Elvis Presley : A Life in Music (9781466868557) by Jorgensen Ernst

Author:Jorgensen, Ernst
Language: eng
Format: epub
Publisher: Macmillan
Published: 2014-04-06T16:00:00+00:00

84. Studio Sessions for RCA September 10–11, 1967: RCA’s Studio B. Nashville

A&R/Producer: Felton Jarvis

Engineer: Jim Malloy

Guitar: Scotty Moore Piano: Floyd Cramer

Guitar: Jerry Reed (2765–2766) Organ: Hoyt Hawkins (2767–2769)

Guitar: Harold Bradley Organ, Guitar, Harmonica: Charlie McCoy

Guitar: Chip Young Sax: Boots Randolph

Bass; Bob Moore Steel Guitar: Pete Drake

Drums: D. J. Fontana Vocals: The Jordanaires

Drums: Buddy Harman Vocals: Millie Kirkham

Piano: Elvis Presley (2773)

9/10, 6PM–12AM

UPA4 2765-12 Guitar Man Clambake

Jerry Reed—Vector Music LSP 3893/1967

UPA4 2766-11 Big Boss Man Single A-side

Smith/Dixon—Conrad Publ. Co. 47-9341/1967

1–5:30AM

UPA4 2767-21 Mine Speedway

Sid Tepper/Roy C. Bennett—Gladys Music LSP 3989/1968

UPA4 2768-13 Singing Tree

A. L. Owens/Solberg—Elvis Presley Music

UPA4 2769-01 Just Call Me Lonesome Clambake

Griffin—Valley Pub. Inc. LSP 3893/1967

9/11, 6–9PM. 9:30PM–12:30AM

UPA4 2770-07 Hi-Heel Sneakers Single B-side

Higginbotham—Medal Music 47-9425/1968

UPA4 2771-01 You Don’t Know Me Single B-side

Walker/Arnold—Bresmer Music 47-9341/1967

UPA4 2772-09 We Call On Him Single B-side

Fred Karger/Ben Weisman/Sid Wayne—Gladys Music 47-9600/1968

UPA4 2773-sp You’ll Never Walk Alone Single A-side

Rodgers/Hammerstein—Williamson Music 47-9600/1968

1–3:30AM

UPA4 2774-05 Singing Tree Clambake

A. L. Owens/Solberg—Elvis Presley Music LSP 3893/1967

The master take of “Guitar Man” (2765) included a fade-out jam on “What’d I Say,” first released on the 1993 set From Nashville To Memphis. The master of “Hi-Heel Sneakers” (2770) was edited from five minutes down to 2:44 for its original record release. The master of “You’ll Never Walk Alone” (2773) is spliced from takes 8 and 1. The master of “Singing Tree” (2774) features an overdubbed Elvis harmony vocal.

For “Guitar Man,” the song Elvis had picked up on the radio in LA, Felton Jarvis told Elvis that if he wanted that distinctive guitar sound he loved so much on the record they’d have to get Jerry Reed himself for the session. By the time they were able to track Reed down on a fishing trip on the Cumberland River outside of Nashville, he barely had time to pick up his equipment before driving straight to the studio, unshaven and in clothes that made him look like an Alabama wildman. There were no dress codes at Elvis sessions, though; Reed just had to take a little kidding from a T-shirted Felton and a trim-looking Elvis, who was wearing a casual black suit and a bright shirt with the top buttons opened. “We’re rolling. ‘Guitar Man,’ take one,” Felton called out as an obviously flustered Jerry Reed ran through guitar licks trying to get his fingers up to speed. “Phew, I haven’t played all weekend,” he excused himself, talking to everybody and nobody in particular. “Your house is a mess,” Felton joked, and Elvis laughed along. Elvis seemed as fascinated by the man as by the music, yielding center stage as Jerry explained that there was no way to do all the guitar parts from his own original record at one time. “It’s going to sound like a room full of spastics—or something.” They adjusted the tempo and length of the intro; Jerry asked Bob Moore to count it off, then did it himself, made a number of mistakes, and concluded: “I may wander off into the parking lot. Stay with me, or I’ll get with you—sometime tonight.” By take five, though, the song began to come together.

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