The Jordanaires

Lore & Background

Their transition from sacred gospel performances to secular pop records marked a pivotal moment in music history. The Jordanaires brought a church-trained texture to rock and roll, allowing Elvis to explore softer ballads without losing his edge. This versatility made them indispensable during the height of his career, as they could adapt quickly between spiritual albums and chart-topping singles. Their chemistry with Elvis was built on mutual respect and shared musical roots. They understood when to step back and let him shine, and when to swell in harmony to support his emotional peaks. This dynamic created a cohesive sound that defined the era, ensuring that every recording felt intimate yet grand enough for stadiums.

In Their Own Story

The studio lights hummed low over Nashville, casting long shadows across the mixing board. Gordon Stoker raised a hand, signaling the count-in as the room fell silent. Behind the King, four voices blended into one seamless chord, wrapping around Elvis's raw emotion like velvet. In that moment, no audience existed, only the perfect balance of rhythm and harmony frozen in magnetic tape.

Reader's Guide

The Jordanaires consisted of four key members during their primary tenure with Elvis Presley, beginning in the mid-1950s and extending through the early 1970s. Gordon Stoker served as the bass vocalist and group leader, anchoring their sound with deep tones that complemented the King's baritone range. Neal Matthews Jr. provided the high tenor lead, often singing harmony lines that wove around Elvis’s melodies on ballads. Ray Walker contributed rich baritone textures, while Bill Walker added additional tenor depth to create a full wall of sound. Their musical style was rooted in Southern gospel traditions, which they adapted seamlessly for rock and roll records. This background allowed them to deliver emotional weight on spiritual numbers during the Peace in the Valley sessions. They also performed live alongside Elvis throughout his touring years, appearing in motion pictures like Jailhouse Rock and television specials. Their collaboration defined the sonic landscape of an era, ensuring that every note resonated with warmth and professional precision during peak commercial success.

Did You Know?

• They were originally a gospel quartet before joining pop music.
• Their harmonies appeared on over one hundred of Elvis's recordings.
• Gordon Stoker often acted as the bridge between management and the artist.
• They continued performing after Elvis's passing to keep his musical legacy alive.

Career Context and Gospel Revival

By the mid-1960s, Elvis Presley's film career was sliding into a formulaic decline, driven by manager Colonel Tom Parker's strategy to prioritize movie soundtracks over standalone artistic projects. Although Presley craved dramatic roles, the commercial failure of early attempts like 'Flaming Star' forced a shift toward musical comedies that generated soundtrack sales but left the singer creatively unfulfilled. These successes convinced RCA Victor and Parker to greenlight Presley's long-requested proposal for a new gospel album. This decision marked a significant pivot back to his spiritual roots, resulting in his first non-soundtrack studio release in over two years. The project was designed to capitalize on the proven market for his sacred music while offering a respite from the repetitive movie plots that had begun to erode his box-office earnings.

Production Process and Vocal Collaboration

The vocal arrangements were a collaborative effort featuring the Jordanaires, the Imperials led by Jake Hess, and female session singers including Millie Kirkham. A pivotal moment occurred when Jordanaires member Ray Walker suggested recording 'How Great Thou Art,' inspired by George Beverly Shea's rendition at Billy Graham crusades. Presley approached these sessions with intense dedication, practicing extensively at Graceland before arriving in the studio. The physical toll of the recordings was evident; during the title track, Presley became so emotionally and physically drained that he nearly fainted after the final take. Producer Jarvis worked closely with him to perfect difficult passages, particularly on 'Stand By Me,' requiring multiple attempts to achieve the necessary vibrato for falsetto ranges.

Album Structure and Artistic Choices

Side A featured slow, contemplative numbers that allowed for deep emotional expression, while Side B presented faster-paced tracks that highlighted his energetic delivery. This strategic arrangement included a bonus track, 'Crying in the Chapel,' which had previously been a hit single but was not yet available on any album release. The production team carefully selected songs from the public domain to avoid copyright complications, rearranging them to fit Presley's unique style while ensuring legal registration by his management. Although Presley initially requested singer Jimmy Jones for the project, logistical issues led to the inclusion of the Imperials and the Jordanaires instead. The final product was a cohesive blend of traditional hymns and gospel standards that reflected both the artist's personal preferences and the commercial realities of the music industry at the time.

Commercial Success and Lasting Legacy

Upon its release, 'How Great Thou Art' was met with critical acclaim and significant commercial success. Billboard praised the album as a return to the roots of Presley's singing style, while Cashbox noted his authentic delivery of the sacred tunes. The record quickly earned a gold certification from the RIAA and climbed to number 17 on the Billboard 200, also reaching the top ten of the Top Country Albums chart. Most notably, it secured Presley a Grammy Award for Best Sacred Performance, validating his artistic integrity in a genre he held dear. Promoted through special radio broadcasts on Palm Sunday, the project proved that Presley could transcend his movie-star image to deliver a spiritually profound work that resonated with audiences for decades.