impressed, but Fike was persistent. Elvis had to cut it, it was that good, and if he didn't somebody else was going to chart with it. It was a smart call and Fike would later feel proud. When Kentucky Rain was released in 1970, it stayed nine weeks in the top 100, reaching #16. And according to plan, H & R took 50 percent interest in the song and Elvis' subsidiary took half of that. Chips began to prepare for Elvis. He pulled songs from his own library he knew Elvis could sink his teeth into. Some he had cut with other artists, some hadn't worked out just right. Suspicious Minds was one. Chips had recorded it with the song's writer Mark James in 1968, but the record never made the charts. Chips thought he had a good chance with Elvis whose voice and intensity were perfect for the song. When the time came to cut the tracks, Chips used same arrangement as with James believing that only Elvis was the missing ingredient to a hit record. He was right. It was the last time Elvis would have a number one record on the Hot 100. Part 2 Continued Below 👇
P2 Cont.: Elvis had a cold when he first arrived at American that night and was a bit taken aback by the studio's condition, which was run-down enough for a host of rats to feel comfortable taking up residence; 'What a funky studio!' he announced, responding to hearing rodents scuffling around. For their part, the musicians weren't overly impressed about working with someone of Elvis Presley's stature, having already worked with many big names by then. But, they were surprised by the charisma he exuded before work even began. 'You'd know he was in the room when he walked in', said Reggie Young. 'You hear stories about people that have that effect on people, and I never thought anything about it. But Elvis really did. He just kind of commanded his space. You definitely knew he was there'. Elvis quickly won the musicians' respect for how hard he worked. His vocals were recorded as the musicians worked out a song's arrangement, with the understanding that he'd recut a final vocal later. Nonetheless, he gave his all during the early takes, with sax player/arranger Glen Spreen marveling at how he'd effectively give a full performance in the studio, even standing behind a baffle. 'He was back there just like he would be onstage, doing gyrations and the whole thing - because that was just the way he sang', Spreen told biographer Peter Guralnick. And despite his cold, Elvis himself felt re-energized by his work in the studio. Chips only recorded three songs that evening, Long Black Limousine by Bobby George and Vern Stovall, that Chips introduced, This Is the Story by Arnold, Morrow, and Martin, from Freddy Bienstock and H & R and Wearin' that Loved On Look by Dallas Frazier and Al Owens, which Lamar had brought in. Even so, the session didn't break up till four the next morning and everyone seemed satisfied. On the ride back to Graceland, Elvis turned to the guys in the back and told them what seemed obvious. 'Man, that felt really great. I can't tell you how good I feel ... I really just want to see if I can have a number one record one more time'. He later said he never worked harder in the studio than he had during the sessions at American. Elvis' cold gave his voice an appealing roughness, but after two nights, when he developed full-blown laryngitis, he took time off to recover. But the Memphis Boys kept working, spending the 15th and 16th recording backing tracks for four more songs, in the expectation of Elvis cutting his vocals later. For the first three days, the sessions went according to plan until the cold which had been bothering Elvis for weeks came back with a vengeance. Elvis stayed at Graceland for a few days to recuperate while Chips cut background and laid down some rhythm tracks for a few new songs. Back at Graceland, Elvis and the guys were going through the demos the Colonel had sent from H & R. Elvis was distraught. They were running out of good songs and this batch was just awful. Why wouldn't they send him some good material for a change? Marty spoke up: the H & R situation was costing Elvis hit songs. Elvis needed to consider music which the Colonel didn't have a bonus interest in. Marty explained to Elvis that unlike the 50s there is a lot more competition along with singer-songwriters and most did not want to give up any of their publishing rights. Elvis sat for a while, grinding his teeth and nervously bouncing his leg. Elvis then said, from now on I'll pick my own music and that everybody should bring in songs. Elvis: '... from now on I want to hear every song I can get my hands on, and if I've got a piece of the publishing, that's fine, but if I don't and I want to do the song, I'm going to do it'. Elvis then said to Marty, 'I want you to get me some good songs'. And to Red West, he said, 'I want you to get me some good songs too'. And also to George Klein because George knew a lot of artists through his TV show. George immediately got on the phone and called Neil Diamond. That's how Elvis came to record And The Grass Won't Pay No Mind during the following sessions in February. Elvis finally returned to American on Jan. 20, and the size of his entourage had diminished. Both the musicians and Moman had been put off by the number of Elvis' friends and associates at the first sessions, whose presence seemed to be more of a distraction to Elvis. 'There was just too many people', said Moman. 'I think they were kind of shocked when I stood up to them. They probably had never had anyone ask them to leave the studio before - but I did, and it turned out to be better for Elvis'. 'We got the riff-raff out of there and got down to business and only had Elvis' key people around', Bobby Wood agreed. 'That's exactly how we started cutting all the hits'. And the first song cut on the 20th would become one of those hits, a song that further chartered the new direction Elvis was (momentarily) moving in: Mac Davis' In The Ghetto. Elvis had already recorded a number of Mac Davis' songs before the Memphis sessions; A Little Less Conversation had appeared in the film 'Live A Little, Love A Little', and Memories had been featured in the 'Elvis' TV special. Davis had pitched Don't Cry Daddy to Elvis when visiting his home in Bel Air, and in advance of the sessions at American, he'd submitted a tape of potential songs, one of which was 'In The Ghetto'. In The Ghetto was a 'message song', though its scenario was one that was patently obvious to anyone who had any knowledge of modern-day urban life. The narrative told the tale of a boy born in poor circumstances and whose lack of opportunities leads to a life of crime and ultimately his death - at the same time as 'another little baby child is born in the ghetto', thus continuing the cycle; the song's original title was 'The Vicious Circle'. Though the sentiments were hardly radical, and it could be said that Elvis Presley had already recorded a 'message song' with If I Can Dream, there was some feeling that 'Ghetto' might be too overt in its politics. There was also the chance the song could be seen as condescending, performed by someone of Elvis' wealth ... and race. 'There was a discussion about what people might think about a white guy singing about life in the ghetto', said Moman. George Klein even went so far as to tell Elvis he shouldn't record the song. Chips said to Elvis, I've got to tell you, this is a hit song, you should cut this'. Elvis stood there thinking about it. And Chips followed with, 'Elvis if you don't do it, can I have the song'? And Elvis said, 'No, I'll do it'. On reflection, Klein told Elvis he was mistaken, and with everyone soon in agreement, Elvis devoted most of the 20th to recording In The Ghetto, cutting 23 takes before Chips was satisfied. He then cut a vocal track for Gentle On My Mind and ending the session, like the rest, ended in the early morning, with the bluesy Rubberneckin'. The next night began with a rather loose cover of Hey Jude. Elvis planned to record a final vocal later (due to the fact that he didn't know all of the words), but that never happened, and the song was later released as is. He spent the bulk of the evening doing vocal overdubs, then cut a breezy version of From A Jack To A King, in part for his father, who attended the evening sessions; the song was one of Vernon Presley's favorites. The 22nd was the final night of sessions then scheduled, and Elvis began with the dramatic ballad Without Love which he nailed in three takes. The soulful feel of the performance carried over into the next song, I'll Hold You In My Heart, despite its being a country song first popularized by Eddy Arnold. After the more straightforward country of I'll Be There, the sessions concluded with what would become another landmark track, Suspicious Minds. When released as a single, Suspicious Minds would be Elvis Presley's biggest hit in years, and it would quickly become the centerpiece of his live show. Yet the song very nearly wasn't recorded at all. Firstly, Elvis wasn't too sure about it, but Joe Esposito talked him into recording it. Elvis said, 'Well, we'll put the track down at least'. At American they were recording 'the modern way' where Elvis did a rough voice track with the rhythm section, then they did the overdubs, with horns or strings and or background singers, and then Elvis came back and sang the final vocal track. Elvis disliked this method and it was the only time in his career he recorded this way. Actually, Suspicious Minds was spliced together from three different takes. It was obvious that Suspicious Minds and In The Ghetto were going to be big records. Tom Diskin and Freddy Bienstock began to get antsy. They caught Chips alone in the hall and started working on him, trying to get a piece of the songs he owned. Finally, Chips had had enough. Gentlemen, I thought we were here to cut some hit records. Now if that's not the case, let me tell you what you can do. You can take your fucking tapes, and you and your whole group can get the hell out of here. Don't ask me for something that belongs to me. I'm not going to give it to you. Surprisingly, RCA's Jenkins chimed in with Chips. The session was going well. Everybody was going to make out just fine. There was no need to let the whole thing unravel. Diskin was furious and sought out Elvis to plead his case. But Elvis had already made up his mind. He wasn't going to let the home office or H & R or RCA for that matter, ruin his session. He politely told Diskin to let him and Felton and Chips handle things. Elvis then did something which surprised even Chips. He asked the producer how they could eliminate the hassles, and Chips told him to just get everyone out of there. And that was it. Part 3 con. below 👇
Part 3 cont.: It was during their meeting that Elvis presented Roy with a beautiful new song 'Angelica' (Barry Mann/Cynthia Weill) that he was going to record himself. The song turned out to be the single released from the session, a soaring, dramatic rendition that unfortunately struggled to find radio airplay. It also turned out to be Roy's last single as sadly, on July 20, 1969, the distinctive voice of Roy Hamilton was silenced when he died following a stroke. Elvis recorded several of Roy's hits including, You'll Never Walk Alone, Hurt and Unchained Melody. Diskin grabbed the hotline to the Colonel's office and, frustrated and perplexed, spelled out the circumstances. Elvis was going his own way. He didn't want them around. They had absolutely no control. Colonel Parker bristled. There was nothing he could do except tell Diskin to cut out immediately. That would teach Elvis a lesson: 'Come back here right now, and let him fall on his ass'. Many critics and fans alike have often claimed that if only Elvis had taken more control of his career, had trusted his own instincts, made the movies and recorded the music he really wanted, if he had just gotten rid of the Colonel entirely, his career would have been much better off. It's hard to argue with the Colonel's success, but it may be said with certainty that in this instance, without being tied to the Presley machine, Elvis rose to and met every challenge. In twelve days, Elvis cut thirty-six sides. Four of them were singles - In the Ghetto, Suspicious Minds, Don't Cry Daddy, and Kentucky Rain and all but the last were gold, even though Kentucky Rain was a substantial hit. And the two albums that came out of it [From Elvis in Memphis and From Memphis to Vegas/From Vegas to Memphis] went platinum. That's some falling on your ass. When Elvis walked into American Sound Studio that January evening, he hadn't had a top five record since 1965. He would never get as high on the charts again as he did with Chips Moman. Elvis himself believed that he had recorded some of his best material. He did so with focus and effort, and by asserting a kind of independence which was unusual for him. But it was an independence tempered by a willingness to work with and be guided by a producer he had never met, in a studio he knew by name only. Desperate for a number one record, Elvis took chances he would never take again. In an interview, that morning with the Memphis Commercial Appeal, both Elvis and Chips' Moman expressed their mutual admiration, Elvis concluding, 'We have some hits, don't we, Chips?' Maybe some of your biggest', Chips replied. Chips was right, though that wouldn't be evident for a few more months. Before then, in spite of the tensions that had arisen over publishing matters, six further sessions were scheduled at American in February, beginning on the 17th and running straight through the 22nd. The sessions began with Elvis continuing a long-standing tradition at American, performing Chips' composition, This Time. Elvis sang an impromptu version of the number, throwing in a few lines of It's My Way, then going into I Can't Stop Loving You. Then it was time to get to work, with Elvis turning in stellar renditions of True Love Travels On A Gravel Road, Stranger In My Own Home Town, and Neil Diamond's gentle And The Grass Won't Pay No Mind. On the 18th, Elvis had great fun with teasingly macho Power Of My Love, then took over on piano for a heartfelt After Loving You, a song he'd been performing for his own amusement for years, while Do You Know Who I Am was the kind of yearning ballad that was his specialty. With no cold to hold him up, 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 I'm A Fool (For Loving You) (the latter previously recorded by Bobby Wood). By now, material on hand was running thin (on this outing, publishing had been secured on every song before it was recorded), and on the 21st, only two songs were worked on, The Fair Is Moving On and Memory Revival, though Elvis didn't end up recording a vocal for the latter. On the 22nd, the last day of the sessions, Elvis recorded vocal overdubs and one more new song, Bobby Wood's religiously themed Who Am I? The American sessions stand as a personal triumph for Elvis, a performer at a turning point, an artist who that Winter in Memphis, was again sharp, eager, and alive. And the music he created there will always prove it. Part 4 con. below 👇
Part 4 cont.: Elvis' work was finished, but further overdubbing sessions were held in March and May, at both American and RCA's studio in Nashville, with horns, strings and backing singers added to flesh out the sound. 'Chips knew what a modern record, a pop record, as opposed to a country record, should sound like', says Jorgensen about the end result. 'He had an exceptional band, skilled players. And he was very focused on making records. Chips, in his head, had a vision of what a record should sound like. He cared only for those records that were taken to the full extreme, taken all the way, from his perspective; that would be records like Suspicious Minds and In the Ghetto. He didn't want Elvis to sing old country songs like I'll Hold You in My Heart, or Stranger in My Own Hometown. But those stand up as well as Chips' masterful productions of Only the Strong Survive and Any Day Now. It's a funny mixture of Elvis' own creativity and Chips'. In The Ghetto was the first single released from the sessions in April; it peaked at #3. Alright! That's it, that's all for this extended Elvis Extra Article 😀 Happy Ready everyone!
Jack White from the White Stripes covered this a few year ago and there's actually a remix duet with him and Elvis. It's ok actually, nothing like just Elvis but still ok.
ua-cam.com/video/XrgyTa3OMeM/v-deo.htmlsi=ckAgEjZf4xiK84Un ❤Believe it or not I’m sending you the link to the alternate #3. Must have been a recording session. It’s the X rated version. Fun, playful, longer, lots of grunts and groans and the noises he makes towards the end will bring a wicked grin to your face. 😂😂
Elvis nails these sexy blues numbers. Just superb.
Love how he chuckles after he says lick it. 😂❤ One of my many favorites!, BANGER BANGER BANGER BANGER ALL DAY LONG BABY!!!!
God that chuckle sends me!
Ooh yes!!😂
This album is 💥
A double banger at least from me and I wished they had issued it as a single 1969/70. Blues, Rock, drive, and that rasping edge to his vocals, was for me everything you could want from an Elvis song.
I totally agree. Elvis would have had another banger if he released it as a single. He had quite a few great songs after his ‘68 Comeback Special. This album is one of the best! Thanks Seph for another banger! 😊
This Song has Kind of a Funk Bluesy feel. The whole session Elvis did at the American Sound Studio in 1969 was Great !! ❤❤❤
This track is absolute GOLD!! 💯 PERCENT SENSUAL VIBES! AWESOME AWESOME SEPH
As we could hear, they were in a very good mood doing this amazing song. Love it!
Seph, you are so fun to listen to and WATCH!! I have never had so much fun on a UA-cam channel! This one just gives me chills. Elvis had the power!! The power of his love was experienced by all of his fans many times over. ❤❤❤
100% Agree❤
Aww thank you Jenny ❤️
How are you these days? 😀
What can I say? The adjectives aren't available to describe Elvis. Oooohhh! Sexy, swinging, hot.
It don't
It doesn't get better than this 10 out of 10. The coolest song and it never grows old, it's a forever hit. No live recording of this one, that's the worst thing. This one would have been a showstopper.
For sure!
Thats very sad!
Great song ❤ ❤❤
Yay another banger - can't keep up with them all ☺ Love this song and performance - he never ceases to amaze me with his versatility - to think this was recorded 55 years ago - he was way ahead of his time - love it 💙🎧🎵🎤🎶
And this is why you are my favorite reactor. I never know what to expect from you. In slang terms lick it means to overcome it, defeat it, conquer it. When you licked your hand 🤣🤣🤣🤣!!
I agree with you. Seph is my favorite, too.❤
Hehehe Expect the unexpected xD
I think Seph, thatyou have long since noticed that within Elvis’ massive back catalogue, there is a plethora of hidden gems. Most of these are either of the ballad, country or gospel variety and very few from the rock genre. Thi song definetly fits into the latter category and can be found on the much lauded “From Elvis In Memphis” album.
Recorded by Elvis on 18 February 1969 during Elvis’ landmark American Sound sessions in Memphis it is a track full of raunchy sexual energy. You can hear the fun that Elvis is having with the lyrics as he practically growls his way through the song.
Banger 3 times.
No baby you can’t lick it 😛fantastic song
Amazing Song - Elvis' Vocal Phrasing is LIKE NONE OTHER!!!! *BANGERRRR* Found THIS - INFO ON ELVIS AWARDS WOW HE RECIEVED THE MOST RIAA'S OF ANY SINGER -- Elvis Presley (USA, 1935-77) had earned 171 gold, 94 platinum and 34 multi-platinum discs - 299 awards in total - for his albums and singles as of 21 March 2018, according to the Recording Industry Association of America (RIAA).
Albums: 117 gold, 67 platinum, 27 multi-platinum; 146.5 million certified units
Singles: 54 gold, 27 platinum, 7 multi-platinum; 50.5 million certified units
Most certified album: Elvis' Christmas Album, 10x multi-platinum, 9 September 2011
Most certified single: "Hound Dog"/"Don't Be Cruel", 4x multi-platinum, 15 July 1999
Most recent album awards: 17 albums, including Elv1s: 30 #1 Hits, 6x multi-platinum, 8 March 2018
Most recent single award: "A Little Less Conversation", gold, 31 March 2006
Minimum units required for certification: gold - 500,000; platinum - 1 million; multi-platinum - 2 million (increments of 1 million thereafter)
Sexy song 😂 Elvis laugh beautiful double banger
Always been one of my favorites song
Sexy man. It is so intense, he was in American Studios. If he could have kept his co lab with Chips Moman he would have been even greater. The colonel put a stop to it because he didn't like the direction Elvis was going in. Great reaction to a great song. Elvis was so good.
Parker was only concerned with losing control of his golden goose. He didn’t want anyone getting close to Elvis who could influence him away from Parker. Just ask Leiber & Stoller!
So True.@@sallycook
I have this album it rocks! And I have the Back In Memphis album as well both bangers! TCB Seph ⚡️
After listening to this, listen to It's Now or Never, You'll Never Walk Alone, Can't Help Falling in Love, maybe throw in Little Cabin on the Hill. What you'll come away with is that he was the most diverse singer ever... he's alone on the mountaintop. No one will ever come close to his greatness as a singer.
Check out Seph's playlist, he has done the first 3 songs you mentioned 👍😊
Seph started his Elvis train listening to EP's catalog in chronological order. (Whew! Impressive goal. 😳) He's now reacting in order by year, without repeating any songs. And then he plans to start on the live performances/interviews, etc. (He has an extensive Elvis playlist already and he's only up to '69.)
He says because it would take him "10 years to get to 1977" if he listened to songs he's already reacted to - I'm planning to stick around and see just how long it takes him to watch/listen to all things Elvis anyway. 🤣
@@janetb.8683I'm not necessarily talking to Seph, but to anyone who's unfamiliar with Elvis. Those 5 songs show his diversity as a singer. I don't know any of performer who could sing so well in so many different genres.
@@randalldeetz8659 My humble apologies, I wrongly assumed your comment was meant for Seph. You have chosen a perfect selection of songs to make your point.
Ohh i couldn't agree more. His diversity is what makes him the legend. His vocal chops can easily be shown off through a few songs. Instant classics!
Everytime I listen to this, it's just a "Wow" feeling. Utterly breathtaking, power-house of a song, with Elvis at his seductive best!!!
Yet at the same time, Elvis is showing us his playful side, I mean to say, who else does this! Seph, lyrics are open to the listener's interpretation 😋 haha
Seph one of my all time favorites!!!! The funkiest
Good catch. Had not noticed the little laugh before. Love it.
I freakin love this song! I crank it up when it comes on in my car! Nope, I can’t fight it!❤️
Another one I already know you’re going to love! 👑✌️
This album has been on loop for me lately, and this track is one of my favorites! It’s such a great song for Elvis’s vocals and personality, and the lyrics are pretty over-the-top so that Elvis had to laugh at it, as was his wont. And, honestly, who can fight the power of Elvis’s love? He has a multi-generation, multi-million devoted fan base that can attest to the fact that, no, you can’t lick it! 😂❤
Sexiest song ever....love it 😘💯⚡❤️
The King was on FIRE in this one!
Immagine if they had put Suspisious minds on this album too (but the cornel dident want to have all the singles on the albums). Still this is among my top 5 Elvis albums.
I would have swapped out "It Keeps Right On A-Hurtin'" and "In the Ghetto" and replaced them with "Stranger in My Own Home Town" and "You'll Think of Me" for a more consistent sounding "From Elvis in Memphis" album. The hits "In the Ghetto", "Suspicious Minds", "Don't Cry Daddy" and "Kentucky Rain" would be more compatible together for "Back In Memphis" album IMHO.
اعظم فنان على مر العصور لم ولن يتكرر الملك بدون منازع
Double banger for me Seph, maybe even a triple. ❤❤❤
awesome track🔥🔥🔥
It's my favourite album
Such a sexy song!! Love it!!🔥🔥🔥🔥💋💋💋
This has always been one of my Elvis favourites! So sexy.
this is just too🔥
Bangah. Chuggin along on Seph's Elvis train has been a real treat. Cheers mate
OMG! You almost had me like... "Not a banger?! What?!" 😭
But then 2 seconds later you're like, "It's a BANGER!"
And I'm like, "Oh thank God!"
Because seriously this song speaks to me. It's almost like nirvana for the ears, brain, heart, body, and soul 😍
(I'm keeping it PG 13 here, okay? I'm trying, guys.)
Yes, this song is very spicy. Very spicy. And that laugh Elvis does after he sings, "You can't lick it," is all kinds of wicked (in a good way of course 😉)
And in this lyrical context that line is what we today call a double entendre.
Elvis is saying that she can't beat back the strong emotions he makes her feel. (Old American slang word "lick" was used in place of how we use the word "kick" as in "I'll kick your a** for that." Using the word "lick" in the same context: "You can't lick me. I'll wipe the floor with you first!" Meaning that Guy #2 is not only not gonna get beat in a fight with Guy #1 but he's also beat Guy #1 in a fight and then use him as one would a mop.
I can just hear the collective British groan... "Ahhh- mehhhrrr- ehhh- ccciiihhhnnnsss... Bloody hell why are you always getting into a fight for?"
American answer: "You wanna go, bro?"
British confusion ensues: "Go? Go where?"
Okay, okay, I'm having fun here, forgive me.
Anyway, one could also interpret the line "No, baby, you can't lick it," in another, shall we say, spicy action sort of way...
Okay, I tried to keep it PG 13 here.)
Moving on!
"Power Of My Love" was written by Bernie Baum, Bill Giant, and Florence Kay (Seph you may remember once back in the early 1960's movie years how many of their songs you started to rate as not quite your favorites, so yeah, for you this I imagine is a bit of a shock, but a very pleasant one).
Recorded at American Sound Studio in Memphis, Tennessee on February 18, 1969 Hours: 7:30 p.m.- 10:30 p.m
Producers: Felton Jarvis/ Chip Moman
Engineer: Al Pachucki
Technician: Roy Shockley
Musicians:
Guitar: Reggie Young
Drums: Gene Chrisman
Organ: Bobby Emmons
Bass: Tommy Cogbill
Piano: Bobby Wood
Piano: Elvis Presley ("After Loving You" Takes 1&2)
Take 1: Short False Start + Playback: 4:44 (preceded by rehearsals- followed by intro- tape rewound)
Take 2: Short False Start: 1:01 (preceded by rehearsals) "This is 2"
Take 3: Playback: 3:20 "Three"
Take 4: 4x False Start: 3:20 (followed by rehearsals) "Are You Waiting For Me"
Take 5: Long False Start 0:36
Take 6a: False Start: 0:27 "Okay, this is six"
Take 6b: Long False Start + Playback: 5:38 (Long False Start announced as "Seven") "Amen"
V.O. (Master) 1:13+ Harmony vocals by Elvis on February 22, 1969
Overdub (Master) Brass overdubs on March 19, 1969 (evening)
Overdub (Master) 2:51 Back up vocals on March 20, 1969 unedited master
Faded Master 2:36 Master faded
*Note*: "Are You Waiting Just For Me" is a song written and recorded by Ernest Tubb (American country singer- songwriter): first recorded on January 14, 1945 & released in June 1945 on Single "Careless Darlin'" on Decca (Record Label).
Finally: Link to "Power Of My Love" From First Take To Master (courtesy of Leon): m.ua-cam.com/video/6vKy8J-w3Ew/v-deo.html
And that is it Seph & everyone!
I'm ALL done now!
FABULOUS REACTION SEPH!
SO MUCH FUN 🙌💃🙌💃 & 🎶TOO MUCH🎶 🔥🔥🔥🔥🔥🔥
THANKS AGAIN FOR ANOTHER 💎💎💎💎💎 REACTION 💐
Peace ✌, light 🌞, love 💖, & blessings 🙏 to you & yours & to one & all here as well 💕
Hi Sammy. I love me some Ernest Tubb. One of my favorite old-time country western singers. Very distinctive, unmistakable voice. Also Lefty Frizzell. Also Hank Snow, Marty Robbins, etc., etc. All distinctive and worth a listen. It was so much better than country music today.
@@jjbud3124 Hey there 🙋 I cannot profess to be a country music aficionado however Patsy Cline is one of my favorite female vocalists of all time, hands down.
Yes, I have listened to Hank Snow after I had gotten into Elvis and I have to agree, he does have a very distinctive voice. I have listened to Carl Perkins, Hank Williams, Glenn Campbell, Don Gibson, and of course Johnny Cash. I do have to admit I do not think I have listened to Ernest Tubb yet.
But he has an indirect Elvis connection: Wanda Jackson ended up cutting her first rock and roll record at Ernest Tubb's recording studio in Nashville, TN and she showed up on a spaghetti strap dress with fringe all over it (even though this was this the 1950's and that look wouldn't be popular until around a decade or so later) and short above the knee hem and cowgirl boots.
Ernest Tubb took one look at her and told her if she wanted to cut a record she would have to "cover up" first. Wanda Jackson's Dad, who was with her, took off his cowboy hat and put it on his daughter's head and told Ernest Tubb something to the effect of, "There. She's covered. Now are you gonna let her record here or we gonna have to have words?"
Ernest Tubb let Wanda Jackson continue on with recording.
Anyway, just a little fun story 😊
I'll give Ernest Tubb a listen! I was planning to anyway.
Especially since Elvis did seem to be a fan of his.
@@sammy_the_uncool2702 You are so full of interesting stories. I'm so glad you're here. Most of those old country singers from the 40's and 50's had their own distinctive voices and style. I used to love them, but not into them so much any more. I do think that there are not many singers with distinctive voices like back then. There wasn't one that I didn't know instantly when they came on the radio on Saturday nights.
@@jjbud3124 Thank you so much for the compliment! Truly appreciate the kind words 😊
Well I found a clip from 1961 of Ernest Tubb performing live on some television show and with none other than Bobby Emmons on the slide guitar (yeah, the same guy listed as the organ player for Elvis during these American Sound Studio recordings) 😯
If you are interested, here is the link: Ernest Tubb "Drivin' Nails In My Coffin": ua-cam.com/video/qnEMOQTh27s/v-deo.htmlsi=SAXmPnEqW8D1wq6K
@@sammy_the_uncool2702 I guess the professional musician world is a small one. 🙂 Thanks for the link. Tubb has a very distinctive voice doesn't he? I grew up in a house with classical music and pop, got into country, then big band stuff, and then Elvis. You might say I have a very eclectic taste in music. My collection now includes 50's rock, classical, and Elvis. and a little bit of country, but Elvis beats them all.
There are so many things I love about this song, but one of them, minor thing that it is, is the way he says "haunt you" with his southern accent -- as if it rhymes with "don't".
I adore this song!!! So fun and sexy too!!! 👍👍👍
🔥🔥🔥💃💃💃💯🎶🎶🎶❤🔥
0:40 I have this album bought it in the 70’s
Can't wait for your reaction to Depeche Mode - The Darkest Star. One of their best songs from Playing the Angel (I only skip one song from that album - Lilian)
🤩🤩 love this song so much, one of my favourites, very sexy and passionate 😍
🔥❤️👑❤️🔥
Hey Seph
Hey Mari 😀
Two separate comments today. This first one is going to be broken up in parts.
Also: I am providing this information before I watch your reaction, Seph.
Elvis Extra Article (sourced from credible Elvis history content website)- read on below:
It was bitter cold the evening of January 13, 1969, in Memphis, Tennessee. Producer Chips Moman and the searing band of musicians he had assembled at American Sound Studios were waiting for the arrival of Elvis Presley and his notorious retinue. It would be the first evening of a scheduled ten-day recording venture. It would also be Elvis' first such session outside of Nashville or Hollywood since he cut his last side for Sam Phillips at Sun Studio in 1955. The next few weeks were to be a milestone in Elvis Presley's career. On his own initiative, with considerable encouragement and prodding from his friends, he would slip from under his agent's conservative and protective control to work with one of the hottest house bands and one of the hottest producers in the country. He would break many well-worn habits that had put his career in neutral. He would make a sustained effort to recreate himself and re-establish his musical dominance. And he would assemble strong new material for an adventurous live act set to open July 31st, later that year in Las Vegas.
Nashville or Memphis?
Graceland, the evening of Thursday, January 9, 1969, one day after Elvis' 34th birthday.
Elvis met with RCA producer, Felton Jarvis, in the Jungleroom to discuss going to Nashville to record what he hoped would put him back on top of the charts. Marty Lacker was sitting there in the Jungleroom that evening, seething, as he listened to Elvis and Felton finalize the dates for Nashville. He began to unconsciously shake his head back and forth (his head was big, bald and round and as a result his nickname was Moon).
Marty fought back his frustration. Elvis snapped at him, 'What the hell's the matter with you?' and Lacker got the opening he needed to lay it on the line one last time: 'Marty Lacker: I just wish for once you'd try Chips Moman and his rhythm section, they're great Elvis'. And Elvis said, 'Well, maybe someday I will'.
Then everybody got up to go in the dining room, but I just sat there. I did not want to go in there and listen to them discuss the Nashville session. Elvis said to me, 'C'mon, let's go eat'. I told him I wasn't hungry and he knew I was lying because he knew I never saw a meal I didn't like, especially steak which was being served that night. So I kept sitting in the chair ... Well, it wasn't two minutes before Felton came out and said 'Elvis wants to see you'. I said, 'Felton, I don't want to go in there. With all due respect to you and Nashville, I really don't want to hear about it'. And he said, 'No he wants to talk to you about cutting in Memphis'. With that, I was out of that chair in a flash and in the dining room. With Felton standing next to me I said to Elvis, 'Is he kidding me, you want to cut in Memphis?' he said, 'Yes, but I have to start Monday night'. 'You and Felton set it up with Chips Moman'. Felton and I went to the front hallway to the phone and I called the studio, they told me Chips was at home so I called him there. I said, 'Lincoln, (his real name), do you still want to cut Elvis', he said, 'Hell yes'. I then said, 'Well you got him but you have a problem. He has to start Monday night and you already have Neil Diamond booked'. Chips said, 'Fuck Neil Diamond, he'll just have to be postponed. Tell Elvis he's on'. I then told him the session had to be a closed one and nobody who does not have anything to do with it cannot be invited. He said, 'No problem, you can handle that'. He said that even though I was not working for him at that time I didn't become General Manager of the studio until a few months later when he asked me to.
I then handed the phone to Felton who made the financial deal with Chips on behalf of RCA. When he got through with that we went and sat at the table where I sat next to Elvis on the right. I waited until he finished eating and then I said, 'Elvis would you do me a favor?' He asked what. I then said, 'With this session, you're gonna have a great and talented producer and some of the most creative and talented musicians, the sound of the studio is fantastic and we all know you can sing, would you please get some good songs this time?'
Elvis looked at me and said, 'Well I was waiting to finish eating and then I wanted you to come upstairs and listen to some new songs by this new songwriter, Scott Davis' that was Mac Davis' real first name. We went upstairs to his room and he played a tape of songs to me and the guys including, In The Ghetto and Don't Cry Daddy. I was happy because they sounded like hits to me. Another was, 'Home' but he didn't do that one.
Colonel Parker had lost control of his number one asset during an evening dinner at Graceland.
His greatest fear was being realized. Elvis had actually made a major decision without seeking either his advice or permission. The question for Parker became how to keep the situation from spinning totally out of his sphere of influence. Felton Jarvis was too close to Elvis to be counted on to keep a real eye on things. Besides, he had abdicated his position to Chips. He might be able to play a part in post-production, but Chips' take charge, no bullshit attitude ruled out any serious input in the studio. Parker could only send Diskin and RCA vice-president Harry Jenkins to the sessions to make sure everyone on the gravy train was having his interests considered. Those interests may have been primarily Parker's, but they were also, the Colonel genuinely felt, Elvis'.
Oh, and Parker could also send music, lots and lots of music from the Hill and Range catalog. On that count, he thought he was well set up, believing that he had practically placed an insider in the Presley camp.
Lamar Fike was one of Elvis' oldest and closest personal friends. At the request of Elvis' mother, Gladys, he had accompanied Private Presley to Germany, where he served as chauffeur and valet. Throughout the years he would be an integral part of the organization. Fike was trusted and always played an important role. He introduced Elvis to Felton Jarvis in 1966, in an attempt to lure him away from Hollywood and back to Nashville.
Fike started working at H & R in 1962, at times in close association with Parker and the home office. And though Fike was a champion of H & R, and worked on their behalf and had practically been placed in the job by the Colonel, he was a team player. After all, what was good for H & R was making money for Elvis too.
Fike was selling one song, Kentucky Rain by Eddie Rabbitt and Dick Heard, that he had a really good feeling about. Elvis wasn't too impressed, but Fike was persistent. Elvis had to cut it, it was that good, and if he didn't somebody else was going to chart with it. It was a smart call and Fike would later feel proud. When Kentucky Rain was released in 1970, it stayed nine weeks in the top 100, reaching #16. And according to plan, H & R took 50 percent interest in the song and Elvis' subsidiary took half of that.
Chips began to prepare for Elvis. He pulled songs from his own library he knew Elvis could sink his teeth into. Some he had cut with other artists, some hadn't worked out just right. Suspicious Minds was one. Chips had recorded it with the song's writer Mark James in 1968, but the record never made the charts. Chips thought he had a good chance with Elvis whose voice and intensity were perfect for the song. When the time came to cut the tracks, Chips used same arrangement as with James believing that only Elvis was the missing ingredient to a hit record. He was right. It was the last time Elvis would have a number one record on the Hot 100.
Part 2 Continued Below 👇
P2 Cont.: Elvis had a cold when he first arrived at American that night and was a bit taken aback by the studio's condition, which was run-down enough for a host of rats to feel comfortable taking up residence; 'What a funky studio!' he announced, responding to hearing rodents scuffling around.
For their part, the musicians weren't overly impressed about working with someone of Elvis Presley's stature, having already worked with many big names by then. But, they were surprised by the charisma he exuded before work even began. 'You'd know he was in the room when he walked in', said Reggie Young. 'You hear stories about people that have that effect on people, and I never thought anything about it. But Elvis really did. He just kind of commanded his space. You definitely knew he was there'.
Elvis quickly won the musicians' respect for how hard he worked. His vocals were recorded as the musicians worked out a song's arrangement, with the understanding that he'd recut a final vocal later.
Nonetheless, he gave his all during the early takes, with sax player/arranger Glen Spreen marveling at how he'd effectively give a full performance in the studio, even standing behind a baffle. 'He was back there just like he would be onstage, doing gyrations and the whole thing - because that was just the way he sang', Spreen told biographer Peter Guralnick. And despite his cold, Elvis himself felt re-energized by his work in the studio.
Chips only recorded three songs that evening, Long Black Limousine by Bobby George and Vern Stovall, that Chips introduced, This Is the Story by Arnold, Morrow, and Martin, from Freddy Bienstock and H & R and Wearin' that Loved On Look by Dallas Frazier and Al Owens, which Lamar had brought in. Even so, the session didn't break up till four the next morning and everyone seemed satisfied. On the ride back to Graceland, Elvis turned to the guys in the back and told them what seemed obvious. 'Man, that felt really great. I can't tell you how good I feel ... I really just want to see if I can have a number one record one more time'. He later said he never worked harder in the studio than he had during the sessions at American.
Elvis' cold gave his voice an appealing roughness, but after two nights, when he developed full-blown laryngitis, he took time off to recover. But the Memphis Boys kept working, spending the 15th and 16th recording backing tracks for four more songs, in the expectation of Elvis cutting his vocals later.
For the first three days, the sessions went according to plan until the cold which had been bothering Elvis for weeks came back with a vengeance. Elvis stayed at Graceland for a few days to recuperate while Chips cut background and laid down some rhythm tracks for a few new songs.
Back at Graceland, Elvis and the guys were going through the demos the Colonel had sent from H & R. Elvis was distraught. They were running out of good songs and this batch was just awful. Why wouldn't they send him some good material for a change? Marty spoke up: the H & R situation was costing Elvis hit songs. Elvis needed to consider music which the Colonel didn't have a bonus interest in. Marty explained to Elvis that unlike the 50s there is a lot more competition along with singer-songwriters and most did not want to give up any of their publishing rights. Elvis sat for a while, grinding his teeth and nervously bouncing his leg. Elvis then said, from now on I'll pick my own music and that everybody should bring in songs. Elvis: '... from now on I want to hear every song I can get my hands on, and if I've got a piece of the publishing, that's fine, but if I don't and I want to do the song, I'm going to do it'. Elvis then said to Marty, 'I want you to get me some good songs'. And to Red West, he said, 'I want you to get me some good songs too'. And also to George Klein because George knew a lot of artists through his TV show. George immediately got on the phone and called Neil Diamond. That's how Elvis came to record And The Grass Won't Pay No Mind during the following sessions in February.
Elvis finally returned to American on Jan. 20, and the size of his entourage had diminished. Both the musicians and Moman had been put off by the number of Elvis' friends and associates at the first sessions, whose presence seemed to be more of a distraction to Elvis. 'There was just too many people', said Moman.
'I think they were kind of shocked when I stood up to them. They probably had never had anyone ask them to leave the studio before - but I did, and it turned out to be better for Elvis'. 'We got the riff-raff out of there and got down to business and only had Elvis' key people around', Bobby Wood agreed. 'That's exactly how we started cutting all the hits'. And the first song cut on the 20th would become one of those hits, a song that further chartered the new direction Elvis was (momentarily) moving in: Mac Davis' In The Ghetto.
Elvis had already recorded a number of Mac Davis' songs before the Memphis sessions; A Little Less Conversation had appeared in the film 'Live A Little, Love A Little', and Memories had been featured in the 'Elvis' TV special. Davis had pitched Don't Cry Daddy to Elvis when visiting his home in Bel Air, and in advance of the sessions at American, he'd submitted a tape of potential songs, one of which was 'In The Ghetto'.
In The Ghetto was a 'message song', though its scenario was one that was patently obvious to anyone who had any knowledge of modern-day urban life. The narrative told the tale of a boy born in poor circumstances and whose lack of opportunities leads to a life of crime and ultimately his death - at the same time as 'another little baby child is born in the ghetto', thus continuing the cycle; the song's original title was 'The Vicious Circle'.
Though the sentiments were hardly radical, and it could be said that Elvis Presley had already recorded a 'message song' with If I Can Dream, there was some feeling that 'Ghetto' might be too overt in its politics.
There was also the chance the song could be seen as condescending, performed by someone of Elvis' wealth ... and race. 'There was a discussion about what people might think about a white guy singing about life in the ghetto', said Moman. George Klein even went so far as to tell Elvis he shouldn't record the song.
Chips said to Elvis, I've got to tell you, this is a hit song, you should cut this'. Elvis stood there thinking about it. And Chips followed with, 'Elvis if you don't do it, can I have the song'? And Elvis said, 'No, I'll do it'. On reflection, Klein told Elvis he was mistaken, and with everyone soon in agreement, Elvis devoted most of the 20th to recording In The Ghetto, cutting 23 takes before Chips was satisfied. He then cut a vocal track for Gentle On My Mind and ending the session, like the rest, ended in the early morning, with the bluesy Rubberneckin'.
The next night began with a rather loose cover of Hey Jude. Elvis planned to record a final vocal later (due to the fact that he didn't know all of the words), but that never happened, and the song was later released as is. He spent the bulk of the evening doing vocal overdubs, then cut a breezy version of From A Jack To A King, in part for his father, who attended the evening sessions; the song was one of Vernon Presley's favorites.
The 22nd was the final night of sessions then scheduled, and Elvis began with the dramatic ballad Without Love which he nailed in three takes. The soulful feel of the performance carried over into the next song, I'll Hold You In My Heart, despite its being a country song first popularized by Eddy Arnold. After the more straightforward country of I'll Be There, the sessions concluded with what would become another landmark track, Suspicious Minds. When released as a single, Suspicious Minds would be Elvis Presley's biggest hit in years, and it would quickly become the centerpiece of his live show. Yet the song very nearly wasn't recorded at all.
Firstly, Elvis wasn't too sure about it, but Joe Esposito talked him into recording it. Elvis said, 'Well, we'll put the track down at least'. At American they were recording 'the modern way' where Elvis did a rough voice track with the rhythm section, then they did the overdubs, with horns or strings and or background singers, and then Elvis came back and sang the final vocal track. Elvis disliked this method and it was the only time in his career he recorded this way. Actually, Suspicious Minds was spliced together from three different takes.
It was obvious that Suspicious Minds and In The Ghetto were going to be big records. Tom Diskin and Freddy Bienstock began to get antsy. They caught Chips alone in the hall and started working on him, trying to get a piece of the songs he owned. Finally, Chips had had enough. Gentlemen, I thought we were here to cut some hit records. Now if that's not the case, let me tell you what you can do. You can take your fucking tapes, and you and your whole group can get the hell out of here. Don't ask me for something that belongs to me. I'm not going to give it to you. Surprisingly, RCA's Jenkins chimed in with Chips. The session was going well. Everybody was going to make out just fine. There was no need to let the whole thing unravel. Diskin was furious and sought out Elvis to plead his case. But Elvis had already made up his mind. He wasn't going to let the home office or H & R or RCA for that matter, ruin his session. He politely told Diskin to let him and Felton and Chips handle things. Elvis then did something which surprised even Chips. He asked the producer how they could eliminate the hassles, and Chips told him to just get everyone out of there. And that was it.
Part 3 con. below 👇
Part 3 cont.: It was during their meeting that Elvis presented Roy with a beautiful new song 'Angelica' (Barry Mann/Cynthia Weill) that he was going to record himself. The song turned out to be the single released from the session, a soaring, dramatic rendition that unfortunately struggled to find radio airplay. It also turned out to be Roy's last single as sadly, on July 20, 1969, the distinctive voice of Roy Hamilton was silenced when he died following a stroke.
Elvis recorded several of Roy's hits including, You'll Never Walk Alone, Hurt and Unchained Melody.
Diskin grabbed the hotline to the Colonel's office and, frustrated and perplexed, spelled out the circumstances. Elvis was going his own way. He didn't want them around. They had absolutely no control.
Colonel Parker bristled. There was nothing he could do except tell Diskin to cut out immediately. That would teach Elvis a lesson: 'Come back here right now, and let him fall on his ass'. Many critics and fans alike have often claimed that if only Elvis had taken more control of his career, had trusted his own instincts, made the movies and recorded the music he really wanted, if he had just gotten rid of the Colonel entirely, his career would have been much better off. It's hard to argue with the Colonel's success, but it may be said with certainty that in this instance, without being tied to the Presley machine, Elvis rose to and met every challenge.
In twelve days, Elvis cut thirty-six sides. Four of them were singles - In the Ghetto, Suspicious Minds, Don't Cry Daddy, and Kentucky Rain and all but the last were gold, even though Kentucky Rain was a substantial hit. And the two albums that came out of it [From Elvis in Memphis and From Memphis to Vegas/From Vegas to Memphis] went platinum. That's some falling on your ass. When Elvis walked into American Sound Studio that January evening, he hadn't had a top five record since 1965. He would never get as high on the charts again as he did with Chips Moman. Elvis himself believed that he had recorded some of his best material. He did so with focus and effort, and by asserting a kind of independence which was unusual for him. But it was an independence tempered by a willingness to work with and be guided by a producer he had never met, in a studio he knew by name only. Desperate for a number one record, Elvis took chances he would never take again.
In an interview, that morning with the Memphis Commercial Appeal, both Elvis and Chips' Moman expressed their mutual admiration, Elvis concluding, 'We have some hits, don't we, Chips?' Maybe some of your biggest', Chips replied. Chips was right, though that wouldn't be evident for a few more months.
Before then, in spite of the tensions that had arisen over publishing matters, six further sessions were scheduled at American in February, beginning on the 17th and running straight through the 22nd. The sessions began with Elvis continuing a long-standing tradition at American, performing Chips' composition, This Time.
Elvis sang an impromptu version of the number, throwing in a few lines of It's My Way, then going into I Can't Stop Loving You. Then it was time to get to work, with Elvis turning in stellar renditions of True Love Travels On A Gravel Road, Stranger In My Own Home Town, and Neil Diamond's gentle And The Grass Won't Pay No Mind.
On the 18th, Elvis had great fun with teasingly macho Power Of My Love, then took over on piano for a heartfelt After Loving You, a song he'd been performing for his own amusement for years, while Do You Know Who I Am was the kind of yearning ballad that was his specialty. With no cold to hold him up, 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 I'm A Fool (For Loving You) (the latter previously recorded by Bobby Wood).
By now, material on hand was running thin (on this outing, publishing had been secured on every song before it was recorded), and on the 21st, only two songs were worked on, The Fair Is Moving On and Memory Revival, though Elvis didn't end up recording a vocal for the latter. On the 22nd, the last day of the sessions, Elvis recorded vocal overdubs and one more new song, Bobby Wood's religiously themed Who Am I?
The American sessions stand as a personal triumph for Elvis, a performer at a turning point, an artist who that Winter in Memphis, was again sharp, eager, and alive. And the music he created there will always prove it.
Part 4 con. below 👇
Part 4 cont.: Elvis' work was finished, but further overdubbing sessions were held in March and May, at both American and RCA's studio in Nashville, with horns, strings and backing singers added to flesh out the sound.
'Chips knew what a modern record, a pop record, as opposed to a country record, should sound like', says Jorgensen about the end result. 'He had an exceptional band, skilled players. And he was very focused on making records. Chips, in his head, had a vision of what a record should sound like. He cared only for those records that were taken to the full extreme, taken all the way, from his perspective; that would be records like Suspicious Minds and In the Ghetto. He didn't want Elvis to sing old country songs like I'll Hold You in My Heart, or Stranger in My Own Hometown. But those stand up as well as Chips' masterful productions of Only the Strong Survive and Any Day Now. It's a funny mixture of Elvis' own creativity and Chips'.
In The Ghetto was the first single released from the sessions in April; it peaked at #3.
Alright! That's it, that's all for this extended Elvis Extra Article 😀
Happy Ready everyone!
Wow thank you Sammy wonderful information. Have a lovely week lovely 💕
@@maggieshome Thank you so much Miss Maggie 😊 You have a lovely weekend as well ⚡💖💕
I have this LP Album
Jack White from the White Stripes covered this a few year ago and there's actually a remix duet with him and Elvis. It's ok actually, nothing like just Elvis but still ok.
ua-cam.com/video/XrgyTa3OMeM/v-deo.htmlsi=ckAgEjZf4xiK84Un
❤Believe it or not I’m sending you the link to the alternate #3. Must have been a recording session. It’s the X rated version. Fun, playful, longer, lots of grunts and groans and the noises he makes towards the end will bring a wicked grin to your face. 😂😂
Hey Seph did you receive the email? I saw you saw my comment yesterday but i guess you forgot to reply haha
I just readddd itt 😀thank you Alex funny you were thinking the same thing haha
Really struggling with emails though got to admit xD
@@SephPlays Yeah I imagine haha, can you just reply to it about the thing I asked you? And did you receive the email i sent you on January 31st?