As it’s Easter, here are my comment on Elvis’s first gospel album, His Hand in Mine, recorded in 1960. The following is taken from my book Elvis Presley: A Listener’s Guide, available in paperback and in Kindle format from Amazon.
Some three and a half years after recording the Peace in the Valley EP of sacred music, Elvis finally found himself in a position to record his first full-length album of gospel music. His Hand in Mine would have a very different feel to the sombre EP. Here, traditional up-beat gospel songs would sit next to more serious sacred ballads, but the album would still have a consistency with Elvis essentially acting as the leader of the gospel quartet sound he had loved since his boyhood.
Milky White Way had been originally recorded by the Coleman Brothers in 1944, but Elvis based his arrangement on that by another group, The Trumpeteers. However, he manages to incorporate a blues element into the material, sliding between notes in some places, and even bending notes in others. Check out how he does this within the line “I’m gonna sit up and tell him my troubles/About the world I just came from” in the last verse. This is brilliant singing, and shows Elvis thoroughly in his element, merging gospel, blues and doo-wop sounds to make a two minute masterpiece.
Elvis’s influence for the title song of the LP, His Hand in Mine clearly comes from the original recording by The Statesmen. However, once again, Elvis makes subtle changes. Doy Ott’s lead vocal on the recording by The Statesman is square in comparison to Presley’s. Ott moves from note to note with clarity – there are no slides here – and sings with relatively wide, but controlled, vibrato. Elvis does neither. There are a number of changes in dynamics within the recording (not present in the original) and, at times, Elvis is almost whispering into the microphone. There are also some startling switches from the sections in which Elvis sings in his bass voice to the sections where he sings in his higher register in duet with Charlie Hodge. While his range had no doubt grown over the previous couple of years, it’s clear that Elvis hadn’t quite got the control at the very bottom of his range that he has at the top – he would be much more confident in this area six years later on the How Great Thou Art album.
Elvis gives The Jordanaires a moment in the spotlight at the beginning of I Believe in the Man in the Sky, with the group singing the verse with the barest of accompaniments before Elvis enters to sing the chorus. His voice sounds glorious, and he uses all his range to navigate the tricky melody. This is quite unlike anything on the 1957 gospel EP. The sound is much lighter, the tempo quicker, and the song almost has a swing feel to it.
He Knows Just What I Need is more sombre and sedate and, in many ways, has a sound much more akin to that being used at the time by Johnny Cash on his albums of sacred music. It’s possibly the least successful song on the album, but that makes it sound worse than it is. It simply hasn’t got any of the magical moments that make the other songs so wonderful. In a similar vein is Mansion over the Hilltop, but this is distinguished by Elvis’s beautifully-controlled vocal.
In My Father’s House begins with Elvis singing a full chorus not just with The Jordanaires, but as part of them. Elvis then sings a verse himself before handing over to The Jordanaires bass singer, Ray Walker, for a section before re-joining the group himself for the end of the number. It’s brilliantly arranged, adding variety to the ballads on the album, and showing that Elvis was more invested in the music itself than hogging all of the spotlight for himself.
Three up-tempo spirituals were recorded next. Joshua Fit the Battle was a song Elvis had talked about recording back in 1956. Here he sings the number with a natural swing, aided and abetted by more sterling work from The Jordanaires, against whose voices Elvis’s own nestles comfortably. Swing Down Sweet Chariot was in the same vein, although there is the smallest hint of rock ‘n’ roll intonation here, not least in the repeated use of the word “well” in between each section. Elvis would re-record the number in 1968 for the film The Trouble with Girls. I’m Gonna Walk Dem Golden Stairs again finds Elvis as part of The Jordanaires rather than as a soloist, especially during the choruses. Even in the verses, when Elvis is singing the melody while the group add a rhythmic vocal backing, the mix allows for him to totally blend in – and in the final chorus Elvis can hardly be heard as a soloist at all.
If We Never Meet Again and Known Only to Him see Elvis returning to ballad material, with both songs in waltz time. Both contain more of the same wonderful selfless musicianship that had dominated the session thus far.
Crying in the Chapel was slightly different. This was more of a pop song with an inspirational theme – in the same way that I Believe was. The number wasn’t released until five years later, and became one of Elvis’s few hits during the fallow period of the mid-1960s. Jorgensen writes that, remarkably “the recording log … says that no satisfactory master was completed.” In other words, the song wasn’t even deemed as fit for release at the time, something which only goes to demonstrate Elvis’s search for perfection with regards to the project. There is, of course, another option – that Elvis didn’t feel that the song fitted with the sound of the rest of the album. That is certainly the case; it has a slightly different feel. However, it has a fine, restrained vocal that deservedly has become one of the singer’s best-loved songs.
To finish the album, Elvis and the musicians turned to Working on the Building. Of the upbeat material on His Hand in Mine, this is certainly the weakest. Unlike the other numbers, there appears to be relatively little thought within the arrangement, which becomes repetitive. The song was sequenced at the end of the album, thus meaning that an otherwise near-perfect record ended on one of the least effective songs.
His Hand in Mine was an artistic triumph for Elvis. There wasn’t a single mediocre cut on the whole album, and it had all been recorded in a single night. Billboard raved. They called it a “fascinating set of performances,” and stated that “the gospel message has never been put forth with any more greater effect and impact than here.”
 Aules Archer, “Stop Hounding teenagers,” True Story, Dec 1956, 22,” 24.
 Jorgensen, Elvis Presley: A Life in Music, 142.
 “Spotlight Winners of the Week,” Billboard, December 5, 1960, 5.