sessions, Presley's usual producer, Jarvis, grew increasingly worried about losing control of Presley and his recordings. During its first two weeks on the chart, "In the Ghetto"'s production was credited to Jarvis. Lacker then called Billboard and had them correct the producer credit to Moman. During the fourth week, Parker asked Billboard to remove the production credit from the song's entry entirely (arguing that Presley's records did not traditionally list a producer credit). From Elvis in Memphis was released in June 1969. The album topped the UK Albums Chart, disposing for one week Jethro Tull's Stand Up. In the United States, it reached number thirteen on Billboards Top LPs, and was ranked number seventeen on the magazine's Top Country albums of 1969. By January 28, 1970, it was certified gold by the Recording Industry Association of America after selling over 500,000 copies. On July 12, 1969, Presley was featured on the cover of Rolling Stone, with the album receiving the lead review. Peter Guralnick, the magazine's reviewer, described it as "great ... Flatly and unequivocally the equal of anything (Presley) has ever done" and praised the "evident passion which (Presley) has invested in this music", adding: "(he) is trying, and trying very hard, to please us. He needs to have our attention ... It is his involvement after all which comes as the surprise." Billboard also published a positive review, saying that Presley had "never sounded better, and the choice of material is perfect". High Fidelity wrote, "Elvis has been through a number of stages, and his latest is the best". The Los Angeles Times delivered a mixed review: Critic Pete Johnson praised Presley's voice, which he considered it had gone back "down to grittiness". Meanwhile, Johnson criticized the music arrangements that he considered inconsistent with the original Sun Records style of Presley, or the contemporary Memphis Sound produced by Stax Records. He pointed that the rhythm section "rarely gets off the ground", called the use of the horns "scarse and generally insipid", the arrangements "Hollywoodish", and he attributed to "laziness" the production of the more scarcely backed tracks to Moman and arrangers Spreen and Leech. Johnson concluded that Presley's voice had "arrived in Memphis" but "no one else concerned with the LP did". For the Associated Press, the album presented "quality country" and Presley's voice featured "depth" and "feeling". The Pittsburgh Press felt that it was a "typical" Presley