Long before the iconic ’68 Comeback Special revitalized Elvis Presley’s career, a lesser-known yet equally significant event laid the groundwork for his artistic resurgence: the “Guitar Man” sessions. While the Comeback Special is rightly celebrated, the seeds of Elvis’s return to form were sown in Nashville during September 1967, fueled by a raw, energetic sound and the unexpected collaboration with guitar virtuoso Jerry Reed. These sessions, centered around the song “Guitar Man” by Elvis, represent a pivotal moment in Elvis’s discography, showcasing his eagerness to break new ground and reconnect with his musical passion.
The Genesis of a Comeback: More Than Just Gospel
While many point to the ’68 Comeback Special as Elvis’s artistic rebirth, the journey actually began earlier, arguably with his deep involvement in the May 1966 “How Great Thou Art” sessions. This gospel album was a passion project for Elvis, an album in the truest sense, where he poured his heart and soul into every track. However, amidst the spiritual fervor, a different kind of energy was brewing. Songs like “Guitar Man,” “Big Boss Man,” and “Hi-Heel Sneakers” emerged, hinting at a secular sound that was distinct and compelling.
These songs became the focal point for sessions planned for August 1967 in Hollywood. Elvis had specifically requested a diverse set of songs, including “Guitar Man,” a track he’d heard on the radio and felt compelled to record. However, fate intervened. Colonel Parker, ever-watchful over Elvis’s image and legal standing, abruptly canceled the Hollywood sessions due to a car accident involving Richard Davis, a member of Elvis’s entourage. Fearful of potential lawsuits, Parker whisked Elvis away to Las Vegas, derailing the initial recording plans.
Undeterred, Elvis returned to Memphis, and the sessions were quickly rescheduled for Nashville in September. This time, Felton Jarvis was firmly at the helm, any prior considerations of Billy Strange being forgotten. Jarvis, riding high on the success of “How Great Thou Art,” saw these sessions as his opportunity to deliver the “real big hit single” that had eluded him since “Love Letters.”
September 10-11, 1967: The “Guitar Man” Sessions Take Shape
The sessions commenced with “Guitar Man,” but it quickly became clear that something was missing. The studio musicians, despite their talent, couldn’t replicate the unique, raw sound of Jerry Reed’s original recording. It was Reed’s distinctive guitar style that was essential to capturing the song’s essence. After a frantic search, Chet Atkins’ assistant, Mary Lynch, located Reed, who was persuaded to come to the studio.
Image alt text: Elvis Presley and Felton Jarvis in RCA Studio B, Nashville, 1967, during the Guitar Man sessions.
Jerry Reed’s arrival was memorable. Felton Jarvis described him as looking like a “sure-enough Alabama wild man,” unshaven and dressed in clogs. Elvis, impeccably dressed in a casual black suit, was initially taken aback but quickly warmed to Reed’s unconventional charm. Reed, a Nashville outsider in some respects, was a seasoned musician and songwriter who had achieved his first chart success with “Guitar Man” earlier that year.
The magic happened instantly. Reed explained his unique guitar tuning and playing style, and as soon as he launched into the intro, Elvis’s excitement was palpable. “Elvis’ eyes light up,” as one account recalls, recognizing that they had finally found the sound they were seeking for “Guitar Man.”
Reed’s influence extended beyond just playing the guitar part. He became a driving force in the studio, coaching the musicians, injecting his infectious energy into every take. Felton Jarvis, far from being sidelined, embraced Reed’s involvement, happy to see the session finally gaining momentum. The music took on a bright, shimmering quality, a departure from Elvis’s previous recordings, yet retaining the driving rhythm that was a hallmark of his sound. Elvis himself was fully engaged, his focus laser-sharp on the music, as the “Guitar Man” sound began to materialize.
From “Guitar Man” to “Big Boss Man”: A Jam Session Unleashed
The energy from “Guitar Man” spilled over into the next track, a cover of Jimmy Reed’s blues classic, “Big Boss Man.” Jerry Reed remained a central figure, his guitar work and exuberant personality shaping the song’s raw, bluesy feel. Charlie McCoy’s harmonica and Boots Randolph’s saxophone further enhanced the blues vibe, and Elvis, clearly at ease, roughened his vocals to match the song’s mood.
Felton Jarvis’s enthusiasm was infectious, urging Elvis to sing “like you’re mad, like you’re mean,” pushing everyone to “go apeshit!” The studio was buzzing with creative energy, a far cry from the sometimes-strained atmosphere of other recording sessions. By midnight, they had captured “Big Boss Man,” and the sound was unlike anything Elvis had recorded before, or indeed, much of what was coming out of Nashville at the time. It was a unique blend of country, R&B, and funk, driven by guitars and imbued with a vibrant, raw energy.
Publishing Disputes and Session Fallout
However, the creative high was soon brought down to earth by the realities of the music business. After the exhilarating takes of “Guitar Man” and “Big Boss Man,” music publisher Freddie Bienstock approached Jerry Reed to negotiate publishing rights. To his dismay, Bienstock discovered he had failed to clear the publishing for “Guitar Man” beforehand, assuming it would be a formality.
Jerry Reed, however, was not willing to relinquish his writer’s share, especially with such a successful recording already in hand. He stood his ground, much to the surprise of the studio musicians who were unaccustomed to such open business disputes during Elvis’s sessions. Even Elvis himself was unwilling to intervene, leaving Bienstock in a difficult position.
Reed famously declared, “You done wasted Elvis’ time. You done wasted all these musicians’ time, and RCA’s time: I’m not going to give you my soul.” Despite threats that the record might not be released, Reed remained firm, ultimately leaving the session in frustration. The energy in the studio dissipated, and while the session continued into the early hours, the momentum was lost.
Beyond “Guitar Man”: Moments of Brilliance and Missed Opportunities
The second night of the sessions proved less fruitful. Despite Elvis’s professionalism and willingness to work, the magic of the first night was absent. There were moments of brilliance, such as Elvis taking to the piano for a powerful rendition of “You’ll Never Walk Alone,” showcasing his deep emotional connection to the song. And a spontaneous jam on “Hi-Heel Sneakers” hinted at the bluesy energy they had captured with “Big Boss Man.”
Elvis Sings Guitar Man FTD 2 CD Special Edition
However, these moments were fleeting. The sessions ultimately yielded only a handful of usable tracks, and the intended “comeback album” of non-secular material remained unrealized at the time. It wouldn’t be until 2011 that the “classic” album that should have been released in 1967 finally materialized with the FTD special edition release, “Elvis Sings Guitar Man.”
The Enduring Legacy of the “Guitar Man” Sessions
Despite the publishing disputes and the somewhat disjointed nature of the overall sessions, the “Guitar Man” recordings stand as a testament to a crucial turning point in Elvis Presley’s career. The collaboration with Jerry Reed injected a vital dose of raw energy and musical innovation into Elvis’s sound. The “Guitar Man” sessions weren’t just about recording songs; they were about rediscovering a spark, pushing musical boundaries, and paving the way for Elvis’s triumphant return to the spotlight. They underscored the importance of spontaneity, collaboration, and the magic that can happen when the right musicians come together at the right time, all ignited by the infectious groove of a “guitar man.”
