'Suspicious Minds' the 40th Anniversay - EIN Spotlight on this classic single
Words & Music by Albert E. Brumley Elvis Presley Lyrics If we never meet again this side of heaven I will meet you on that beautiful shore Included we see a live performance of the elusive Long Tall Sally seen here for the first time ever. Elvis Presley - If We Never Meet Again (Letras y canción para escuchar) - Soon we'll come to the end of life's journey / And perhaps never meet anymore / Till we . In the Ghetto is a song written by Mac Davis and made famous by Elvis Presley, who had a Other hits recorded at this session were "Suspicious Minds", " Kentucky Rain", and "Don't Cry Daddy". occasions, once in "Chickenpox", then again when Kenny's soul is trapped in Cartman's body in "A Ladder to Heaven".
I remember that we worked as we always did and we had a lot of fun recording with Elvis. I found out later that Elvis loved those sessions and worked harder than he had in years. I think he respected our talents as well as we did his. We worked a lot differently at American from what Elvis was used to. It usually took Chips and the other engineers a good long while to get "a sound.
They'd have to stand there and sing the same song over and over for an hour, before we'd even record a take. In fact on the third night Elvis lost his voice with bad laryngitis. We most always recorded horns, strings and backgrounds as an overdub.
If We Never Meet Again | by Elvis Presley | Elvis Presley Lyrics | The Elvis SongDataBase
I think Joe Tex was the only one that wanted horns on the original session. At the time we didn't even think that this was part of Elvis' musical renaissance or anything. We were trying our best to record a hit, be it Elvis or Joe Tex or nobody.
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Though we pretty much knew it was a hit record when we recorded it. Marty Lacker explains, "During the sessions I spent most of my time in the control room with Chips. Elvis came in and said to Chips that he didn't know what to do because he didn't have any good songs left to record, describing the crap that Parker and Freddy Bienstock had sent him.
He was also up front in telling Elvis that he had cut it already on Mark James but that it didn't do anything on the charts. However when it came time to do the American sessions there was a lot of them old Hill and Range songs that some of the people around him wanted him to cut real bad, and they kept pushing for them.
I don't even want to tell you what I thought of some of those songs! Truth is, the trouble wasn't really with Elvis but with some of those publishers. I thought the sound was so superior to what I had been hearing from Elvis in the past that I couldn't believe my ears! There's such a big difference between this and his old stuff. That whole Memphis recording collection was incredible, and yet Elvis never went back and recorded with Chips again.
I'm not sure why. Maybe it was the influence of Hill and Range, which had always had a big piece of the publishing on other Presley records. They certainly lost their total control when Chips entered the picture. This creative and musically innovative setting obviously invigorated Elvis and throughout the eight takes you can hear him striving for that consummate perfection as he pours his soul into every word.
By Take 6 Elvis is still faltering over the timing yet asks for Chips to "Save the last take for me.
All 8 takes and rehearsals can be heard on various bootlegs. When Elvis returned to Vegas on July 31st for his stunning live season he had decided to use 'Suspicious Minds' as the key song of the concert. Often extending the song to over 7 minutes, he included a fade and return for dramatic effect.
Reviewer Bill Crawford noted, "With his left leg moving like a jack hammer, Elvis runs the gamut of his old favourites. In the late sixties mono A. The idea of a mono master was to create a greater impact so that it would jump out with more power from car radios. It was at this Las Vegas session that Felton Jarvis also did the final stereo and mono mixes.
"If We Never Meet Again" lyrics
The final single runs 4: This idea was yet another unique stamp that would be forever memorable to anyone that heard the song. If a radio station fades the song out early it just sounds wrong.
At the time however not only was the false-ending not the record that Chips Moman had produced but was also a guaranteed trap for radio jocks to fall in to. This had a potential to reduce the all-important radio plays. At a full four and a half minutes, the final version of 'Suspicious Minds' was also nearly twice as long many of Elvis previous top ten hits. Marty Lacker describes how he was shocked by the final version. Chips won that award not just for Elvis' records but also for all the other hits he produced.
Elvis Presley - If We Never Meet Again Lyrics | kd8mq.info
Bill Gavin was a highly respected radio and records publisher who was subscribed to each month by every radio station and record company in the US. Chips the band and I attended the awards convention in Atlanta. Bill Gavin even asked Chips why in the world he put that fake ending on the song.
But I knew probably everyone in the world had probably said that to him. So all I could do is tell all the guys around him, 'Get him to cut this, this is a great one for him! And I wasn't there. And sure enough, he got it several times, liked it so much Chips made a tape for him. He took it home. I stayed away from the recording sessionbut I went to the studio one time. I went upstairs and I heard they were taking a break. And I went in there and he happened to be leaning up against the baffle.
And he said, 'Hey Mark, been thinking about it', you know, just like Elvis would say it. But, I mean, this was a great guy. He invited me to Vegas when 'Suspicious Minds' was going up, and I remember he was at a table talking in a long room with Sammy Davis or Andy Williams, two people, way across the room. And I came in the room and he walked, stood up, walked clear across the room and said, 'Hi Mark. How you been doing?
Classy guy, you know? When Elvis arrived at my studio in Januaryhe was looking for new material. I played him Mark's Scepter record, and he was crazy about it. He wanted to hear the song over and over again, and learned it on the spot. Elvis Presley at American Studios I wasn't at Elvis' recording. Days earlier I had walked into the control room and sensed he was uncomfortable. He was like, 'Who is this guy? I met him twice, why is he here? We finally got around to recording 'Suspicious Minds' after midnight early on Jan.
I had a ping-pong table, and Elvis was pretty good at it laughing. He used the same arrangement on Mark's single and most of the same American Sound studio musicians.
When we finished, Elvis' crowd of business people standing around said they wanted half my publishing rights. I told them they were barking up the wrong tree. I accused them of stealing, they got angry, and I threatened to halt the entire session. Fortunately, RCA's Harry Jenkins said, 'This boy is right and we're going to finish the session just the way he wants to'.
Jenkins sensed 'Suspicious Minds' was going to be big and he knew there would be plenty to go around. When I heard how it was embellished later, I was blown away Mark James: The next day I heard the track at the studio.
At first I thought it sounded too slow. But when I heard how it was embellished later, I was blown away. This is important to note as Chips has always stated he was disgusted As you will read in the next paragraph with what Felton Jarvis did, and we are referring to the fade out and back in at the end of the song, yet here is the songwriter giving his overwhelming blessing to the extra production.
Elvis fans also approve it should be noted, when in RCA removed the ending for the release, ' The Memphis Record ', fans cried out demanding it be restored. A crazy second fade toward the end Chips Moman: Felton Jarvis Elvis' longtime producer was never happy that Elvis recorded at American.
It was a control thing. So when Jarvis took the tape of 'Suspicious Minds', he added this crazy second fade toward the end, like the song was ending, and brought it back by overdubbing to extend it. I have no idea why he did that, but he messed it up.
It was like a scar. None of which mattered. Soon after the song was released, Elvis was back on top of the charts. In the years that followed, whenever I saw Elvis, he'd cross the room just to say hello to me - no matter who was with him. After he died, I heard he'd always asked the guys in the studio, 'Did Mark send me any more songs? The songwriter wrote, sang and issued his own version of Suspicious Minds, also produced by Chips Momanon Scepter Records in but without success and in the same arrangement the song became a worldwide smash hit for Elvis Presley in