It’s almost as if, just like the earlier Polk Salad Annie, the Tony Joe White songs caught Elvis’s interest, even though we’re supposed to believe he hated doing this session and didn’t want to be there or whatever. And what’s cool about I’ve Got Thing About You Baby is precisely that it isn’t Elvis in full You Gave Me A Mountain mode, but rather draws out of him and, through him, his backing musicians, the same playful swing and lilt that made 50s tracks such as Have I Told You Lately That I Love You so wonderful.
Weren't these sessions compromised by Stax not having a vocal mic that Elvis wanted either? I recall Ernst mentioning this in his book but I don't have it handy to check.
Just checked it. Prior to the fourth night of sessions, Elvis' personal handheld microphone was stolen, and the only available substitute was what Al Pachucki considered "some cheap mike." Elvis did a few takes of "Girl of Mine' and thought he sounded funny. When Pachucki explained about the stolen mike, Elvis got up and left, and the July sessions were done.
I agree but I doubt he would have recorded if Jarvis or anyone else would have insisted that the entourage leave. Unlike the TV special in 1968 or the 1969 Memphis sessions, Elvis wasn't excited to record or push himself. He wasn't fighting to be relevant again like '68-'69. I've read about how difficult it was getting to even get him to record in a studio at this time. I would guess that Jarvis like everyone else, was along for the crazy ride and they hoped for the best. That being said, I still like a lot of the recordings that were made. Some people have already pointed out Elvis' very noticeable vocal decline here. The crazy thing that always strikes me is how much I like these songs despite the quality of Elvis' voice. Even with less than stellar performances, I still have a lot of go to songs from the STAX sessions.
The song's ok, and everything sounds clear, but this mic sounds like one of those cheap Kmart mics I used to use into the 3 in 1 stereo lol.... If not for what we have seen and heard them do up to this point, I would think they had Od'd while making the track selection, based on the sound of it.
What I do not get about the story is Elvis was not using his usual mic and yet he did not walk out UNTIL the engineer told him his mic was stolen.
Raised On Rock Written By : Mark James Recorded : Stax Studios, Memphis, July 20-25, 1973: July 23, 1973. take 10 This track is a really well put together instrumental arrangement, and the vocal is fine. The lyric is ok, but as has been stated a few times now, it is an unusual lyric for Elvis to sing. It is surprising that nobody thought to change that, or as also previously stated perhaps everyone had become so complacent that it was even considered. The song itself doesn't bother me, it is just another song about Rock and in reality it isn't the best song ever written about the subject so it is somewhat redundant worrying about the fact the lyrics make no sense coming from Elvis. Again it is a good starter for the album, and the lyrics become a negligible issue.
Are You Sincere Written By : Wayne P. Walker Recorded : Elvis' Home In Palm Springs, September 22-23, 1973 : September 23, 1973. take 1 edited - for single. take 4 for album This track has a bit of a reminisce about it. It sounds like it could almost be a sixties track. The arrangement is very good and it ends up being quite subtle. The vocal is excellent. The guitar is really nice working as part lead, and part rhythm. I have never been super enamored with the spoken sections in some songs, but this one is short and decent enough.
Agreed. Actually, I usually can't stand songs about how awesome rock/soul/whatever is, so it took a while for ROR to grow on me. When it did, it was all because of the sound of the track: the funky drumming, those cool guitar licks, and - yes - Elvis' laid-back attitude, which (intentionally or not) lets the band breathe and settle into that tasty groove. I said it earlier, but I love that ominous-sounding bit right after the bridge, around the 1:59 mark. Are You Sincere? is something of an Are You Lonesome Tonight? ripoff, but I think Are You Sincere? is a much better song and performance from Elvis. There's real feeling and pain in his reading of Are You Sincere?, whilst I don't quite believe the singer of AYLT. Are You Sincere? has always been my favourite song from ROR, although For Ol' Times Sake gives it a run for its money. The early takes are wonderful, but I've never had an issue with the master. I wish they'd fixed that annoying skip on the Our Memories Of Elvis FTD, though!
I've always liked Raised on Rock (the song), and always thought the admitedly odd-in-parts lyrics were sung somewhat tongue-in-cheek. Maybe not. But they never bothered me much, and it kinda suprised me when the Internet came around and I read of the strong dislike. While Are You Sincere has a fine vocal performance, it doesn't do much for me. Not bad, but when I'm listening to the CD of the album this one has a 50% of being subject to the 'skip' button. Agree with DirkM that it's a bit of a re-tread of Are You Lonesome Tonight.
It is a nice recording, but Elvis’ vocals are somewhat weak and wobbly. The July sessions were generally rough.
I am pretty much with you, Dirk and Mark here as the somewhat odd for Elvis to sing song lyrics have never stopped me from enjoying the song. The strange thing is though I never seek to play it out on his own, I always find Raised On Rock to be a pretty interesting listen. I just love the transition at the third verse (or is it at the bridge?) from James' great rock guitar to Bobby Woods soft piano, and the lyrical reference to Frank Liszt is actually pretty clever. I always thought Elvis was singing classical list, not classical Liszt! I really cannot believe how much I like the demo version by songwriter Mark James as well that @ClausH posted for us, just terrific to my ears. I wish Elvis had kept the last reference about The Stones in his version of Raised as well. I cannot say enough about Elvis's vocal on Are You Sincere? It is simply majestic all on its own. James Burton's very deft guitar playing around Elvis's standout vocal is just as sublime as well.
By the way, who's with me that the Raised On Rock album cover has perhaps the most unflattering pic of Elvis out of all of his 1970's releases? I know they didn't have photo shoot images to use, but did they have to chose this one, where Elvis looks like a vampire?
I like it a lot better than the shot used for the Aloha jacket, but otherwise it was another in a long line of boring album art, Elvis live against a black background. Made sense for the concert LPs but the studio releases deserved something else.
I know I've complained about the lyrics, but I do think Raised on Rock is an okay track despite this. It's a nice arrangement and the band do a fine job, particularly the rhythm section creating a fine groove. Elvis' voice sounds weak and strained though, particularly when he reaches for the high notes. He's just not at his best here. In a way it reminds me of his vocal on Way Down, another rocker where he was not up to the task of rocking. Huh, I will fully admit that it never occurred to me that the lyric was a pun on Liszt... I also have always thought he said "classical list." I'm still not entirely convinced it was an intentional pun, unless James has confirmed it. I've never heard the demo before, but I just listened to it now on youtube. The fact that they did rewrite a reference to the Stones but couldn't be bothered to take 15 minutes more to fix the rest of the lyrics just really underscores the laziness or apathy behind this enterprise. I'd pick Aloha as the winner for most unflattering picture on 70s album, but Raised on Rock is a close second.
Aloha has a worse photo of Elvis, but at least it's much smaller and somewhat concealed within the tacky design. The ROR cover is just flat-out horrible (maybe even scary).
Aloha definitely wins the title. Another contender is From EP Blvd., not a particularly flattering image.