"So High"

[Juan Luis]

Recorded May 27, 1966 at RCA Studio B Nashville, Tenn. Produced By Felton Jarvis with Jim Malloy behind the console.
Another Jubilee "Golden Gate Quartet" type Gospel traditional rouser from the Grammy winning "How Great Thou Art" album. Elvis wanted Jimmy Jones (bass singer of the Harmonizing Four Gospel group) to join the sessions but Tom Diskin couldn't get a hold of him according "A Life In Music" by Ernst Jorgensen. Excellent drumming by Buddy Harman with tambourine by DJ Fontana. Great interaction between Elvis and singers with hand-clapping. Just a beautiful Gospel performance! A great start of side 2 on the album!

.. Earlier version with different title.
.. This is the 45 RPM record Elvis heard and loved, in my opinion. Jimmy Jones and The Sensationals.

..

[Rob]

Elvis nailed that tune.

This fan has never heard it done better.

[Juan Luis]

Elvis nailed that tune.

This fan has never heard it done better.

Neither has this one!



A very early version.
..

[drjohncarpenter]

Elvis nailed that tune.

This fan has never heard it done better.

It's a terrific recording, but the 1965 gospel single B-side by Jimmy Jones and The Sensationals is fantastic. Elvis' 1966 master is almost a straight copy, right down to the hand-claps and Jones' bass lead. Let's call it ... a successful homage.


..

Jimmy Jones and the Sensationals "So High" (Savoy 4234, June 1965)


Interesting, that Jones takes a songwriting credit on the tune, given it had been around for years:

650600_Savoy 4234.jpg

On the RCA LP, we see Presley publishers ignored this credit, and treated the song like public domain material. The label reads "Arr. Elvis Presley." Hmm. I don't think Elvis worked on arranging that Savoy single. You gotta love the record business!

Another song from Presley's 1966 gospel sessions that likely was another Jimmy Jones homage was "Somebody Bigger Than You And I," which the singer issued on Savoy back in 1958. Elvis affects the very same bass tone on his lead vocal as heard on "So High."

581027_Savoy 1553.jpg

Jimmy Jones And Chorus "Somebody Bigger Than You And I" (Savoy 1553, October 27, 1958)


At the time, this 1958 single was given a big push in Billboard:

Billboard Nov 03 1958 p58.JPG

Billboard - October 27, 1958


Jones was also a member of the Harmonizing Four, and his work with the quartet in 1957-1959 would influence at least four Elvis gospel recordings:

"All Things Are Possible" b/w "Farther Along" (Vee-Jay 845, May 1957)
"Where Could I Go But to the Lord" b/w "Motherless Child" (Vee-Jay 854, December 1957)


In any event, for Elvis, the "jubilee" gospel sound remained a lifelong favorite.



BONUS TRACK

Here's another stunning gospel single B-side by the group, with Jones to the fore:


..

Jimmy Jones and the Sensationals "Come On And Go With Me" (Savoy 4116, April 6, 1959)

[Dan_T]

Elvis nailed that tune.

This fan has never heard it done better.

You aint heard me sing it !

[Fabbe]

Good song!


Inviato dal mio iPhone utilizzando Tapatalk

[Rob]

Elvis nailed that tune.
This fan has never heard it done better.

You aint heard me sing it !

Let's keep it that way if at all possible.

[Hard Rocker]

A fantastic recording from 1966. The King had had enough. The Comeback was underway.

[jurasic1968]

You missed it the date with only 25 month (June 1968 from May 1966). Not a big error, after all.

[Hobbes]

I love this song. I love the one on the So High FTD where someone shouts "rolling!" to quiet everyone down before it starts.

The Jimmy Jones version is fantastic; first time I've heard that one.

[drjohncarpenter]

A fantastic recording from 1966. The King had had enough. The Comeback was underway.

You missed it the date with only 25 month (June 1968 from May 1966). Not a big error, after all.

Oh, what difference does twenty-five months make anyway?

[Hard Rocker]

A fantastic recording from 1966. The King had had enough. The Comeback was underway.

You missed it the date with only 25 month (June 1968 from May 1966). Not a big error, after all.

Oh, what difference does twenty-five months make anyway?

...or ten years (1954 to 1964) for that matter?

http://www.elvis-collectors.com/forum/viewtopic.php?f=1&t=92904&start=150

[Dan_T]

Elvis nailed that tune.
This fan has never heard it done better.

You aint heard me sing it !

Let's keep it that was if at all possible.

[poormadpeter2]

Interesting, that Jones takes a songwriting credit on the tune, given it had been around for years

Interesting that Chuck Willis takes a songwriting credit on See See Rider/C C Rider, given it had been around for years!

On the RCA LP, we see Presley publishers ignored this credit, and treated the song like public domain material. The label reads "Arr. Elvis Presley." Hmm. I don't think Elvis worked on arranging that Savoy single. You gotta love the record business!

And so they should ignore the credit, for it is false. He didn't write it. They treated it like public domain material because it WAS public domain material.

It's a terrific recording, but the 1965 gospel single B-side by Jimmy Jones and The Sensationals is fantastic. Elvis' 1966 master is almost a straight copy, right down to the hand-claps and Jones' bass lead. Let's call it ... a successful homage.

And Elvis's arrangement is different to Jones'. Firstly, Elvis's version has an instrumental introduction that Jones's did not have. Secondly the instrumentation is different, with the revival-style piano prominent in Elvis's performance. Thirdly, the tempo is quicker on Elvis's version. Fourthly, the vocal line is different in numerous places. Fifthly, there is the wonderful touch of having the soaring soprano voice as the song comes to a close. Who else would have thought of using a singer for just three or four seconds of music in order to get the sound HE wanted rather than just a "straight copy" of the version that influenced him? Finally, the rhythm used throughout the song uses a different figure to that on the previous recording.

Six very good reasons why Elvis's is not "almost a straight copy," and is merely inspired or influenced by the earlier version. The arrangement credit to Elvis was perfectly valid and perfectly apt. It is the subtle things that make a difference in a recording - it's a shame you didn't hear them.

[Juan Luis]

Interesting, that Jones takes a songwriting credit on the tune, given it had been around for years

Interesting that Chuck Willis takes a songwriting credit on See See Rider/C C Rider, given it had been around for years!

On the RCA LP, we see Presley publishers ignored this credit, and treated the song like public domain material. The label reads "Arr. Elvis Presley." Hmm. I don't think Elvis worked on arranging that Savoy single. You gotta love the record business!

And so they should ignore the credit, for it is false. He didn't write it. They treated it like public domain material because it WAS public domain material.

It's a terrific recording, but the 1965 gospel single B-side by Jimmy Jones and The Sensationals is fantastic. Elvis' 1966 master is almost a straight copy, right down to the hand-claps and Jones' bass lead. Let's call it ... a successful homage.

And Elvis's arrangement is different to Jones'. Firstly, Elvis's version has an instrumental introduction that Jones's did not have. Secondly the instrumentation is different, with the revival-style piano prominent in Elvis's performance. Thirdly, the tempo is quicker on Elvis's version. Fourthly, the vocal line is different in numerous places. Fifthly, there is the wonderful touch of having the soaring soprano voice as the song comes to a close. Who else would have thought of using a singer for just three or four seconds of music in order to get the sound HE wanted rather than just a "straight copy" of the version that influenced him? Finally, the rhythm used throughout the song uses a different figure to that on the previous recording.

Six very good reasons why Elvis's is not "almost a straight copy," and is merely inspired or influenced by the earlier version. The arrangement credit to Elvis was perfectly valid and perfectly apt. It is the subtle things that make a difference in a recording - it's a shame you didn't hear them.

Agree and second all six counts!

[drjohncarpenter]

Agree and second all six counts!

So glad you again appreciate all the music, research, scans and information I brought to your latest topic.

Learning about Elvis is fun.

[Juan Luis]

Agree and second all six counts!

So glad you again appreciate all the music, research, scans and information I brought to your latest topic.

Learning about Elvis is fun.

You mean your latest topic. I don't know why you repeated the Jimmy Jones record I had already posted on my OP. Anyway, who are you kidding?

[drjohncarpenter]

Agree and second all six counts!

So glad you again appreciate all the music, research, scans and information I brought to your latest topic.

Learning about Elvis is fun.

You mean your latest topic. I don't know why you repeated the Jimmy Jones record I had already posted on my OP. Anyway, who are you kidding?

A lot of people associated with this forum wonder what has happened to you. Food for thought.

[Juan Luis]

Agree and second all six counts!

So glad you again appreciate all the music, research, scans and information I brought to your latest topic.

Learning about Elvis is fun.

You mean your latest topic. I don't know why you repeated the Jimmy Jones record I had already posted on my OP. Anyway, who are you kidding?

A lot of people associated with this forum wonder what has happened to you. Food for thought.

My intelligence, accusations of falsehoods, integrity, has been questioned by yourself and some of your sycophants (ironic no?). Food for thought indeed.
Posting in a thread and expect appreciation when you do not show it yourself? How many threads ago did you state that you posted on my threads in spite of me, or words to that effect? And you use that "hypocrite" word quite a bit. Please...spare me.

[colonel snow]

Another version was recorded on 14-05-59 by LaVern Baker with Chuck Sagle Orchestra (Atlantic 2033).

colonel snow

[Scarre]

I like it, alot. Not his best gospel song, but still...

[stevelecher]

It's just OK.

[drjohncarpenter]

Elvis' version IS very close to the Jimmy Jones version, doesn't matter to me. They're both great recordings.

Sure, but it also matters that one is a 1965 original by Jimmy Jones and the Sensationals, the other a 1966 homage from Elvis. In retrospect it appears, looking again at the research I did for this topic, that the bass singer was a large influence on the Presley gospel sessions that year and beyond. Even though Jones lost out on royalties when RCA and management treated his Savoy single as if it was public domain material, nothing new for them, credit should always be given when due. So, fifty years later, here it is.

[poormadpeter2]

Elvis' version IS very close to the Jimmy Jones version, doesn't matter to me. They're both great recordings.

Sure, but it also matters that one is a 1965 original by Jimmy Jones and the Sensationals, the other a 1966 homage from Elvis. In retrospect it appears, looking again at the research I did for this topic, that the bass singer was a large influence on the Presley gospel sessions that year and beyond. Even though Jones lost out on royalties when RCA and management treated his Savoy single as if it was public domain material, nothing new for them, credit should always be given when due. So, fifty years later, here it is.

You can't lose out on royalties for something you didn't write. He didn't write it. It's like me putting out a single of London Bridge is Falling Down and claiming I wrote it. It might gain me some royalties, but it wouldn't be true!

[Juan Luis]

Elvis' version IS very close to the Jimmy Jones version, doesn't matter to me. They're both great recordings.

Sure, but it also matters that one is a 1965 original by Jimmy Jones and the Sensationals, the other a 1966 homage from Elvis. In retrospect it appears, looking again at the research I did for this topic, that the bass singer was a large influence on the Presley gospel sessions that year and beyond. Even though Jones lost out on royalties when RCA and management treated his Savoy single as if it was public domain material, nothing new for them, credit should always be given when due. So, fifty years later, here it is.

You can't lose out on royalties for something you didn't write. He didn't write it. It's like me putting out a single of London Bridge is Falling Down and claiming I wrote it. It might gain me some royalties, but it wouldn't be true!

Exactly. What Jimmy Jones did was take a public domain song put his spin on it, and then get composer credit. Royalties lost? It is a public domain traditional song. Not an ORIGINAL SONG by any means. If anything, Elvis' credits are honest.