Stayin’ Alive: Herb Alpert

Herb Alpert is 83 years old. You probably don’t know who he is. Or maybe you’ve heard of him but don’t know much abut him. My “Stayin’ Alive” series attempts to shine a light on legends who are still with us. It’s surprising how many major contributors to pop culture are still alive but, the way ‘celebrity’ works, they don’t get near as much love as they deserve. After they die, the tributes fly but I am hoping to point out the impact these people had before they go to meet Houdini.

First and foremost, Herb Alpert is a trumpeter. However, the list of other things he is goes on for quite some time: composer, arranger, producer, songwriter, singer, record executive, painter, sculptor, philanthropist, actor… I like to refer to him as a mogul. I’ve seen mogul described as “a great personage, an important or powerful person, especially in the motion picture or media industry”. “An influential person: big gun, big hitter, high level honcho, superior”. My favourite is “power derived from experience and skill, not popularity (most celebrities, while called moguls, are in fact not)”. An apparently low-key guy like Mr. Alpert would likely cringe at being described as such and I think in Herb’s case, I would tend to use the word “influential” more than “powerful”. Definitely, though, he was a major player in a major market at a major point in the history of the music business.

Herb was born near the start of spring in the Boyle Heights section of East Los Angeles to Tillie and Louis, two Jewish immigrants from the Ukraine and Poland. When Herb was growing up, Boyle Heights was a predominantly Jewish neighbourhood. Later, the area saw an influx of Latinos. While today Boyle Heights is made up of 95% Latinos, the neighbourhood has a history of Jews and Latinos working together, politically and civilly, to improve living conditions. As a musician, Herb embodies this combination of Jew and Latin; he was of Jewish heritage and immersed himself in a Latin sound that he sought to share with the world. Record producer Lou Adler also grew up in Boyle Heights and became an associate and good friend of Herb (Adler, once married to Shelley Fabares, is also ‘stayin’ alive’ at 84 years of age). Other notable one time residents of the area include: Verve’s Norman Granz, will.i.am, Mickey Cohen and Anthony Quinn.

Herb’s whole family was musical and Herb began to play trumpet at age 8 and he experimented at an early age recording himself. He went to Fairfax High School which, at the time, had a predominantly Jewish student body. The school boasts an impressive list of notable alumni, everybody from Carole Lombard and Darla Hood to Mickey Rooney and Ricardo Montalban and up to Phil Spector, Anthony Kiedis and Demi Moore. Herb graduated in 1952 and then joined the Army. After his hitch, he tried his hand at acting, appearing as an extra (“drummer on Mt. Sinai”) in Cecil B. DeMille’s “The Ten Commandments”.

In 1957, Herb took to songwriting and wrote hits for Jan & Dean (“Baby Talk” – #10) and Sam Cooke (“Wonderful World” – #12) before starting a recording career of his own. Herb took his son’s name, Dore, and released a handful of singles, none of them making much of an impression on the charts. It was at this point that he joined forces with his good friend, Jerry Moss. The two buddies decided to start their own label to release Herb’s recordings and also to record other artists they hoped to discover and develop. A&M Records was born.

The fledgling record company set up shop in Herb’s garage where Herb started working with a song a friend had written called “Twinkle Star”. On a break from working on this track, Herb went to Tijuana, Mexico to watch the bull fights. Alpert was taken with the atmosphere and the enthusiastic roars of the crowds. When he got back to his garage he took a different direction with “Twinkle Star”, adding crowd noises and double-tracking his mournful trumpet. He was happy with the sound which was decidedly “Mexican”. Alpert released the single as A&M’s first, renaming it “The Lonely Bull”. Still using their own money to fund operations, Alpert and Moss shopped the single around to various radio stations. The song began to receive airplay and eventually struck fire, reaching #6 on the pop charts in the fall of 1962. Oh, to be back in an era when a song like this could be Top Ten in the country. Now that they had a hit on their hands, Alpert needed an album. “The Lonely Bull” LP was released at the end of the year credited to “Herb Alpert and the Tijuana Brass”; in reality this was Herb’s trumpet backed by the legendary session band, the Wrecking Crew.

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The simplicity of the early 1960’s. The bare-bones cover of the first album released on A&M Records.

For later releases and live performances, Herb would put together an actual band and released “Volume 2” in 1963 and “South of the Border” in 1964. “South of the Border” may be considered the first “essential” TJB album. The disc signaled a move away from predominantly Spanish flavoured songs to a more easy listening style which would become their trademark – the style is more easy listening. However, 8 of the twelve titles contain Spanish/Latin references. Their versions of “The Girl from Ipanema” and “All My Loving” pointed the way to a lighter, middle-of-the-road sound.

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A decidedly “Mexican” setting is actually the Patio del Moro apartment complex in West Hollywood. The model is Sandra Moss – wife of Jerry – and the boys are billed as “Herb Alpert’s Tijuana Brass”.

Their fourth album was a legendary release and remains their most popular record. “Whipped Cream and Other Delights” has been called the “Sgt. Pepper” of easy listening. It is the pinnacle of the early style of the genre and is firmly entrenched in pop consciousness. With this record, mass audiences became aware of Herb Alpert’s music. Songs from this album were used on “The Dating Game” which started a trend of hip, contemporary music being used incidentally on television. The cover alone is iconic and features model Dolores Erickson – three months pregnant at the time – covered in what is supposed to be whipped cream. The quality of the music and Alpert’s arranging both peaked with this album as best heard in the stunning and emotional “Lemon Tree”. The album reached number one and sold 6 million copies. It is the quintessential adult LP of the mid-1960’s. The sound and the cover spawned scores of imitators.

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If you scrounge through the second hand stores, as I do, you’ve seen this record a thousand times.

Other albums that deserve mention are “What Now My Love” and “Christmas Album”. The title track of the former won Herb two Grammy awards – one for arranging – and is the example I always use when I talk about what a great arranger Alpert is. This song – and you can hear it in many different forms from Sinatra to Presley – is just gorgeous in Herb’s hands, one of my favourites. “What Now My Love” was the #1 album in the country for 9 weeks – the longest stay at the top for any Brass album. The Christmas album may be an acquired taste. Most of the songs feature wordless vocals arranged by Shorty Rogers. This whispering chorus will gently introduce a song and then Herb and the boys come in with their jaunty TJB sound. This technique threw me at first but now all I can tell you is that it is one of the albums – not just Christmas albums – that I am most fond of. Herb has written some special arrangements of seasonal chestnuts that make for wonderful fireside listening. With many significant LP releases then, Herb and the TJB became among the first of the great “album artists” and they became known for their album releases – a full program of music as opposed to singles. In the days of the “hi-fi” and the bachelor pad, their records sold impressively and charted well. Seven of their first nine albums reached the Top Ten, five of these reaching #1. 1965 through 1967 was a particularly successful period for Herb and the Brass. In this era that is remembered for the cultural and musical contributions of the Beatles, the Rolling Stones, the Beach Boys, the hippie movement and the origin of hard rock, Herb Alpert and the Tijuana Brass outsold them all, winning six Grammy Awards along the way. For 81 consecutive weeks during this time, the Brass had at least one album in the Top Ten. And the oft-quoted fact is true – in 1966, the TJB sold 13 million records, more than the Beatles did. Also in ’66, the Guinness Book of Records acknowledged that, at one point, Herb had 5 albums in the Top 20 at the same time, a feat that has never been repeated. Consider that, in April of 1966, four of the Top Ten albums in the land were Herb Alpert records. Even more ridiculously, Herb took a rare vocal on the Bacharach/David song “This Guy’s in Love With You” and it went to #1.

Herb’s original record-setting run with the Tijuana Brass came to an end in 1969. He disbanded the group, reforming the band for a few album releases over the next 15 years. Having conquered the pop charts with the Brass, Herb – and partner, Jerry – now turned their attention to expanding their label, A&M Records. Headquartered at the famous Charlie Chaplin Studios at 1416 North La Brea Avenue in Hollywood, A&M’s roster grew to include an impressive list of artists across different genres. Herb himself discovered Sergio Mendes and Brasil ’66, an act that enjoyed colossal success with their mod brand of jazzy Brazilian pop. Sergio and Herb began a lifelong friendship and business relationship and Herb married Lani Hall, one of the vocalists in the group. Herb and Lani – who has also released albums on A&M – are still married 45 years later.

The list of artists who recorded for A&M Records is as impressive as it is long. To be fully appreciated, though, you have to remember that most of the major record labels of the time were off-shoots of or owned by large movie studios or conglomerates. They had buckets of money to place at artists’ disposal. Herb and Jerry – remember, this label was started in a garage – were able to attract some very big names because of their reputations in the industry, because of their savvy and because of their ability to personally deal with artists and take care of their needs, both in the studio and out. The list of artists on the label includes: Burt Bacharach, Baja Marimba Band, the Sandpipers, We Five, the Carpenters, Captain and Tennille, Quincy Jones, Stealers Wheel, Liza Minelli, Gino Vanelli, Wes Montgomery, Paul Desmond, Paul Williams, Joan Baez and Billy Preston. Later, A&M added to their roster Cat Stevens, Joe Cocker, Procol Harum, Humble Pie, Fairport Convention, Carole King, Cheech and Chong, Nazareth, Styx, Supertramp, Chris DeBurgh, Chuck Mangione and Peter Frampton. The 1980’s saw the label continue to sign notable acts including Janet Jackson, the Police and later Sting, the Go-Go’s, Bryan Adams, the Human League and Amy Grant. Next time you’re looking through some records at a garage sale, look for records with the A&M Records logo – the one with the trumpet.

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Started by two buddies in their garage. The trumpet is the perfect touch.

Throughout the 1970’s, Herb continued to record as a solo artist. His records from this era have a wonderfully smooth sound. Today’s listeners may dismiss them as lightweight but they all possess Herb’s particular brand of exquisite musicianship and are infinitely listenable. With the Brass in the mid-’60’s, Herb was tops among the artists that were purveyors of a “middle-of-the-road” sound that began to be favoured by a specific demographic. “Easy listening” can trace it’s roots back to the early ’50’s albums of Paul Weston and others but through the 1960’s, Herb and the TJB took this sound to the masses. Into the ’70’s, Herb was still practicing his brand of jazz-flavoured easy listening. Actually, his sound at this time helped give rise to what came to be known as “smooth jazz”. Significantly, smooth jazz can trace it’s roots to three albums that guitarist Wes Montgomery made with producer Creed Taylor. These three albums, from 1967 and 1968, featured Wes’ incomparable playing on renditions of pop hits of the day. What label were these three albums released on? A&M Records. Though the sound of today’s smooth jazz may have gone in an unfortunate direction, the origin of the genre is a further example of Herb Alpert being instrumental in yet another aspect of the industry.

My regular readers have heard me reference the “victory lap” that can occur in a performer’s career. After the initial blaze of popularity, often an artist’s career will wane. Then, sometimes circumstances will align and a singer will make a sort of comeback – release an album that cements his or her place in history and elevates them to “legend”. It allows their earlier work to be reassessed and appreciated all over again. Sinatra and Bennett both wrote the template for the “victory lap”. Think also of Eric Clapton and Rod Stewart. Herb Alpert’s victory lap – as a recording artist, at least – came quite out of the blue. After years of releasing quality albums of jazz/pop, Herb teamed with South African trumpeter Hugh Masekela for a couple of interesting albums. Then, in 1979, Herb was given a song by his nephew, Randy Badazz Alpert. “Rise” was a departure of sorts for Herb. Randy Alpert and his production partner Andy Armer had written the tune as an up-tempo dance number. At the recording session, it was decided to slow it down – this decision has been credited to both Herb and the drummer on the session, Steve Schaefer. The slower tempo was key. A highlight of this slow funk groove is the bass line laid down by studio legend Abe Laboriel – it is my all-time favourite bass line. Clocking in at 7 minutes and 40 seconds, the tune is an aural delight combining a disco/early hip-hop mood with Herb’s flawless, ethereal playing.

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This is how much I love this record.

The single was released in the summer of ’79 and was immediately picked up by club DJs who would play it on two turntables at once, imaginatively staggering the records to make the song play longer and playing one off the other. As the song began it’s ascent up the charts, it received an unexpected boost in it’s promotion from it’s use as a back-drop for the relationship of “Luke and Laura” on the daytime soap opera, “General Hospital”. With the success of the single, Herb went into the studio to record an LP. The result – also titled “Rise” – is one of my favourite albums of all-time. It’s a fantastic record that manages to sound like the late ’70’s but still sound engaging and somehow relevant almost 40 years later. The album starts with the fanfare “1980”, which had originally been commissioned for use during the Summer Olympics but was instead used as the official theme of the 1986 FIFA World Cup. “Rotation” is another Badazz/Armer track that shimmers along at a nice easy pace. It also was released as a single and hit the top 30. I heard it used once on an episode of “Sex and the City”. “Rotation” has been called one of the first “chillout” tunes making Herb a pioneer in yet another sub-genre. The glowing gem of side two is undoubtedly “Angelina”. The gorgeous song features lyrical playing from Herb and steel guitar. Co-written by Gary Brooker, founder of Procol Harum, this song sounds like sunset looks. This song sounds like a young California guy in love with a Mexican girl. Her family doesn’t like him and her brothers want to kill him but the two lovers manage to steal away for walks down by the water, watching the boats come back in while the sun dips golden behind the horizon. *sigh* The album closes with Herb’s interpretation of “Concierto de Aranjuez” by Joaquin Rodrigo. The guitar piece, written in 1939, is considered the pinnacle of Spanish music. Miles Davis had done a version of it on his “Sketches of Spain” album and here Herb takes it to the night club. The piece is titled “Aranjuez (Mon Amour)” here and is an exhilarating piece that combines the drive and flair of Spanish music with the snapping hi-hat of disco and the R&B/funk of the late 1970’s. The album is, simply put, fantastic and the single release of the title track went to Number One. As if Alpert hadn’t achieved enough, this chart-topper makes him the only artist in history to have a number one song as a vocalist (“This Guy’s in Love With You”) and as an instrumentalist. “Rise” was notably sampled by Sean Combs for “Hypnotize” by the Notorious B.I.G.

Herb Alpert and his partner and friend Jerry Moss decided to sell A&M Records in 1989. There’s a really interesting interview with Jerry Moss that I can highly recommend. In this interview, Jerry explains that he and “Herbie” (as Jerry affectionately refers to Alpert), while they weren’t ‘shopping’ A&M, had a good relationship with PolyGram when that company offered to purchase A&M. Purchase price? $500 million. Jerry says the purpose of selling A&M was to expand it, to make it bigger. By the mid-’90’s, artists were getting huge advances from record companies and A&M simply couldn’t compete. And PolyGram liked Jerry and Herb and wanted them to stay on and run the label. It’s an interesting story and I’ll try to give it to you in a nutshell. Jerry had a good connection with a guy at PolyGram. This guy, though, soon retired and his replacement wasn’t into A&M and didn’t like Jerry personally. This type of breakdown was the opposite of what Herb and Jerry had been promised when they sold. Instead of working with Alpert and Moss, PolyGram bought them out of their agreement. For $200 million. So, in the end, PolyGram purchased the organically birthed and nurtured label, a label with humble beginnings, that started with two employees and a garage, a label that had built a reputation as one that treated their employees and the stars on their roster well, for $500 million. Add to that the $200 million buy-out money and the total is $700 million. Think about that. This is a part of Herb’s story that I love and it puts me in mind of Berry Gordy, Jr. who started Motown Records with an $800 loan and sold it 25 years later for $61 million. Regular Joes who thought they’d try their hands at making records. In the end, not surprisingly, considering today’s record industry, A&M was absorbed into it’s parent company and A&M Records, as an active entity, was no more. The lot on La Brea was shuttered. Jim Henson Productions took over the old Chaplin studios and Herb and Jerry’s adventure was over – and they were $700 million dollars richer.

Herb Alpert’s “retirement” years have been busy. He has indulged his love of creating abstract expressionist art and sculpture and has enjoyed exhibits of his work. He and Moss (at Jerry’s urging) started another record label – Almo Sounds – predominantly to release Alpert’s subsequent albums. But here again they ran a label that nurtured new acts, signing Garbage and Lazlo Bane. In 2000, Alpert regained the rights to his past albums and began lovingly remastering and re-releasing them. Alpert has been embraced by purveyors of electronic music and many of his tracks have been remixed by DJs. The “Whipped Cream” album was remixed in it’s entirety in 2006 with Herb offering up some new trumpet work. Yet another genre that has thrown a nod to Herb Alpert.

Herb has received several lifetime achievement awards and in 2012 the National Medal of Arts award from then President Obama. Sting inducted Alpert and Moss into the Rock ‘n’ Roll Hall of Fame in 2006 as non-performer lifetime achievers. Today, Herb continues to maintain a social media presence and still releases what he calls “positive” music. In 2017, he released “The Christmas Wish” and “Music Vol. 1” with more volumes on the way.

Herb himself may be most satisfied with his work as a philanthropist. In the 1980’s, Herb founded the Herb Alpert Foundation, which supports youth and arts education as well as environmental issues. Herb and wife, Lani, have donated millions in scholarships to various arts schools in the US. This includes $30 million to UCLA, $24 million to the California Institute of the Arts, $10 million to Los Angeles City College and $5 million to the Harlem School for the Arts. All of these gifts are aimed at providing education to youths who otherwise may not have the opportunity to pursue these avenues of learning.

Herb Alpert’s career has checked all the boxes. He may not be regularly referred to or often heralded but the fact remains that he is a legend of serious weight, one that is still active in the fields he loves. Herb’s fingerprints are all over the record industry and through his foundation, he and Lani are doing what they can to ensure that the next generation has a chance to excel. For me, Herb’s greatest legacy is the music. Constantly seeing Tijuana Brass records in thrift stores fascinated me and got me into collecting vinyl. “Rise” means the world to me. And all this is capped off by the fact that Herb Alpert is ‘stayin’ alive’ – still with us, still making us feel good. Thanks, Herb.

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In a shady industry, the Alpert’s seem like good people.

Postscript: I’m a “ranker” so I can’t close out this tribute without running down Herb Alpert’s Top 5 Best Songs. OK, maybe not his best but here’s five tracks that can serve as a sampler of Herb’s work. Check out these tunes and see if you’re not hooked.

5. “Jerusalem” (1971 – from “Summertime”) — From the final stages of the initial run of the TJB, this dramatic track was written by Herb.

4. “Lemon Tree” (1965 – from “Whipped Cream and Other Delights”) — Trini Lopez’ jaunty version has nothing on Herb’s arrangement. This song – and #2 on this list – are the best examples of Alpert’s expertise and unique touch as an arranger. The TJB’s version of “Lemon Tree” is mournful yet beautiful with gentle playing from Herb and some great chord changes.

3. “Angelina” (1979 – from “Rise”) — I can’t say much more about this track than I already have. It is sublime and can evoke an extreme flutter in the chest. Emotional. Wonderful.

2. “What Now, My Love” (1966 – from “What Now My Love”) — This French song has been done many different ways by many different singers, from Sinatra to Presley to Andy Williams. All excellent. But again here Herb adds his special touch with a fine arrangement. The bouncy joy of this track does not totally avoid the wistfulness of the chord changes and the melancholy of the lyrics – omitted here, of course. Herb’s playing is clipped and precise while still exhibiting warmth. Delightful acoustic guitar from, I’ll assume, John Pisano. Probably the finest Tijuana Brass song.

1. “Rise” (1979 – from “Rise”) — Just perfect. A stone groove. Drama in the song structure while maintaining a relaxed playfulness. Exciting electric guitar punctuations and a thrilling bass line, my favourite ever. Very “’70’s” and timeless at the same time. This tune has heavy street cred as Herb expertly blends ’70’s dance music with the R&B origins of hip-hop.

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This is the Story: The Best Recordings of Elvis Presley Part 5

I have a family friend, a lady who was a teenager during Elvis Presley’s ascendancy in the late ’50’s-early ’60’s. She knew I was an Elvis guy and would often talk about how much she loved him. She was one of those people of a certain age who claim Elvis as their own and say things like “I have all his records”. I always have a feeling with people like this that they love Elvis the Superstar, Elvis the Icon. They collect the cheesiest Elvis artifacts and souvenirs. In a way, it’s similar to the way Britons loved American blues and rhythm and blues in the 1960’s perhaps even more than Americans did. The thinking being that – in the UK – they were observing things from a distance and therefore could see the glory in the music that much better. People born in the same era as Elvis – people that grew up with him – definitely see him in a different way and love him for different reasons. Those of us born, say, in the early 1970’s perhaps look at him from a more historical standpoint. Our generation is maybe more apt to dig beneath the surface and to study a performer like Elvis Presley the same way we might research the Vietnam war – digging in and wanting to know the origins and the significance. Those of us who begin to grasp the importance of the King do the research, look into all his recordings from all the eras and collect it all because we want to know it all. Back to my family friend and her generation. When the 45s came out in the ’50’s, they bought them – they bought them all until they themselves got married and had kids and life took over. Therefore, they say “I have all his records” when really they’ve never even heard 80% of what he recorded. And they don’t look at Elvis or GRASP him in the same way. A perfect example is the time when this lady family friend brought me her Elvis cassette. She said I would appreciate it and I could have it. I looked at it and actually it was interesting. It was his “Gold Records Vol. 4” album. Cool, I’m thinking, that’s different. I open it and take the cassette out. Oddly, the songs listed on the tape are “Kentucky Rain” and “Don’t Cry Daddy” and others from that era. This was not the same album the cover showed! I looked at the tape more closely: “As Sung By Ronnie McDowell”, it said. I was dumbfounded. I carried on with my thank you’s but I was floored. It got me thinking: this woman was there when it was happening. She should be a bigger fan than me. Yet one of her prized possessions was an album of songs sung NOT by Elvis but by the world’s premier Elvis sound-alike. But here’s the thing: she was happy. She loved Elvis. He made her feel good. He was a part of her fondest memories of life. I thought she was crazy but she got just as much out of Elvis as I – the ‘Elvis scholar’ – did. And that’s The Thing About the King. People LOVE him. The people that think Ronnie McDowell is Elvis and have never heard “Just Pretend” and wear the airbrushed jackets and t-shirts from the flea market with Elvis riding on the clouds or something, they love him. And the people that research his time spent at Crown Electric or dig into his relationship with his step-brothers or try to figure out if Toby Kwimper is really the predecessor of Forrest Gump, they love him, too. Us scholars may scoff at these older fans but, look at them, they’re happy. They love Elvis, too. The only thing I would say, though, is those people could be so much happier if they really dug in to Elvis World. They love the tip of the iceberg. I think the other 80% would be exciting for them to learn about, too.

And that goes for music fans in general. I don’t know if any iconic superstar suffers more from being not fully understood than Elvis Presley. The image, as the man himself once said, is one thing. The man is another. People that reject the suggestion that Elvis may be more significant than Bruce Springsteen don’t really know the whole story. It’s a shame to think that the coming generation sees Elvis only as the black and white rebel with the curled lip, or the Hollywood victim being neutered by endless ‘playful romp’ films or the bombastic jump-suited ’70’s prince from another planet. They may love “Don’t Be Cruel” and that’s great. But if you want a real treat, look into Elvis Presley. Dig a bit deeper. I guarantee you you’ll be glad you did. His is essentially a sad story but it’s riveting.

Wow. Sorry. I don’t think I intended to get so deep. After all, we’re here to celebrate the 83rd anniversary of the birth of Elvis Presley by trying to figure out what his best songs are. We’ve been through the 1950’s, 1960’s and 1970’s and also looked at the movie music. And don’t forget; he also recorded some stellar Christmas music and some truly stirring gospel, the music he maybe connected with most. I need to thank you all for reading these posts. It’s fun for me to write them but it’s always better when someone reads them. I hope I’ve made some sense – I don’t always! In the end, these posts were read by over 600 people in 23 countries; “Elvis World”, indeed! Once again, thank you. Thank you very much.

Finally, I’ve submitted for your approval The Ten Greatest Recordings of Elvis Presley. Let the debating – and the listening – begin!

10. “What a Wonderful Life” (1961) — Movie song from “Follow That Dream”. The lyrics reflect the freedom depicted in the movies.

9. “Separate Ways” (1972) — The saddest song I ever heard. An absolutely heartbreaking commentary on the break-up of Elvis and Priscilla written by Red West.

8. “I Got Lucky” (1961) — A sublime pop vocal. Like a personal family heirloom to me. A cherished gem.

7. “Rubberneckin'” (1969) — The King struts through this balls-out rocker recorded back home in Memphis.

6. “Santa Claus is Back in Town” (1957) — A stunning, savage vocal on the greatest Christmas rock ‘n’ roll song ever recorded.

5. “Burning Love” (1972) — Polished sound. Ringing guitar. Full-throttle, crowd-pleasing iconic rocker.

4. “Jailhouse Rock” (1957) — One of his two or three best vocal performances ever. Fan favourite and the title track from one of his two or three best movies ever.

3. “Promised Land” (1973) — Maybe the single most energetic song I’ve ever heard. And probably the coolest. An absolute freight train.

2. “A Little Less Conversation” (1968) — Probably my favourite Elvis song. A thrilling late-’60’s rock ‘n’ roll song from maybe his greatest soundtrack. Just a delight to listen to – and sing along to.

1. “Suspicious Minds” (1969) — And here we are. The King’s “masterpiece”. A shining moment from some unbelievable sessions and the second-most significant set of recording dates of his career. Of history, maybe. The most confident, assured and vibrant rock vocals you could ever ask to hear.

I can’t thank you enough for reading. I’ve had a blast sharing my thoughts with you. Happy Birthday, EP! And thanks.

Me and My Man

**the image used in this post I actually own!**

This is the Story: The Best Recordings of Elvis Presley Part 4

Let’s get this out of the way: you cannot dismiss all the movie songs as garbage. Really, you can’t call them garbage at all. Here’s the thing: the bulk of the songs that appear in the movies are less songs and more plot devices, used simply to advance the story or comment on the action on the screen. Some examples are “Song of the Shrimp” from 1962’s excellent “Girls! Girls! Girls!”. This song’s lyrics are about a shrimp that reads an article in a shrimp newspaper and leaves his parents to see the world starting in New Orleans. Like…really? From the same film, we have “Thanks to the Rolling Sea” – “Abalone steaks and tuna fish cakes taste so heavenly” – and “We’re Coming in Loaded” – “The fishing was great. We’re coming in loaded ’cause we’re all out of bait”. All three of these songs are actually perfectly acceptable in the context of a bunch of men who work together on a shrimping boat. They probably have lots of songs they sing together as they work. In the ‘lullabies and songs sung to children’ category, we’ve got “Big Boots” from “G.I. Blues” and “Cotton Candy Land” from “It Happened at the World’s Fair”. If the action calls for you to interact with a baby or a young child, sure, you may sing them a goofy little song to get them to go to sleep or to quiet their fears. And then – I hate to even bring it up – there’s “Dominick”, sung to a bull in “Stay Away, Joe”. When a bull won’t breed you sing to it. Don’t you? The problem I have is not necessarily with the songs themselves. Tunes from this ‘lower’ level, like “You’re Time Hasn’t Come Yet, Baby” from “Speedway” or “Fort Lauderdale Chamber of Commerce” from “Girl Happy”, are great songs I actually like. The problem lies in the fact that this is ELVIS PRESLEY – the King of Rock ‘n’ Roll – and no matter how many movie tickets you want to sell or how many records you want to sell you DO NOT put “No Room to Rumba in a Sports Car” on an album and release it to the public under Elvis Presley’s name! Elvis is constantly slagged for making bad records in the ’60’s but it wasn’t his fault. “Ito Eats” from “Blue Hawaii” is cute because the gang is at a luau and they are heckling Ito for eating too much and being fat. Fine, OK, but don’t put it out and call it the latest release from Elvis Presley!!  Within the borders of the films, these cute songs advance the plot – sometimes quite charmingly – but that’s where they should have stayed.

Whew. OK. Now that that’s out of way, let’s look at The Best Recordings of Elvis Presley: the Movie Songs.

10. “Hard Luck” (from “Frankie and Johnny”, 1966) — The movie? I dunno…Elvis as a riverboat gambler in period dress? It’s not terrible but because it is a period piece the songs are turn-of-the-last-century in flavour. However, when Johnny (Elvis) hits the skids, he wanders the streets at night singing this stellar blues number. It features stand-out harmonica playing from Charlie McCoy. McCoy is a full-on legend who has played on records by Bob Dylan, Johnny Cash and Loretta Lynn.

9. “So Close, Yet So Far (from Paradise)” (from “Harum Scarum”, 1965) — I often call this the most hidden of all the hidden gems. After all, it’s in “Harum Scarum”, King’s romp through the Middle East with a turban on his head. There is not much to recommend the film except this powerful song. Johnny (Elvis – Johnny again!) lands in the slammer and is separated from his lady love and puts in a great performance with this stirring number. It builds to a wonderful climax accompanied ably by the Jordanaires. “Here am I, waiting for you. Here am I, praying for you…” When the material was half-decent, he could still fill a song with emotional intensity, no matter what the setting. Written by Joy Byers who wrote many songs for the movies including “C’mon Everybody”, “Goin’ Home”, “Hey, Hey, Hey” and “Stop, Look and Listen”.

8. “Shoppin’ Around” (from “G.I. Blues”, 1960) — The first movies I ever remember seeing in my life were “Enter the Dragon”, “Smokey and the Bandit” and “G.I. Blues”. I’ve loved this Elvis film and the music from it for many, many years. This is one of his films in which he plays a musician so this performance takes place in front of a band in a nightclub. One of Tulsa’s (Elvis) pals wants Tulsa to be a hit with Lili (Juliet Prowse) so he volunteers Tulsa to sing this excellent rocker. Fantastic, beefy guitar from Scotty Moore and a great, fun vocal: “I’m gon’ stop…….shoppin’ around”. I always thought this was the ‘opposite song’ to the Miracles’ “Shop Around”.

7. “Roustabout” (from “Roustabout”, 1964) — I love this song, yes, but here’s the thing: the appeal of Elvis’ films and the joy that you can get from them – what makes them enjoyable – is encapsulated in this film and the title track. Try to explain King’s movie career in a sentence or two and you will likely be describing “Roustabout”. Elvis plays Charlie Rogers, a free-spirited and sometimes surly drifter who loves him some kicks. He has a way with a song and with the ladies. This basic synopsis of “Roustabout” could apply to basically all his films. The lyrics reflect this: “‘Til I find my place there’s no doubt I’ll be a roving roustabout” – I mean, that is King Movies in a nutshell. Sung over the opening credits. The soundtrack album went to #1.

6. “Let Yourself Go” (from “Speedway”, 1968) — By 1968, even the soundtracks were featuring more meaty material. Another tune by Joy Byers, this track could also be heard in the “’68 Comeback Special”. Steve (Elvis) is called upon to sing at the local club “The Hangout” – a cool place where instead of at tables you sit in cars. Here’s the thing: Elvis looks spectacular. And he’s wearing ‘the Speedway jacket’ – which I tried on at a Graceland shop but wouldn’t pay the freight. This tune is sexy: “Oh, baby, I’m gonna teach you what love’s all about tonight…kiss me nice and easy, take your time. Baby, I’m the only one a-here in line. All you gotta do is just-a…..”

5. “Young Dreams” (from “King Creole”, 1958) — Another song sung by King in a reasonable setting in a movie. EP plays Danny, a nightclub singer. “King Creole” is Elvis’ finest dramatic film and was directed by the great Michael Curtiz (“Casablanca”). Curtiz knew about composition and – along with his cinematographer – would’ve known the best settings in which to shoot King, in terms of lighting, etc. Danny sits and sings this excellent song and it is visually thrilling as well. I listened to this song recently after 30+ years of hearing it and I still shake my head. It’s wonderful. And King plays a bit of ‘shoulder’, too.

4. “Spinout” (from “Spinout”, 1966) — It’s so hard to pick which songs to share links to. Do yourself a favour and look all these up on whatever service you use. This tune contains one of my favourite King vocals and some absolutely amazing drumming. King plays Mike, a stock car racer with a way with a song. He sings this at a shindig at the pad he’s borrowing. The guitar sound to start the tune is unique and is played by a legend – it’s either Scotty Moore or Tommy Tedesco. And it’s a fantastic vocal, the highlight of which is the “prove” in “Don’t you know she’s out to prove she can really score”. When someone says to you “all the movie songs are lame”, play them “Spinout”. “A-let me tell ya, Spinout…”

3. “Almost in Love” (from “Live a Little, Love a Little”, 1968) — OK, y’wanna fight? Listen to this: Elvis’ best soundtrack is the one for the film “Live a Little, Love a Little”. Annnnd tell me I’m crazy. I can defend this bold statement but I won’t do it here. Suffice it to say that “Almost in Love” is one of the smoothest songs he ever recorded featuring one of his most subdued and sensual vocals. The tune is gorgeous with it’s idyllic strings and gentle trombone solo. As a big fan of bossa nova, I can appreciate the fact that this tune is based on a song from Brazilian legend Luiz Bonfa. The thing about this tune and two others from this film is that they are just the type of song that other singers of the time were singing. They would have fit perfectly on any of Dean Martin’s or Frank Sinatra’s later albums for Reprise Records. Because this is Elvis Presley, the King of Rock ‘n’ Roll, they’re dismissed or even disparaged. That’s wrong. This recording is celestial.

2. “What a Wonderful Life” (from “Follow That Dream”, 1962) — We’ve arrived at the top two and I have a confession to make. Part of what makes these two songs rank so highly is my strong personal connection to them. This film was made when there was still some care going into providing quality vehicles for King. In this film, King plays Toby Kwimper and EP displays some of his finest comedic acting. This tune is played over the opening credits. Like “Roustabout”, the lyrics depict the very heart of all of Elvis’ movies: “It’s a wonderful road, this road I’m travelin’…it may go straight or it may detour…don’t know where I’m goin’, don’t care where I’m goin’, like the four winds blowin’ I go on. Laughin’ the day away, lovin’ the night away, ’til the moon is gone. It’s a wonderful life…”. You see what I’m saying? The reason I love his movies is described in these lyrics. It’s a delightful song. I love it.

1. “I Got Lucky” (from “Kid Galahad”, 1962) — Absolutely, the finest song from Elvis’ movies – out of all the songs that do not have a life outside of the movies. This was the title track of a budget Camden release LP in 1971, other than that it was, strictly speaking, a ‘movie song’, unlike, say, “Teddy Bear” or “Return to Sender”, both of which ‘lived’ outside the films they were performed in. Make sense? “Kid Galahad” is one of Elvis Presley’s very best films. Elvis plays boxing nice guy Walter “Kid Galahad” Gulick and he sings this at a 4th of July picnic. His voice, his voice, his voice. The sound his voice makes on this track. He’s not shouting “Jailhouse Rock” but the key he’s in here makes his voice sound so…I dunno. Just perfect. His tone. The wonderful Boots Randolph plays sax on this track and the Jordanaires also do stand-out work. “So, won’t you tell me that you love me, hurry up and name the day” – listen to him sing that line. THAT is what is so magnificent about his voice. Seriously, this song can make me emotional. Not just because I think it’s gorgeous but also because it means the world to me. I had the “I Got Lucky” album on cassette when I was a teenager. I would drive around in my 1983 Ford Escort and listen to this song and “What a Wonderful Life” and I would be transported. Couple things: this is a great clip. Elvis sings to Joan Blackman who was also in “Blue Hawaii”. And did you notice Charles Bronson? And this song was co-written by Dolores Fuller, who had a hand in writing other songs for the movies. Dee Fuller was a girlfriend of filmmaker Ed Wood. She is portrayed by Sarah Jessica Parker in the film “Ed Wood”.

Up next: we try to bring it all together! What are the Top Ten Elvis Presley Songs of All-Time?!

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**the images and media used in this post are not mine**

 

 

 

This is the Story: The Best Recordings of Elvis Presley Part 3

I remember the day I bought the “Walk a Mile in My Shoes” boxed set. I was so happy thinking that now I had ALL of the songs Elvis Presley recorded in the 1970’s. Then I read the book that came with the boxed set. Seems that King recorded so many songs in the ’70’s that they wouldn’t fit on one boxed set. This was a real revelation to me and it also excited me. I was excited because now I knew that there was MUCH more Elvis music for me to discover. Even if you only own say, six or seven Elvis albums or compilations, he is the rare type of artist that can keep you interested even if you are only listening to the same 70-80 songs over and over. But learning that there was still some King songs that I could hear for the first time was thrilling. 

In time, I collected all of his recordings from the 1970’s and discovered many gorgeous performances. There were times I wondered how a song had flown under the radar all these years: “Pieces of My Life”, “For Ol’ Times Sake”, “If You Talk in Your Sleep”, “It’s Midnight”, “I’m Leavin'” and, y’know what, the list literally goes on. So many fantastic tunes that were new to me. This Top Ten list, however, is made up of songs I grew up with. Maybe a stunning song like “Pieces of My Life” just hasn’t traveled with me as long as, say, “Separate Ways” has. This just proves my point that, while the following ten songs may indeed be his best of the ’70s, you could easily come up with an alternate list that I couldn’t argue with.

It became harder for Elvis to have successful and comfortable recording sessions as he got older and his health failed him but there are still many great recordings from later in his life: “Hurt”, “It’s Only Love”, “Way Down”, “She Thinks I Still Care”, etc. You really should look these songs up to add some variety to your Elvis listening experience. As I’ve said in the two previous posts in this series, I’m focusing on the popular material King recorded through the years. In the ’70’s, Elvis recorded his second Christmas album that features excellent original songs. “I’ll Be Home on Christmas Day” is no less than one of his very best recordings. “Elvis Sings the Wonderful World of Christmas” (1971) also features Red’s “Holly Leaves and Christmas Trees” and a stellar arrangement of “O Come All Ye Faithful”. 1972 saw Elvis release his last and best gospel album, “He Touched Me”. Our boy is in great voice here and the title track and “Reach Out to Jesus” are both moving and magnificent. “Bosom of Abraham” and “I, John” give us the kind of singing Elvis would do for hours ’round the piano with the fellas. Some of you sharp-eyed King fans will look through this list and realize that the bulk of the songs are from 1970’s “Elvis: That’s the Way It Is”, the soundtrack to his concert film of the same name. While this album may be lesser known to casual fans, I think it is his very best LP. His voice is the best it ever was and the material is contemporary, fresh and exciting. It was hard for me to leave any of the songs on this album off this list. Anyways, let’s run down The Top Ten Elvis Presley Songs: the ’70’s.

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He may never have looked cooler. In rehearsal, Las Vegas, 1970.

10. “Always on My Mind” (1972) — A chart hit for King in the winter of 1972-73. Significant in Elvis World due to the fact that it was recorded only weeks after Elvis and Priscilla separated. Of course, the lyric speaks of regret, of losing something the value of which you only fully appreciate after the fact. It may or not have been intended to be biographical but the fact remains that this recording is heartbreaking. There is video from the recording session that is interesting to watch as it shows solemnity in the studio as opposed to the usual lighthearted atmosphere of an Elvis session. Sad, sad song co-written by the man who gave us “Suspicious Minds”, Mark James. Willie Nelson did a great version in 1982 that was a huge hit for him. ITV television network in England conducted a poll in 2013 and it resulted in this song being voted Elvis’ best. Interesting. See? SO MANY different songs could qualify as his best.

9. “An American Trilogy” (1973) — The version referred to here is from the “Aloha from Hawaii via Satellite” concert and album. I taped this concert of off TV when it was broadcast for the tenth anniversary of Elvis’ death in 1987. I don’t have the words, really, except to say that this concert is like an old friend. Or more like part of my family. Literally. This concert represents the last triumph for Elvis Presley. This was the last time he was operating at the peak of his powers and it ended a 4-year run of staggering artistic proportions. There are one or two other moments from this concert I could have picked. “Steamroller Blues”, “What Now, My Love”, “It’s Over”. “An American Trilogy” is notable because it is the perfect example of a ‘showpiece’. Maybe not the final song of a concert but definitely a show stopper midway through a performance. The song itself is stunning and perfectly suited for Elvis in the ’70’s. Written by Mickey Newbury, it is a medley of traditional 19th century songs: “Dixie”, an anthem of the South, “The Battle Hymn of the Republic”, the marching song of the Union Army during the Civil War and “All My Trials”, a spiritual that traces it’s roots to the West Indies. When you think about it, it is an ‘American’ trilogy: the North and the South are both represented as is the black cultural contribution.  Sociology aside, this is a performance of staggering emotional intensity. If you know anything about Presley’s story, it is devastating to see this man sing “all my trials, Lord, will soon be over”. Presley tweaked the original version recorded by Newbury to heighten the intensity. You see him calling to the brass section. You see him looking back at the band as the timpanis begin to roll and you see him gesture to the Stamps to start singing. He comes in and rides the song out to an incredible climax. The note he hits at the end is magnificent.

8. “I Just Can’t Help Believin'” (1970) — The opening track of Elvis Presley’s greatest LP. The “That’s the Way It Is” concert film features this song being rehearsed ahead of a Vegas engagement. We get to see Elvis struggling to remember the words to this lovely song that was written by the legendary team of Barry Mann and Cynthia Weil that was a Top Ten hit for B.J. Thomas the same year. It’s just a gorgeous recording that showcases Presley in smooth voice.

7. “Blue Eyes Crying in the Rain” (1976) — A country and western song written in 1947 and recorded by Hank Williams, Sr. The song reached iconic status in 1975 when Willie Nelson recorded the song for his “Red-Headed Stranger” album. Both the song and the album played a big part in Willie’s ascendancy in the country music world. Elvis recorded it in the den (the ‘Jungle Room’) at Graceland in 1976 and it appeared on his “From Elvis Presley Boulevard, Memphis, Tennessee” album. Here is another example of his melding country and R&B. The song itself is pure country but Elvis’ delivery is a slow groove. The band is tight and keyboardist David Briggs particularly shines. Listen for his left hand running ascending lines and for his sparkling Fender Rhodes fills. And the four notes David and bassist Jerry Scheff play in unison before Elvis sings the title. It is notable as the last song Elvis was ever known to have sung. The day he died, he sat at the piano in the lounge area of his racquetball court and played and sang it. Every time I go to Graceland, I take a long look at that piano.

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The cover art and album titles were bland. The music on the records was sublime.

6. “How the Web Was Woven” (1970) — This song feels like it’s all mine. How does this gorgeous song remain so hidden? Why was it recorded and released on “That’s the Way It Is” and then that’s it? This is a transcendent recording with a passionate delivery from our boy. The song originally came out of England and has an interesting, Beatles-related history. It is a love song with a dark, dramatic theme that Presley nevertheless renders with a delicate touch. It has been called “perfectly pleasant”. Here’s a brief but interesting clip of King rehearsing it. (You may have to turn up the volume)

5. “Separate Ways” (1972) — Red West wrote better songs than many of Elvis’ regular contributors. This song was released as a single in ’72 and was a sort of emotional companion to “Always on My Mind”, which was on the B side – making it one sad 45. Red’s lyrics directly comment on the break up of Elvis and Priscilla. The tune starts with some gentle piano leading to Elvis singing what are literally some of the saddest words ever sung. “All that’s left between us are the memories we shared and times we thought we cared for each other. There’s nothing left to do but go our separate ways and pick up all the pieces left behind us. And maybe someday, somewhere along the way, another love will find us”. It is an absolutely heartrending song that finishes with some piano work that sounds as sad as the lyrics, piano that sounds like a man broken, taking his first steps down the road alone. Piano that sounds like closing credits after a devastating final scene.

4. “You’ve Lost That Lovin’ Feelin'” (1970) — This is the premier example in Elvis’ canon of him making a song his own. The “That’s the Way It Is” album was one of the first two or three Elvis albums I ever owned. At the time, I was also heavily into “oldies radio” and was very familiar with all the big pop hits of the ’60’s, including Phil Spector’s sparkling Wall of Sound gem, “You’ve Lost That Lovin’ Feelin'” by the Righteous Brothers. When I heard Elvis’ version, I was thrown. It didn’t sound anything like the original. But I soon learned that that is what he did – he could put his stamp on anybody’s song and make it unique. (He didn’t always make the song better. Not even the King could improve on Little Richard’s seminal 1950’s recordings) In concert in Las Vegas, he would start this song with his back to the crowd and just a spot on his head. The eruption of the “Baby!!”‘s in this song are thunderous. He bites off the words of the title – “You’ve lost – that – lovin’ – feelin’!” – and breaks down into a stone groove for the bridge – “Baby, baby, I’d get down on my knees for you – if this suit wasn’t too tight!” – and the Sweet Inspirations behind him – “that’s how much I love you, sweet baby”. This is his wheel house. He takes the Righteous Brothers polished gem down into the earth, the soil, and adds heaping helpings of soul and gospel and heart. There are several different live recordings of Elvis’ version of this song out there. He never did it in the studio.

3. “Burning Love” (1972) — This tune is in a very small group of Elvis songs. Along with “Hound Dog”, it may be his most iconic recording. Unfortunately, people often equate “a-hunk a-hunk a-burnin’ love” with the worst of the Elvis Impersonators – sorry: Elvis Tribute Artists (ETAs). But, fact is – again, like “Hound Dog” – if you can possibly listen to this song again and try to forget all that you think you know about King, you’ll hear an excellent, high energy, early-’70’s-style rock song. It starts off with some ringing guitar that has become for me an actually spell-binding sound that runs throughout the song. This guitar was played by the author of the song, Dennis Linde. Some pumping piano comes in and we’re off. There seems to be an echo to EP’s vocal that makes for an interesting sound. The song went to #2 and was his last Top Ten hit. Another great song from the fertile year of 1972, reinforcing the idea that 1969-1972 was indeed a stellar period in King’s career.

2. “Stranger in the Crowd” (1970) — And the casual Elvis fans are scratching their heads. Again I say that it is amazing to me that a song like this is so undervalued even in Elvis World. The prime example of what makes the songs from “That’s the Way It Is” so good, this song is captivating mostly because of it’s contemporary, middle-of-the-road pop sound. Yes, King’s wheelhouse, as we’ve seen, is rock ‘n’ roll or more accurately his unique blend of gospel, R&B and country. But I feel like had he pursued this sound further in the early ’70’s it may have lead to another domination of the pop charts and even a run of Grammy Awards. Tune starts off with some great strumming from John Wilkinson and gets in to a nice groove with a really smooth vocal from our boy and a beauty guitar solo from James Burton. And check out Ronnie Tutt on the drums near the end. This tune is just delightful and so terribly unique among Elvis recordings. “Stranger” leaves me feeling good. Here’s a clip of Elvis rehearsing the song. You should listen to the master of the song as it was released, too, as it is, obviously, more polished.

1. “Promised Land” (1975) — “Aw, get on it!” And with that we are off on maybe the most thrilling ride Elvis Presley ever took us on. The song was written in 1964 by Chuck Berry while he was in prison. The lyric is pure Berry. It’s the story of “the poor boy” who starts off in the backwoods and slowly makes his way to ‘the promised land’: the big time, Los Angeles. You can imagine an incarcerated Berry dreaming of the day of his release when he could get back to his career. Once again, in the hands of Elvis Presley, a song goes to another level. Presley’s version is an aggressive, driving, sonic juggernaut. One of my favourite instruments is the clavinet. Stevie Wonder’s “Superstition” starts off with the very best playing you’ll ever hear of this funky, percussive-sounding keyboard. King employed this instrument throughout the ’70’s and it gets things off to a flying start on “Promised Land”. EP then exclaims “aww, get on it!” and his drummer – the most underrated rock drummer in history – Ronnie Tutt, fires up the Greyhound and propels things down the interstate. Tutt is definitely ‘driving the bus’ on this tune that also features guitarist James Burton putting on a clinic. “Los Angeles gimme Norfolk, Virginia Tidewater four-ten-oh-nine…” Presley’s obviously enjoying himself and it is infectious. Recorded at the famous Stax Studios in Memphis, the song went to #14 on the pop charts. This is one of the 3 or 4 songs you play when you are trying to convince someone that Elvis is “cool”. Gotta hand it to Barry Sonnenfeld, director of “Men in Black”. When the script of that film mentions Elvis and depicts a car going incredible speeds he puts “Promised Land” on the soundtrack. Natch.

Up next: sometimes you really have to dig but there are some great songs in Elvis Movies!

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The King laying it down during his historic “Aloha from Hawaii via Satellite” concert. January 14, 1973.

**the images and media used in this post are not mine**

 

 

 

 

 

 

 

 

This is the Story: The Best Recordings of Elvis Presley Part 2

Our boy returned from the Army in early 1960 and the evil lord Colonel Parker put his plan into motion. Make no mistake, the Colonel’s plan to clean Elvis up in the studio and present him in family-friendly musical comedies was motivated by extreme avarice. However, his machinations and maneuvers when Elvis returned to the entertainment business resulted in EP being able to maintain his presence in the public eye with the movies while the music business changed around him. As I’ve stated in previous posts (https://wordsbywellsy.wordpress.com/2017/01/06/elvis-week-2017-day-5-hollywood/) Elvis and the Colonel didn’t have the apparatus in place to compete in the changing landscape of rock music. Bands wrote and performed their own material – Colonel employed songwriters who’s sole attribute was their willingness to give up publishing rights to the Colonel’s business arm. Presley’s focus on films allowed him to bide his time until the landscape changed.

As early as 1965, Elvis began to bristle at his imprisonment in the Hollywood system and longed to find songs with more teeth to record. Some quality songs began to leak out and were placed on soundtracks when RCA were short on tracks to fill out the albums. Eventually, Elvis was able to maneuver himself back into a healthy studio environment when he ended up recording songs back in Memphis at Chips Moman’s American Sound Studio. The house band at this studio was a crack group of young Southern boys who had recently backed other singers on successful recordings and were at the top of their game. Elvis and this band all instinctively knew each other and the songs they recorded there in January and February 1969 are nothing short of sublime. They contained a contemporary, Southern soul sound that perfectly showcased Elvis at his best. On display with these tracks is the quintessential and prototypical ‘Elvis Presley sound’, that unique blend of country, gospel and R&B. If you listen to them alongside a lot of mainstream music that was on the charts at the time there is no denying how distinct the sound is. 1969 began a three year run that – along with 1956-57 – represents the absolute pinnacle of the power, artistry and enduring style and charismatic vocalizing of Elvis Presley.

Elvis Presley’s recordings of the 1960’s were largely made up of movie soundtracks and they will be addressed in a later post. There were also two gospel albums; 1960’s “His Hand in Mine” and 1967’s Grammy-winning “How Great Thou Art”. The title track of the latter is legendary in “Elvis World” and the album also contains the stellar “In the Garden”, “Run On” and the incredibly moving and powerful “Without Him”. And recorded just after the sessions for “How Great Thou Art” was Red West’s stellar “If Every Day Was Like Christmas”. For this list, though, I’ve focused on the ‘pop’ music. Generally speaking, you can say that he recorded hit songs, great non-movie music, for a couple of years at the beginning of the ’60’s and then not again until the last few years of the decade. It’s from these years that I’ve built this list – The Top Ten Elvis Presley Songs: the ’60’s.

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Elvis poses with a Fender Bass in his living room at Graceland, mid 1960’s.

10. “If I’m a Fool (For Loving You)” (1969) — I see that six of these ten songs are from the sessions at American Sound. Truth be told, the songs from those dates are among his very best. This track is a bit of a sleeper. Never released as a single, it only ever appeared on the “Let’s Be Friends” LP from 1970. While I concede that it may only be a personal favourite, I will defend this song’s inclusion here. A lovely soft country arrangement and a delicate, personal and emotive vocal from the King.

9. “Power of My Love” (1969) — A true hidden gem. Another from American that may be the grittiest of all his recordings. This is a great tune to play to the uninitiated if you wanted to surprise them and show them how incredibly cool Elvis could sound. There really is no other song that he recorded that sounds like this one. It is fantastic. Ballsy.

8. “Gentle on My Mind” (1969) — In the wake of the death of Glen Campbell last year, we all became reacquainted with Jim Hartford’s wonderful composition. I love this song in all it’s versions: Glen, Frank Sinatra, Dean Martin. I’ve always said, though, that Presley was the only singer that plumbed the depths of the sentiment in the lyric. As he did throughout his career, he took this song that had been done many times and added another dimension, one of soul and emotion. This is a great example of what he did so well – blending the emotion of a country/rural lyric with a blue-eyed soul vocal delivery.

7. “Little Sister” (1961) — Great guitar on this track by Hank Garland who was a crack Nashville session guitarist that played on most of Elvis’ hits between ’58 and ’61. This is just a great-sounding rock track that sounds like it was recorded later in the decade – that big-sounding guitar stands out so much. EP revisited this track early in his Las Vegas appearances, quite often performing it in a medley with the Beatles’ “Get Back”.

6. “I’m Movin’ On” (1969) — Most everybody knows that at the core of the art of Elvis Presley is his ability to blend the best elements of country and western music with rhythm and blues. There is no greater or more obvious example of this than in his version of Canadian Hank Snow’s “I’m Movin’ On”. Recorded during his fertile and much-heralded stay at American Sound in Memphis, this track begins with some good-ol’-boy chicken-pickin’ guitar playing as Elvis runs through the first verse. Then, as Elvis declares “move on, son”, the band breaks down into Wilson Pickett territory with down and dirty funky southern soul music. Add some bold and strong female voices and you’ve got what we call a ‘stone groove’.

5. “Big Boss Man” (1967) — Written by the legendary blues man Jimmy Reed, “Big Boss Man” is a spirited blues work-out from Elvis and the boys that was a Top 40 hit for the King in late 1967. It is a significant recording in that it signaled a change in the material that Elvis was now determined to record. This track was the first indication that a change was coming and was followed by gritty readings of “Guitar Man”, “Hi-Heeled Sneakers” and “U.S. Male”. It’s great to hear what is still really Elvis’ “mid-’60’s voice” wrassle his unreasonable employer to the ground. “…you won’t let Big El stop”.

4. “Rubberneckin'” (1969) — Another gem from American Sound. Two minutes of full-throttle rock ‘n’ roll. Everything about this track is exciting from the dirt road lyrics to the excellent guitar, the honking horns, the vocal interplay between Elvis and the girls backing him up. And Elvis himself sings with all the virility his voice had at it’s most commanding moments. Definitely a high point of his recording career. EP ran through this on-screen in his last dramatic movie, “Change of Habit”. On an episode of “Miami Vice”, Elvis fan Det. Stan Switek catches this film on the late show, much to his delight. Paul Oakenfold’s 2003 remix of this song was a hit throughout Europe.

3. “Stuck On You” (1960) — Here is King at his most polished. Yes, his late ’60’s recordings are Southern blue-eyed soul gems but here, fresh back from the Army, he gives us a smooth, piano-driven pop gem. It hit #1 on the pop charts in late April, went to #6 on the R&B charts and #3 in the UK. A fan favourite, this is a fantastic song with a great vocal and it is one of the first Elvis songs I ever remember hearing.

2. “A Little Less Conversation” (1968) — This is my favourite Elvis song. At least I can say that I don’t think there is any of his songs that I like more than this one. The song represents a shining moment in the career of legendary session drummer, Hal Blaine. His drum fill that starts off this track is one of the most satisfying things I have ever heard in my life. Presley’s vocals and the lyrics themselves are the very epitome of “cool”. Written by Mac Davis and Billy Strange, the song appeared in the excellent Elvis film “Live a Little, Love a Little”. An historic remake was done in 2002 by Junkie XL. This version – get this – went to #1 on 14 different charts in various countries worldwide. It was Top Ten on 22 different charts. King’s original version of this song is near and dear to my heart and goes back to my earliest days as a fan. On top of that, I just think it’s outstanding.

1. “Suspicious Minds” (1969) — Speaking of outstanding. Maybe the classiest, most polished, stylish and contemporary sound in all of Elvis Presley’s catalog is this excellent recording of a Mark James song that Elvis almost wasn’t “allowed” to sing. When the song was brought to Elvis, his music publishers did their usual “stick ’em up!” routine and informed James that he would have to give up half of the royalties on the song. James, of course, bristled and things came to a stand still. Cooler heads prevailed and Elvis laid down this gorgeous song that would be his first #1 song in 7 years and the last chart-topper of his lifetime. Listen particularly to the interesting time signatures and the silky smooth guitar of Reggie Young. Rolling Stone Magazine calls it Presley’s “masterpiece” and ranks it at #91 on it’s list of the greatest songs ever.

Next: King’s most prolific and unsung decade of recording, the 1970’s…

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Elvis Presley on stage in Las Vegas. August, 1969.

(**the images and media used in this post are not mine**)

This is the Story: The Best Recordings of Elvis Presley Part 1

The holidays are over so depression automatically sets in? I don’t buy that. Gladys Love Presley saw fit to have her baby, Elvis Aaron Presley, on January 8th, 1935. That means that January’s Elvis Week begins on January the 2nd. New Year’s Day marks the official end of the Christmas season and the next morning you wake up and – bam! – it’s Elvis Week!

For this Elvis Week, I’ve decided to tackle the enormous task of ranking the best recordings of Elvis Presley. In a way, though, this is an easy task. He has SO MANY stellar records that a Top Ten list could include many different songs and still be valid. It would be pretty hard to debate any one person’s choices. And how do we define “best”? I’ve tried to be really clinical and highlight songs that are sung and played well – which is a ridiculous statement, they all are but what I mean is: songs that are universally held to be “great”, with maybe some personal faves thrown in. This “greatness” will also include intangibles like a wonderful turn of phrase, a stellar performance from a musician, a connection to an event in Elvis World, or historical and cultural significance. I’ve also broken his career down into decades: ’50’s, ’60’s and ’70’s, all distinct eras of Presley recordings. Other categories could have included best movie songs, best Gospel songs, best live recordings, best Christmas tunes… I’ve decided to go with the three decades and movie music. As a fifth and final post, I’ll try to take the best from each list and arrive at “The Best Elvis Presley Song”. This will obviously not be definitive but instead will simply serve as a good starting point for debate and comparison. Although, again, I have to say that it will probably be hard to say that the song that emerges here as his ‘best’ is NOT his best – it just may not be your favourite or the one you think is the best representation of the King at the top of his form.

Anyways, blah, blah, blah. I think you know what I mean. Here’s my Top Ten Elvis Presley Song: the ’50’s:

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On the cusp. Publicity photo, early RCA days. January, 1956.

10. “(There’ll Be) Peace in the Valley (for Me)” (1957) — It could be argued that Elvis Presley was a gospel singer who got stuck singing rock ‘n’ roll just to pay the bills. (https://wordsbywellsy.wordpress.com/2017/11/04/paying-the-bills/) Indeed, in the early days, he auditioned to join legendary gospel quartet the Blackwood Brothers but was turned down. In 1956, Presley burst onto the scene and the powers that be denounced him as ‘evil’. The idea of him singing gospel or revered Christmas carols was repugnant to the establishment. But I have always maintained that, as the Lord had blessed him with his singing voice, that voice shined particularly bright when he sang certain gospel music. “Peace in the Valley” was written by Tommy Dorsey – not that Tommy Dorsey but gospel songwriter Thomas A. Dorsey. It appeared on the biggest selling Christmas album of all time, “Elvis’ Christmas Album”. His recording, featuring the Jordanaires and some fine, mellow guitar playing, is stellar. In a particularly moving moment, EP performed it on his third and final appearance on “The Ed Sullivan Show” in 1957. The screaming teenagers quieted down and Presley showed the frowning parents watching at home another side of his talent and personality. Watch how he backs up into the Jordanaires as he looks down and sings “there will be peace…”. It’s not showmanship – it’s the singing he had done in his church and in his homes all of his life. Sullivan had once sworn to never have Presley the reprobate on his show. After King sang “Peace in the Valley”, Sullivan came out and solemnly declared Elvis to be a “decent, fine boy”. It is actually an emotional moment and one of great cultural significance.

9. “Heartbreak Hotel” (1956) — In many respects, this song marks The Beginning. It’s writing was inspired by a newspaper report of a suicide and the note that was left behind (“I walk a lonely street”) and it was presented to Elvis in late 1955, before he had moved from Sun Records to RCA. Elvis loved it immediately and memorized the song vowing to record it at his next session. That came in January of ’56 and it was the second song Elvis recorded at his first session for RCA. The songwriters, upon hearing Presley’s echoy, bluesy recording, could not recognize their song. This started a trend that saw Presley take a song and make it his own. Although he almost NEVER received a credit as such, from the VERY BEGINNING Elvis was the arranger and producer at all of his recording sessions. In Sam Phillips words, the credited producer at Elvis’ sessions was “not a producer. (They were) just at every session”. “Heartbreak Hotel” became a hit of gargantuan proportions. Number 1 on the pop and country charts, top 5 on the R&B chart, 27 weeks in the Top 100, the biggest selling single of 1956 and EP’s first million-seller. It started a chart run lasting 21 years that is unrivaled in music history. Number 45 on Rolling Stone Magazine’s list of the “500 Greatest Songs of All Time”. Co-written by Mae Boren Axton. Her son, Hoyt, wrote “Joy to the World” and “Never Been to Spain” in the ’70’s, the latter of which King recorded. See? This is what I’m talking about. This song could easily be called his best of the ’50’s and even his best EVER but here it’s 9th! Whatever. Onward.

8. “(Now and Then There’s) A Fool Such As I” (1959) — I can see some of you have your eyebrows raised. This tune over “Heartbreak Hotel”?! Well, yeah. It’s the vocal. Maybe this tune, recorded by Elvis on a leave from the Army, serves as sort of a bridge between the animalistic singing of ’56-’57 and the pop vocalizing to come in the early ’60’s. It’s still sexy but it is delivered with such finesse, the lyrics are caressed. Simply, it’s the sounds he makes on this record that are so delightful. “I’m a fool but I’ll love you, dear…”. Written in 1952, it was recorded by Canadian Hank Snow, Tommy Edwards and Jo Stafford before Elvis released his version as the B side of “I Need Your Love Tonight”. “A Fool Such As I” went to #2 in the US and #1 in the UK. King’s version was nominated for Record of the Year at the 2nd annual Grammy Awards. It was later recorded by Bob Dylan.

7. “All Shook Up” (1957) — This song is notable in Elvis’ canon for being what I think is his most successful single ever in terms of chart activity. Number 1 on the US pop charts for 7 weeks, in the Top 40 for 21 weeks, #1 on the R&B charts for 4 weeks, #1 in the UK for 7 weeks and Billboard’s #1 song for 1957. Two million copies sold that year. Elvis biographer, Peter Guralnick, says – so it’s true – that Elvis suggested the title to songwriter Otis Blackwell which resulted in King getting one of his few writing credits. The song rolls along in mid-tempo with a vocal that is quintessential EP. #361 on Rolling Stone’s list. Listen to it again – for the first time. The Beatles recorded this during the “Get Back” sessions but it was never officially released and Billy Joel’s 1992 version for the “Honeymoon in Vegas” soundtrack cracked the Top 100. A re-release of Elvis’ version charted again in the weeks after King’s death.

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“All Shook Up” single art. March 22, 1957.

6. “That’s All Right” (1954) — It’s often said that it all started in the summer of 1954. “It” being everything. Recorded July 5 at Sun Studio in Memphis and released July 19th. Written and recorded by blues man Arthur “Big Boy” Crudup in 1946, Elvis Presley’s recording is truly the stuff of legend and it is not far-fetched to suggest that “rock ‘n’ roll” was invented by Elvis, Scotty Moore and Bill Black that hot summer afternoon. Long story short: Sam Phillips had been trying to record King in a mellow, ballad setting and things hadn’t been working. On a break, the boys worked out their frustrations by kicking out the jams with a spirited version of Crudup’s old blues. It was literally what Phillips had been looking for; marketable white boys that played music like black guys – the way it should be played. With emotion, energy and grit. Balls. Phillips hit ‘record’, had the boys run through it again and the rest, as they say… To try to understand the significance of the recording, you have to try to understand American society at the time, especially in the South. Such was the climate that, when bassist Bill Black heard the playback – he and his white buddies “sounding black” – he remarked, only half-jokingly: “Damn. Put that on the radio and they’ll run us out of town”. Probably the most significant recording in history that didn’t chart at the time of it’s release, “That’s All Right” sold 20,000 copies and hit #4 on local Memphis charts. In 2004, exactly 50 years after it’s initial release, it was released as a single in England and went to #3! Rolling Stone has argued that it is the first rock ‘n’ roll record and placed it at #113 on it’s Best 500 list.

5. “Too Much” (1957) — This one may not be as well known but it is a personal fave. I also believe it to be a wonderful example of some of Presley’s finest rock ‘n’ roll singing. He is strutting and the way his voice intentionally cracks on the “take” in “take me back, baby, in your arms” is just perfect. This song is exactly what you want from the most staggering 24-month span in any performer’s career. It went to #2 on the pop charts and was top 3 on many lists at the time: Best Sellers in Stores, Most Played by Jockeys, Most Played in Jukeboxes, #3 on the Country chart and #3 on the R&B chart.

4. “Mystery Train” (1955) — “That’s All Right” is his most legendary Sun recording but this may be his best. Junior Parker released the song on Sun in ’53 and one of the mysteries about the track was where the title came from as it is mentioned nowhere in the lyrics. Released by Presley in the late summer of ’55, it’s enduring appeal stems from it’s ominous sound. The echo from Scotty Moore’s guitar sounds sinister in a way and the track brings to mind so many other blues songs from the past that feature lyrics depicting some dark and calamitous happenings in the singer’s life. In “Mystery Train”, the train is the villain and has taken the singer’s baby away. As a single, the song was released as the B side of the country tune “I Forgot to Remember” and made some noise on local country charts. Indeed, “Mystery Train” was the first song to make Presley known as a country singer. The fact that it is not really a country song is further testament to EP’s unique blend of country and R&B. Rolling Stone’s ranking it as high as #77 on it’s 500 list speaks to how highly it is regarded.

3. “Hound Dog” (1956) — There are fewer recordings more iconic than this one. There are fewer tracks that completely encapsulate everything that rock ‘n’ roll was meant to sound like. Like Elvis Presley himself, this song has catapulted into the stratosphere as something other than what it was originally. Like “Rock Around the Clock”, “Hound Dog” is understood historically and culturally but you need to work hard to hear it as a “song”; a song of vicious import, a feral moment in music history that has been taken for granted. Everything about this recording is the foundation of all rock music to come. A direct line can be traced starting with “Hound Dog” and running through Led Zeppelin and all the way to Jack White. Stories of the song’s history before it reached King are legendary and I suggest you read up on it. It was written by two 19-year-olds, Jerry Leiber and Mike Stoller, who were soon to become legendary in their own right penning classic songs for Elvis and the Coasters. Presley’s version was not only immediately iconic and indicative of the whole rock ‘n’ roll movement but it was extremely successful for Elvis. It was simultaneously No. 1 on the US pop, country, and R&B charts in 1956, and it topped the pop chart for 11 weeks — a record that stood for 36 years. And with a preposterous 10 million copies sold it is one of the biggest-selling singles ever and is the 19th Greatest Song of All-Time according to Rolling Stone Magazine. Presley’s vocal is savage and Scotty Moore invents rock guitar with his work here.

2. “Santa Claus is Back in Town” (1957) — So, somebody from Mars – or a teenager of today, same thing – says to you “Who is Elvis Presley? What was he? What did he do that was so great?”. You would show this person some television performances or some concert footage. You would also, surely, play this person some recordings. If you had to pick only, say, five records that would perfectly pinpoint for this stranger ‘what’ Elvis Presley was, you would (or could or should) play them “Santa Claus is Back in Town”. “He’s one of the best singers ever” you would say, “his voice….” you would add, shaking your head. In this seasonal chestnut you would have one of the finest examples of what he did so well with his voice. Not only that but you have that voice in a gritty, blues setting that allows the voice to growl and claw it’s way through the lyrics. The white, clean and neat sound of the Jordanaires does not detract from the raunchy proceedings. Dudley Brooks plays the piano as if he’s recalling days pounding the ivories in seedy juke joints all over the South. And DJ Fontana pounds his snare drum like he’s back in his living room and his parents have just gone out to the hardware store. On top of all this, it’s a Christmas song, a song from a season near and dear to Elvis in many ways. The song is so ridiculously “Elvis” and it’s a shame we can only listen to it during the last six weeks of the year. This is his second-best vocal performance of the 1950’s. Bettered only by…

1. “Jailhouse Rock” (1957) — One of the best-known Elvis Presley songs due to the production number version of the song contained in the film of the same name. That’s all I’m going to say about that number in the film as I feel it neuters this remarkable recording. The song is another written by Lieber and Stoller; the top three songs on this list are Leiber/Stoller numbers. It had a goofy lyric about life behind bars, the type of song they would have written for their act, the Coasters. But Presley plays it straight and handles it as pure rock ‘n’ roll. This is the prime example of ALL of Presley’s recordings of the relationship between rock singer and rock guitarist. Both Elvis Presley and Scotty Moore lay down performances for the ages on their respective instruments. Along with his work on “Hound Dog”, it is his playing on “Jailhouse Rock” that cements Scotty Moore’s rep as the man who invented rock guitar; no less is he than the man that gave birth to Keith Richards, Jimmy Page and Slash. And Presley’s vocal? I dunno…what can I say? This is the pinnacle of what he was as a vocalist. He did well on many ballads throughout his career but this type of singing was his bread and butter and this is probably the best example there is of that type of singing.

Next: The 1960’s – Elvis returns from the Army – and the Colonel has a plan…

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Press conference, private railway car, Los Angeles. 1960.

(**the images and media used in this post are not mine**)

Red West: One of the Good Ones

Robert Gene “Red” West died this past July, aged 81, of an aortic aneurysm. He had “pains” in the afternoon and, by evening, he was dead. Red is probably best known as a longtime “bodyguard” of Elvis Presley. They met in high school and formed a bond that lasted until 1977, the year Elvis died. As this month we mark to 40th anniversary of Presley’s death, it’s timely to take a quick look at the interesting life of Red West.

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Red and Elvis boxing, June 14, 1956

Red was born is Memphis and attended Humes High School with his cousin, Sonny West, at the same time Elvis did. Red was a strapping, red-headed athlete and knew Elvis only by sight when he came upon a group of toughs hassling Elvis in the boys bathroom. Quiet Elvis, with his slick hair piled up in a pompadour and guitar slung over his shoulder, was regularly the brunt of teasing. Famously, Red confronted the gang and managed to extricate Elvis from the situation. A friendship was born. Red went on to occupy a unique position in “Elvis World”. Never a sycophantic ‘yes man’, Red was something unique to Elvis: he was his friend. That’s not to say that their relationship ran smoothly. Far from it. But through it all I think it can be seen that Red’s motives were pure in his relations with Elvis even though Red was strong-willed enough to go toe-to-toe with his boss at times. Also, as we’ll see, he was more than capable of operating and earning outside of just working for Elvis. Keep in mind that “working for Elvis” meant a lot of good things but it also meant that you never had money of your own.

Red West was nothing if not a “good, ol’ boy” and he and Elvis hit it off instantly when they met. It floored Red when he heard his buddy on the radio and it was soon after that Elvis decided he wanted Red around so Red began driving Elvis and his band to dates. Red also tackled the challenging job of simply getting Elvis from the car to the stage door which became increasingly difficult as Elvis’ publicity soared and the girls that went to these concerts began to grow more and more demonstrative. As we’ve discussed, Red was big, strong and hot-headed. Simply put, if you stepped to him it was lights out for you. On the eve of Elvis heading to Hollywood to make his first movie, Red got into another fight. Elvis’ father, Vernon, was petrified of bad publicity and had the first of his shouting matches with Red, telling Red he was not going to make the trip to Hollywood. Red, mostly disappointed that Elvis did not have his back, blew a gasket and said he was quitting to join the Marines, which he did. Already we see Red’s “no BS” policy in effect. While many would endure anything and toe the line to ensure a free ride through life with Elvis Presley, Red wasn’t having it and quit.

Two years later came the event that perhaps is the most significant in “Elvis World”; the death of Elvis’ beloved mother, Gladys. Months before her death, Red showed up in Memphis on a two-week leave from the Marines. He learned that Elvis was in Hollywood but stopped by Graceland to pay his respects to Mrs. Presley. Before he left, Gladys implored him – as indeed she did any and all of those in EP’s circle – to “look after my boy”, indicating plainly the anxiety and worry that had plagued her since her only child had become famous. Red called Elvis from Memphis and King flew Red out to the coast, Red arriving on the set at Paramount a “crew-cut hick” in his Marine uniform. He spent the rest of his leave hanging out with Elvis in the California sun and then headed back to camp in Virginia. In August of 1958, Gladys Presley died and Elvis was beside himself. As soon as Red heard of his friends’ distress, he asked for leave from the Marines and was denied. However, later that same day, Red learned that his own father was gravely ill and was heading home to be with him when he received word that he had passed. He was unable to attend Gladys’ funeral but was dumbfounded when Elvis appeared at the funeral for Red’s father. Elvis, only two days removed from laying his beloved mother to rest and still overcome with grief, almost had to be helped over to Red where the two wept together. Elvis lamented the fact that just two days earlier he had been in the same funeral home for Gladys’ services  and now he was joining his friend in his sorrow over his father. At this moment was born a unique bond between Red West and Elvis Presley; they each had lost a parent on the same day.

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Margit Burgin, Elvis and Red, Bad Homburg, Germany, October, 1958

Elvis was in the Army going through his basic training when Gladys died. Shortly after, still mourning the loss of his mother, he prepared to ship out to Germany. On the eve of his departure, Red, fresh out of the Marines, came to say goodbye. On a whim, Elvis asked Red to come with him and he did. Mostly, Elvis desperately needed people with him; his friends, people from back home who ‘knew’ him and that would have been reason enough to have Red in Germany with him. But there was more than that. Red – and others – have been called ‘bodyguards’ but they had to do much more. There was always plans to be made and details to look after and Elvis never actually traveled with a ‘staff’ so ‘the guys’ looked after things. But protecting Elvis from overzealous fans could be a full-time job and Red did it well. Red was sometimes VERY aggressive when carrying out his duties and there was often fights. Once again, Elvis’  father, Vernon, would be sick with worry over the potential of bad press and would get into screaming matches with Red. And, once again, Red got fed up and quit.

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Red and Elvis jam on the set of “It Happened at the World’s Fair”, 1963

Returning Stateside, Red traveled to Hollywood where he looked up people he had met through Elvis, people like Nick Adams and Robert Conrad both of whom had their own TV shows. Robert Conrad was making “Hawaiian Eye” and later “Wild, Wild West” and Red was able to find regular stunt work on these and other television shows. When Elvis returned from Germany in 1960, he tracked down Red and they renewed their friendship. It wasn’t long before Elvis was heading to Hollywood to start his movie-making machine throughout the ’60’s. He used Red often and the sharp-eyed can spot him in the films. He was usually the first guy to attack Elvis when the fight broke out. Interesting when you think of actors back then and the way they liberally used stunt men for even the most innocuous looking scrap. But here was Elvis and Red, a couple of redneck hillbilly boys, getting paid to do on camera what they had always done for kicks down at Graceland. Sometimes Red even got to say a few lines. He portrayed Elvis’ brother in “Wild in the Country”, for example. One of the many interesting things about Red West was that even with his athletic prowess and his proficiency as a street fighter, he was also a songwriter. He began to make inroads in the music industry by writing songs, making a demo recording featuring himself singing and then shopping it around to see if someone would record it. Quite often, he would present these songs to Elvis and the King recorded many of them: “If Every Day Was Like Christmas”, “Holly Leaves and Christmas Trees”, “If You Talk in Your Sleep” and the incredibly heartbreaking “Separate Ways”. This means that Red West, a “bodyguard”, wrote better material for Elvis than some of the professional songwriters writing songs for Elvis’ movies. Red’s involvement in EP’s recording career went even deeper. Often times Elvis could not be bothered to appear at the recording studio to decide on and record songs for his movies. Red was often recruited to go to the studio, sift through AND CHOOSE the songs that Elvis would sing in the movies. Once the songs were picked, Red would record them with the band, singing them in the way he knew Elvis would. He would then take the recordings to Elvis so Elvis could learn them before going in to record them properly. Red also joined Elvis in his passion for karate, sparring with Elvis and for a time running a karate school in Memphis. When Elvis’ marriage to Priscilla was on the rocks, she took up with renown karate instructor Mike Stone. Elvis was enraged. He was determined to have Stone killed. Who did he turn to? Red West. West recalls he felt he was in a daze while he arranged the weaponry and prepared to carry out any instruction Elvis gave him. Finally, Elvis cooled down and said ‘forget it. It’s too heavy’. Red breathed a sigh of relief.

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Sonny West, Elvis and Red, Atlanta Georgia, June 5, 1976

It’s common knowledge that the 1970’s saw a general decline in Elvis Presley’s health. A lot – but not all – of this was due to his use of pharmaceuticals. Red was especially persistent in trying to steer Elvis away from this lifestyle. Elvis always maintained that he knew what he was doing. He was not addicted and he knew how to use prescription drugs responsibly to relive his many ailments. In this negative atmosphere, with many close to Elvis becoming increasingly concerned with the changes in his habits and his sometimes violent reactions, everyone was on edge. In the mid-1970’s, there were a couple of instances when Elvis had his life threatened and his security staff had to be particularly vigilant. Quite often, certain lines may have been crossed in dealing with unruly fans. It was undoubtedly hard to tell, in the heat of the moment, who was a homicidal maniac and who was simply an excited fan. Again there were fights, beatings. Vernon – always petrified of being poor again and trying vainly to curb his son’s extravagant spending – continually questioned Elvis’ need of such a large ‘staff’ and when lawsuits started to mount up due to Red’s and others physicality, Vernon pushed through the idea of firing many employees. Three security men – Red West, his cousin and long-time Elvis associate Sonny West and newly arrived Dave Hebler were let go. By Vernon. Red West was hurt and angry. 22 years with Elvis and fired by Vernon without a word from Elvis. Here’s where the big debate regarding Red that polarizes many Elvis fans begins. Red is suddenly and cruelly expelled from the life of his long time friend. He is left without a job (although working for Elvis NEVER actually PAID much). He is angry, sure, at the way he’s been treated but also at the way Elvis is killing himself. In an effort to make money but also to hopefully prompt Elvis to right the ship, Red writes a book. Together with his cousin Sonny and Dave Hebler, they publish the infamous “Elvis: What Happened?”. The book is published in the summer of 1977, two weeks before Elvis dies. Knowing what we know about Elvis’ dependence on pharmaceuticals it’s tough to remember that, before Red’s book was released, the general public had no idea that anything was amiss in Elvis World. The book shocked the public and devastated Elvis. Red took a lot of flak over exposing many secrets as “silence” had long been the mantra of the Memphis Mafia. But let’s face hard facts: Elvis’ intake of prescription drugs was mammoth and – although he did indeed have legitimate health issues – over-prescribing himself was killing him. It has been suggested that Red, Sonny and Dave were the only ones of the inner circle who actively pestered Elvis to get his act together and this could be one of the reasons they were dismissed. Also, as I’ve explored in previous posts, Elvis’ father could never enjoy his son’s success as he lived in fear of one day being poor again. The Memphis Mafia were nothing but hangers-on according to Vernon and he NEVER wanted ANY of them around and this presents an obvious reason why the boys were fired. The debate rages in Elvis World: was Red motivated solely by greed or was he legitimately trying to help his friend by exposing his foibles? No one can say for sure. However, I’ve learned that analyzing the life and career of Elvis Presley is a massive undertaking.  There is so little black or white in his tale and so much room for conjecture. I have found that you need to have all the information. Consider many different accounts from many different sources. Mostly I think what you have to do is accept that Elvis was human. He was an incredibly charismatic man who lived a life that had no blueprint – NO ONE before him had trod a similar path. But he was human and, like all of us, heavily flawed. So when you take the case of Red West you have to look at the facts. Before Elvis was anything but an outcast, really, Red stood up for him – even though the two high school kids barely knew each other. He helped Elvis in the early days but then left to join the Marines. Elvis opened doors in Hollywood for Red, yes, but Red walked through most of them himself and built his own career and reputation in film. Red worked for Elvis through the ’60’s but also found success working with other artists and wrote some high quality material for Elvis. Three prominent members of Elvis’ inner circle wrote a massive book on their lives with the King. In it, they agree that Red wrote his book to make money – naturally. After all, he had a story to tell that many people would want to hear. But they also all agree that NO ONE was closer to or loved Elvis more than Red West. And, while we’re facing facts, most of the claims in Red’s book have been proved accurate. In the summer of ’77, a shocking book is published with hard-to-believe allegations about Presley’s drug use – allegations that had NEVER been raised before. Then TWO WEEKS after this ‘outrageous’ book is published, Elvis Presley dies a drug-related death. You really have to look up the facts and draw your own conclusions.

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The infamous book, released two weeks before Elvis died.

 

After Red’s life with Elvis came to a close, he became a full-time actor earning a recurring role in Robert Conrad’s series “Black Sheep Squadron”. He also made guest appearances in many television shows throughout the 1980’s. He is perhaps best known to audiences for his role in the classic Patrick Swayze film “Roadhouse”. He also appeared in Francis Ford Coppola’s “The Rainmaker” and Oliver Stone’s “Natural Born Killers” and “I Still Know What You Did Last Summer”. Unbeknownst to just about everybody, he gained his first starring role in the 2008 independent film “Goodbye Solo”. Roger Ebert called it “a masterwork” and the New York Times hailed it as “a near-perfect film”.

A major player in the life of Elvis Presley has died this year, the 40th anniversary of the death of the King. The Memphis Mafia is never included in official family business in Memphis during the annual Elvis Week marking the anniversary of his passing but this year Red and his wife of 56 years, Pat (Red met Pat when she was a secretary for Elvis) were going to be involved in some events with longtime Elvis associate, disc jockey George Klein. Unfortunately, that won’t happen now. It’s this Elvis fan’s opinion that Red West gets a pass. He gets the benefit of the doubt. There really is too much evidence to support the deep love that flowed between Red and Elvis. They went back too far together and Red had too many more options outside of Elvis to make any of Red’s actions purely mercenary. One of the many sad parts of Elvis’ story is the people he left behind. People who lost a son, a grandson, a father and a friend. Many people were left behind to suffer with sadness, frustration, anger and guilt. Red West was one of these people. And he was one of the good ones.

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Vernon Presley, Elvis and Red, Chicago, 1972