The verses of "Gentle On My Mind"

[drjohncarpenter]

This is one of the songs such as "Power Of My Love", "Stranger In My Own Home Town", "After Loving You", that could have been released without much overdubbing... but nevertheless, the post overdubbing polished and enhanced the tracks immensely, in my opinion. Especially for this song comprised of verse after verse without a chorus. This "polishing" in my opinion, prevents the track from ever getting boring to the listener.

[snip]

Great song, great track, produced by Chips Moman and Felton Jarvis.

It is a wonderful piece of material, written and released by John Hartford, becoming a hit recording via Glen Campbell.

As the historical record proves, primary credit for the Presley performance, production, arrangement and "polish" belong to American Sound owner and producer Chips Moman, and no one else, save the artist. Whatever overdub sessions Felton Jarvis participated in were secondary.

Although you attempt to draw a connection to Jarvis at American Sound in 1969 because of his work on the original single by Hartford two years earlier, the accepted reason Elvis cut "Gentle On My Mind" was because it was a top 40 hit for Campbell in 1968, and won several Grammys at that year's ceremony, the same event where Presley got an award for the How Great Thou Art LP.

http://en.wikipedia.org/wiki/10th_Annual_Grammy_Awards#Country

Elvis really liked Glen's style and even enjoyed listening to any demo he received that Campbell played on. Capitol issued Campbell's cover shortly after Hartford's disc, in June 1967, but it only did OK. The label smartly chose to reissue it in July 1968 after the Grammy success, and it did better, making #39 on November 2, 1968, about two months before Presley's sessions at American Sound. Was it coincidence the material made it to the January 1969 booking?

Glen also made several TV appearances at that time, promoting it on programs like "The Hollywood Palace," "Operation: Entertainment," "The Smothers Brothers Comedy Hour" and Bobbie Gentry's program. Think Elvis noticed?

http://www.imdb.com/name/nm0004794/

The 1967 Campbell album of the same name did even better, topping the Billboard Country chart, and hitting #5 on the Billboard Top 200. All of Glen's work at this time was produced by Al De Lory.

http://en.wikipedia.org/wiki/Al_De_Lory
http://en.wikipedia.org/wiki/Gentle_on_My_Mind_(1967_Glen_Campbell_album)


HIT



Glen Campbell "Gentle On My Mind" (Capitol 5939, June 17, 1967)
Billboard Hot 100 #39, November 2, 1968


MISS



John Hartford "Gentle On My Mind" (RCA 47-9175, April 22, 1967)
Billboard "Hot Country Singles" #60, July 8, 1967


Maybe De Lory should get a nod at American Sound for his influential work on Glen's hit, but not Jarvis for the RCA non-hit.

[fn2drive]

This is one of the songs such as "Power Of My Love", "Stranger In My Own Home Town", "After Loving You", that could have been released without much overdubbing... but nevertheless, the post overdubbing polished and enhanced the tracks immensely, in my opinion. Especially for this song comprised of verse after verse without a chorus. This "polishing" in my opinion, prevents the track from ever getting boring to the listener.

[snip]

Great song, great track, produced by Chips Moman and Felton Jarvis.

It is a wonderful piece of material, written and released by John Hartford, becoming a hit recording via Glen Campbell.

As the historical record proves, primary credit for the Presley performance, production, arrangement and "polish" belong to American Sound owner and producer Chips Moman, and no one else, save the artist. Whatever overdub sessions Felton Jarvis participated in were secondary.

Although you attempt to draw a connection to Jarvis at American Sound in 1969 because of his work on the original single by Hartford two years earlier, the accepted reason Elvis cut "Gentle On My Mind" was because it was a top 40 hit for Campbell in 1968, and won several Grammys at that year's ceremony, the same event where Presley got an award for the How Great Thou Art LP.

http://en.wikipedia.org/wiki/10th_Annual_Grammy_Awards#Country

Elvis really liked Glen's style and even enjoyed listening to any demo he received that Campbell played on. Capitol issued Campbell's cover of the Hartford song in June 1967, and it only did OK. They chose to reissue it in July 1968 after the Grammy success, and it did better, making #39 on November 2, 1968, about two months before Presley's sessions at American Sound. Was it coincidence the material made it to the January 1969 booking?

Glen also made several TV appearances at that time, promoting it on programs like "The Hollywood Palace," "Operation: Entertainment," "The Smothers Brothers Comedy Hour" and Bobbie Gentry's program. Think Elvis noticed?

http://www.imdb.com/name/nm0004794/

The 1967 Campbell album of the same name did even better, topping the Billboard Country chart, and hitting #5 on the Billboard Top 200. All of Glen's work at this time was produced by Al De Lory.

http://en.wikipedia.org/wiki/Al_De_Lory
http://en.wikipedia.org/wiki/Gentle_on_My_Mind_(1967_Glen_Campbell_album)


HIT



Glen Campbell "Gentle On My Mind" (Capitol 5939, June 17, 1967)
Billboard Hot 100 #39, November 2, 1968


MISS



John Hartford "Gentle On My Mind" (RCA 47-9175, April 22, 1967)
Billboard "Hot Country Singles" #60, July 8, 1967


Maybe De Lory should get a nod at American Sound for his influential work on Glen's hit, but not Jarvis for the RCA non-hit.

IIRC correctly at some point you pointed out that Elvis' cover of Tommorow Never Comes tracked Glen Campbell's which surprised me. Is my memory correct? Thx

[drjohncarpenter]

It is a wonderful piece of material, written and released by John Hartford, becoming a hit recording via Glen Campbell.

As the historical record proves, primary credit for the Presley performance, production, arrangement and "polish" belong to American Sound owner and producer Chips Moman, and no one else, save the artist. Whatever overdub sessions Felton Jarvis participated in were secondary.

Although you attempt to draw a connection to Jarvis at American Sound in 1969 because of his work on the original single by Hartford two years earlier, the accepted reason Elvis cut "Gentle On My Mind" was because it was a top 40 hit for Campbell in 1968, and won several Grammys at that year's ceremony, the same event where Presley got an award for the How Great Thou Art LP.

http://en.wikipedia.org/wiki/10th_Annual_Grammy_Awards#Country

Elvis really liked Glen's style and even enjoyed listening to any demo he received that Campbell played on. Capitol issued Campbell's cover of the Hartford song in June 1967, and it only did OK. They chose to reissue it in July 1968 after the Grammy success, and it did better, making #39 on November 2, 1968, about two months before Presley's sessions at American Sound. Was it coincidence the material made it to the January 1969 booking?

Glen also made several TV appearances at that time, promoting it on programs like "The Hollywood Palace," "Operation: Entertainment," "The Smothers Brothers Comedy Hour" and Bobbie Gentry's program. Think Elvis noticed?

http://www.imdb.com/name/nm0004794/

The 1967 Campbell album of the same name did even better, topping the Billboard Country chart, and hitting #5 on the Billboard Top 200. All of Glen's work at this time was produced by Al De Lory.

http://en.wikipedia.org/wiki/Al_De_Lory
http://en.wikipedia.org/wiki/Gentle_on_My_Mind_(1967_Glen_Campbell_album)


HIT



Glen Campbell "Gentle On My Mind" (Capitol 5939, June 17, 1967)
Billboard Hot 100 #39, November 2, 1968


MISS



John Hartford "Gentle On My Mind" (RCA 47-9175, April 22, 1967)
Billboard "Hot Country Singles" #60, July 8, 1967


Maybe De Lory should get a nod at American Sound for his influential work on Glen's hit, but not Jarvis for the RCA non-hit.

IIRC correctly at some point you pointed out that Elvis' cover of Tomorrow Never Comes tracked Glen Campbell's which surprised me. Is my memory correct? Thx

Yes, I have mentioned this fact on a few topics, like this one:
http://www.elvis-collectors.com/forum/viewtopic.php?f=1&t=88373&p=1388336#p1388336

But others have noticed it as well. Glen was someone Elvis really liked. Campbell's cover of "Mary In The Morning" is another one Presley "borrowed" at his June 1970 sessions. Bear in mind Glen was super-hot in 1970, so no surprise.

[Dan_T]

Nice post, Juan, thank you !

One of Elvis' best !

[Lou Fanty]

I really liked Elvis' version of Gentle On My Mind. How I wish Elvis would have made another album with Chips Moman. Such a shame it never happened.

[Juan Luis]

Although you attempt to draw a connection to Jarvis at American Sound in 1969 because of his work on the original single by Hartford

No attempt. A connection there period. Felton Jarvis produced original "Gentle On My Mind". Felton Jarvis Co-produced the same song with Elvis in 1969.

[drjohncarpenter]

I really liked Elvis' version of Gentle On My Mind. How I wish Elvis would have made another album with Chips Moman. Such a shame it never happened.

Yes it is a shame. The recording of "Gentle On My Mind" was a terrific example of how Chips and Elvis worked together, with Moman gently coaxing that tremendous final vocal out of Presley during the vocal overdub session on January 21, not to mention the beautiful harmony taped in March by the then-unknown Ronnie Milsap. Further kudos should also be given to American Sound guitarist Reggie Young, who plays outstanding dobro on the track. That was a nice call by Moman, to have that on the rhythm track.

[fn2drive]

Although you attempt to draw a connection to Jarvis at American Sound in 1969 because of his work on the original single by Hartford

No attempt. A connection there period. Felton Jarvis produced original "Gentle On My Mind". Felton Jarvis Co-produced the same song with Elvis in 1969.

As Darth Vader once said, "the delusion is strong with him."

[fn2drive]

It is a wonderful piece of material, written and released by John Hartford, becoming a hit recording via Glen Campbell.

As the historical record proves, primary credit for the Presley performance, production, arrangement and "polish" belong to American Sound owner and producer Chips Moman, and no one else, save the artist. Whatever overdub sessions Felton Jarvis participated in were secondary.

Although you attempt to draw a connection to Jarvis at American Sound in 1969 because of his work on the original single by Hartford two years earlier, the accepted reason Elvis cut "Gentle On My Mind" was because it was a top 40 hit for Campbell in 1968, and won several Grammys at that year's ceremony, the same event where Presley got an award for the How Great Thou Art LP.

http://en.wikipedia.org/wiki/10th_Annual_Grammy_Awards#Country

Elvis really liked Glen's style and even enjoyed listening to any demo he received that Campbell played on. Capitol issued Campbell's cover of the Hartford song in June 1967, and it only did OK. They chose to reissue it in July 1968 after the Grammy success, and it did better, making #39 on November 2, 1968, about two months before Presley's sessions at American Sound. Was it coincidence the material made it to the January 1969 booking?

Glen also made several TV appearances at that time, promoting it on programs like "The Hollywood Palace," "Operation: Entertainment," "The Smothers Brothers Comedy Hour" and Bobbie Gentry's program. Think Elvis noticed?

http://www.imdb.com/name/nm0004794/

The 1967 Campbell album of the same name did even better, topping the Billboard Country chart, and hitting #5 on the Billboard Top 200. All of Glen's work at this time was produced by Al De Lory.

http://en.wikipedia.org/wiki/Al_De_Lory
http://en.wikipedia.org/wiki/Gentle_on_My_Mind_(1967_Glen_Campbell_album)


HIT



Glen Campbell "Gentle On My Mind" (Capitol 5939, June 17, 1967)
Billboard Hot 100 #39, November 2, 1968


MISS



John Hartford "Gentle On My Mind" (RCA 47-9175, April 22, 1967)
Billboard "Hot Country Singles" #60, July 8, 1967


Maybe De Lory should get a nod at American Sound for his influential work on Glen's hit, but not Jarvis for the RCA non-hit.

IIRC correctly at some point you pointed out that Elvis' cover of Tomorrow Never Comes tracked Glen Campbell's which surprised me. Is my memory correct? Thx

Yes, I have mentioned this fact on a few topics, like this one:
http://www.elvis-collectors.com/forum/viewtopic.php?f=1&t=88373&p=1388336#p1388336

But others have noticed it as well. Glen was someone Elvis really liked. Campbell's cover of "Mary In The Morning" is another one Presley "borrowed" at his June 1970 sessions. Bear in mind Glen was super-hot in 1970, so no surprise.

Thanks Doc. Appreciate it.

[Juan Luis]

Although you attempt to draw a connection to Jarvis at American Sound in 1969 because of his work on the original single by Hartford

No attempt. A connection there period. Felton Jarvis produced original "Gentle On My Mind". Felton Jarvis Co-produced the same song with Elvis in 1969.

As Darth Vader once said, "the delusion is strong with him."

Quoting from the dark aren't you? Well, you know darkness is absence of light. So get a light bulb that works. And then come back.

[fn2drive]

Although you attempt to draw a connection to Jarvis at American Sound in 1969 because of his work on the original single by Hartford

No attempt. A connection there period. Felton Jarvis produced original "Gentle On My Mind". Felton Jarvis Co-produced the same song with Elvis in 1969.

As Darth Vader once said, "the delusion is strong with him."

Quoting from the dark aren't you? Well, you know darkness is absence of light. So get a light bulb that works. And then come back.

Unfortunately anyone who believes that Felton Jarvis had anything to do with the American magic is trapped in a black hole. But we can always take Padre or 3 Corn Patches out for a spin to shine a bright light on Felton's producing skills. Thanks Felton.

[Juan Luis]

Although you attempt to draw a connection to Jarvis at American Sound in 1969 because of his work on the original single by Hartford

No attempt. A connection there period. Felton Jarvis produced original "Gentle On My Mind". Felton Jarvis Co-produced the same song with Elvis in 1969.

As Darth Vader once said, "the delusion is strong with him."

Quoting from the dark aren't you? Well, you know darkness is absence of light. So get a light bulb that works. And then come back.

Unfortunately anyone who believes that Felton Jarvis had anything to do with the American magic is trapped in a black hole. But we can always take Padre or 3 Corn Patches out for a spin to shine a bright light on Felton's producing skills. Thanks Felton.

There you go getting out of 1969 where this threads at. You should read "A Life In Music". I would never have had any opinions without reading the book. And then go and see the paperwork for yourself on Keith's site. Easy, really. Just not what your stubborn (and others) made up mind want to grasp. For then, you would have to do the very scary and impossible thing. Admit being wrong for once! "Luke...I am your father"!

[Juan Luis]

MISS




MISS!
..
HIT!
..


Silly comparing virtually unknown singer songwriters with failures of their singles even with good production. And in this case sillier, cause the contrast of a barely top 40 "hit" with the massive #1 by Elvis, is huge. And also the fact that Hartford won two Grammy awards and the record was at least a minor hit otherwise, Campbell would not have heard it! 1. Grammy for Songwriter 2. Grammy for Folk Performance as produced by Jarvis.
Mark James record was a total flop with virtually same production as Elvis' sans the Jarvis touches made and overdubbed in Las Vegas. And that was not the intention of it when produced the year before. Anyway, I invite you to check out the paperwork starting March 18, 1969. You will find what producer is present and what producer is absent on the rest of the post-production that went beyond many months after main sessions were finished back in February 22.

[wecanmakethemorning]

Dean Martins version is almost as good as EP:s.

I have always loved Deano's version which was alao the title of a LP released in 1968 which peaked at Number 9 here in the UK.

Andy

It's a fine version from a good album. Dean also covered Jimmy Webb's By the Time I Get to Phoenix on this album. A song that would have been ideal for Elvis around the same time.

Interestingly, Elvis sang an excerpt of 'By The Time I Get To Phoenix' on 5 occasions: (9-9-70 Phoenix, three times Feb 1971 & once in Feb 1974), so was obviously aware of the song.

[CoyotaBlues]

It's such a great performance by Elvis and great song. One of the first songs that I heard as a kid, it had so many words & so unusual metaphors that I didn't know what the hell he is singing about back then when I was 6-7 years old. And the tempo and that dobro (thank you, didn't know that) sound much better to me than original banjo(?).

A little bit personal information: it's coincidence that American recordings are being discussed recently, cause I returned to the album also last week. It is such a great healer! My fiancee left me in September, and nothing could concole me more than this album, especially first 2-3 songs ("I'll Hold You in My Heart" & "Only the Strong Survive"), heck all of them ("It Keeps Right On a-Hurtin'" & "After Loving You"...)! Even if Glen Campbell won Grammy, just love Elvis on "Gentle On My Mind", best version. First two months were terrible - the music didn't help (so if I've been rude Juan Luis in previous posts - sorry), and then it was getting better. But last week when she sent me back my stuff from her home, all the memories were brought back, was angry and I put the record on and... it sure helps now. I listen to a variety of music genres, blues, country, rock, gospel but as I was raised on it, it's simply the best album ever.

"I'm Movin' On" helped a lot too, maybe next topic Juan But I think it was here recently - The Box Tops video was posted, and it was discussed... That Hank Snow sure knew how to write a song.

[Juan Luis]

Thanks for posting and sharing CoyotaBlues! The fusion of country with rhythm and blues and soul, is in my opinion, an important factor in making the FEIM album nothing short of great. So in effect Nashville (country) went to Memphis (rhythm & blues +soul) to record!

[fn2drive]

Thanks for posting and sharing CoyotaBlues! The fusion of country with rhythm and blues and soul, is in my opinion, an important factor in making the FEIM album nothing short of great. So in effect Nashville (country) went to Memphis (rhythm & blues +soul) to record!

Yea and pigs grew wings and began to fly. No end to your fantasies. Felton i have to go to LA tonight and i'm already late. Yes boss. Another double latte while youre at it. Cause the next seven years demonstrated the Nashville made the difference. Thanks Felton.

[fn2drive]

MISS




MISS!
..
HIT!
..


Silly comparing virtually unknown singer songwriters with failures of their singles even with good production. And in this case sillier, cause the contrast of a barely top 40 "hit" with the massive #1 by Elvis, is huge. And also the fact that Hartford won two Grammy awards and the record was at least a minor hit otherwise, Campbell would not have heard it! 1. Grammy for Songwriter 2. Grammy for Folk Performance as produced by Jarvis.
Mark James record was a total flop with virtually same production as Elvis' sans the Jarvis touches made and overdubbed in Las Vegas. And that was not the intention of it when produced the year before. Anyway, I invite you to check out the paperwork starting March 18, 1969. You will find what producer is present and what producer is absent on the rest of the post-production that went beyond many months after main sessions were finished back in February 22.

Standing in the corner waiting to make the Starbucks run makes you present. I need to remind myself of Jarvis' genius on Suspicious Minds mimicing Elvis stage performace's faux ending on the studio master nearly p/oing nearly every DJ in America. Real genius at work. To repear Jarvis played no reole in the magic that was American unless taking the cheesberger orders inspired Elvis. Thanka Felton.

[jetblack]

Dean Martins version is almost as good as EP:s.

I have always loved Deano's version which was alao the title of a LP released in 1968 which peaked at Number 9 here in the UK.

Andy

Dean is one of my favorite entertainers. All the best to you, Andy.

Cheers Scarre - Has 'Santa Lucia' also been mentioned by Dean?



Andy

[Juan Luis]

Standing in the corner waiting to make the Starbucks run makes you present. I need to remind myself of Jarvis' genius on Suspicious Minds mimicing Elvis stage performace's faux ending on the studio master nearly p/oing nearly every DJ in America. Real genius at work. To repear Jarvis played no reole in the magic that was American unless taking the cheesberger orders inspired Elvis. Thanka Felton.

You're welcome!

[drjohncarpenter]

Mark James record was a total flop with virtually same production as Elvis' sans the Jarvis touches made and overdubbed in Las Vegas. And that was not the intention of it when produced the year before. Anyway, I invite you to check out the paperwork starting March 18, 1969. You will find what producer is present and what producer is absent on the rest of the post-production that went beyond many months after main sessions were finished back in February 22.

Standing in the corner waiting to make the Starbucks run makes you present. I need to remind myself of Jarvis' genius on Suspicious Minds mimicing Elvis stage performace's faux ending on the studio master nearly p/oing nearly every DJ in America. Real genius at work. To repear Jarvis played no reole in the magic that was American unless taking the cheesberger orders inspired Elvis. Thanks Felton.

Indeed.

And let's be certain to note the disingenuousness of this latest topic. Notice my previous post on page 2, adding to the topic, is mostly ignored by the OP, despite the effort, and the facts within.

Further take note of the above falsehood about "Suspicious Minds," perpetuated by the OP in his desperation to keep waving his "flag of love" for Felton Jarvis. Less than a month ago I addressed this deceit head on:

http://www.elvis-collectors.com/forum/viewtopic.php?f=1&t=89623&p=1428590#p1428590

Here is the entire, deeply-detailed reply:

And "Suspicious Minds" could have been a Karaoke track because it was so similar to original Mark James flop. The difference were the overdubs by Felton Jarvis that made it the hit we know and love today. Including the kool fade out/fade in.

No.

The basic recordings were not a match, and certainly not "a Karaoke track." Organ leads the original, guitar the remake, for starters.


MARK JAMES

..


ELVIS PRESLEY

..



However, the MAIN difference between the Mark James single in 1968 and the Elvis Presley release in 1969, what separates the two performances, is the STUNNING vocal producer Chips Moman coaxed out of Elvis -- not to mention the gorgeous harmony, also waxed by Elvis in an overdub with Chips. We now have all the session takes in pristine sound from FTD, and if one reviews them, one may hear the following exchange:

Chips: You have one more in you?
Elvis: Yeah!

- after a superb, passionate take 7 of "Suspicious Minds," which followed a kick-ass take 6 ... in fact, take 8 turned out better than both, and became the #1 single release ... this is how you make a CLASSIC recording

No one else would have gotten Presley to that eighth rendition.

Chips' vision allowed Elvis to wax one of the greatest tracks of his career. And whatever overdubs ended up on the single master were originally envisioned by Moman. As many already know, his production style also addressed the arrangement of the song, often leaving requisite space in the basic track to allow for whatever overdubs (vocal, instrumental) he felt would befit the final recording.

This is the essential release which houses the "Suspicious Minds" session, Elvis and Chips, nose-to-nose, making magic:


December 2012



http://home.online.no/~ov-egela/backinmemphisftd.html

---

Read more here:
Let Us Now Praise Lincoln Wayne "Chips" Moman
http://www.elvis-collectors.com/forum/viewtopic.php?f=1&t=89122

Why we are again offered bs from the OP about the Mark James single? Take a guess.

[Juan Luis]

Mark James record was a total flop with virtually same production as Elvis' sans the Jarvis touches made and overdubbed in Las Vegas. And that was not the intention of it when produced the year before. Anyway, I invite you to check out the paperwork starting March 18, 1969. You will find what producer is present and what producer is absent on the rest of the post-production that went beyond many months after main sessions were finished back in February 22.

Standing in the corner waiting to make the Starbucks run makes you present. I need to remind myself of Jarvis' genius on Suspicious Minds mimicing Elvis stage performace's faux ending on the studio master nearly p/oing nearly every DJ in America. Real genius at work. To repear Jarvis played no reole in the magic that was American unless taking the cheesberger orders inspired Elvis. Thanks Felton.

Indeed.

And let's be certain to note the disingenuousness of this latest topic. Notice my previous post on page 2, adding to the topic, is mostly ignored by the OP, despite the effort, and the facts within.

Further take note of the above falsehood about "Suspicious Minds," perpetuated by the OP in his desperation to keep waving his "flag of love" for Felton Jarvis. Less than a month ago I addressed this deceit head on:

http://www.elvis-collectors.com/forum/viewtopic.php?f=1&t=89623&p=1428590#p1428590

Here is the entire, deeply-detailed reply:

And "Suspicious Minds" could have been a Karaoke track because it was so similar to original Mark James flop. The difference were the overdubs by Felton Jarvis that made it the hit we know and love today. Including the kool fade out/fade in.

No.

The basic recordings were not a match, and certainly not "a Karaoke track." Organ leads the original, guitar the remake, for starters.


MARK JAMES

..


ELVIS PRESLEY

..



However, the MAIN difference between the Mark James single in 1968 and the Elvis Presley release in 1969, what separates the two performances, is the STUNNING vocal producer Chips Moman coaxed out of Elvis -- not to mention the gorgeous harmony, also waxed by Elvis in an overdub with Chips. We now have all the session takes in pristine sound from FTD, and if one reviews them, one may hear the following exchange:

Chips: You have one more in you?
Elvis: Yeah!

- after a superb, passionate take 7 of "Suspicious Minds," which followed a kick-ass take 6 ... in fact, take 8 turned out better than both, and became the #1 single release ... this is how you make a CLASSIC recording

No one else would have gotten Presley to that eighth rendition.

Chips' vision allowed Elvis to wax one of the greatest tracks of his career. And whatever overdubs ended up on the single master were originally envisioned by Moman. As many already know, his production style also addressed the arrangement of the song, often leaving requisite space in the basic track to allow for whatever overdubs (vocal, instrumental) he felt would befit the final recording.

This is the essential release which houses the "Suspicious Minds" session, Elvis and Chips, nose-to-nose, making magic:


December 2012



http://home.online.no/~ov-egela/backinmemphisftd.html

---

Read more here:
Let Us Now Praise Lincoln Wayne "Chips" Moman
http://www.elvis-collectors.com/forum/viewtopic.php?f=1&t=89122

Why we are again offered bs from the OP about the Mark James single? Take a guess.

Because the same was offered about the "failures" of another singer songwriter as if it were the failure of the producer. Grabbing at straws for failed argument when approached with a very worthy and surprisingly better comparison!

[fn2drive]

Here we go again Doc. The burst of defense for a failed and failure of a producer whose career can be boiled down to cheerleader except when it mattered. And when it mattered he was relegated to bystander waiting to ask Elvis whether he wanted 2 or 3 cheesburgers for dinner. Unless he was applying his trademark over the top overdubs or his creative apex, the fade in fade out nearly derailing Elvis' masterpiece. Jarvis must have been oh so delighted with himself. Time to play me some Padre and 3 Corn Patches so i can reflect on how Felton produced such masterpieces in 1969 and a few years later couldnt even get the modulation right. Or maybe it's simply the only time Jarvis had real impact on the American sessions is when he nearly destroys them in his reimaging in 1981. Now there's a real genius at work. Thanks Felton.

[Juan Luis]

...

[midnightx]

Although you attempt to draw a connection to Jarvis at American Sound in 1969 because of his work on the original single by Hartford

No attempt. A connection there period. Felton Jarvis produced original "Gentle On My Mind". Felton Jarvis Co-produced the same song with Elvis in 1969.

As Darth Vader once said, "the delusion is strong with him."

Quoting from the dark aren't you? Well, you know darkness is absence of light. So get a light bulb that works. And then come back.

Unfortunately anyone who believes that Felton Jarvis had anything to do with the American magic is trapped in a black hole. But we can always take Padre or 3 Corn Patches out for a spin to shine a bright light on Felton's producing skills. Thanks Felton.

There you go getting out of 1969 where this threads at. You should read "A Life In Music". I would never have had any opinions without reading the book. And then go and see the paperwork for yourself on Keith's site. Easy, really. Just not what your stubborn (and others) made up mind want to grasp. For then, you would have to do the very scary and impossible thing. Admit being wrong for once! "Luke...I am your father"!

Here we go again. No Chips Moman...no From Elvis In Memphis and associated singles. No Felton Jarvis...there is still a completed From Elvis In Memphis album and associated singles because the American Sound recordings exist because of Chips Moman. Without Chips Moman, an inferior batch of recordings would have likely taken place in Nashville with Jarvis at the helm. No Suspicious Minds, no In The Ghetto, no Kentucky Rain, no Don't Cry Daddy, no Long Black Limousine, no Only The Strong Survive. Had Jarvis overseen a session in Nashville in early 1969, there would have been mixed results like his 1967 sessions, likely incomplete and incapable of filling a full album of mainstream commercial material. Elvis never would have had an acclaimed, artistically complete and relevant mainstream album and chart-topping singles. On the flip-side, had Jarvis been barred from the American Sound sessions, Elvis still would have completed From Elvis In Memphis and made a dynamic impact on the singles charts due to his collaboration with Chips Moman. You can desperately continue to try to promote Jarvis' minimal involvement as something it wasn't, but the historical record will defeat your sad rhetoric every time.