![]() The beautiful interplay between Elvis and the backing singers, the subtle guitar work, the melancholic keyboards and the soft, yet relentless precision of Kenneth Buttery's drumming create an unforgettable sound as distinctive, in its way, as the sound Chips Moman created at the Memphis sessions. And then as the drums signal a shift to a gentler rhythm, Elvis' voice swoops beautifully to the resigned pathos of I'm leavin''. There is no histrionic overstatement here - the desolation mounts in the middle of the second verse but the shift in his tone is slight and telling.Īs the tempo accelerates, building to the emotional and vocal climax of the bridge, the mood is of impassioned regret and bafflement - for all the singer's efforts he just can't make it. As it starts, he leads the vocal ensemble setting the scene with the 'la la la' refrain but as the verses start, his voice deepens and he is more recognisably Elvis as he asks the terrible questions: 'Where will I go? Who will I have to lie beside me?' Here his voice is almost naked, stripped of the mannerisms his impersonators have made careers out of, yet rich with emotion. He likes the song so much he changes the inflection in his voice. You can see why, struggling with the song in a fabulously productive session in RCA's Studio B in Nashville in May 1971, Elvis remarked: 'Phew man it's tough. He is leaving but no matter who lies beside him, the emptiness will never be eased. The singer/narrator is confronting the emptiness of his life and, as impassioned as he becomes when conveying the agony of 'living from day to day, chasing a dream', he knows his reflections will resolve nothing. This unorthodox arrangement is the making of the song - it would be far less compelling if it built to the traditional big finish. This unforgettable ballad begins with a repeated refrain of 'la la la', segues into the two short verses and reaches an anguished crescendo with the bridge before fading out by returning to the first refrain. ![]() Jarrett had given up life on the road to write and record his own songs and was shocked to hear his girlfriend ask: 'What if your songs aren't good enough?' Realising they didn't share the same dream, they went their separate ways: the girl stayed in Portland, Jarrett headed for LA where - still haunted by his failed marriage and angry at his girlfriend's lack of faith - he wrote I'm Leavin'.Īpart from kickstarting the brainstorming session that produced the bridge, Charles' major contribution was to suggest the song's unusual structure. ![]() The song's unusual blend of quiet horror, utter weariness, inexorable sadness and subtle rebuke is a tribute to the craft of Jarrett who, as he revealed in an interview published on created the song on a 12-string guitar in the LA home of his old friend Sonny Charles. 'Leavin' me lonely', he adds and the last word is a killer, a knife through all hope, a common word transformed to pure poetry by its tone of delivery'. 'Who will I find to lie beside me?' he sings and the words, which are simple, which are quite simply desolate, are filled with the tragedy, with the crystalline grief of a flesh that might never be touched. Watching Elvis sing I'm Leavin' in concert, biographer WA Harbinson wrote: 'If he sings of the spirit, he imbues it with the flesh, if he sings of desire he speaks of love. For me, the greatest of these performances - which now, with all we know about his life, feel almost like entries in Elvis' private journal - is his chilling rendition of the haunting Michael Jarrett/Sonny Charles ballad I'm Leavin'. And I'm Leavin', this legendarily reclusive figure showed us the suffering behind the image, using music to acknowledge realities he tried to ignore outside the studio.
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