The history of rock and roll is filled with iconic partnerships, but few backing groups are as intrinsically linked to a superstar’s sound as The Jordanaires were to Elvis Presley. Their collaboration resulted in some of the most memorable Elvis And The Jordanaires Songs, shaping the King’s sound during his meteoric rise and enduring reign. This is the story of how a chance meeting evolved into a fourteen-year musical journey that defined an era.
The Fateful First Meeting
One Sunday afternoon in 1955, The Jordanaires were performing in Memphis alongside Eddy Arnold, promoting the ‘Eddy Arnold Show’ TV series they had recently completed. After performing ‘Peace In The Valley’, a young, courteous, blond man with meticulously combed-back hair approached them backstage. It was Elvis Presley, then a relatively unknown singer signed to Sun Records, just beginning to make waves locally.
Polite introductions were exchanged before Elvis made a statement that seemed optimistic, perhaps even improbable at the time: ‘If I ever get a recording contract with a major company, I want you guys to back me up’. Gordon Stoker, The Jordanaires’ first tenor, recalled wishing the young singer well but harboring skepticism. “We never expected to hear from him again,” Stoker admitted. “People were always coming up and saying that. We’re still told that.”
From Sun Records to RCA: Elvis’s Promise Fulfilled
Elvis Presley wasn’t just making polite conversation. True to his word, shortly after signing with RCA Victor, he sought out the group. His first RCA session occurred on January 10, 1956, featuring his core band: Scotty Moore, Bill Black, and D. J. Fontana. This session produced early hits like ‘I Got A Woman’, ‘Heartbreak Hotel’, and ‘Money Honey’.
The very next day, January 11, 1956, Chet Atkins, a key figure at RCA Nashville, contacted Gordon Stoker. Atkins needed vocal backup for a session with the “new-probably-wouldn’t-be-around-long kid, named Elvis Presley.” Since RCA had also recently signed The Speer Family, Atkins asked Stoker to sing with Ben and Brock Speer for the session. On this day, Elvis recorded ‘I’m Counting On You’ and ‘I Was The One’ – the first time his recordings featured vocal background arrangements, albeit not yet with the full Jordanaires lineup.
The First Recording Sessions: Crafting the Sound
By April 1956, ‘Heartbreak Hotel’ had rocketed to No. 1 on the charts. Following more recording sessions in New York with his band, Elvis returned to Nashville on April 14, 1956, to record ‘I Want You, I Need You, I Love You’. Once again, Gordon Stoker was called, alongside Ben and Brock Speer. After this session, however, Elvis took Stoker aside. Unaware of the studio politics, he expressed his desire clearly: he wanted the Jordanaires – the full group – on all his future recordings. Stoker ensured Elvis’s wish was known, and for the next 14 years, The Jordanaires became a fixture on nearly every Elvis Presley recording session.
The Jordanaires lineup in the mid-1950s featuring Hoyt Hawkins, Gordon Stoker, Neal Matthews, and Hugh Jarrett.
Elvis’s Insistence: Crediting the Jordanaires
In an era where backing musicians, producers, and engineers rarely received name recognition on records, Elvis Presley demanded a significant departure from the norm. He insisted that the name ‘The Jordanaires’ appear directly on the labels of his records. This unprecedented credit not only acknowledged their crucial contribution but also significantly boosted the group’s profile. The reflected glory helped The Jordanaires win ‘Group of the Year’ awards even during the height of Beatlemania.
Who Were The Jordanaires? Gospel Roots and Lineup Changes
Elvis’s affinity for The Jordanaires wasn’t solely based on their initial meeting. He was deeply familiar with their work. Gospel quartets held a special place in Elvis’s musical heart, and The Jordanaires, fixtures on the Grand Ole Opry since 1949, were among his favorites. Originating in Springfield, Missouri, in 1948, the group quickly established themselves in Nashville. Their sound – spirited, influenced by Black gospel traditions, and rhythmically engaging – resonated strongly with Elvis’s own musical sensibilities. “We were the first white quartet to sing spirituals… music that moves, that you can snap your fingers to,” Gordon Stoker noted.
The group’s lineup evolved over its early years. The original members (Bill and Monty Matthews, Bob Hubbard, Culley Holt) saw changes starting in 1950 with Gordon Stoker replacing the lead tenor. Hoyt Hawkins joined as baritone in ’52, Neal Matthews became second tenor in ’53, and Hugh Jarrett replaced original bass Culley Holt in late ’54. This lineup – Stoker, Hawkins, Matthews, and Jarrett – formed the core group that backed Elvis during his explosive mid-50s period, contributing to many classic Elvis And The Jordanaires Songs. Hugh Jarrett left in 1958, replaced by bass singer Ray Walker, establishing a lineup that remained consistent for the next 24 years.
Elvis Presley collaborating with The Jordanaires Gordon Stoker, Neal Matthews, Hugh Jarrett, and Hoyt Hawkins on piano during a recording session.
A 14-Year Partnership: Studio, Stage, and Screen
The collaboration between Elvis and The Jordanaires extended beyond the recording studio. They appeared with him in several of his movies and joined him for landmark television appearances, becoming visually synonymous with his performances during this period. Their voices graced countless hits, including ‘Don’t Be Cruel’, ‘All Shook Up’, ‘Jailhouse Rock’, and ‘Can’t Help Falling in Love’. Gordon Stoker recalled Chet Atkins’ initial skepticism about Elvis, viewing him as a “long-haired kid who was a passing fancy.” However, Elvis’s rapidly growing stardom gave him the leverage to ensure his preferred collaborators were present. His manager, Colonel Tom Parker, reportedly made it clear to Atkins: “when Elvis asks for someone, Elvis gets them.” Stoker also noted that Elvis held a lasting coolness towards Atkins due to this early resistance.
Elvis Presley with The Jordanaires and singer Millie Kirkham inside RCA Studio B, Nashville.
When Elvis decided to undertake long-term engagements in Las Vegas starting in 1969, the demands conflicted with The Jordanaires’ established session work and life in Nashville. They opted to remain based in Music City, marking the end of their regular collaboration with Elvis.
Elvis Presley performing live on stage with The Jordanaires providing backup vocals in 1956.
Beyond Elvis: The Jordanaires’ Lasting Legacy
Choosing to stay in Nashville did not hinder The Jordanaires’ careers. Their reputation, cemented by their work with Elvis, made them highly sought-after session vocalists. Beyond the elvis and the jordanaires songs, their harmonies can be heard on records by an astonishing list of artists spanning Pop and Country music throughout the 50s, 60s, and 70s. They backed legends like Jim Reeves, Patsy Cline, Marty Robbins, and Ricky Nelson, contributing to an estimated 2,200-2,500 artists and over 30,000 recorded sides, in addition to extensive stage, radio, and television work.
Conclusion
The partnership between Elvis Presley and The Jordanaires stands as a testament to musical synergy. From a hopeful promise backstage in Memphis to fourteen years of chart-topping hits and iconic performances, their collaboration fundamentally shaped the sound of popular music. The catalogue of elvis and the jordanaires songs remains a cornerstone of Elvis’s legacy, showcasing how the King’s revolutionary style was perfectly complemented by the rich, gospel-infused harmonies of one of music history’s most celebrated vocal groups. Their sound became an integral part of the magic, ensuring The Jordanaires’ place alongside Elvis in the annals of rock and roll history.
