Moman moved away from the usual Presley pop recordings aimed at an established audience. A developer of the Stax Records sound, he incorporated a Memphis sound integrating soul, country, gospel and rural and electric blues. Many arrangements lean heavily on the rhythm section, with lesser contributions from strings, brass and woodwinds. Arrangers Glenn Spreen and Mike Leech changed Presley's image on the tracks with the addition of violas, cellos and French horns. The arrangers intended to blend the tracks for a distinctive sound; the strings are used in counterpoint, rising when the track fades and vice versa. The violas play the same lines as the French horns, with cello used for darker tones. Syncopation was incorporated by bowing.