Kentucky Rain: Revisiting Elvis Presley’s Powerful Studio Gem and Live Performances

Recorded during a pivotal period of his career, “Kentucky Rain” stands as a poignant highlight from Elvis Presley’s transformative 1969 sessions at American Sound Studios in Memphis. While the studio version captured a specific atmospheric depth, the song also found a powerful second life in Elvis’s dynamic stage shows. Exploring the journey of “Kentucky Rain” reveals not only the songwriting talent of Eddie Rabbitt but also Elvis Presley’s evolving artistry, particularly how he interpreted this compelling narrative both in the studio and live.

Eddie Rabbitt, approaching thirty in 1969, was steadily building a reputation in Nashville as a gifted songwriter. Hailing from Brooklyn, his connection to country music might have seemed unexpected, but he often spoke of hearing parallels between American country sounds and the Irish music his father loved. Rabbitt nurtured his passion for music and writing from a young age, penning his first song, a ballad titled “Susie,” at just twelve years old. Despite his talent, the mid-sixties saw Rabbitt navigating the challenges of getting his compositions heard by established artists. However, his potential didn’t go unnoticed, especially by producer Chips Moman, who frequently requested material from the promising young writer.

Rabbitt’s significant breakthrough arrived through a connection with Lamar Fike, a figure often associated with Elvis Presley. Fike heard a demo of “Kentucky Rain” in late 1968. Rabbitt later recalled the exhilarating moment, after months of waiting, when Fike called with the news: not only did Elvis want to record the song, but he intended to release it as his next A-side single. Rabbitt was understandably stunned, describing the feeling as “even more than a dream” and the moment he finally felt validated as a songwriter. Although “Kentucky Rain” could have potentially launched Rabbitt’s own career as a recording artist had he released his version first, he acknowledged that his rendition could never have matched the “majesty of Presley’s impassioned take.”

Cover art for the 'From Elvis In Memphis' album, resulting from the 1969 American Sound sessions.

Elvis Presley was likely feeling a sense of creative triumph on the evening of February 19th, 1969. The marathon session just two nights prior had confirmed that his return to Memphis’s American Sound Studios the previous month was no accident; it marked the beginning of a period now recognized as one of the most significant in rock and roll history. While he may not have grasped the full future impact of these sessions or how many artists would draw inspiration from their revitalized energy, he was undoubtedly grateful. This was music with a rawness and power he hadn’t achieved in the studio since his 1967 recording of Jerry Reed’s “Guitar Man.”

The February 19th session proved to be less prolific than others during Elvis’s time with producer Chips Moman at American Sound, yielding only two masters compared to the typical three or more per night. However, both were exceptional. In the late hours, Presley delivered a potent version of Jerry Butler’s “Only the Strong Survive,” a track that seemed to mirror his own resilient comeback. Yet, Elvis appeared even more deeply invested in “Kentucky Rain,” the song he dedicated hours to earlier in the evening. It was a haunting, atmospheric narrative of a man searching for a lost love on a dreary day in Kentucky.

According to Presley historian Ernst Jorgensen, writing in a book detailing Elvis’s sessions, “Kentucky Rain” presented a challenge for the studio musicians to “grasp.” The recording process spanned several hours until they achieved a truly “accomplished rendition,” which Jorgensen deemed “worth it.” Despite the band’s initial struggles, Elvis seemed to intuitively connect with the song’s emotional core, delivering mesmerizing vocal takes throughout the night. Chips Moman was reportedly so moved by Elvis’s vocals that he enlisted co-producer Felton Jarvis to act as a “cheerleader” to “spur [Presley] onward.” For Elvis, standing in American Sound Studios singing a song as complex and adult as “Kentucky Rain” must have been profoundly emotional, especially when contrasted with the less inspired material he’d been recording for movie soundtracks just over a year prior.

The brilliance of the “Kentucky Rain” recording extends beyond Elvis’s vocal performance. The American Sound band in 1969 was arguably at the peak of its powers. Every element, from Bobby Wood’s piano work to Reggie Young’s incomparable guitar playing, contributes dramatically to the track. It stands as one of the great recordings to emerge from American Sound, a cinematic, bruised, and powerful piece that retains its edge decades after its release.

Elvis Presley pictured with the house band at American Sound Studios in Memphis, 1969, during the recording sessions for 'Kentucky Rain'.

“Kentucky Rain” was held back from immediate release on the initial American Sound albums (From Elvis In Memphis and Back In Memphis), instead being issued as a single in January 1970 with the infectious “My Little Friend” as the B-side. Like many of Elvis Presley’s biggest songs, “Kentucky Rain” expertly blended genres, blurring the lines between rock, pop, and country. It made a significant impact across the charts, landing squarely in the Billboard top twenty shortly after its release and becoming one of the most frequently played songs of the year.

“Kentucky Rain” Live: Bringing the Studio Magic to the Stage

Elvis Presley had a clear fondness for “Kentucky Rain,” incorporating it into his setlist for his legendary performances in Las Vegas in 1970 at both The International and The Hilton hotels. These Kentucky Rain Elvis Presley Live renditions offered audiences a captivating contrast to the studio recording, showcasing how Elvis and his band interpreted the song’s narrative in a concert setting.

Live recordings of “Kentucky Rain” from this era vividly illustrate what the track might have sounded like had Elvis taken a more direct hand in its production, similar to his approach in a concert environment. The live versions typically featured a slightly faster tempo than the studio take. Crucially, the live setting allowed more space for Elvis’s incomparable TCB Band to showcase their talents, adding layers of dynamism and energy. While the studio version possessed an ethereal, moody quality perfectly suited to the song’s introspective lyrics, the live interpretations often felt even more powerful and immediate, driven by the raw energy of the stage. This comparison highlights Elvis’s versatility as a performer, capable of delivering a deeply felt vocal in the controlled environment of the studio while also transforming the song into a compelling live experience supported by his elite band.

Elvis’s appreciation for Eddie Rabbitt’s songwriting extended beyond “Kentucky Rain.” He recorded two other powerful and expertly crafted songs by Rabbitt: the epic “Inherit the Wind” and the rocking “Patch it Up.” Both are considered masterworks, yet neither quite reached the level of widespread acclaim and enduring popularity of “Kentucky Rain.” The song proved instrumental not only in cementing Eddie Rabbitt’s reputation as a top songwriter but also in launching his own successful solo career. Throughout the 1970s and 80s, Rabbitt became known as one of country music’s most successful crossover artists, releasing well-crafted and performed albums. A decade after Elvis first recorded one of his songs, Rabbitt achieved massive chart success with another rain-themed tune, the chart-topping “I Love a Rainy Night,” which remains a quintessential crossover country hit.

“Kentucky Rain” has been covered by numerous artists since Elvis’s definitive version. Eddie Rabbitt himself revisited the song on his 1978 album Variations, released a year after Elvis’s passing. His version is a heartfelt, gripping, and compelling tribute, demonstrating his own vocal capabilities and honoring Presley’s impact.

In the decades following Elvis’s death, “Kentucky Rain” has frequently appeared on compilation albums and box sets. It was notably included as one of the thrilling tracks on the near chart-topping 2nd to None collection in the early 2000s, solidifying its status as a fan favorite worldwide. Among its notable admirers is musician Paul Westerberg, who began performing “Kentucky Rain” live around the time 2nd to None was released. Westerberg’s admiration for Elvis has been evident since The Replacements paid homage to the cover of G.I. Blues with their landmark Pleased to Meet Me LP years prior. Westerberg’s take on “Kentucky Rain” is often described as a ragged triumph – sloppy, genuine, and fitting for an artist seen by many as a unique individual in rock, much like Elvis.

Eddie Rabbitt and Elvis Presley met just once, backstage after a frenzied Vegas performance in the early seventies. Rabbitt recalled the encounter with an exhausted Elvis as “short and sweet but a pleasure nonetheless.” Eddie Rabbitt passed away in 1998, following Elvis into the great unknown. His legacy as a songwriter lives on, with “Kentucky Rain” remaining one of his most devastating and powerful compositions, forever tied to the King’s voice.

1969 American Sound Sessions and Beyond

The year 1969 marked Elvis Presley’s return to recording in Memphis for the first time since 1955 when he was with Sun Records. His all-night marathon sessions at American Sound Studio with producer Chips Moman are now widely regarded as producing some of the finest music of his career, a creative peak reminiscent of his innovative early days.

Inspired by the success of his 1968 television special, Elvis entered American Sound Studios in January 1969 with a renewed focus on making quality music that would yield hit records. The recording atmosphere at RCA’s Nashville studios had become stagnant for him, and advisors encouraged him to work with Moman at American Sound, a small studio in a less-than-glamorous neighborhood.

Under Moman’s production, Elvis worked diligently to create his first significant mainstream album in years. From Elvis in Memphis is often considered his most crucial album of this period, pulling his recording career out of the “soundtrack purgatory” of the 1960s and setting a high creative standard for the following years. Elvis had excellent material to choose from and poured his heart and soul into these sessions, collaborating with top Memphis musicians. The resulting sound was fresh, raw, and gutsy. The creative excitement and energy he felt were palpable on every track – a joyful departure from years of movie-related boredom.

These sessions resulted in two studio albums, From Elvis In Memphis and Back In Memphis. They also produced four major hit singles released between late 1969 and 1970: “In the Ghetto,” “Suspicious Minds,” “Don’t Cry, Daddy,” and “Kentucky Rain.”

Here is a list of recording sessions from 1969 related to this period:

• January 13, 1969 American Sound – Memphis, Tennessee
  • Long Black Limousine XPA5 1142-09
  • This Is The Story XPA5 1143-02
• January 14, 1969 American Sound – Memphis, Tennessee
  • Come Out Come Out (Wherever You Are) (Fast – Track) XPA5 1144-02
  • Memory Revival (Slow – Track) XPA5 1144-04
  • Wearin’ That Loved On Look XPA5 1145-15
  • You’ll Think Of Me XPA5 1146-23
  • A Little Bit Of Green XPA5 1148-03
• January 15, 1969 American Sound – Memphis, Tennessee
  • Gentle On My Mind XPA5 1155-NA
  • I’m Movin’ On XPA5 1147-02
  • Don’t Cry Daddy (Track) XPA5 1149-03
  • Poor Man’s Gold (Track) XPA5 1150-12
• January 16, 1969 American Sound – Memphis, Tennessee
  • Inherit The Wind (Track) XPA5 1151-04
  • Mama Liked The Roses (Track) XPA5 1152-04
  • My Little Friend (Track) XPA5 1153-08
• January 20, 1969 American Sound – Memphis, Tennessee
  • Gentle On My Mind (Vocal Replacement) XPA5 1155-NA
  • Gentle On My Mind (Harmony Vocal Overdub) XPA5 1155-NA
  • Rubberneckin’ XPA5 1156-02
• January 21, 1969 American Sound – Memphis, Tennessee
  • In The Ghetto XPA5 1154-23
  • My Little Friend (Vocal Overdub) XPA5 1153-NA
  • Inherit The Wind (Vocal Overdub) XPA5 1151-NA
  • Mama Liked The Roses (Vocal Overdub) XPA5 1152-NA
  • Mama Liked The Roses (Harmony – Vocal Overdub) XPA5 1152-NA
  • I’m Movin’ On (Vocal Replacement) XPA5 1147-NA
  • Long Black Limousine (Vocal Repair) XPA5 1142-NA
  • Don’t Cry Daddy (Vocal Overdub) XPA5 1149-NA
  • Don’t Cry Daddy (Harmony – Vocal Overdub) XPA5 1149-NA
  • Poor Man’s Gold (Vocal Overdub) XPA5 1150-01
  • Wearin’ That Loved On Look (Vocal Repair) XPA5 1145-NA
  • You’ll Think Of Me (Vocal Replacement) XPA5 1146-NA
  • This Is The Story (Vocal Replacement) XPA5 1143-NA
  • From A Jack To A King XPA5 1158-05
• January 22, 1969 American Sound – Memphis, Tennessee
  • Hey Jude XPA5 1157-07
  • In The Ghetto (Vocal Replacement) XPA5 1154-NA
• January 23, 1969 American Sound – Memphis, Tennessee
  • Without Love XPA5 1159-05
  • I’ll Hold You In My Heart XPA5 1160-01
  • I’ll Be There XPA5 1161-03
  • Suspicious Minds XPA5 1227-08
  • Suspicious Minds (Harmony – Vocal Overdub) XPA5 1227-NA
• February 17, 1969 American Sound – Memphis, Tennessee
  • Stranger In My Own Home Town XPA5 1266-01
  • True Love Travels On A Gravel Road XPA5 1265-03
  • This Time / I Can’t Stop Loving You (Informal Jam) WPA5 2513-01
  • True Love Travels On A Gravel Road XPA5 1265-11
• February 18, 1969 American Sound – Memphis, Tennessee
  • And The Grass Won’t Pay No Mind XPA5 1267-06
  • Power Of My Love XPA5 1268-07
  • After Loving You XPA5 1269-04
• February 19, 1969 American Sound – Memphis, Tennessee
  • Do You Know Who I Am? XPA5 1270-07
  • Do You Know Who I Am? (Vocal Repair) XPA5 1270-NA
  • Kentucky Rain XPA5 1271-NA
  • Kentucky Rain (Remake) XPA5 1271-10
• February 20, 1969 American Sound – Memphis, Tennessee
  • Only The Strong Survive XPA5 1272-29
  • It Keeps Right On A-Hurtin’ XPA5 1273-03
• February 21, 1969 American Sound – Memphis, Tennessee
  • Any Day Now XPA5 1274-06
  • If I’m A Fool (For Loving You) XPA5 1275-09
  • The Fair Is Moving On XPA5 1276-NA
  • Memory Revival (Fast – Track) XPA5 1277-NA
• February 22, 1969 American Sound – Memphis, Tennessee
  • Any Day Now (Vocal Repair) XPA5 1274-NA
  • True Love Travels On A Gravel Road (Harmony – V.O.) XPA5 1265-NA
  • Power Of My Love (Harmony – Vocal Overdub) XPA5 1268-NA
  • Do You Know Who I Am? (Harmony – Vocal Overdub) XPA5 1270-NA
  • Who Am I? XPA5 1278-01
• March 5, 1969 Decca Universal Studio – Universal City, California (Change of Habit Soundtrack)
  • Let Us Pray (Track) ____-NA
  • Change Of Habit ZPA4 1058-06
  • Let’s Be Friends ____-03
  • Let’s Be Friends (Work Part – Ending) ____-NA
  • Let’s Be Friends (Composite) ZPA4 1057-SP
  • Have A Happy (Track) ____-NA
• March 6, 1969 Decca Universal Studio – Universal City, California (Change of Habit Soundtrack)
  • Let Us Pray (Vocal Overdub) ____-08
  • Have A Happy (Vocal Overdub) ZPA4 1056-07
• September 26, 1969 RCA Studio A – Nashville, Tennessee
  • Let Us Pray (Vocal Replacement) ZPA4 1957-05
  • A Little Bit Of Green (Vocal Replacement) XPA5 1148-NA
  • A Little Bit Of Green (Harmony – Vocal Overdub) XPA5 1148-NA
  • And The Grass Won’t Pay No Mind (Vocal Replacement) XPA5 1267-NA

The Historic 1969 Las Vegas Engagement

Beginning July 31, 1969, Elvis embarked on a groundbreaking four-week engagement at the newly constructed International Hotel in Las Vegas, featuring fifty-seven shows in the city’s largest showroom. For these performances, Elvis assembled a premier lineup including top rock and roll musicians (the future TCB Band), an orchestra, a male gospel group, and a Black female soul/gospel backing group. After weeks of rehearsal, they opened to immense anticipation.

The show itself was a masterful blend of fresh, dynamic arrangements of classic Elvis hits, exciting new material recently recorded (including songs from the American Sound sessions), and well-chosen covers of other artists’ hits. Elvis also charmed audiences with engaging on-stage banter and personal anecdotes about his career. A press conference followed the first of his two opening night shows, capturing the media’s excitement.

This engagement shattered all previous Las Vegas attendance records and garnered rave reviews from critics and the public alike, marking a triumphant return to live performance for Elvis. The success led to the recording and quick release of his first live album, Elvis in Person at the International Hotel, Las Vegas, Nevada. Visually, a lean and physically fit Elvis wore simple yet striking karate-inspired two-piece outfits, designed by Bill Belew (who also did his ’68 special wardrobe). These understated outfits were the forerunners of the famous one-piece jumpsuits that would evolve over the years.

The Lyrics: Kentucky Rain

Seven lonely days
And a dozen towns ago
I reached out one night
And you were gone
Don’t know why you’d run,
What you’re running to or from
All I know is I want to bring you home

So I’m walking in the rain,
Thumbing for a ride
On this lonely Kentucky backroad
I’ve loved you much too long
And my love’s too strong
To let you go, never knowing
What went wrong

Kentucky rain keeps pouring down
And up ahead’s another town
That I’ll go walking thru
With the rain in my shoes,
Searchin for you
In the cold Kentucky rain,
In the cold Kentucky rain

Showed your photograph
To some old gray bearded man
Sitting on a bench
Outside a gen’ral store
They said ‘Yes, she’s been here’
But their memory wasn’t clear
Was it yesterday,
No, wait the day before

So I fin’ly got a ride
With a preacher man who asked
‘Where you bound on such a dark afternoon?’
As we drove on thru the rain
As he listened I explained
And he left me with a prayer
That I’d find you

Recorded: 1969/02/19, first released on single

Conclusion

From its origins penned by a rising songwriter in Nashville to becoming a key recording from Elvis Presley’s acclaimed American Sound sessions, “Kentucky Rain” holds a special place in music history. Its transition from a deeply atmospheric studio track to a high-energy live performance staple in Las Vegas showcases the song’s adaptability and Elvis’s prowess as an interpreter and performer. The enduring appeal of Kentucky Rain Elvis Presley Live and studio versions continues to resonate with fans, underscoring the creative synergy of the 1969 period and the lasting legacy of both Elvis and songwriter Eddie Rabbitt.