Studio Sessions for RCA, January 13-14, 1969

	Studio :	American Sound, Memphis, Tennessee
	Producer :	Chips Moman, Felton Jarvis
	Engineer :	Al Pachucki

Long Black Limousine

XPA5 1142

January 13 (Mon.): 19:00 - 22:00

(	Take 01)	FS	1:02	Preceeded by rehearsal		Finding the Way Home(CD 1-Track 3-Part 1)°+"tape°"
(	Take 02)	LFS	2:38			Finding the Way Home(1-3-2, faded)°+tape°
(	Take 03)	FS	0:34			tape°
	Take 04	FS	0:43	Actually announced as "take number 4"		Finding the Way Home(1-3-3)°+"tape"
	Take 05	FS	0:50	"We're rolling, number 5"		tape°
(	Take 06)	PB	4:30			M. Sessions°°+tape°/Finding the W.H.(1-3-6)°/Am.Cr. J.°(12 s early fade)
(	Take 07)	FS	0:29			Finding the Way Home(1-3-4)°+"tape"
(	Take 08)	FS	0:24			Finding the Way Home(1-3-5)°
	Take 09	(M)		Part of vocal track used. Further overdubs:		UN+"tape"(start of count-in only)
	V.O.	(M)		Vocal repair of part on January 21-22		January 21-22 (UN)
	Overdubs	(M)		Brass & piano('bell') overdubs on January 23(early)		January 23 (UN)
	Overdubs	(M)	3:44	Backup vocal overdubs on January 24?(early)		January 24? (Draft mix tape°, track 7)
	Overdubs	M	3:43	Strings overdubbed on March 18		March 18 (From Elvis in Memphis°°)

This Is the Story

XPA5 1143

January 13 (Mon.): 22:00 - 01:00

	Take 01	FS	0:25			Memphis Sessions°°+"tape"
	Take 02	(M)		Undubbed/unrepaired master. Further overdubs:		UN(vocal track erased)
	V.O.	(M)	3:02	Vocals replaced, possibly on January 21-22?		January 21-22? (Memphis Sessions°°)
	Overdubs	(M)	2:35	Backup vocal overdub on January 24?		January 24? (Draft Mix tape°, track 5/American Rejects°)
	Overdubs	(M)		Strings overdubbed on May 5		May 5 (UN)
	Overdubs	M	2:29	Brass overdubs on May 6		May 6 (Back in Memphis°°)

Come Out, Come Out (track)

XPA5 1144

January 14 (Tue.): 02:00 - 05:00

	Rehearsal	Rehearsal	2:36			Unsurpassed Masters(15-5-4, i.e. CD 15-Track 4-#1)°°/Always Me 3°°
	Rehearsal	LFS	1:38	Slow tempo #1		Unsurpassed Masters(15-5-1)°°
	Rehearsal	LFS	1:46			Unsurpassed Masters(15-5-2)°°
	Rehearsal	LFS	0:40	Medium tempo		Unsurpassed Masters(15-6-1)°°
	Rehearsal	LFS	3:22			Unsurpassed Masters(15-6-2+15-7-1)°°
	Rehearsal	LFS	0:59			Unsurpassed Masters(15-7-2)°°
	Rehearsal	LFS+LFS	1:53	"Number 1 on the new agenda. Groove"		Unsurpassed Masters(15-7-3)°°
	Rehearsal	LFS	0:44	"Number 2"		Unsurpassed Masters(15-7-4)°°
	Rehearsal	FS	0:11	Announced as "number 2"		Unsurpassed Masters(15-7-5)°°
	Rehearsal	FS	0:34			Unsurpassed Masters(15-7-6)°°
	Rehearsal	LFS	1:56			Unsurpassed Masters(15-7-7)°°
	Rehearsal	PB	3:11			Unsurpassed Masters(15-8-1)°°
	Rehearsal	3xFS	1:06			Unsurpassed Masters(15-9-1)°°
	Rehearsal	FS	0:34			Unsurpassed Masters(15-9-2)°°
	Rehearsal	FS	0:07			Unsurpassed Masters(15-9-3)°°
	Rehearsal	FS+FS	0:56			Unsurpassed Masters(15-9-4)°°
	Rehearsal	FS+Incompl.	0:42			Unsurpassed Masters(15-9-5)°°
	Rehearsal	PB	2:47			Unsurpassed Masters(15-9-6)°°
	Rehearsal	FS	0:17			Unsurpassed Masters(15-9-7+15-10-1)°°
	Rehearsal	PB	2:46			Unsurpassed Masters(15-10-2+15-11-1)°°
	Rehearsal	FS	1:18	Bobby Wood guide vocal		Unsurpassed Masters(15-11-2)°°
	Rehearsal	LFS	1:07	Jam/blues		Unsurpassed Masters(15-11-3)°°
	Take 01	PB	0:23+	Fast version. Preceeded by rehearsal		Unsurpassed Masters(rehearsal only, faded, 15-11-4)°°+UN
	Take 02	(M)		(Not used)		UN
	Take 03	Rehearsal		Slow version (could refer to Memory Revival, slow)		UN
	Take 04	(M)		(Not used)		UN

Memory Revival (slow, track)

XPA5 1144?

January 14-February 28?

	Take NA	PB	2:24	Perhaps sharing matrix no with Come Out, Come Out		Draft mix tape°(track 3)
	Take NA	Incomplete	1:23	Re-recorded in fast tempo on February 21		Draft mix tape°(track 4)

Wearin' That Loved On Look

XPA5 1145

January 14 (Tue.): 02:00 - 07:00

(	Take 01)	FS				UN
(	Take 02)	FS	0:17	Guessed take number. Could refer to take 1.		Finding the Way Home(1-1-1)°
(	Take 03)	FS	0:36	A Little Less Conversation (2 lines)		Memphis Sessions°°/Finding the Way Home(1-1-2)°
(	Take 04)	SFS	0:15			Finding the Way Home(1-1-3)°+"Memphis Sessions"+"tape"
(	Take 05)	LFS	1:03			Finding the Way Home(1-1-4, faded)°+tape
(	Take 06)	FS	0:21			Finding the Way Home(1-1-5)°+"tape"
(	Take 07)	FS	0:36			Finding the Way Home(1-1-6)°+"tape"
(	Take 08)	FS	0:06			Finding the Way Home (1-1-7)°
(	Take 09)	FS	0:24			tape°
(	Take 10)	PB	3:05			Memphis S.°°/R.& B(Time-L)°°/FTWH(2-8-4/last)°+tape
(	Take 11)	LFS	1:41			Finding the Way Home(2-8-1, faded)°+tape
(	Take 12)	FS+FS	0:24			Finding the Way Home(2-8-2, second FS only)°+tape
(	Take 13)	LFS	1:04			Finding the Way Home(2-8-3, faded)°+tape
(	Take 14)	PB	3:01			Finding the Way Home(1-1-8, faded)°+tape/Am.Cr. J.°(early fade)
(	Take 15)	(M)		Unrep. M (vocal 1:07-1:22 used). Further overdubs:		UN
	V.O.	(M)		Vocal repair on January 21-22?		January 21-22? (UN)
	Overdubs	(M)	2:47	Guitar overdub on January 23(early)		January 23 (Draft mix tape°, track 2)
	Overdubs	M	2:48	Backup vocals overdubbed on January 24(early)?		January 24? (From Elvis in Memphis°°)

 

	Musicians:
	Guitar :	Reggie Young
	Guitar :	Elvis Presley
	Bass :	Tommy Cogbill
	Bass :	Mike Leech
	Drums :	Gene Chrisman
	Piano :	Bobby Wood
	Organ :	Bobby Emmons

	Notes:
	Take numbering for the American Sound sessions can be divided into two categories:  1. Recordings where take numbers were used at all.  2. For most recordings take numbers were not used. In these cases take numbers have been assigned more recently in order to identify the chronology/sequence. Such post-session take numbers are given (within paranthesis) in these pages. It has been the ambition to identify the sequence of different overdubs and dates as accurately as possible. Where information, observations and common sense are in contradiction this has been explained in the notes. When a source has been verified the time note associated with a recording usually refers to the total time of that source in the session pages. A plus(+) sign after the time note means that the total time actually is longer than that of the existing source. The time of a master take without studio dialogue or count-in is given within paranthesis after the total time. In the master page, the time of the master take alone is given. The most important source of information for the Memphis sessions can be found in Ernst Jorgensen's book 'A Life in Music'. In Tunzi's Sessions II an effort has been made at identifying the individual string and brass players for each overdub session. Otherwise, many overdub session notes in these pages are in contradiction with Sessions II. An interesting source for the January sessions overdub sequence are two draft mono mix tapes, of which at least one is dated February 28, 1969. A tape log of a later tape copy of both these tapes (except for  the last three tracks of the second tape) has been pictured in the magazine 'The Man and His Music' #13. This source is referred to as the 'Draft mix tape' throughout these pages. Many of the January session assumptions are based on what stage of overdubbing the different songs had reached as presented on that tape. This mono tape was actually the source of the 1992 bootleg 'American Rejects' (AR 1569), although the notes claimed acetate source for that.  There are two slow instrumental versions of the song known as Memory Revival on the Rough Mix dated February 28 (see log of later copy in TMAHM #13). The problem with that is that these Rough Mix tapes of January songs typically have the songs in reverse matrix number order and these slow versions of Memory Revival fit in between XPA5 1145 & XPA5 1143. This implies a matrix number XPA5 1144 for the tracks, but XPA5 1144 is the matrix number of the instrumental known as Come Out, Come Out. Come Out, Come Out is regarded as and has been released on bootleg as the "swampy" song and Memory Revival was given as title for an uptempo track taken from acetate and released together with mostly February songs with overdubs prior to March 25, 1969 ('Memphis Memories' bootleg LP). Perhaps the slow Memory Revival was attempted on January 13-14 just after Come Out, Come Out, without the Matrix number being changed? This would then be what's listed as the Slow takes 3-4 of Come Out, Come Out recorded after the fast version (takes 1-2). Audio sources & sound quality: Unfortunately only a few original stereo masters have been released on CD (and very recently) that have been presented in a sound quality that compares with the original US RCA LP masters of 'From Elvis in Memphis' and 'Back in Memphis'. They can be found on 'Heart & Soul'(2003 DSD), 'Great Country Songs'(2003 DSD) and 'Ultimate Gospel'. A few remastered songs were released in nice sound on 'Second to None'(apart from the bad clipping). BMG's 60's Masters Box and the 2-CD collection 'Suspicious Minds' are very poorly processed and are in need of an upgrade. The Japanese paper-sleeve CD's of 'From Elvis in Memphis' and 'Back in Memphis' have poor, bright eq and too much artificial ambience. Nevertheless it may be difficult to find a better source for many songs on 'Back in Memphis'. The first official CD releases are dull and of unknown generation, but have not been processed that much. The audiophile Mobile Fidelity LP of 'From Elvis in Memphis' suffers from unnatural eq with so much added bass and so little midrange that the vocals are very distant. Steve Hoffman's In the Ghetto on the DCC 24K Hits! is nice, but the source used for the master of Suspicious Minds on the same DCC release is plagued by processing in the first place (spectral pattern even looks like NoNoise).   The 'Memphis Record' - apart from unacceptable, unbalanced mix and terrible eq, the quality of the signal as such is good since it was remastered from the 8-track master tapes. 8-track doesn't always have the finished product, which was the reason for some of the well known mistakes.
	Special thanks to Johnny Savage & E-Cat for sharing all the hard times with this one.
	And a big thanks goes to so many people for all their help: Kevan Budd, Juan Luis González Brugal, Jean-Marc Juilland, Jamie Kelley, Keith Flynn, James Banner, Wolfgang Pesch, Arjan Deelen, John R. Onda.