Elvis Presley - The Albums and Singles Thread pt2 The Sixties

You have a some good points. Who knows how he really felt about touring the world? My uncle served in West Germany at the same time as Elvis. While some people might bump into a celebrity once and then embellish the story to the point that they were besties with the celebrity, my uncle was just the opposite. He told me that he only saw Elvis one time and that was from a distance. He watched a baseball game on the base and Elvis was on one of the teams. I say that to say this. He told me that many places in Europe at that time were crawling with con artists. Many scammers were specialized in defrauding service men. Soldiers at that time were cautioned to be very careful when off the base. There were scams involving unbecoming conduct toward ladies that charges would go away if the price was right. There were injury scams and a host of others. Elvis could have just been playing it safe and keeping his nose clean by staying on base. A scammer would have loved to get someone like Elvis in a compromising position.
On the other hand, I heard an interview with Tom Jones and he was talking about how Elvis was excited that he might get to tour Europe. He said Elvis asked him if he thought he would draw a crowd in Wales. Tom's response was something like " O f course! You're Elvis for goodness sake! You could sell out a show anywhere!".
PacificOceanBlue has a great point though. If Elvis was going to do a world tour, around 1970 would have been a great time for the world to see Elvis and for Elvis to undertake such a project.

 

You nailed it PacificOceanBlue! When we first heard the news Elvis signed up to do Vegas, DJs switchboards lit up for us fans trying to express our disbelief, and hoping the news wasn't true.

 

I would definitely agree with the last statement. There were plenty of Australian bands that would tour arenas and concert halls, and during their tours they would play impromptu gigs in pubs clubs and taverns for the difference the show brings. I'm not really an either or kind of guy. I don't think that even the Vegas thing should have been completely outlawed, I just don't think it is a good permanent environment for a singer. I think it brings with it a certain feel that is contrary to inspired music ... I have no logical reasons for saying that, but from observation, that seems to be the case. It's like eating your favourite dinner every night, soon it loses what it was that made it your favourite and it is just some bland warm mush.

 

Oh, no doubt. Unfortunately it has all happened and the worst came to pass.
Many big international bands have used warm up gigs to get themselves back in the swing of it. My main thing is the fact that Elvis hadn't toured or even played a live show in nine years, sure we had the tv special, but that isn't quite the same as playing to eight or twelve thousand people ... and he also knew that they were doing double shoots, so there was a fall back.
From my perspective he didn't necessarily need to play Vegas, but he definitely needed to do something in preparation for a big concert tour, it isn't wise to go into something like that cold, and he was definitely cold, in that regard

 

For the record we will be revisiting the comeback special when we start moving through the FTD's etc ... so fear not if you feel we missed the tracks that missed the original telecast.

 

Memories/Charro

(US) RCA 47-9731
Released: February 25, 1969
* Recorded: Samuel Goldwyn Studio, Hollywood, November 25, 1968
Of course we already covered these but I just want to keep the chronology flowing on here.

 

His Hand In Mine/ How Great Thou Art


(US) RCA 74-0130
Released: March 25, 1969
We of course covered these two songs already as well on the albums.

It is very interesting that these were released as a single together, but even more interesting to me is the fact that the covers are shots from the tv special

 

Agreed. Elvis needed to do something in preparation for a big concert tour.

On one of the earlier anniversary shows of Elvis' passing, I think it was Good Morning America, Sam Phillips thought signing up for Vegas was all wrong and he recommended to Elvis, to start off his touring in Memphis so he could get everything work out.

 

Flaming Star


(US) Camden CAS 2304
Released: March 28, 1969

Flaming Star got its widespread release after the tv special. I believe initially there was somewhat of a limited release just in the Singer stores. As we already discussed.

 

In The Ghetto/Any Day Now

(US) RCA 47-9741
Released: April 15, 1969

Both these songs are on the album, so I will be going through them properly as we hit them in sequence on the album.

But what a single .... I keep thinking what a great pairing of songs with the Little Sister and Edge of Reality singles, but here again is a pair of songs that are just sensational

 

From Elvis In Memphis


(US) RCA LSP 4155
Released: June 1969

From Elvis in Memphis is the tenth studio album by American rock and roll singer Elvis Presley. It was released by RCA Records on June 17, 1969. It was recorded at American Sound Studio in Memphis in January and February 1969 under the direction of producer Chips Moman and backed by its house band, informally known as "The Memphis Boys". Following the success of Presley's 1968 Christmas television special and its soundtrack, the album marked Presley's return to non-soundtrack albums after the completion of his film contract with Paramount Pictures.

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

From Elvis in Memphis was released in June 1969 to favorable reviews. The album peaked at number 13 on the Billboard200, number two on the country charts and number one in the United Kingdom, and its single "In the Ghetto" reached number three on the Billboard Hot 100. The album was certified gold by the Recording Industry Association of America in 1970. In later years, it garnered further favorable reviews, while it was ranked number 190 on Rolling Stone magazine's 2003 list of the 500 greatest albums of all time.

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

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

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

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

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

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

Moman moved away from the usual Presley pop recordings aimed at an established audience. A developer of the Stax Records sound, he incorporated a Memphis sound integrating soul, country, gospel and rural and electric blues.[29] Many arrangements lean heavily on the rhythm section, with lesser contributions from strings, brass and woodwinds.[30][31] Arrangers Green Spreen and Mike Leech changed Presley's image on the tracks with the addition of violas, cellos and French horns. The arrangers intended to blend the tracks for a distinctive sound; the strings are used in counterpoint, rising when the track fades and vice versa.[32] The violas play the same lines as the French horns, with cello used for darker tones. Syncopation was incorporated by bowing.[27]

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

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

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

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

The single "In the Ghetto" was released on April 15, 1969, with 300,000 copies shipped by RCA. In its second week after release, it entered the charts, where it remained for thirteen weeks (reaching number three on June 14).[27] The single sold a million copies in the United States. Meanwhile, it reached number two on the British Singles chart.[44] However, its success triggered a confrontation between RCA and American Sound. During the sessions, Presley's usual producer, Jarvis, grew increasingly worried about losing control of Presley and his recordings.[26] During its first two weeks on the chart, "In the Ghetto"'s production was credited to Jarvis. Lacker then called Billboard and had them correct the producer credit to Moman. During the fourth week, Parker asked Billboard to remove the production credit from the song's entry entirely (arguing that Presley's records did not traditionally list a producer credit).[27]

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

On July 12, 1969, Presley was featured on the cover of Rolling Stone, with the album receiving the lead review.[58] Peter Guralnick, the magazine's reviewer, described it as "great ... Flatly and unequivocally the equal of anything (Presley) has ever done" and praised the "evident passion which (Presley) has invested in this music", adding: "(he) is trying, and trying very hard, to please us. he needs to have our attention ... It is his involvement after all which comes as the surprise."[59]Billboard also published a positive review, saying that Presley had "never sounded better, and the choice of material is perfect".[46] High Fidelity wrote, "Elvis has been through a number of stages, and his latest is the best".[47]

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

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

• Elvis Presley – vocals, guitar, piano on "I'll Hold You In My Heart (Till I Can Hold You In My Arms)"
• Glen Spreen – string and horn arrangements
• Ed Kollis – harmonica on "Power of My Love" and "True Love Travels on a Gravel Road"
• John Hughey – pedal steel guitar (on "In the Ghetto")
• Reggie Young – lead guitar
• Bobby Wood – piano
• Bobby Emmons – Hammond organ
• Tommy Cogbill – bass guitar
• Mike Leech – bass guitar
• Gene Chrisman – drums

Overdubbed

• Wayne Jackson – trumpet
• Dick Steff – trumpet
• R.F. Taylor – trumpet
• Ed Logan – trombone
• Jack Hale – trombone
• Gerald Richardson – trombone
• Tony Cason – French horn
• Joe D'Gerolamo – French horn
• Andrew Love – saxophone
• Jackie Thomas – saxophone
• Glen Spreen – saxophone
• J.P. Luper – saxophone
• Joe Babcock – backing vocals
• Dolores Edgin – backing vocals
• Mary Greene – backing vocals
• Charlie Hodge – backing vocals
• Ginger Holladay – backing vocals
• Mary Holladay – backing vocals
• Millie Kirkham – backing vocals
• Ronnie Milsap – backing vocals
• Sonja Montgomery – backing vocals
• June Page – backing vocals
• Susan Pilkington – backing vocals
• Sandy Posey – backing vocals
• Donna Thatcher – backing vocals
• Hurschel Wiginton – backing vocals

1. "Wearin' That Loved On Look" Dallas Frazier, A.L. Owens January 13, 1969 2:47
2. "Only the Strong Survive" Jerry Butler, Kenny Gamble, Leon Huff February 19, 1969 2:46
3. "I'll Hold You in My Heart (Till I Can Hold You in My Arms)" Eddy Arnold, Thomas Dilbeck, Vaughan Horton January 22, 1969 4:34
4. "Long Black Limousine" Bobby George, Vern Stovall January 13, 1969 3:44
5. "It Keeps Right On A-Hurtin'" Johnny Tillotson February 20, 1969 2:38
6. "I'm Movin' On" Hank Snow January 14, 1969 2:50

1. "Power of My Love" Bernie Baum, Bill Giant, Florence Kaye February 18, 1969 2:37
2. "Gentle on My Mind" John Hartford January 14, 1969 3:22
3. "After Loving You" Johnny Lantz, Eddie Miller February 18, 1969 3:09
4. "True Love Travels on a Gravel Road" Dallas Frazier, A.L. Owens February 17, 1969 2:38
5. "Any Day Now" Burt Bacharach, Bob Hilliard February 20, 1969 2:56
6. "In the Ghetto" Mac Davis January 20, 1969 2:57
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This album is truly magnificent. It is like the focus point of everything that was great about Elvis. We have grinding rock songs, we have emotive ballads, we have gospel stylings, we have blues influence, we have country music ala Elvis..... This album to me truly encapsulates Elvis as a singing and recording artist. This album should be one of the biggest selling albums of all time, but I have no way of knowing how many copies it has sold because they haven't revisited the accreditation since 1970. I can easily assume it has gone platinum because it was gold in 1970, but it really should be up there with Led Zeppelin iv as a many times platinum recording.
The song selection is fantastic and even some of the songs that may be somewhat simplistic come across as major achievements due to the recording and the passionate singing on them.
Elvis would never top this album in my opinion, but he still recorded some great music. That is certainly no criticism of what came after this either, because anyone would be happy to have an album this good in their collection.
Vocally Elvis is in top gear, the adrenaline from the tv special carried over. The excitement of relaunching a serious singing career pulsated on. Chips Moman kicked Parker to the curb and did what needed to be done with Elvis, he made him focus, and got the best out of him. I am sure he appreciated who Elvis was, but he didn't succumb to the grovelling sycophant syndrome that messed Elvis up all through his career. Moman took the reigns and made sure that this guy made the best album and songs possible. He made sure that the right songs were played no matter what stupid publishing rights were. He made our boy do what he should have been doing all along and lead Elvis back to the heart of his own music.
It is a terrible shame that Parker in all his manipulative glory managed to snow Elvis with the Vegas gigs and by doing so blank Moman out of the picture for future projects, but at least we have this absolute gem of an album to enjoy.

This album is one of my all time favourite albums by anyone and it manages to be raw and emotive, yet smooth and polished at the same time. It is terribly difficult to achieve that on an album. Normally you end up with one or the other, but here we have the perfect balance that makes this diamond shine so bright.

Anyhow

What are your feelings about this album?
Let us know everything that comes to mind and give us your hearts and minds about it.

Cheers
Mark

 

Tomorrow I won't be starting the first song.
I think this album really needs a little more attention so tomorrow although I may well post, I will be leaving us here to savout the album and everyone's thoughts on it.
I will also only be going through one song each day.

Cheers
Mark

 

I was actually just thinking about this album again .... although I love many Elvis albums, I think this is the first album that care has been taken in the sequencing and the whole set up and package. Although the cover shot is another "We'll use this picture from the tv special" moment, it is still in context with the music and the times, which means this album is probably the most complete package put together during Elvis career.

 

What an album! I still go back and forth on what my favorite Elvis album is but most days this one gets the nod. I truly like every song on here, and can't find any fault.

Our friends in the RCA art department came up with a questionable cover, and I have a feeling they chose it to capitalize on the Special (although it seems a bit slimey if they were trying to deceive consumers). But it is a great photo, and looks very cool when holding the actual 12" LP. The back cover photo, is that from Viva Las Vegas?

The LP had a quad release in Japan. I've got one, and have a multi-channel needle-drop - it's a very interesting listen, and it's something I wish FTD would consider putting out (along with some of the other Quad titles).

Here's the original USA LP's original package, with bonus photo, sticker on the cover and inner sleeve:

 

Definitely!!!!! get me some surround ELVIS!!!! the number ones was quite average

 

I feel exactly the same way. From Elvis In Memphis is not only my favorite Elvis album of all time (Elvis Is Back! is a very close second), but it is probably my number one album of all time period. Elvis's singing is so inspired and passionate. The backing studio band is one of the most highly revered and commercially successful studio bands in the history of recorded music. Wow, and we have some of the finest original songs that Elvis has been given in many a moon. The hit single In The Ghetto is a revelation, but the whole album captures everything that was great about Elvis Presley; His phenomenal and versatile singing voice, the power and passion that he could bring to material that he felt strongly invested in; And lastly, Elvis's unique ability to get the very best out of a group of stellar musicians that were not easily impressed with the trappings of a superstar. We are at the pinnacle of Elvis Presley's storied singing career and I am like a kid in a candy store.

 

One of his greatest álbum, of course, not my favorite though: i keep prefering "Elvis is back!" (1960) and "King Creole" (1958) over it. Still, "From E in Memphis" remains his best Lp post 1968. It is full of Blues, Soul, Pop and Country (with touches of Gospel). All those genres blend perfectly through his beautiful, matured voice.

My only complain: because of its title, Stranger In My Own Home Town shoulda been there. It is a magnificent Blues number and it truely diserved a placer there.

 

If I was in charge of Elvis LP releases back then (I wish!), I would have made this a two LP set and fleshed it out with other tracks from the session. Why they waited for the next LP to release more from these sessions, and to release that as a double LP with one album being a live album is puzzling. The material would have been much better served as a double LP of these sessions.

 

Great single. "Any Day Now" is one of my all time favorite songs. I wish he had performed it live.

 

A mono lp was released in the U.K. but it is a fold-down. Even the single which had a dedicated mono mix was folded on the U.K. LP.

 

As much as I think the album itself is almost pure perfection as it is now, I actually think both of these suggestions are quite brilliant as well. I myself have always wondered how much more successful this album would have been, both commercially and critically, if Suspicious Minds or even Kentucky Rain had been included on it as well.

 

I agree totally with this. It would have made much more sense to release From Elvis In Memphis and Back To Memphis as a double, and then In Person as a separate live album ...
Sense never seemed to be Elvis' Managements strong point

 

Wearin' That Loved On Look
Only The Strong Survive
I'll Hold You In My Heart (Till I Can Hold You In My Arms)
Long Black Limousine
It Keeps Right On A-Hurtin'
I'm Movin' On
Power Of My Love
Gentle On My Mind
After Loving You
True Love Travels On A Gravel Road
Any Day Now
In The Ghetto
Inherit The Wind
This Is The Story
Stranger In My Own Hometown
A Little Bit Of Green
And The Grass Won't Pay No Mind
Do You Know Who I Am?
From A Jack To A King
The Fair's Moving On
You'll Think Of Me
Without Love (There Is Nothing)
Suspicious Minds
Don't Cry Daddy
Rubberneckin'
Kentucky Rain
My Little Friend
Mama Liked The Roses
I'll Be There
If I'm A Fool (For Loving You)
Who Am I?
Hey Jude

Disregarding Hey Jude, taking the time to properly sequence these could have made it the most significant and best double/perhaps triple album of all time

 

This is one of the finest albums Elvis ever released, loaded with quality material, supreme vocal work, relevant arrangements, and focused production. It was arguably the last dynamic collaboration Elvis had with an outside party (with the exception arguably being On Tour's Adidge and Abel -- although as good as On Tour is, I don't think it is anywhere close to the artistic and creative level of the American Sound sessions). Credit definitely has to be given to Marty Lacker for encouraging Elvis to record at American and to work with Chips -- without Lacker's coaxing, Elvis likely would have been in Nashville recording with Felton Jarvis in January 1970 instead of creating magic in Memphis with Moman.

As far as the final track listing is concerned, I agree with others that Stranger In My Home Town is a strong contender for biggest omission, and it certainly would have been a good substitution for It Keeps Right On-A Hurtin', which is arguably the album's weak link (albeit, one that fits within the album's overall theme). I also think Without Love is excellent and a bona fide highlight from the sessions, but considering there were so many quality performances captured at American Sound, clarity on the perfect track listing can get blurry. So, with that being said, it is better to leave the sequencing alone and enjoy this outstanding album for what it is.

 

I think the American Sound sessions would have been less impactful had they been the basis for a double LP. There would have been too much to digest with some of the results watered down. I think it was the right move to issue a single disc. Interestingly enough, Chips Moman allegedly viewed a number of recordings that did not make From Elvis In Memphis' final track listing as discardable outtakes.

I have mixed feelings about the Back In Memphis/In Person double LP; for years I thought they should have been separated (like they eventually were), but over time, I have begun to lean toward the view that the double LP was initially the right way to go. It followed the blueprint of Cream's Wheels Of Fire, which offered an intriguing glimpse into the artist, and the same thing applies to Elvis. I do think In Person could have been promoted as an individual live set and made its mark, but at the same time, I think Back In Memphis, which on its own was not as good as From Elvis In Memphis (Moman was not completely wrong that some of the performances were not standouts), was bolstered with more depth by being coupled with the live disc.