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. ' Released: April 14, 1969 From Elvis in Memphis is the thirty-fifth by American singer, released on. It was recorded at in in January and February 1969 under the direction of producer and backed by its house band, informally known as '. Following the success of Presley's and, the album marked Presley's return to non-soundtrack albums after the completion of his film contract with. 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.

Full Discography: Elvis Presley. The Original Elvis Presley Collection; CD 01 / 1956 – Elvis Presley CD 02 / 1956 – Elvis CD 03 / 1957 – Loving You. All 57 Elvis Presley Albums. Comment; Despite some recent hiccups in Las Vegas, 39 years after his death, Elvis Presley’s career is. Elvis presley; vulture. Despite some recent hiccups in Las Vegas, 39 years after his death, Elvis Presley’s career is still going strong — his estate earned $55 million in 2015. This year, to commemorate the 60th anniversary of the release of Presley’s first record, his widow, Priscilla, and RCA have put together a massive box set presenting the King’s original.

This impression is emphasized by the frequent use of the in the arrangements. In any case, the Memphis Boys have a solidly sound. From Elvis in Memphis was released in June 1969 to favorable reviews. The album peaked at number 13 on the, number two on the country charts and number one in the United Kingdom, and its single 'In the Ghetto' reached number three on the. The album was certified gold by the in 1970. In later years, it garnered further favorable reviews, while it was ranked number 190 on magazine's 2003 list of.

Contents. Background After Presley's 1960, his manager, shifted the focus of the singer's career from live music and albums to films and soundtracks. In March 1961, he performed what would become his last live concert for the next eight years: a benefit for the construction of the at Boch Arena in.

During the first half of the 1960s, three of Presley's soundtrack albums reached number one on the pop charts and a number of his most popular songs were from his films, including 1961's ' and 1962's '. After 1964, Parker decided that Presley should only record. He viewed the films and soundtracks as complementary, with each helping to promote the other. As it turned out, the commercial success of Presley's films and soundtracks steadily diminished (;; ), while he was increasingly disappointed with the quality of his work.

From 1964 to 1968, Presley had just one top-ten hit: ' (1965), a gospel number recorded in 1960. Only one LP of new material by Presley was issued: the gospel album (1967), which won him his first in the Best Sacred Performance category.

In 1968, Colonel Parker arranged a deal with for a starring Presley in front of a live audience. Parker originally planned to have Presley sing Christmas carols only, but producer convinced the singer to perform songs from his original repertoire. The high ratings received by the special and the success of re-established Presley's popularity. During the making of the special, Presley said to Binder: 'I'll never sing another song that I don't believe in, I'm never going to make another movie that I don't believe in.' As part of his decision to refocus on music rather than film, Presley decided to record a new album. Recording Presley left his usual musicians and studios ( in and in ), recording new material in Memphis. After the special he approached and, who had played with Presley during his early hit-making career, and who rejoined him on the television show.

Presley asked Moore about using in, but that suggestion never came to fruition. During a January 1969 meeting at, Presley told his usual producer, that he did not want to record his next album at RCA Studios.

Two of Presley's friends, DJ and Marty Lacker, suggested that he use, an up-and-coming studio with which Lacker was involved. RCA contacted the studio's producer. Willing to work with Presley, Moman postponed a session with after being asked to produce the sessions with Felton Jarvis as second producer.

It was agreed that Presley's recordings would take ten days and cost $25,000. He would be backed by the studio's house band, the 827 Thomas Street Band (informally known as 'The Memphis Boys'), which consisted of on guitar, and Mike Leech on bass, on drums, Bobby Wood on piano, and Bobby Emmons on organ. Although RCA Records oversaw their company policy to record only in their own studios, the label sent their personnel out to American Sound.

Recording began on January 13, 1969, when Presley arrived at the studio nursing a cold. In addition to his personal entourage, he was accompanied by publisher, 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. The session, which produced recordings of ', 'Wearin' That Loved On Look' and several non-album songs, continued until 5:00 am. 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. The next day Presley recorded ' and ', leaving the studio while working on the latter to rest his throat. The following night, he did not appear, as his cold worsened, and on January 15 and 16 the house band recorded backing tracks for subsequent sessions.

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Presley returned on January 20, recording ' in 23 takes and finishing the vocal track for 'Gentle on My Mind'. On January 22, he recorded 's ' and the non-album single '.

Presley then took a break from recording for a vacation trip to to celebrate his daughter first birthday. 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 ', 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. 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. 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. Moman retained the publishing rights, and the sessions were scheduled to resume several weeks later.

Presley returned on February 17, recording ' and 'Power of My Love', and 's 'After Loving You' and 'Do You Know Who I Am?' The following day. 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 ', a hit for the previous year, which took twenty-nine takes. On February 20, he recorded 's 'It Keeps Right on a Hurtin' in three takes and 'Any Day Now' in six. 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.

The following month, Mike Leech and Green Spreen began work on the string and horn overdubs to finish the album; several brass overdubs were recorded. Music Moman moved away from the usual Presley pop recordings aimed at an established audience. A developer of the sound, he incorporated a integrating, and and. Many arrangements lean heavily on the rhythm section, with lesser contributions from strings, brass and woodwinds.

Arrangers Green Spreen and Mike Leech changed Presley's image on the tracks with the addition of, and. 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. The violas play the as the French horns, with cello used for darker tones. Was incorporated. Beginning with his American Sound recordings, soul music became a central element of Presley's stylistic fusion. The opening track of side two features lyrics full of sexual innuendo.

Problems playing these files? The twelve tracks on the album were selected from thirty-one which were recorded in the American Sound sessions. 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)'. Presley's voice is roughened by a cold on the fourth song, the country-rhythm-and-blues 'Long Black Limousine' featuring a trumpet solo. The fifth song, '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 's country-western ' with a strong bass line and driving rhythm. Side two begins with and 's 'Power of My Love'. The song has a blues-based sound, with Presley backed by a brass section, drums and electric guitar and organ.

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The lyrics include ('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. The second track, a cover of 's 'Gentle on My Mind' follows. The string-laden arrangement was inspired by 's 1967 -winning version of the song. The next song, Eddy Arnold's 1962 hit 'After Loving You', is arranged in a rhythm-and-blues style. This is followed by 's 'True Love Travels on a Gravel Road' and 's 1962 hit, 'Any Day Now'. The twelfth and final song of the album, selected as a single, is ' '. The song was chosen by, who had previously picked material for other Presley sessions.

The 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, Presley's friends and George Klein (initially opposed to 'In the Ghetto'), convinced the singer to record it. 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. From Elvis in Memphis became one of American Sound Studio's best-known productions, with 's; both albums reflected similar times and musical trends on the Memphis scene.

Release and reception 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). The single sold a million copies in the United States.

Meanwhile, it reached number two on the British Singles chart. 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. 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). Professional ratings Review scores Source Rating (favorable) (favorable) (favorable) From Elvis in Memphis was released in June 1969.

The album topped the, disposing for one week 's. In the United States, it reached number thirteen on 's, and was ranked number seventeen on the magazine's Top Country albums of 1969. By January 28, 1970, the album was certified gold by the after selling over 500,000 copies. On August 23, 1969, Presley was featured on the cover of, with the album receiving the lead review., 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.' Also published a positive review, saying that Presley had 'never sounded better, and the choice of material is perfect'.

Wrote, 'Elvis has been through a number of stages, and his latest is the best'. 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'. Gives it five stars out of five, and highlights it as an 'AllMusic album pick'. Critic Bruce Eder said that together with 1956's, 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'. Has described From Elvis in Memphis as 'some of the best music Elvis Presley ever made'.

's reviewer considered that the album 'rivaled' in 'terms of historical importance and innovation', and was 'downright essential, for any Elvis fan and for any music fan'. Legacy Following the American Sound sessions, Presley returned to.

Between March–April 1969, he recorded the soundtrack and starred in his thirty-first and last motion picture as an actor,. When the album was due for release, Parker arranged Presley's return to performing live. He made a deal with, owner of the Las Vegas for Presley to play the newly built, 2,000-seat showroom for four weeks (two shows per night, with Mondays off) for $400,000.

For his appearance, he assembled a band later known as the: (guitar), (rhythm guitar), (bass-guitar), (drums), (piano) and (rhythm guitar, background vocals). The band was complimented by the backing vocals of and. His initial Las Vegas show attracted an audience of 101,500, setting a new Vegas performance record. By 1970, Presley began to tour the United States for the first time in thirteen years.

Reissues In 2000 RCA released a of From Elvis in Memphis, including six (released as A- or B-sides) recorded during the album sessions. The reissue received five stars out of five from Rolling Stone. ' and ' were minor hits in 1970, but ' became one of Presley's signature songs and was the final chart-topper of his career. In 2003, the album was number 190 on Rolling Stone 's list of.

In 2009, issued a Legacy RCA Edition of the album for its 40th anniversary: two discs ( From Elvis In Memphis and the studio disk of ), four and ten tracks originally released as singles (including 'Suspicious Minds' and 'Kentucky Rain'). Track listing Original release Side one No.

Title Writer(s) Recording date Length 1. 'Wearin' That Loved On Look', January 13, 1969 2:46 2. ', February 19, 1969 2:42 3. ', Thomas Dilbeck, Vaughan Horton January 22, 1969 4:34 4. ' Bobby George, Vern Stovall January 13, 1969 3:38 5. ' February 20, 1969 2:36 6.

' January 14, 1969 2:43 Side two No. Title Writer(s) Recording date Length 1. 'Power of My Love', February 18, 1969 2:36 2.

' January 14, 1969 3:21 3. ' Johnny Lantz, February 18, 1969 3:05 4.

', February 17, 1969 2:38 5. ', February 20, 1969 2:59 6. ' January 20, 1969 2:57 1998 CD reissue Track 1-12 were from the original release No. Title Writer(s) Recording date Length 13. ', Doug Flett February 21, 1969 3:08 14.

' January 22, 1969 4:29 15. ' January 14, 1969 4:00 16.

' January 15, 1969 2:48 17. ', Dick Heard February 19, 1969 3:14 18. ' John Christopher January 15, 1969 2:47 2009 CD reissue Disc one No. Title Length 1. 'Wearin' That Loved On Look' 2:46 2. 'Power of My Love' 2:38 8.

'I'll Be There' 2:25 14. 'If I'm a Fool (For Loving You)' 2:44 16. 3:18 Disc two No. Title Length 1. 'Inherit the Wind' 2:56 2.

'This Is the Story' 2:29 3. 'Stranger in My Own Home Town' 4:24 4. 'A Little Bit of Green' 3:21 5. 'And the Grass Won't Pay No Mind' 3:10 6. 'Do You Know Who I Am' 2:49 7.

'Any Day Now' 2:57 13. 'Rubberneckin' 2:12 18. 'My Little Friend' 2:44 20. ' 2:36 Personnel. –. Dick Steff – trumpet. R.F.

Taylor – trumpet. Ed Logan –. Jack Hale – trombone. Gerald Richardson – trombone. Tony Cason –.

Joe D'Gerolamo – French horn. –. Jackie Thomas – saxophone. Glen Spreen – saxophone.

J.P., p. 15, 16. ^, p. 20, 21., p. 219, 220. Graff, Gary; Durchholz, Daniel (eds) (1999).

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at (list of releases) Preceded by by 30 August 1969 – 6 September 1969 Succeeded by Stand Up by Jethro Tull.