movies, Reviews, winter

Winter Movie Review: “Winter A-Go-Go”

This may be news to you but “winter” is a genre of film and I’ve made a good case to support this (https://wordsbywellsy.wordpress.com/2017/02/05/your-guide-to-winter-movies/). Here’s a review of another favourite winter movie.

“Winter A-Go-Go”  (1965)

Starring William Wellman, Jr., James Stacy, Beverly Adams, John Anthony Hayes, Julie Parrish and Nancy Czar. Directed by Richard Benedict. From Columbia Pictures.

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“On the go-go in the snow-snow”. Nuff said.

Young, good-looking best friends Jeff Forrester (Wellman, Jr.) and Danny Frazer (Stacy) run a ski camp in Heavenly Valley, a winter resort town in Lake Tahoe. Jeff has inherited the place but the mortgage is held by a gangster-type who wants it for himself. The gangster-type sends a couple of clowns to make life rough for the boys and their guests so that they won’t be able to make their payments. Through the course of all this, Jo Ann (Adams) pines for Jeff and Danny makes dates with all the girls they hire to work at the place. Skiing, dancing, singing and laughs abound.

And that’s about it. There’s not much plot to talk about; which is just fine with a movie like this. As with American International’s “Beach Party” movies, “Winter A-Go-Go” does well depicting the effervescence of youth, the seemingly careless time of life. It shows surface concerns in a light-hearted way. Anybody watching knows life is never – and has never been – that simple but there is something comforting in seeing problems taken so lightly, treated with a song and a dance and handled so easily. It’s what we call an “escape” picture and it’s perfect for winter viewing. After all, these kids willingly go to where the snow is.

Brinkman

Danny gets a ski lesson from real-life instructor Peter Brinkman.

The cast is filled with great looking people, some of which actually have character and do alright. Wellman is the handsome son of the legendary directer William Wellman (“Wings”, “The Public Enemy”, “A Star is Born”, “Nothing Sacred”). Wellman appeared in “Swingin’ Summer” – again with James Stacy – the same year as “Winter A-Go-Go” and went on to a minor career in television. James Stacy is another story altogether. He was born in Los Angeles to a Lebanese-American father who was a bookmaker. Handsome and charismatic, Stacy was married to actresses Connie Stevens and Kim Darby. An avid motorcycle rider – as seen in “Winter A-Go-Go” – he was riding with his girlfriend in 1973 when he was struck by a drunk driver. His girlfriend was killed and Stacy lost his left arm and leg. In an early judgement against establishments that serve patrons to intoxication, Stacy was awarded a $1.9 million settlement against the bar that served the drunk driver. Stacy returned to acting, playing roles that incorporated his disability and earned two Emmy nominations. Unfortunately, his final years were marred by sexual molestation – as perpetrator and victim – prison and a suicide attempt. He died in 2016 of anaphylactic shock. He was 79.

On a lighter note, pretty Canadian Beverly Adams was born in Edmonton. When she was a child, her family moved to Burbank – I always wonder how that happens; Edmonton to Burbank! She was uncredited in two Elvis Presley films, appeared as klutzy dream girl Cassandra in “How to Stuff a Wild Bikini”, played Matt Helm’s girl friday Lovey Kravezit (?!) in the “Matt Helm” films and then retired when she married hairstylist Vidal Sassoon. They had four children, one of whom, actress/model Catya, died of a drug-induced heart attack. Adams and Sassoon divorced in 1980 and Adams started her own line of pet care products.

John Anthony Hayes plays Burt, one of the guys that tries to sabotage the hotel. He plays a rat well as evidenced by his turn as Frank who was mean to Fabian in “Ride the Wild Surf”. Julie Parrish showed up a year later looking quite fetching in “Paradise, Hawaiian Style” with Presley and “Fireball 500” with Frankie Avalon. A career appearing on random television episodes came to an end in 2003 when she died of ovarian cancer, aged 62. Keep an eye out for cutie Dori, played by Judy Parker. Judy was married for 45 years to Bob Gaudio of the Four Seasons. She co-wrote with Bob the fantastic “December, 1963 (Oh, What a Night)”. Judy just died last fall, aged 79. And keep an eye out for Paul Gleason among the gang of kids hanging out at the lodge. He would go on to play jerks in “The Breakfast Club” and “Die Hard”. Real-life ski instructor, Peter Brinkman, plays himself. According to both IMDb and Wikipedia, director Richard Benedict is the same Richard Benedict who portrayed “Curly” Steffans in “Ocean’s 11” (1960). But I can hardly believe it.

The gang

The gang gets to work. L to R: Nancy Czar, Linda Rogers, Tom Nardini, Julie Parrish, James Stacy, Beverly Adams and William Wellman, Jr.

As with all films of this ilk, we need music. Nooney Rickett sports one of the better names I’ve ever heard. And just try to find some info on the guy! He did join Arthur Lee in a later configuration of the legendary band Love. His Nooney Rickett Four sings “Ski City” (“put away your surfing gear and grab some skis”), a blatant knock-off of “Surf City” written by the prolific team of Howard Greenfield and Jack Keller and “Do the Ski (With Me)” (“If there’s a bump, you better jump. If there’s a tree, turn your ski”) co-written by Tommy Boyce and Bobby Hart. What Nooney lacks in personality he makes up for in hair. The engaging title track (by Greenfield/Keller) is performed by the Hondells. Joni Lyman delivers “King of the Mountain”. Joni is attractive with a real contemporary look. The Reflections wear some great sweaters and sing “I’m Sweet on You”. They are better known for their great blue-eyed soul hit “(Just Like) Romeo and Juliet”. James Stacy leads the gang through “Hip Square Dance”, a ridiculous idea that is saved only by some half-decent choreography. It’s a foolish segment that brings to mind Bob Denver’s creepy upside-down goatee number in “For Those Who Think Young”.

Nooney

The Nooney Rickett Four featuring Joni Lyman run through “Do the Ski (with Me)”. Nooney has a great guitar and a great sweater. And that’s about it.

Filming took place in the Eldorado National Forest in Eldorado County, California and at Heavenly Mountain resort in South Lake Tahoe near the California-Nevada border. There’s a great scene near the beginning of the film when the kids drive up to Jeff’s resort to begin work and you see some of the hotels in the area. One of which you can clearly see is the Lakeview Arms Motel of Bijou, California in Eldorado County. The place no longer exists but I saw on eBay that someone is selling an old hotel key from the place. The scenery is wonderful and the movie looks like it could have been made by the Heavenly Valley Chamber of Commerce.

Lakeview Arms

The Lakeview Arms Motel of Bijou, California sadly is no more.

An interesting note about this film is that it ends with a wedding between two of the principals. That kind of adult seriousness is almost never depicted in films like this. It’s notable in this case that these two go ahead and get married without parents or any of the usual pomp or prep. This must have appealed to the teens in the audience – it may even have given them ideas. The fact that there’s a wedding is actually huge.

In conclusion, it’s a fun little film to watch in the winter. The acting, of course, is not great but the two male leads seem to be harbouring some serious depth underneath the required goofiness and the girls are attractive and earnest. There is some great scenery and some really nice winter clothing; nice sweaters and women’s clothes. It’s an adventure you’d love to have yourself in a pretty cool place. Like one of the girls says when they first get to the lodge and see that it’s not in the best of shape: “It’s better than my room at home”.

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“Winter A-Go-Go”: Better Than Your Room at Home

 

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Elvis Presley, rock 'n' roll, Top Ten List

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!**

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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?!

Kid Galahad WP

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

 

 

 

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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**

 

 

 

 

 

 

 

 

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Elvis Presley, rock 'n' roll, Top Ten List

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…

Elvis In Vegas

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

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

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Elvis Presley, rock 'n' roll, Top Ten List

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…

USA Los Angeles Elvis Presley

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

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

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Christmas, music, Top Ten List, Tradition

Christmas Music: The Deep Cuts

I posted the other day about the greatest Christmas songs of all time. For the most part, it was a no-brainer (like me). I touched on the idea that there is no bad Christmas music. I find myself loving some Christmas music from the ’50’s that is maybe overly sentimental or just really cornball. I’m thinking “Twinkle Toes” by the Crew Cuts or “Merry Twist-mas” by the Marcels. I’m rolling my eyes and thinking ‘this is lame’ – but I’m loving it. Christmas is the time of year when this is OK. But then there’s the teeny-bopper types: Hanson, Jessica Simpson and Justin Bieber have all released Christmas albums. Here’s where I have a bit of a problem. From some artists it really seems disingenuous – phony. It sounds like cashing in – “this will play and sell every year so…”

Some artists, though, sound like they are really trying to make an effort. For some of them, it sounds like they really care about the season and the music that goes with it. As far back as Robert Goulet’s 1963 album “This Christmas I Spend With You”, songwriters have tried to add new songs to the canon. Goulet recorded “December Time” on that album, the liner notes hopefully predicting that it would appear annually. In the early ’90’s, when Christmas music stalwart Andy Williams was doing his annual Christmas shows in Branson, he introduced “Christmas Needs Love to Be Christmas”. While neither song is remembered today, you have to respect the effort – or you figure it’s pointless to try to add new songs, the songs we already have are perfect and we don’t need any new ones, up to you. Maybe the best example of an artist successfully adding something new is 1984’s “Once Upon a Christmas” by Kenny Rogers and Dolly Parton. I never knew this album myself growing up but my wife and her family have always loved it and in the last twenty years I’ve encountered many who count this as one of the better ‘non-classic’ Christmas records. The reason for this is surprisingly simple: Dolly Parton. This album is an odd case of the traditional songs on the album being unremarkable and the originals standing out. Parton wrote or co-wrote 5 of the six originals on the album and they are quite good. In a sexist world, you would think it was Rogers that was driving the bus here but this is Parton’s show – ‘guest vocals by Kenny Rogers’ type thing. Parton sounds like she cares about Christmas. The record is genuine. Here’s my take on why: Dolly hails from Tennessee and in the Southern states the birth of Christ is taken seriously and handled reverently. I’ll presume that Christmas is significant to Dolly Parton and it shows in this album.

I want to own all the Christmas music I can which has led me on a merry chase lo these last 20 years. I’ve been pleasantly surprised to discover and add many new albums to our collection, mostly in the non-traditional format of mP3. Like my ‘regular’ music, some I need on CD, some I need on vinyl and some are OK just on digital. I’d like to share with you some of my finds, some you may not be familiar with. Not to replace your Crosby’s or Cole’s but for something different to shake up your Christmas party. Not in order. A post like this should really contain links to all these songs but that would’ve clogged things up. Head to YouTube – they all should be there.

“‘Twas the Night Before Christmas”Family Force 5 (2009)/Art Carney (1954) — The same venerable Christmas poem set to music in two VASTLY different ways. Family Force 5 are purveyors of crunk rock or crunkcore. (Yeah. I know) But their version of “‘Twas…”, from their “Family Force 5’s Christmas Pageant” album, is outstandingly audacious. It is what they call a stone groove and the boys from Atlanta have created an incredibly catchy chorus. Art Carney’s version comes from a totally different realm. Television’s Ed Norton released this as a single and it is a full-on hepcat work out. It is available on the great jazz compilation “Jingle Bell Swing”. And, one word: “Crazy!”

“Home for the Holidays” – Anthony Hamilton (2014) — I stumbled on Anthony Hamilton when I was looking for a modern equivalent to Sam Cooke or Otis Redding. I was happy to find Hamilton and after I bought his latest album, “What I’m Feelin'”, I browsed through his discography and discovered his Christmas album, “Home for the Holidays”. Now, my problem with some of these new R&B singers is that they seem to play it so mellow. Everything is a slow jam. Anthony’s Christmas album starts off with some great, uptempo original songs. And then, halfway through the album, comes the title track. It’s simply the greatest new Christmas song I’ve heard in many a year. Incredibly gentle and heartfelt, it is performed by Hamilton with singer Gavin DeGraw. Wonderful singing and the chord changes caress your ears.

“Little Drummer Boy” – Audio Adrenaline (2002) — This one might be hard to find but you should search it out. Audio Adrenaline was a great band that unfortunately lost their excellent lead singer, Mark Stuart, when his voice gave out. This is an excellent, energetic version of this Christmas classic. It bowls you over with it’s might. It was available on a compilation called “WOW Christmas: Red”.

“We Three Kings” – Harry Connick, Jr. (2008) — I’ve loved Harry Connick since 1990 and one of the coolest things about him is that he knows Christmas. He’s released four Christmas albums and his first, “When My Heart Finds Christmas”, is his biggest selling album. His third, 2008’s “What a Night! A Christmas Album”, is his least satisfying Christmas vocal CD but it contains this instrumental gem. One of the challenging things about loving Harry Connick is that he is so intelligent and creative that he loves to flex his arrangement muscles. Sometimes his arrangement of a song you know well will render it indistinguishable. His chart for “We Three Kings”, though, is a straight-up powerhouse. His piano playing is stellar and the horns are off the chain. Careful listening to this driving, though. Cops don’t accept it as an excuse when they pull you over for speeding.

“My Little Drum” – Vince Guaraldi (1965) — I recently put together a great Christmas playlist I call “The 12 Nights of Christmas”; songs perfect for quiet nights sitting by the tree, fireplace glowing, snow gently falling outside. Here’s a sneaky little tune from the man who gave us the music for all the classic Charlie Brown specials. This one is found on the “A Charlie Brown Christmas” soundtrack and you don’t realize it at first but then you notice your eyelids getting heavy as you drift off to the gentle sound of Vince’s piano. This trance-like beauty is a real hidden gem.

“O Come All Ye Faithful” – Abandon Kansas (2010) — An obscure band that put out a great album in 2011, Abandon Kansas are now on hiatus. They recorded an interesting arrangement of this carol for a compilation called “‘Tis the Season to Be Gotee” – an album of Christmas songs by bands that were a part of the Gotee Records stable. Such an intriguing version. Perfect if you are young-ish as, to me, it is a contemporary-sounding, pop arrangement. Infinitely listenable.

“O Little Town of Bethlehem” – Engelbert Humperdinck (1980) — The glory of this recording is in it’s worshipful tone. It is an exceedingly reverent version of this timeless carol performed by a singer who’s pipes may have been at their peak at this point. I have to include this celebration of the birth of Christ here due to it’s ending. Some appropriate added lyrics and the soaring majesty of Humperdinck’s performance render the listener awed by not only the finale but by contemplation of the first Christmas and it’s ramifications. Appears on Hump’s second Christmas album, “A Merry Christmas With Engelbert Humperdinck”. It’s a personal favourite of mine.

“Happy Holiday” – Ray Noble and His Orchestra (1949) — Here is the hidden-est of all the gems on this list. I first heard it on an old cheap-o Christmas cassette I had. When I bailed on cassettes I knew I had to find it elsewhere and did so on iTunes. It is available there on only two compilations. I see it was first released on a 10″ album. It’s a gloriously vintage recording that features a husband and wife sharing Christmas and New Year’s Eve together. They reminisce about Christmases past and enjoy a quiet New Year’s Eve together. I always speculate as I listen that these are the last holidays they spend alone together before the kids arrive. For fans of mid-century culture, it is an absolute delight. It’s really hard to find and not on YouTube. You can listen here: https://soundcloud.com/raynoblehisorchestra

“Go Where I Send Thee” – Colin James and the Little Big Band (2007) — Canada’s own Colin James built himself an orchestra in the vein of the Brian Setzer Orchestra and put out a great Christmas album simply called “Christmas”, his forth with the orchestra. Filled with songs we all know, it wraps with this traditional tune. I come back to it every year. It’s fun to sing along to (if you can) and it’s just a great time. Colin’s echo-y vocal, the drummer’s snare work and the backing vocals make this sound like a fun Christmas Eve party out at some roadhouse off Route 90.

“Jingle Bells” – Jose Feliciano (1970)/Vinnie Zummo (2001)  — “Jingle Bells” has been recorded a million times, generally as a swinger. It lends itself so well to an energetic performance. When you hear it done differently, it can be really interesting. The Jackie Gleason Orchestra recorded a version that barely moves, it is so slow. These two instrumental versions are a delight. Jose’s shimmies with a Latin beat and the unknown Zummo’s is a smooth bossa nova groove.

“Silent Night” – Zach Gill (2008) — Another ‘stable’ album. “This Warm December: A Brushfire Holiday Vol. 1” features artists signed to Jack Johnson’s record label. As you would expect from a surfer and surfer-type artists, the album is light and fun and focuses on secular delights of the season. That’s partly why it’s such a breath of fresh air to hear unknown Zach Gill close the album signing a restrained version of the world’s most beloved carol.

“Christmas Time With You” – David Ian (feat. Acacia and Andre Miguel Mayo) (2011) — David Ian is actually rock guitarist Dave Ghazarian. He’s obviously half-a-jazzbo, though, because he’s released three instrumental jazz albums featuring himself on piano. The first of these is called “Vintage Christmas” and contains great piano bar-type versions of Christmas classics and this original song which appears twice on the album, once in this charming vocal version. Ian’s got style and a light touch on the keys. The jazz trio sound hearkens back to Vince Guaraldi’s trio that produced some legendary Christmas tunes. Ian’s outfit offers a nice, fresh take.

If you’re looking for a few albums that are outside the norm, I can certainly suggest some. I think I’ve discovered this year that “Christmas Album” by Herb Alpert and the Tijuana Brass from 1968 is my favourite Christmas album. Easy listening, excellent arrangements, great for late night listening. I mentioned earlier “A Merry Christmas from Engelbert Humperdinck”. It sounds like 1980 but in a good way. Great vocals, pleasant versions of songs you know. Lounge music goes great at Christmas and Capitol’s fantastic “Ultra-Lounge” series offers up four volumes of “Christmas Cocktails”. The first two present a swingin’ Christmas party at a Vegas lounge in 1963. Andy Williams put out two well-known Christmas albums in the mid-’60’s but he released “Christmas Present” in 1974. Perfect singing and the arrangements are other-wordly. Brian Setzer knows Christmas. The former Stray Cats front man has put out three Christmas albums with his Brian Setzer Orchestra. The first two particularly are excellent and he presents all of our favourites. If you love your Christmas music in a good, old fashioned orchestral setting Henry Mancini, Percy Faith and David Rose have put out excellent Christmas albums. Other artists who have released great Christmas music you may never have heard include Marty Robbins, the Ames Brothers, Steve Lawrence and Eydie Gorme, Aaron Neville, Oscar Peterson, Lori Mechem, Chris Isaak, the Hollyridge Strings and Frankie Avalon, just to name a few. Google them.

You can never have enough Christmas music. Hope this helped you out and made you want to seek out some new albums for your collection. Merry Christmas!

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