Did Elvis Presley Write Songs? Songwriter Red West Remembers Working for The King
Shock Naue Entertainment News
For many fans, the question persists: did Elvis Write Songs? While Elvis Presley’s name often appeared in the songwriting credits of his hits, the reality of his direct involvement in writing music and lyrics is a topic often discussed. An insightful perspective comes from Red West, a close friend and associate who wrote several songs recorded by The King. In an interview, West shed light on Elvis’s relationship with songwriting, offering a candid look at his process and preferences.
Red West, who learned guitar from Scotty Moore on the road in the 1950s, began his own songwriting journey after returning from Germany. Connecting with Memphis natives Dorsey and Johnny Burnette, who were writing for Ricky Nelson, inspired him. West landed a role as an extra in the movie Journey To The Center of The Earth starring Pat Boone, and the two became friends. He presented his song “A Thousand Years” to Boone’s manager, and Pat Boone recorded it as the B-side to his hit “Moody River.” West also penned songs recorded by Gary Puckett & The Union Gap and Petula Clark.
The idea for “That’s Someone You Never Forget” originated directly from Elvis. “He said, ‘How about coming up with a song with the title of ‘That’s Someone You Never Forget?’” West recalled. He wrote the song and recorded a demo at Gold Star Recording in Hollywood, singing the tune himself. Elvis liked the demo, and West was present in the studio when Elvis recorded it, a moment he described as both great and nerve-wracking. Every time Elvis stopped the take, West worried he would lose interest. Despite its “strange, weird melody,” West was pleased with the final recording. He noted that Elvis wouldn’t have recorded his songs if he didn’t genuinely like them, though Elvis did turn down a couple of West’s submissions. West wished he had written more for him.
The story behind “You’ll Be Gone” is particularly interesting. After the success of changing the lyrics to the standard “O Sole Mio” for “It’s Now Or Never,” Elvis wanted to do the same with another classic: “Begin The Beguine.” He liked the melody but wanted new lyrics. Red West wrote the new lyrics, but when it came time to record, Cole Porter, the original composer, emphatically refused permission. West then rewrote the melody itself. The song ended up having only two chords, C and F, a suggestion from Charlie Hodge, who West credited as a third writer for the idea. Elvis was also credited, though West clarified this was more for his suggestion to do it rather than actual songwriting contribution. The common query, did Elvis Write Songs, finds a clear answer here: Elvis never truly attempted to write songs himself because “He just didn’t have the patience. He hated to sit down and do anything like that.” West believed Elvis could have written songs if he had taken the time and could sit still long enough, suggesting Elvis might have leaned towards writing ballads, given his preference for that type of song.
Elvis Presley and songwriter Red West together
Elvis held a particular fondness for the song “If You Think I Don’t Need You,” which was featured in the movie Viva Las Vegas. Elvis put significant energy into his recording of the track, which featured Glen Campbell on guitar. West wasn’t under contract as a writer and “winged it,” reading Elvis’s movie script for inspiration. He wrote the song with Joe Cooper, aiming for a vibe similar to Ray Charles’s “What I’d Say,” trying to capture its feel, beat, groove, and melody. Ann-Margret and Elvis’s chemistry in Viva Las Vegas made the song a memorable part of the film’s soundtrack.
One August night, while at the Memphian theatre that Elvis would rent out, West suddenly felt an urge to write a holiday song. He went home and, within an hour and a half, wrote “If Every Day Was Like Christmas.” He recorded a demo with Chips Moman at Stax, spending a considerable amount on its local release. When Elvis was preparing to record a Christmas song, West played him the demo. Elvis was scheduled to record three songs in Nashville but either got sick or pretended to be. West went in and did the vocals while the band played, recording it on a two-track recorder. Back at the hotel, Elvis added his voice over West’s demo, loving the finished product.
Red West with Elvis Presley in the 1970s
“Separate Ways” was a song born from West’s personal situation while in Memphis, with his wife in Los Angeles. The song’s theme resonated perfectly with Elvis’s own situation with Priscilla Presley at the time, shortly after their split. Initially, West wrote the song about his son, Brent, but the lyrics were changed to relate to Lisa Marie Presley, altering the line “the tears that he will cry” to “the tears that she will cry.” West mentioned that Elvis never explicitly asked if he had new songs; rather, West would write one and then inform Elvis about it.
West also brought “Always On My Mind” to Elvis. Elvis recorded both “Always On My Mind” and “Separate Ways” during the same sessions after the separation from Priscilla. West recalled Elvis’s reaction: “Man, you’re killing me with these songs.” These tracks clearly affected him deeply. “Don’t Cry Daddy” was another song that resonated with Elvis on a personal level, making it difficult to record as he related it to Lisa Marie.
Elvis, Charlie Hodge, and West spent countless hours singing together, forming their own trio. Elvis had a deep love for gospel music and also enjoyed close harmony groups like the Sons of the Pioneers, particularly songs like “Tumbling Tumbleweeds.” They would sing together often. Three of West’s songs – “I’ve Been Blue,” “It’s No Fun Being Lonely,” and “Mary Lou Brown” – specifically written for tight harmony, were later released on a CD of home recordings found at Graceland 25 years after Elvis’s death. These recordings also included Sons of the Pioneers and Ink Spots songs like “Soldier Boy.” Often, Elvis would be at the piano while West recorded their sessions.
Among all the songs he sang, Elvis particularly loved gospel music. West wrote “Holly Leaves And Christmas Trees” and the gospel song “Seeing Is Believing,” which Elvis especially enjoyed singing. West described gospel music as “rock and roll with a religious flair.” After shows at the Hilton, Elvis would often sing gospel songs with the Stamps Quartet until dawn as a way to unwind.
Interestingly, Elvis liked The Beatles, meeting all four members at his Bel-Air house. West described the meeting as more of a courtesy, though Elvis enjoyed it, finding them “a nice bunch of guys.” West noted that Elvis wasn’t in awe of many people, perhaps only Jake Hess, a top gospel singer, and didn’t easily mix with most celebrities. Tom Jones was an exception, being a good friend. During The Beatles’ visit, instruments were available, but Elvis wasn’t interested in singing or playing. They mostly watched television; Elvis might have played a little bass. West wasn’t certain if Elvis and The Beatles ever actually played together.
The idea for “If You Talk In Your Sleep” came to West and Johnny Christopher while they were seeking inspiration. Elvis used to talk in his sleep, sharing humorous stories, including one about sleepwalking in his underwear at Lauderdale Courts and being seen by a girl he liked, which mortified him. As West recounted these stories, Christopher suggested, “That’s a title! How about ‘If You Talk In Your Sleep’?” The song explores the common theme of cheating, particularly prevalent in country music, drawing inspiration from songs like “Dark End Of The Street.” They developed the lyric “‘if you talk in your sleep, don’t mention my name’” and finished the song.
While Elvis didn’t listen to his own music extensively, he genuinely loved his From Elvis In Memphis album, recorded with Chips Moman. He considered it an album full of great songs, including “Suspicious Minds” by Mark James. Elvis was weary of the movie soundtrack recordings that he felt weren’t benefiting his career. The Memphis sessions yielded numerous hits like “In The Ghetto,” “Suspicious Minds,” “Don’t Cry Daddy,” and “Kentucky Rain.” He listened to the demos of these songs repeatedly while filming Change of Habit. After his albums were released, he would listen and reflect on them, but the From Elvis In Memphis album was the one he played the most.
This article is based on an interview with Red West by Ken Sharp, featured in the FTD book Writing For The King.
