“My first [love] I would say would be spiritual music … I mean some of the old colored spirituals, you know, from years back.”
In that statement at a Vancouver, B.C., press conference in August 1957, Elvis Presley acknowledged the profound influence spirituals had on his music from the earliest years of his career. While then at the peak of his rock ’n’ roll fame, he had already begun recording what would become known as his celebrated gospel songs. Elvis continued to record religious music intermittently throughout his life, demonstrating a deep connection that manifested in both solemn hymns and Elvis Presley Upbeat Gospel Songs. This dedication established him as a significant figure not just in popular music but also in the realm of sacred recordings.
During his illustrious career, RCA Records released a total of 11 Presley gospel records. These included four long play (LP) albums, one extended play (EP) album, and six single records. Peace in the Valley, an EP featuring four spiritual tunes, was issued in April 1957. His first full gospel LP, His Hand in Mine, comprising 12 tracks, followed in November 1960. The first gospel single, which included the classic “Crying in the Chapel,” wasn’t released until April 1965. The unexpected commercial success of that single prompted RCA to release two more gospel singles the following year around Easter. The four songs featured on those singles—”Joshua Fit the Battle”/”Known Only to Him” and “Milky White Way”/”Swing Down Sweet Chariot”—were pulled from the earlier His Hand in Mine LP.
Elvis’ second gospel LP, How Great Thou Art, introduced 12 new recordings upon its release in March 1967. A year later, another Easter-themed single, “You’ll Never Walk Alone”/”We Call on Him,” was issued. Interestingly, these two songs also appeared on Elvis’ third gospel LP, titled You’ll Never Walk Alone, a budget-priced album released in March 1971. Out of the nine songs on that particular album, only two were previously unreleased studio recordings; these were movie soundtrack songs, “Sing You Children” from Easy Come, Easy Go, and “Let Us Pray” from Change of Habit. Just a month after that budget LP release, Elvis’ fifth gospel single, “Life”/”Only Believe,” hit the market. His extensive discography spanned many moods and styles, including introspective pieces like those explored in songs such as elvis presley lonely this christmas.
In the Easter season of 1972, RCA released Elvis’ final gospel single during his lifetime, “He Touched Me” coupled with “Bosom of Abraham.” These two songs were also tracks featured on Presley’s last gospel LP, also titled He Touched Me, which became available in April 1972. However, these were not the absolute last religious numbers Elvis recorded. Over the subsequent five years leading up to his death, gospel cuts, such as “Help Me” and “I Got a Feelin’ in My Body,” were included as tracks on his regularly released RCA pop LPs, showcasing the continued presence of spiritual themes in his work. Additionally, live recordings of powerful songs like “How Great Thou Art” and “Why Me Lord?” appeared on concert LPs released in the mid-seventies, demonstrating the impact these songs had in his live performances, reflecting the depth of his musical interests beyond just chart-toppers or personal reflections captured in songs like lonely man elvis presley.
Cover art for Elvis Presley’s 1957 Peace in the Valley gospel EP, featuring four spiritual songs.
In total, approximately 60 Presley gospel recordings were released in various formats during his lifetime. Selecting the 10 “best” from this body of work is, by its very nature, a highly subjective endeavor. Here is a personal countdown of notable Elvis gospel tracks, highlighting some of his most impactful contributions to the genre.
Elvis Presley’s Top 10 Best Gospel Recordings
10. “Peace in the Valley” (1957)
Elvis recorded “Peace in the Valley,” the title song of his groundbreaking first gospel record, in Hollywood on January 13, 1957. He had famously sung it just a week earlier during his final appearance on The Ed Sullivan Show in New York. While Elvis’ delivery on this song might not have been as technically polished as it would become during his more dedicated 1960 gospel sessions, his clear commitment to the song and its message was palpable. This performance and recording helped to soften some of the public criticism he had received up to that point in his rock ‘n’ roll career, showcasing a different, more introspective side of the young star, a contrast to the feelings conveyed in titles such as elvis presley only the lonely.
9. “You’ll Never Walk Alone” (1968)
Elvis recorded this moving standard during his Nashville studio sessions in September 1967. In their insightful sleeve notes for the 2009 Presley gospel compilation, I Believe, Mike Cimicata and Ernst Jorgensen provided details about its recording process. They explained that on the last night of sessions, Elvis sat down at the piano and asked for the lights to be turned down low. He began playing “You’ll Never Walk Alone” repeatedly, without pausing between takes, seemingly lost in his own world and driving every bit of emotion from the song. Producer Felton Jarvis later edited the tape to create a master recording, which was subsequently released as a single. This powerful rendition earned Elvis a 1968 Grammy nomination for “Best Sacred Performance,” highlighting the critical acclaim his religious recordings received.
Album cover for Elvis Presley’s first gospel LP, His Hand in Mine, released in 1960.
8. “Run On” (1967)
A primary objective of Elvis’ May 1966 Nashville sessions was to record sufficient material for a new gospel album, which would become How Great Thou Art. To ensure he could achieve any desired sound, 14 musicians were present in the studio, including full electric band members and not only his regular backing vocalists, the Jordanaires, but also The Imperials and a female trio. The very first song the large ensemble recorded was “Run On,” a track described by Ernst Jorgensen as “an up-tempo number in the jubilee tradition.” It kicked off with a distinctive opening piano-run by Floyd Cramer and a low “hmmm” from the vocal grouping. Jorgensen noted that “The second take was full of energy, with the full electric band and eleven singers making a very joyful noise.” This was a remarkable updating of traditional upbeat gospel songs, sounding tough, powerful, even threatening—a distinct departure from any religious music he had previously recorded.
7. “Joshua Fit the Battle” (1960)
This particular track has often been cited as a favorite from Presley’s seminal 1960 gospel album, His Hand in Mine. Gordon Stoker of the Jordanaires, in the sleeve notes for Elvis’ I Believe box set, recalled, “After rehearsing it a few times, he was ready to roll tape.” Stoker added, “Listen to it; those words are not easy,” referring to the intricate lyrics and timing. The vocal blend achieved with the Jordanaires was seamless on this energetic, upbeat gospel tune. It required a few takes to perfect the timing and tone of the five individual voices at the song’s conclusion, but when they got it right, the recording wrapped up with an inspiring vocal flourish, showcasing the tight harmonies that defined many of his collaborations, sometimes evoking a sense of yearning found in songs like elvis presley lonely man.
6. “I Got a Feelin’ in My Body” (1974)
Elvis frequently warmed up for his recording sessions by gathering his backing vocalists around a piano and singing spirituals, highlighting the genre’s foundational role in his musicality. It was therefore a natural choice that he began his December 1973 sessions at Stax Studios in Memphis with “I Got a Feelin’ in My Body.” Ernst Jorgensen described this track as a “funkily rhythmic contemporary religious number,” firmly placing it among Elvis Presley’s notable upbeat gospel songs. The song was composed by Dennis Linde, the same songwriter who had penned the massive hit “Burning Love” for Elvis. Jorgensen remarked, “It was a great kickoff for the sessions,” underscoring the positive energy it brought. “I Got a Feelin’ in My Body” later appeared as one of the standout tracks on Elvis’s 1974 album, Good Times.
The album cover for Elvis Presley’s Grammy-winning 1967 gospel LP, How Great Thou Art.
5. “He Touched Me” (1972)
Elvis recorded the poignant hymn “He Touched Me,” the title song of his fourth and final gospel LP released during his life, on May 15, 1971. This recording occurred in the midst of a week-long series of productive Nashville sessions. Elvis’s lifelong familiarity and deep connection with such hymns allowed him to imbue this track with emotional vocal power, captured on tape in just a few takes. It was also greatly aided by the fact that “He Touched Me” was the signature song of The Imperials Quartet, who provided stellar vocal support on Elvis’s version, bringing an authentic gospel sound. Released the following year as the album’s centerpiece, Elvis’ He Touched Me LP went on to win him the second of his three Grammy awards, all of which were for his gospel recordings.
4. “His Hand in Mine” (1960)
When Elvis journeyed to Nashville in October 1960 to record his inaugural sacred LP, he worked with the very same accomplished musicians and vocal backing groups he regularly used for his pop recordings, including the iconic Jordanaires and Millie Kirkham. This smaller, familiar group proved incredibly efficient, managing to produce an impressive 14 masters during a single, marathon session. “His Hand in Mine,” a song previously recorded by one of Elvis’ favorite gospel groups, The Statesmen Quartet, was the second number captured on tape that evening. Charlie Hodge, Elvis’ close army buddy and a fellow enthusiast familiar with the gospel genre, harmonized with Elvis on this track. Ernst Jorgensen notes that, “Over the course of only five takes, they developed an impressive vocal arrangement featuring both the Jordanaires and Millie Kirkham—further evidence of the familiarity of everyone on the session with the material,” resulting in a beautifully blended performance that highlighted his versatile vocal talents, evident even when elvis singing and i love you so.
3. “Saved” (1968)
In a 1971 Elvis radio documentary, Jordanaire Ray Walker offered a fascinating distinction between spiritual music and gospel music. Spirituals, he explained, often stem from pain and suffering, leading the singer to hold back slightly, leaving the listener wanting more. Rhythm gospel, conversely, is typically more frantic and energetic. It features a steady, driving beat, and the singer tends to give an all-out performance. By this definition, “Saved,” a track Elvis recorded for his acclaimed 1968 NBC TV special (often referred to as the “’68 Comeback Special”), may stand out as arguably his most authentic rhythm gospel performance. Unlike his usual style, where he often left the audience wanting more, Elvis held nothing back on “Saved.” Driven by an infectious, high-energy beat, his vocal was powerful from beginning to end, demonstrating a complete commitment to the song’s fervent message. It was used in the TV special as part of a memorable gospel medley. However, Elvis’ standalone studio recording of “Saved” was not officially released until many years after his death.
Cover image for Elvis Presley’s fourth and final gospel album, He Touched Me, released in 1972.
2. “Crying in the Chapel” (1965)
Following a long and productive night of recording gospel songs spanning October 30-31, 1960, Elvis expressed a desire to record “Crying in the Chapel.” Gordon Stoker of the Jordanaires recalled, “We were tired when we recorded it, but I’m thankful we don’t sound tired on the record.” However, he added, “I never liked our ending. All of us knew we sang the wrong parts. Of course in those days you couldn’t repair.” Despite this minor imperfection noted by the singers, Elvis was satisfied, saying, “It’s good, forget it, don’t make any difference.” Due to Colonel Parker’s inability to secure the publishing rights at the time, the recording was initially left off the His Hand in Mine album. Five years later, however, RCA decided to dust off the old recording and issue it as a standalone single. Surprisingly, it soared up Billboard’s pop chart, reaching the #3 spot. Presley’s beautifully understated rendition of this well-known hymn became the most commercially successful of all his gospel records, reaching a massive audience far beyond the traditional gospel market.
1. “How Great Thou Art” (1967)
Although “How Great Thou Art” ultimately became Elvis’ favorite gospel song, according to Jordanaire Gordon Stoker, Elvis initially confessed, “When we first discussed cutting it, he said he had never heard of it.” After listening to the Jordanaires sing the hymn, Elvis was moved and decided to record it. Stoker explained, “Neal Matthews, our second tenor, made an arrangement of it. Elvis listened to it, rehearsed it and recorded it by memory,” a testament to his ability to quickly grasp and internalize music. According to Ernst Jorgensen, “Elvis sang with sincerity and dedication, in a slower tempo than the Statesmen’s version that accentuated the spirituality of the material and allowed him to build the song into a powerful anthem.” “How Great Thou Art” became the title track of Presley’s highly successful 1967 gospel album and earned Elvis his first Grammy Award for Best Sacred Performance. A dynamic live version of the same song, featured on his 1974 album Recorded Live on Stage in Memphis, earned Presley another Grammy in 1974, cementing the song’s importance in his repertoire.
It might seem regrettable that Elvis never won a Grammy award in any popular music category, given his immense impact on rock and pop. However, it is perhaps not surprising that the music establishment recognized him multiple times specifically for his religious music. He never lost his early love for spiritual music, and that genuine passion always re-emerged with compelling commitment in his gospel recordings, whether they were solemn hymns or vibrant, upbeat gospel songs. His legacy in this genre remains a vital part of his musical history.
— Alan Hanson
