Personnel: Elvis Presley (vocals, guitar, piano); Reggie Young (guitar); John Hughey (steel guitar); The Memphis Horns (horns); Bobby Wood (piano); Bobby Emmons (organ); Ed Hollis (harmonica); Mike Leech, Tom Cogbill (bass); Gene Chrisman (drums); Mary Greene, Donna Thatcher, Susan Pilkington, Sonja Montgomery, Mildred Kirkham, Dolores Edgin, Joe Babcock, Hurschel Wiginton (background vocals).
Recorded at American Studios, Memphis, Tennessee in January & February 1969. Includes liner notes by Peter Guralnick, Colin Escott.
The 2009 Legacy Edition of the critically acclaimed 1969 release FROM ELVIS IN MEMPHIS includes all tracks from the sessions recorded at American Studios in Memphis in January and February of 1969.
Personnel: Elvis Presley (vocals, guitar, piano); Reggie Young (guitar, sitar); John Hughey (steel guitar); Ed Kollis (harmonica); Tony Cason (French horn); Bobby Wood (piano); Bobby Emmons (organ); Mike Leech, Tommy Cogbill (bass guitar); Gene Chrisman (drums).
Additional personnel: Mary Holladay, Susan Pilkington, Dolores Edgin, June Page, Sonja Montgomery, Donna Thatcher, Ginger Holladay, Sandy Posey, Millie Kirkham, Joe Babcock, Mary Green (vocals); Jackie Thomas (saxophone, trombone); Andrew Lowe , Glen Spreen, J.P. Luper (saxophone); R.F. Taylor, Dick Steff, Wayne Jackson (trumpet); Tony Cason, Joe D'gerolamo (French horn); Jack Thomas, Gerald Richardson , Ed Logan, Jack Hale (trombone).
Audio Remasterer: Vic Anesini.
Liner Note Authors: Tara McAdams; Robert Gordon; Tara McAdams.
Recording information: 01/13/1969-02/22/1969.
One month after Elvis' 1968 Comeback Special aired on national television, Presley made the most artistically successful recordings of his later career. In January and February of 1969, he held sessions at American Studios in Memphis. Presley was reportedly worried that his recording career was finished, that he had been displaced by newcomers such as the Beatles. Perhaps goaded on by this perception, Presley reached new heights during the American sessions.
The material he chose was impassioned, gritty, and bluesy, the complete opposite of the movie songs he had sung for most of the previous decade. A slight case of laryngitis actually improved his performances, lending his voice an appropriate roughness. Many of the best recordings from these sessions appear on FROM ELVIS IN MEMPHIS, including the hit "In the Ghetto." FROM ELVIS IN MEMPHIS demonstrates how thoroughly Presley could remake a song to suit his talents, especially on the country standards "Long Black Limousine" and "I'll Hold You In My Heart," which he transforms into R&B screamers. This is intense, heartfelt, adult music, much like the blues Presley loved as a kid on Beale Street.
Rolling Stone (p.82) - 4.5 stars out of 5 -- "What makes these sessions remarkable: the newfound maturity and soulfulness in Elvis' vocals, and producer Chips Moman's warm, distinctly Southern musical backing."
Rolling Stone (12/11/03, p.136) - Ranked #190 in Rolling Stone's "The 500 Greatest Albums Of All Time"
Rolling Stone (8/2/01, p.66) - 5 stars out of 5 - "...The studio sine qua non of his late-Sixties comeback period: new as polyester yet old as leather, religiously involved yet flashy as neon, refined like pop yet savage like rock & roll..."
Q (Magazine) (p.125) - 4 stars out of 5 -- "[T]he results were the closest he came to realising his all-embracing vision of American music."
Record Collector (magazine) (p.91) - 4 stars out of 5 -- "[A] portrait of a mature, richer-voiced talent that had the relocated the ability to leave listeners awestruck."