Review by Piers Beagley - Elvis Information Network
So High is the final instalment in FTD's close look at Elvis Presley's sixties recordings in Nashville and focuses on those "terrible years" 1966 - 1968 and what an absolute gem it is!
This CD cleverly demonstrates that Elvis' creativity was far from finished and it is a skilful selection showing the kind of music that Elvis was enjoying at that time.
While half the CD focuses on the How Great Thou Art sessions, presenting the tracks in chronological order mixes up gospel, blues and folk and they all fit perfectly in context.
The later sixties were a terrible period for Elvis and Elvis fans alike. The pop music scene was full of true creativity. In mid 1965 Bob Dylan was recording 'Blonde On Blonde' while Elvis was recording 'Paradise, Hawaiian Style'!
The Beach Boys were working with multi-tracks and orchestras on the astounding Pet Sounds, and the Beatles responded with Sgt. Pepper. Meanwhile The Colonel had “His Boy” recording 'Smorgasbord', 'Old MacDonald', 'Yoga Is As Yoga Does' and appearing in the worst films of his whole career!
From 1965 until the 1968 Comeback Special Elvis appeared to have totally lost his way. Slight glimpses of hope such as 'Guitar Man' didn't break into the Top 40 and even then that would be followed by the dreadful 'Speedway'. We now know that Elvis despised those soundtracks that he was forced to record and found solace in his love and enjoyment of gospel music, folk and blues.
For me this is a far better representation of Elvis in this period than the third CD of the '60s box-set From Nashville To Memphis - The ‘60s Masters 1 or the gospel selection alone. 'Down In The Alley' and Dylan's 'Tomorrow Is A Long Time' fit seamlessly between Elvis' religious performances. While many of these tracks have been available on bootlegs before, they haven't been in stereo nor in this fantastic sound quality that we have come to expect from these FTD releases.
In fact, a major bonus is that all the How Great Thou Art religious songs which sounded so very thin on the Amazing Grace box-set are at last mixed properly and have a lovely smooth and full “vinyl” sound. Maybe Ernst has taken notice of our praise of the fabulous sound on Close Up. If anyone teases you again about the dreadful Double Trouble or Clambake soundtracks, just tell them that they were all the Colonel's fault and play them this fabulous CD as proof!
With their best cover design yet, and at a packed seventy-five minutes, this is without doubt one of the best FTD releases so far. While the reason for buying this is the excellent demonstration of Elvis' creativity away from those ’60s soundtracks and every track is worthy of its historical place there are still some "special extras" that are worth pointing out.
Elvis' previous session in 1966 had been for the Spinout soundtrack, and the last Elvis Presley real non-soundtrack LP, Pot Luck, had been recorded way back in 1962, so no wonder he was enthusiastic and ready to record some inspiring music.
Previous to the session Elvis had stated that he was interested in recording The Clovers’ 'Down In The Alley', 'I'll Remember You' and even 'Rags To Riches'. So it is not surprising that there was electricity in the air when the May 25 session kicked off with Elvis' interpretation of The Golden Gate Quartet's 'Run On'.
'Run On' (Take 6) - With all the excitement, Felton Jarvis starts Take 6 by suggesting, "Relax it, just a little bit." Take 5 had just fallen apart, as had Takes 3 and 4, but here Elvis gets close to the master. It also sounds even better since the final release seemed to have some added echo to it where here you can absorb the lovely dynamics of Studio B.
Similarly 'Stand By Me', always a favourite and a song that has moved me to tears, is exquisite with Elvis' vocal so totally sincere as well as being dipped in honey. This take is at a slower tempo than the master and with the added spacial stereo mix it sounds perfect. Note, although Take 2 was listed on the cover of FTD’s Easter Special, it was actually takes 6 and 7 that were on that CD, with the correct Take 2 released on here!
'Down In The Alley' (Take 6) - 4am and near the end of the first day's session and this was the first song where Elvis could really let loose. Elvis gives his soul some serious salvation with a blast of much needed blues. On this take Boots Randolph's sax is more prominent in the mix while the guitar solo is rougher, however the drum riff at the end is strangely absent. The audio mix is improved here with percussion and bass accentuated, along with Elvis' vocal. A real highlight, although there can be no doubt that Take 1 on the '60s box-set is hard to beat. Nice and rough, just like we like it!
'Tomorrow Is A Long Time' (Take 2) - The first night ended as the dawn came up with a Bob Dylan jam. When you hear this it makes you weep knowing that Double Trouble and Easy Come, Easy Go were to follow. Just what truly potential moments were lost? Elvis provides an exquisite vocal on close to six minutes of soulful and surreal folk with a song that is a ‘60s classic. This version, the first complete take, has more of a 'jam feel' than the master with the new mix giving a greater clarity to the guitars.
'So High' (Take 1) - I love these rougher first takes and this is no exception. Felton gets everyone in the mood suggesting, "This is ’So High’ Take 1, Swing On!" At a slower tempo than the master and with everyone clapping along earlier, this has a great church feel.
'Somebody Bigger Than You And I' (Take 11) - One of my favourite Elvis gospel songs which was a real challenge to get perfect in the studio (the master was a composite). It's a shame that some of the rehearsal wasn't included here as this is just so damn good and Elvis makes it sound so easy! On this version the “ice-rink” organ is thankfully lower is the mix and the arrangement is lighter. (The master seems to have uncredited overdubbed strings.) Really benefiting from the lovely warm mix of this CD, this is a real treat.
'Without Him' (Take 1) - A beautiful song that truly delights. Elvis slightly messes up the lyrics and his shoes squeak but otherwise the arrangement is similar to the master. However the tempo is slower and the final drum arrangement hasn't been added yet. This took the group fourteen takes to finally get a satisfactory master so it is interesting that the very first take is so good. Even after eight takes Elvis remarked, "I wish I was a little more familiar with it. . ."
'If The Lord Wasn't Walking By My Side' (Take 6) - Another gem recorded post the final chosen master, Take 5. A great gospel sing-a-long and the vocal mix is just right. Listen for Elvis as he snaps his fingers in enthusiasm.
'I'll Remember You' (Take 2) - Elvis overdubbed his vocal here and it is just delightful. At the planned recording session Elvis had announced that he had a "throat infection" but maybe he knew that the Colonel had 'Old MacDonald's Farm' waiting for him at the next session in just two weeks time! Here the harmonica and guitar are higher in the mix than the master and you can hear Elvis chuckle beforehand. A delicious song that was unforgivably edited before it was thrown away as a bonus on the Spinout LP. Elvis would, of course, reclaim it with his Aloha performance and here you can appreciate it in all its beauty.
'Guitar Man' (Take 9) - Always great to have any new version of this classic. The master released on the '60s box-set always played at too fast a speed (just compare it to your original 45 rpm and it just ain't right!) while this version is at a slower tempo. This take fades before Elvis heads into the 'What’d I Say' groove at the end, which was so good on Take 10 (on Long Lonely Highway)
While 'Mine' and 'Singing Tree' have never been my favourites, here they fit perfectly into context. 'Mine' (Take 4) is improved over the master with a better acoustic guitar mix along with a less dramatic arrangement.
Similarly 'Singing Tree' (Take 1) - while not as good as the version on Close Up, it is much better than the faster tempo master, recorded the day after this version was recorded, and which used a multi-tracked Elvis vocal that never did seem to make sense.
'Hi-Heel Sneakers' (Take 5) - This is the stuff that Elvis' publishing company didn't want him to record! The end of the movie contracts was in sight but the '68 Comeback was still a faraway dream. "Well I'm pretty sure now baby, Uh huh.. Ughh, Pretty soon you're gonna knock 'em dead!" Elvis at his most loose and best. On this take you can hear Elvis clapping along with the excitement of it all. Elvis' vocal is higher and you can hear him grooving along with Boots Randolph's sax solos. This wasn't going to be the master but it's a classic. Listen to Elvis giggle and mess up the lyrics as it finally falls apart.
'You Don't Know Me' (Take 2) - Yet another post-master version. After some sensational blues, Elvis showed the perfect counter-point with another attempt at the Ray Charles' 'You Don't Know Me' that he felt he didn't do justice to in the earlier Clambake session. Beforehand Elvis delights with a "Yeah Baby". While the new Ray Walker bass-line really doesn't work here (the simpler arrangement of Take 1, the master, was already perfect), it is still a worthy addition as you hear Elvis' every sigh, showing his enthusiasm in this remake.
'You'll Never Walk Alone' (Take 1) - Just Elvis, sitting alone, playing a favourite on the piano. Here we get the full first take with Elvis suggesting at the start, "Give me a little bit of an intro there, Charlie." As Elvis plays live you can hear how the band and the Jordanaires are all working out their parts. Halfway through the track @ 2.40 Elvis stops and, without a pause, commences the song all over again. It was this second section that was released as the single, along with a little edit from Take 8. Here, in the unadulterated version, you can feel the very soul of Elvis breaking free. The previous day's session had started with 'Guitar Man' and 'Big Boss Man' and, luckily for us, Elvis would never look back. Five and a half minutes of inspiration.
'Jam' - While worth noting only because it has never had an official release this yodelling jam called 'Muleskinner Blues' was recorded between takes of 'Stay Away' but it really is way too short to make an impression.
'Stay Away' (Take 6) - is similar to other releases but with the added interest of Elvis slapping his thighs along with the groove.
'U.S. Male' (Take 11) - The stereo mix of this is excellent with Elvis' vocal nicely lifted and Elvis quipping all along while he enjoys composer Jerry Reed's great guitar picking. His comments are great, "Sock it to me one time" and "You better listen to me buddy, you can mess around all you want to but I'm gonna' lay one on you". Elvis had been frustrated with the songs that Freddy (”The Freeloader”) had offered for the session so far and Elvis had grabbed this song from Jerry Reed himself as the session was heading to a close. Not surprisingly, the master release (Take 12) was to be Elvis' highest charting single (#28) in two years.
'Too Much Monkey Business' (Takes 4 and 10) - four and a half minutes of pure enjoyment as Elvis has fun working out his version of Chuck Berry's 1956 single. Elvis is in a sensational mood and with Jerry Reed's acoustic guitar and Bob Moore's double-bass up front, this has a fabulous vibe. The arrangement is cooler and lighter than the final release and also without the harmonica. Elvis adds a bit of 'When Irish Eyes Are Smiling' and makes fun of himself laughing, "Help him somebody. The boy's squirrely!" You have to hear this to believe it. An absolute gem!
'Goin’ Home' (Take 29) - Again this has a beautiful clean mix with Elvis' voice and the acoustic guitars shining but I'm with Elvis who commented on Take 24 (Collector's Gold) "I don't know what else I can do to improve it, except go home!" However, it is of course a great closing track.
Overall Verdict: Although this period of Elvis' recording career was one of his least admired, this FTD CD challenges all that with one of their very best released so far. No other Elvis CD has managed to satifactorily capture such a cross section of Elvis' music from this period and it also helps explain exactly where that renewed energy of the '68 Comeback Special had been hiding. Absolutely sensational and not to be missed.
