Elvis Presley, the king of rock and roll, had always wanted to be a gospel singer. A lifelong ambition, many of Presley’s greatest recorded musical moments in the studio or on a live stage originated from his immersion and admiration of gospel music. In 1957, during his revolutionary rock and roll popularity Presley recorded an EP of religious songs titled Peace in the Valley. The collection was a tribute to Elvis’s mother Gladys and contained some of her favorite songs, as well as a nod to his father’s favorite quartet the Blackwood Brothers. Gospel music had informed Presley’s musical background from the earliest age.

Raised in Tupelo, Mississippi, Presley would sneak into the gospel tents and local churches to listen to the choirs and absorb the music into his skin. He also attended the First Assembly of God church in working class East Tupelo with his parents. Presley was a spiritual man, and this deep love of gospel music was instilled in his formative years. In a career marked by outstanding singing, tracing the lines of the Lord’s songs brought out the best on Elvis.

The focus of todays Talk from the Rock Room rant is Presley’s first full length gospel record, His Hand In Mine. Released in November of 1960, six months after Elvis Is Back, its his first record after discharge from the Army. Presley sings in a southern gospel tradition accompanied by a vocal quartet, The Jordanaires’. The Jordanaires’ were a popular vocal group that had at one time played with Sister Rosetta Thorpe. They were recognized for singing spirituals in stunning four part harmony.

His Hand in Mine doesn’t feature swelling orchestration or overblown dramatics. There arrangements are sparse and tasteful, and the players are a familiar list of Presley cohorts. Scottie Moore, D.J. Fontana, Hank Garland, and Floyd Kramer are just a few of the contributors.

The song choices while religious in content, are musically undefinable, containing elements of country blues, quartet vocalizations and even Presley’s pre army wiggle. The album was recorded quickly over two days in October 30 and 31, 1960. The record acts as a defined separation between Presley’s spectacular early rock and roll and his sometimes-mundane soundtrack work of the early 1960’s. In this way its the crowning conclusion of the first segment of his career.

Presley plays both piano and acoustic guitar on the record. Throughout his life it was not usual for Presley to sit at the piano and croon his way through endless gospel classics at home or on the road. In the Elvis On Tour film Presley said about gospel music, “We grew up with it, It more or less puts your mind at ease. It does mine.”

The His Hand In Mine record spotlights Presley’s mastery of balladry and his innate ability to get inside of a song and immediately make it his own. This was especially true for songs that he held so close to his heart. In the end, Elvis just wanted his music to bring joy to his fans, he also believed that his service in doing this was devoted to a higher power. Presley had just released the single, “Are You Lonesome Tonight,” but when compared to his work on this record, the classic song seems trite.

The LP opens with the title track, “His Hand in Mine,” where Presley and longtime friend and collaborator Charlie Hodge duet over the top of a gossamer piano. An angel choir from the Jordanaires’ provides the cloudy bed in which Presley croons. His timber as emotive as “Love Me Tender,” but directed to his lord.

“I’m Gonna Walk Dem Golden Stairs,” glitters with the hope and faith of something that lays beyond our normal life. The rhythm snaps with the resplendent footsteps of faith. The song, with all the hallmarks of one of Presley’s early Sun sides is lended a celebratory feel by the vocal quartet. The instrumentation airy and rhythmic with just a dash of rockabilly.

“In My Fathers House,” follows as a drumless sway and a pale azure waltz toward a home in the sky. “Milky White Way,” is a bluesy stroll into the either, sounding like a lost track from Elvis Is Back. This what Presley was all about. Muted and gently rounded “Milky White Way,” is a combination of Presley’s swing and sensibility. Presley’s wrinkled vibrato shimmers across

“I Believe in the Man in the Sky,” closes side one of the record and swings with a gentle hopefulness. The rhythm section taps away trying not to wake an sleeping child. Elvis power comes through in the middle eight, soaring in rich devotion above he Jordanaires. While illustrating vocal restraint throughout the first side of the record, Presley’s substantial singing power rises to the surface chillingly during the mid-song break.

Side two opens with “Joshua Fit the Battle of Jericho”, a well-known and long covered African American traditional song. Presley’s arrangement marches toward the horizon in lock step, his satin vocals, pop and weave over the kinetic groove. Presley bellows like a gospel horn, with all the hiccup and quiver of his early singles. The Jordanaires’ are percussive in their accompaniment of Presley’s vocals. One of the finest of Presley’s gospel and rockabilly hybrids.

“He Knows Just What I Need,” follows and strolls on a gently undulating piano part. Again, Presley’s blend with the Jordanaires is remarkable, making even the most agnostic listener question his faith. “Swing Down Sweet Chariot,” rolls downhill with a hopeful inertia. Presley and the Jordainaires’ lock arms and high step  asPresley sings and repeats, “well, well, well” as the music rises in divine glory choogling toward the promised land. It is one of many inspired moments on the record.

“Mansion Over the Hilltop,” does way with earthly possessions and stands silhouetted on the hilltop, the same place Presley’s sings about in “My Father’s House.”. Presley’s sacred and earnest vibrato is enveloped seamlessly into the Jordanaires accompaniment.  “If We Never Meet Again,” is of the same ilk, a dramatic paean, written by Albert E. Brumley and recorded by the Blackwood brothers in 1946. A slow rise toward redemption and the hope that we will see those we love again. Its not hard to discern that this song was picked in tribute to Presley’s beloved mother Gladys.

The closing song on the record, “Working on the Building,” was previously recorded by both the Carter family and Bill Monroe. Presley’s version chugs along on rhythmic acoustic guitar and excitable call and response vocal lines jump that from the pages of a hymnal book.

Elvis Presley had three Grammy wins out of fourteen career nominations – all were in gospel categories. Perhaps with better management Presley could have been afforded the chance to explore his higher calling. While his popularity spans generations and genres, Presley’s most invested work was when he was exploring his faith. His authenticity as a performer best illustrated best through his gospel records, His Hand In Mine is an essential listen. Presley would release two more gospel records over the course of his career, 1967’s How Great Thou Art and 1972’s He Touched Me both worthy of deep inspection.