Elvis Presley, the King of Rock and Roll, covered numerous classics throughout his career, adding his unique touch to familiar tunes. Among these is his take on Chuck Berry’s iconic “Memphis, Tennessee.” However, the journey of the Song Memphis Tennessee By Elvis Presley from recording studio to release was far from straightforward, involving multiple sessions, dissatisfaction, and even an unfortunate encounter that led to a competitor scoring a hit with the track first. This exploration delves into the fascinating history behind Elvis’s rendition, drawing from the detailed accounts of his 1963 and 1964 recording sessions.
The Original Spark: Recording the Song Memphis Tennessee by Elvis Presley in 1963
In May 1963, Elvis entered RCA’s Studio B in Nashville for a productive two-day session intended to yield a full studio album and singles. Fourteen songs were cut, showcasing a range of styles, including what would become the first attempt at “Memphis, Tennessee.”
The initial approach to the song, captured during this session, had its own distinct feel. The master take from this period (Take 2) featured a background arrangement, particularly the drumming, that some found compelling, perhaps even more so than the later version. It possessed a raw energy, hinting at the rock and roll roots Elvis shared with Chuck Berry. Take 1 from this session, later released on the From Nashville To Memphis compilation, offered an interesting glimpse into the early stages, with hints of the circa-1956 Elvis energy occasionally audible.
Album covers for Elvis Presley’s For The Asking and The Lost Album releases, featuring songs from the 1963 Nashville sessions.
Despite capturing a master take, Elvis was reportedly unsatisfied with his performance on the 1963 version of “Memphis, Tennessee.” He felt he could do better, leading him to revisit the song later. This initial master (Take 2 from May 1963) was ultimately rejected by Elvis himself, although it would eventually surface years later on releases like Collectors Gold, showcasing a slightly different flavour compared to the version fans would eventually know.
A Second Attempt: Refining “Memphis, Tennessee” in 1964
Elvis got his chance for another try in January 1964. Returning to the studio, he aimed to re-record both “Memphis, Tennessee” and another track from the May ’63 sessions, “Ask Me,” alongside a new song, “It Hurts Me.”
This 1964 session yielded the definitive master take (Take 6) of the Song Memphis Tennessee By Elvis Presley. This version is noted for its distinctive “jungle rhythm,” a percussive drive that sets it apart. Reviews of the session outtakes suggest Elvis’s performance was stronger and more confident in 1964 compared to his 1963 attempt. The arrangement felt more polished, and the overall execution tighter.
Analysis of the alternate takes from January 1964 provides insight into the song’s development during that session. Take 1 featured muffled opening drums but showed Elvis’s performance improving steadily throughout the take. Takes 2, 3, and 5 revealed the process of locking into the groove, with Take 3 featuring a more subdued band sound before Elvis laughingly halted it. Take 5 offered a complete performance, considered great but ultimately surpassed by the chosen master, Take 6. Comparing the 1963 and 1964 masters side-by-side confirms Elvis’s instinct; while the ’63 version had appealing elements, the ’64 recording delivered a more powerful and assured vocal performance, bolstered by the unique rhythmic arrangement.
The Johnny Rivers Incident and Delayed Release
One of the most intriguing, and arguably frustrating, aspects of the story surrounding the song Memphis Tennessee by Elvis Presley involves fellow musician Johnny Rivers. According to accounts detailed by Ernst Jorgensen in Elvis Presley: A Life In Music, Elvis played his unreleased 1964 recording of “Memphis, Tennessee” for Rivers.
Recognizing the song’s potential, Rivers quickly recorded his own version and rushed it out. Rivers’ cover became a significant hit, effectively preempting Elvis’s release. This unfortunate turn of events meant that Elvis’s own powerful rendition, recorded and perfected in January 1964, was shelved by RCA.
Instead of becoming a potential single or album highlight in 1964, Elvis’s master recording of “Memphis, Tennessee” was relegated to the status of an album track on the 1965 compilation Elvis For Everyone, an album largely consisting of leftover material. It was an anticlimactic fate for such a dynamic recording.
Analyzing Elvis’s Take on a Classic
Despite the delayed and somewhat buried release, Elvis’s version of “Memphis, Tennessee” stands as a noteworthy cover in his discography. The unique “jungle rhythm” gives it a distinct character, differentiating it from Chuck Berry’s original and Johnny Rivers’ hit cover. The recording also features what reviewers have described as a “surprise ending,” adding another layer of interest.
When considering Elvis’s interpretations of Chuck Berry’s work, “Memphis, Tennessee” holds a significant place, perhaps running a close second in impact only to his powerful 1973 cover of “Promised Land.” Both tracks showcase Elvis’s ability to inhabit Berry’s rock and roll storytelling while injecting his own vocal power and stylistic flair.
The complex history of the song, with its multiple recording attempts and the Johnny Rivers incident, was later illuminated further through archival releases, particularly the Follow That Dream (FTD) collectors’ label release Elvis Sings Memphis, Tennessee. This 2-CD set compiled the masters and numerous alternate takes from both the May 1963 and January 1964 sessions, allowing fans to trace the evolution of the song and appreciate the nuances between the different versions. It brought together the rejected 1963 master, the final 1964 master, and various outtakes, offering a comprehensive look at Elvis’s work on this Chuck Berry classic.
Conclusion
The song Memphis Tennessee by Elvis Presley represents more than just another cover tune. It’s a story of artistic persistence, unfortunate timing, and the often-complex path recordings take from studio to listener. Elvis’s initial dissatisfaction led to a stronger, rhythmically unique 1964 version, only for industry circumstances to delay its release and diminish its potential impact at the time. Yet, listening today, Elvis’s energetic performance and the driving beat make it a standout track from his mid-60s non-soundtrack work, a testament to his enduring ability to rock and roll, even when navigating the challenging landscape of the music business. It remains a fascinating piece of the Elvis Presley legacy, finally appreciated through dedicated releases that explore its full recording history.
