elvis in june 1970, at his worst.

[frus75]

yes folks. While tony joe white says that elvis did a marvelous job on his for ol times sake, as he watched him recording it...

while mark james says that moody blue is the best produced of his songs performed by elvis (apart from suspicious minds)...

etc etc

well,then you go reading through the writers of songs recorded in 69- 70 and you find pearls like:

- "i sorta liked his version (proud mary on stage feb 70). But it was more that it was a compliment that he had done it. It just seemed a little Vegasy. Maybe at that time he was a little past his time" john fogerty

- "it wasn't soulful enough for me", joe south - walk a mile in my shoes (though he says elvis performed it for him in vegas and that version was great)

- "at the time when elvis recorded these songs he was probably at his worst as a singer" (clive westlake - 20 days and 20 nights, how the web was woven and it's a matter of time)
- "his career was in a down phase at the time" (though on the rest he makes such a point) Geoff Stephens - heart of rome, silvya and this is our dance



of course other writers of the ers praise elvis, but I haven't found so much critic comments as ithe ones related the 1970 recordings.

source of course writing for the king

[elvis-fan]

"At the time when Elvis recorded these songs he was probably at his worst as a singer" (Clive Westlake - 20 days and 20 nights, how the web was woven and it's a matter of time)

Dumbass...

[Guest]

In my opinion some of Elvis's best work was in 1969 and 1970.............he was on fire and the set list fantastic

[Joe Car]

yes folks. While tony joe white says that elvis did a marvelous job on his for ol times sake, as he watched him recording it...

while mark james says that moody blue is the best produced of his songs performed by elvis (apart from suspicious minds)...

etc etc

well,then you go reading through the writers of songs recorded in 69- 70 and you find pearls like:

- "i sorta liked his version (proud mary on stage feb 70). But it was more that it was a compliment that he had done it. It just seemed a little Vegasy. Maybe at that time he was a little past his time" john fogerty

- "it wasn't soulful enough for me", joe south - walk a mile in my shoes (though he says elvis performed it for him in vegas and that version was great)

- "at the time when elvis recorded these songs he was probably at his worst as a singer" (clive westlake - 20 days and 20 nights, how the web was woven and it's a matter of time)
- "his career was in a down phase at the time" (though on the rest he makes such a point) Geoff Stephens - heart of rome, silvya and this is our dance



of course other writers of the ers praise elvis, but I haven't found so much critic comments as ithe ones related the 1970 recordings.

source of course writing for the king

While I like John Foggerty and appreciate his past work, I would have loved to see him on stage with EP, especially in February of 1970, that way Elvis could have blown him right off the stage!

[Cryogenic]

Interesting.

Stuff like "Heart of Rome" and "How The Web Was Woven" can seem third-rate compared to the magnificent Memphis recordings of the previous year. I can understand the frustration and disappointment laced in these spotlighted comments. There is a dip in the quality of the material in places. But guess what? Elvis sounds 100% committed in all the studio masters and did a string of stellar performances on stage. I will acknowledge some additional caveats below, but ... 1970 was a great year.

Firstly regarding that weaker material: Elvis seemed to genuinely like it. Or, at the very least, he made the best of a bad situation. I love "Heart of Rome" and "Sylvia", for example, even though I can acknowledge it isn't quite top drawer material (though I don't actually think either song is weak, either ). I suppose "Sylvia" is the stronger of the two. See, even when people lump songs together, they're unfairly branding them. There are always subtle gradations with Elvis' material. "Heart of Rome" and "Sylvia" may both be "B" material, but that's better than "C" or "D material, and whereas "Heart of Rome" may get a B-, I think "Sylvia" deserves B+. Of course, Elvis was dealing almost strictly in "A" material in 1969, but some people take exception to cuts like "Don't Cry Daddy" and "In The Ghetto". 1969 and 1970 aren't too unlike. The major difference, perhaps, is that clean Memphis sound -- it trounces everything that followed. And it's hard -- nay, impossible -- to hear anything like the gritty vocalising Elvis does on "Wearin' That Loved On Look" (cold or no cold) anywhere after 1969 (though "You've Lost That Lovin' Feeling" is close). It can also be said that Elvis' voice was changing. "Twenty Days and Twenty Nights" sounds more pained than anything he'd previously done; there's a new aching tonality to his voice, but it helps the record, though it may be too pathetic (i.e. pathos-filled) and too close to the later Elvis for some. I'm rambling here, so let me make a point: The material and performances in 1970 are very strong, but the material and performances in 1969 are maybe just that little bit stronger. You can hear the younger Elvis in "Wearin' That Loved On Look" (pure energy), "From A Jack To A King" (vocal whooping) and "I'll Hold You In My Heart" (pure spontaneity). Plus: Most people are unable to give Elvis much credit after his army years. If they credit anything after that, they always credit "From Elvis In Memphis" and the attendant singles (as well they should), and it's partially because those songs are not only well chosen, well sung and well arranged, but because certain cuts, like those three just named, connect more easily to the Sun and early RCA era than anything from 1970 does. It's just a shame that unfair smears and derision have to come out for a year as diverse and exciting as 1970.

[KingElvis]

"At the time when Elvis recorded these songs he was probably at his worst as a singer" (Clive Westlake - 20 days and 20 nights, how the web was woven and it's a matter of time)

Dumbass...

agree elvis-fan!
for me Elvis` voice was perfect in 1970....especially the feb and june recordings

[drjohncarpenter]

- "i sorta liked his version (proud mary on stage feb 70). But it was more that it was a compliment that he had done it. It just seemed a little Vegasy. Maybe at that time he was a little past his time" john fogerty

- "it wasn't soulful enough for me", joe south - walk a mile in my shoes (though he says elvis performed it for him in vegas and that version was great)

- "at the time when elvis recorded these songs he was probably at his worst as a singer" (clive westlake - 20 days and 20 nights, how the web was woven and it's a matter of time)

- "his career was in a down phase at the time" (though on the rest he makes such a point) Geoff Stephens - heart of rome, silvya and this is our dance

My first reaction is: so what? A lot of these guys may have had the Elvis of the 1950s or early 1960s stuck in their heads. Elvis was a different artist and performer by the middle of 1970.

Fogerty is correct that Elvis' version of "Proud Mary" sports a Vegas-heavy arrangement. In 1970, John's band was rock and roll, all the way. When John says "past his time," he likely implies Elvis being past rock and roll as a primary focus.

Westlake's attitude might have to do with him being a bit of a hipster, while Stephens is nothing but a hack writer anyhow.

Your quotes do make me look forward to reading Ken Sharp's interviews in Writing For The King (FTD).

[ritchie valens]

they must have been stuck in the 50s,60s elvis voice.
his worst was sept-oct 1974 and omaha june 1977.

[likethebike]

Maybe Fogerty was referring to the big band "Proud Mary" version Elvis did on MSG and after. The 70 Vegas version is really gospel inflected. I also think there is waaaay too big a hangup about Vegas for many '60s era rockers. If it's Vegas it's automatically bad or compromised for them. It is also important for the South comment to realize that he had his own version of the song and may very likely have felt that it was definitive. Although South was covered frequently, he saw himself along the lines of the singer-songwriters and his work was very personal to him.

There was also a bit of tendency during Elvis' lifetime to take Elvis kind of for granted. He was such an institution and it could be kind of hard to hear him with open ears. It was probably for a lot of writers a celebrity cover.

The comments I think reflect the tendency for many people to just lump all '70s Elvis together. Elvis' vocal tone was extremely rich in 1970 and many of his performances including the Westlake songs were absolutely majestic. And let's face it there are some people who wouldn't recognize a great vocal if it them in the face. For relatively anonymous writers like Westlake and Stephens, the percentage in downing Elvis' work is by appearing hipper than Elvis. My song was so good that even Elvis couldn't get it.

[frus75]

the problem is that those comments (negative) are almost exclusevely found on 1970 songs, not on 1967 or 1975...

The rest of the writers are almost all praising elvis. Like the composer of your time hasn't come yet baby, recalls that his single was released during a low period on elvis career (and he is right not like the others mentioned) but adds that something like "what do you call a low point??" cause he called in some weeks to freddy bienstock regarding sales and he told him "don't worry we already surprassed 300000" so what a low!!

[Pete Dube]

Personally, I think Just Pretend; Tomorrow Never Comes; Whole Lotta Shakin' Goin' On'; Funny How Time Slips Away; I Really Don't Want To Know; Faded Love; I Washed My Hands In Muddy Water; Make The World Go Away; I Was Born 10,000 Years Ago; Got My Mojo Workin' can stand with the best of the '69 Memphis stuff. I also think 20 Days and 20 Nights and How The Web Was Woven are lovely performances of very good adult contemporary ballads.

[drjohncarpenter]

Just Pretend; Tomorrow Never Comes; Whole Lotta Shakin' Goin' On'; Funny How Time Slips Away; I Really Don't Want To Know; Faded Love; I Washed My Hands In Muddy Water; Make The World Go Away; I Was Born 10,000 Years Ago; Got My Mojo Workin' can stand with the best of the '69 Memphis stuff.

Seriously?

Stand with "In The Ghetto," "Suspicious Minds," "Kentucky Rain," "Any Day Now," "Only The Strong Survive," "Stranger In My Own Home Town," "You'll Think Of Me," "Long Black Limousine," "True Love Travels On A Gravel Road"or "Without Love"?

Some of those 1970 tracks are wonderful indeed, but none come close to the magic made at American Sound in 1969.

[Pete Dube]

Just Pretend; Tomorrow Never Comes; Whole Lotta Shakin' Goin' On'; Funny How Time Slips Away; I Really Don't Want To Know; Faded Love; I Washed My Hands In Muddy Water; Make The World Go Away; I Was Born 10,000 Years Ago; Got My Mojo Workin' can stand with the best of the '69 Memphis stuff.

Seriously?

Stand with "In The Ghetto," "Suspicious Minds," "Kentucky Rain," "Any Day Now," "Only The Strong Survive," "Stranger In My Own Home Town," "You'll Think Of Me," "Long Black Limousine," "True Love Travels On A Gravel Road"or "Without Love"?

Some of those 1970 tracks are wonderful indeed, but none come close to the magic made at American Sound in 1969.

Yes seriously Doc. Again, for me personally they can stand. And I realize that mine is a minority opinion. But I've long had an affinity for the best of the Nashville '70 stuff since I first heard it.

[sam]

Just Pretend; Tomorrow Never Comes; Whole Lotta Shakin' Goin' On'; Funny How Time Slips Away; I Really Don't Want To Know; Faded Love; I Washed My Hands In Muddy Water; Make The World Go Away; I Was Born 10,000 Years Ago; Got My Mojo Workin' can stand with the best of the '69 Memphis stuff.

Seriously?

Stand with "In The Ghetto," "Suspicious Minds," "Kentucky Rain," "Any Day Now," "Only The Strong Survive," "Stranger In My Own Home Town," "You'll Think Of Me," "Long Black Limousine," "True Love Travels On A Gravel Road"or "Without Love"?

Some of those 1970 tracks are wonderful indeed, but none come close to the magic made at American Sound in 1969.

Yes seriously Doc. Again, for me personally they can stand. And I realize that mine is a minority opinion. But I've long had an affinity for the best of the Nashville '70 stuff since I first heard it.

I'm with you there Pete. I wouldn't say it's better but it stands up with it all the way. I would even add some later 70's stuff as well.

[KiwiAlan]

How much better than most others when Elvis was at his worst

It's all relative

[JerryNodak]

If Elvis was at his worst as a singer in 1970 I could only hope to sing so "poorly".

On balance I've never cared what anybody's opinion was about Elvis' material or his singing. The only opinion that matters to me is mine.

[Guest]

Just Pretend; Tomorrow Never Comes; Whole Lotta Shakin' Goin' On'; Funny How Time Slips Away; I Really Don't Want To Know; Faded Love; I Washed My Hands In Muddy Water; Make The World Go Away; I Was Born 10,000 Years Ago; Got My Mojo Workin' can stand with the best of the '69 Memphis stuff.

Seriously?

Stand with "In The Ghetto," "Suspicious Minds," "Kentucky Rain," "Any Day Now," "Only The Strong Survive," "Stranger In My Own Home Town," "You'll Think Of Me," "Long Black Limousine," "True Love Travels On A Gravel Road"or "Without Love"?

Some of those 1970 tracks are wonderful indeed, but none come close to the magic made at American Sound in 1969.

Yes seriously Doc. Again, for me personally they can stand. And I realize that mine is a minority opinion. But I've long had an affinity for the best of the Nashville '70 stuff since I first heard it.

I agree with you too. I haven´t yet understood what is so magical in that American sound? I´d take that Nashville stuff any day over American but this is only one opinion.

[jeanno]

To compare 1969 and 1970, I would say that in 1969 Elvis was maybe more focused on recording sessions, trying to prove (himself) that his magic had prevailed. In 1970, he might be less focused but there is a panache in those jam/master recordings ("got my mojo workin´", "i washed my hands in muddy water", "faded love" and the next yeart "merry christmas baby") that you can only find once in 1969 ("Stranger in my own home town"). To me, despite the short time between those sessions, i think that the context and the man were different.
Said that, the material quality was better in 1969.

[chris c]

It just shows how people constantly look for a chance to criticise Elvis and say he's finished. I remember a review of the single "Don't" which said "Has Elvis killed the goose that lays the golden egg?" This board has a thousand examples of the same thing.

[frus75]

But we still have overlooked something...we are saying that 1970 material can't stand to 1969, BUT the problem is that the critisism is made by the writers of this material. Is the writer of 20 days and 20 night or this is our dance who defeats elvis. It's not the writer of only the strong survive or in the ghetto saying that he recorded my song well but in 1970 he was the worst. NO! is the writer of this is our dance that seems to imply that his material was very good (while he says that they wrote it for elvis as a follow up to engelbert last dance) and that the problem was elvis voice...


Anyway, and I want to say it LOUD AND CLEAR, talmost all the writers praise elvis. I was picking the exception, and curiously they were related to 1970. You have the composer of mary in the morning praisin elvis phrasing and saying something like "he did a good job and I am not the ones who usually say that about my songs". Mark James says that elvis kind of made a rush job on raised on rock (right) and always on my mind, that at this point he was too fast in recording and left jarvis with a mess. But points that he was very afraid that moody blue was to be made in the same careless way, specially being recorded at home, but he was so satisfied with the result, so well produced etc. strange but david briggs comented the same in an interview, saying everything was a s**t except that moody blue song...

Contrary emory gordy recalls that all 72 songs were given full atention and all the necessary time by elvis, and he might be right, as he recorded 2-3 songs per night, a wise departure from the 7-10 per night of 1970 and 1971.

The passage where tony joe speaks about for ol time sake is awesome.

And one thing. It is amazing how many of those songwriters were at MSG in 72, invited by elvis staff. A LOT!

[karlos]

In 1970 - Elvis was 35 years old and he did record good songs such as -
just pretend , whole lotta shakin goin on , and such . - this was good for the time and cannot think of any negative on the sound that was produced at this time .-
Elvis was slim and really did good on such songs .
Elvis WAS good in 1970 .

I really like this period of his career.

[Matthew]

In 1969 Elvis was fighting for his throne so to speak, he was the aggressor, taking back his championship title with every ounce of energy he could muster. In 1970 he had succeeded, was a superstar again and did things his way. I think therein lies the difference - in 1970 Elvis simply oozes power and class with ease; he is no longer the aggressor.

[Thomas]

- "his career was in a down phase at the time" (though on the rest he makes such a point) Geoff Stephens - heart of rome, silvya and this is our dance.

Sometimes I get the feeling that they don't remember a crap.

[frus75]

Then you have the writer of if i get home on xmas day and love me love the love I lead saying the first was crap and the latter very well performed and produced ("not over produced")

[gareth]

If Elvis was at his worst as a singer in 1970 I could only hope to sing so "poorly".

On balance I've never cared what anybody's opinion was about Elvis' material or his singing. The only opinion that matters to me is mine.

I totally agree with you.