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

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 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.

fendergraceland

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:

elvis-presley-premiere-2017-listen-26be5bdd-1586-4401-821a-e6555db12de5.jpg

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**)

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music, rock 'n' roll

Stayin’ Alive: Little Richard

Little Richard Penniman is 84 years old. Recently, I scored his first album, “Here’s Little Richard”, mainly because I had heard so much about this record by the man a lot of people would say was the most dynamic performer of the 1950’s. I looked up some info on the album, as I’ll often do when an artist/album/movie attracts my attention. Reaching #13 on the pop albums chart, it is Little Richard’s highest charting album and it contained two of his biggest hits: “Long Tall Sally” and “Jenny, Jenny”. The lead-off track, “Tutti Frutti”, is a legendary recording that has since landed on many lists of the greatest rock ‘n’ roll recordings of all-time. The album ranks #50 on Rolling Stone Magazine’s top 500 albums and “Tutti Frutti” comes in at #43 on their list of the top 500 songs of all-time. Impressive. So, all this made me want to read up on Little Richard. Or should I say re-read up.

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I was 13 or 14 years old when I read the definitive Little Richard biography, “The Quasar of Rock” (30 years later I’m still not sure what the title means). At that time, it was the biggest book I’d ever read. So, all these years later I found myself going over his life story again and I was looking for anything that really stood out that I could maybe build a post around, something I thought you people should know. His is an interesting story, for sure. An admitted gay man, (I was shopping for Little Richard t-shirts and saw one that said “The Real King of Rock ‘n’ Roll is a Gay Black Man from Macon, Georgia”) he was an absolute wild man in the early days of rock ‘n’ roll, scoring many hits with songs that are nothing less than definitive of the genre. After several years of hits, he – like Jerry Lee Lewis – became convinced that he had been called into the ministry and (unlike Jerry Lee) Little Richard quit rock ‘n’ roll to be a preacher and release albums of gospel music. After several years of this, he returned to secular music and excelled in live performances but was never again a factor on the charts. He had trouble maintaining record contracts and was embroiled in litigation over monies owed him by his original record label, Specialty Records. All this is pretty common stuff. Where his story gets truly remarkable is when you consider the impact he had on some of the greatest artists ever and on the evolution of many genres of popular music.

In general, his style was influential. He was loud, flamboyant and possessed of a raspy, shouting singing style that was soon to become a hallmark of rock. Two of soul music’s pioneers – Sam Cooke and Otis Redding – stated that Little Richard had contributed greatly to soul’s development. Redding had also spent time in Little Richard’s band. James Brown was quoted as saying that Little Richard and his band, the Upsetters, were the first to inject funk into their rhythm and a biographer added that their music provides a bridge between ’50’s rock and ’60’s funk. Ray Charles said in 1988 that Little Richard was “a man who started a type of music that set the pace for a lot of what’s happening today”. Bo Diddley called him “one of a kind” and said that he influenced so many in the music business. Many of his contemporaries covered his music including Bill Haley, Jerry Lee Lewis, the Everly Brothers, Gene Vincent, Eddie Cochran and Elvis Presley. Notably, Presley once told Little Richard publicly that his music had influenced him and that he was “the greatest”. Pat Boone noted that “no one person has been more imitated than Little Richard”. Ike Turner once claimed that most of Tina Turner’s early vocal delivery had been based on Little Richard. In high school, Bob Dylan played Little Richard songs with his band and stated in his year book that his ambition was “to join Little Richard”. In 1966, Jimi Hendrix said “I want to do with my guitar what Little Richard does with his voice” (Jimi also took to emulating Little Richard’s pencil-thin mustache). Bob Seger and John Fogerty were influenced by him, Michael Jackson said that, prior to “Off the Wall”, Little Richard had been a major influence on him and it was often pointed out that Prince adopted a physical appearance that was almost identical to Little Richard’s – right down to the colour purple. It is well known that the Beatles were heavily influenced by him. Paul McCartney idolized him and channeled him when he wrote rockers such as “I’m Down”. Indeed, “Long Tall Sally” was the first song Paul performed in public. Perhaps most significantly, during the Beatles acceptance speech at their Rock ‘n’ Roll Hall of Fame induction, George Harrison made it plain when he said “thank you all very much, especially the rock ‘n’ rollers. Little Richard there, if it wasn’t for him…it was all his fault, really”. And when John Lennon first heard “Long Tall Sally” he said he “couldn’t speak”. Mick Jagger and Keith Richards were both profoundly influenced by him with Jagger adding that Little Richard was his first introduction to R&B and referring to him as “the originator and my first idol”. David Bowie went even a step further. He called Little Richard his “inspiration” and stated that when he first heard “Tutti Frutti” that he “heard God”. The band Bluesology once opened for Little Richard and the band’s piano player, Reginald Dwight, was inspired to become a rock ‘n’ roll piano player and changed his name to Elton John. As a teenager, Farrokh Bulsara performed covers of Little Richard songs and went on to find fame as Freddie Mercury. Little Richard inspired Lou Reed to “go to wherever that sound was and make a life”. John Bonham, drummer for Led Zeppelin, was fooling around one day emulating the pounding drum intro to Little Richard’s “Keep a-Knockin'”. Jimmy Page jumped in and the iconic “Rock ‘n’ Roll” was born. The late Bon Scott, original front man of AC/DC, idolized Little Richard and aspired to sing like him and guitarist Angus Young decided to take up the guitar after listening to Little Richard. It has also been said that recent performers including Andre 3000 and Bruno Mars have channeled Little Richard in many of their recordings and performances.

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And here’s a couple of bonuses for you: in 2010, Time Magazine ranked “Here’s Little Richard” at #2 on it’s list of the most influential albums of all-time, the highest ranking rock album on the list. He was ranked 8th on a Rolling Stone Magazine list of the greatest artists of all-time. That’s huge. I mean, look back at the names listed above. I find it interesting that those who say they owe Little Richard a debt are the most influential and world-shaking artists ever. All the big hitters – Presley, Dylan, the Beatles, etc. – have pointed to Little Richard and have publicly stated their debt to him, that he inspired them, that he made them want to rock ‘n’ roll. It’s crazy that on that list of the 100 Greatest Artists of All-Time everyone supposedly ranked ABOVE Little Richard says they were influenced by him. Every one (except Chuck Berry) have said ‘Little Richard is the man. He started me on the road to where I am now. He’s the greatest’. And yet they’re ranked HIGHER than him. Makes you wonder if Little Richard gets all the respect he obviously deserves. Maybe the real king of rock ‘n’ roll really is a gay black man from Macon, Georgia.

Little Richard In Concert At Epcot Center

 

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Chuck Berry

Chuck Berry: The Proof is in the Covers

 

As I’m sure you’ve heard by now, Chuck Berry has died at age 90. I was happy to see tributes to him all over the internet because here is a performer that has become a true legend with almost no peer in the history of rock music. As I’ve said before, to fully understand where you’re at at any given point in time, you need to understand and appreciate where things have come from. There may be some degrees of separation, yes, but Chuck Berry is at the heart – at the absolute core – of popular music as we know it today in the 21st century.

To track the origins of “rock ‘n’ roll”, you have to go back to the early 1950’s to records like “Sixty Minute Man” and “Rocket 88”. Then, in 1954, you had Bill Haley and His Comets recording the immortal “Rock Around the Clock” and Elvis Presley’s first record, “That’s All Right, Mama”. In these four instances you had 1) black rhythm and blues groups having success and getting noticed by white high school kids and 2) you had country boys channeling a “black sound” while still exhibiting a southern look (Haley) and/or a decidedly southern sound (Scotty Moore’s guitar). When you add in the gospel flavour of an artist like Ray Charles, you have all the ingredients for what would become known as “rock ‘n’ roll”, the first music that was made specifically for young people. So, here you have the foundation of the music. But let’s consider this: there’s a difference between blending R&B, gospel and country to make rock ‘n’ roll and actually making rock ‘n’ roll. In the spring of 1955, Chuck Berry took the results of the ‘experiment’ that Bill Haley and Elvis Presley had been conducting and added certain key things. The result of the additions he made emerged as nothing less than the blueprint of rock music. In fact, he was the first to combine all of the necessary elements that are essential to rock music. These elements include showmanship, for starters. Chuck played the guitar and the very fact that his instrument was strapped to him allowed him to move around while playing it and therefore engage in the type of showmanship rock ‘n’ roll is known for. Another main element is the guitar itself. Because the guitar was his instrument, he, of course, featured it in his songs, starting most of them off with an energetic ‘riff’ taking both the guitar and the riff to the forefront of this new music. He also established, two years before Buddy Holly, the singer performing songs he himself had written. And then there’s the subject matter of these songs. Something else he was the first to popularize was singing with humour about teen life, often telling a story in his songs.  He wisely considered the audience for this new music consisted of kids so he wrote joyful, happy songs about cars, about school, about getting out of school, about getting in your car and going to the local hang out and pumping dimes into the jukebox. He sang about being a fan of rock ‘n’ roll, about taking this music with you as you grew up, got a job and got married. He was like a reporter, reporting on kids’ lives while they were happening. From 1955 into the early 1960’s, Chuck laid the foundation for what rock music would become.

The proof is in the covers. Chuck’s story is told, for the most part, by looking at who covered his music. Suffice it to say that any group of guys who got together and plugged in in the garage were following Chuck Berry’s lead but when you look at the artists that have covered a Chuck Berry song you understand the immensity of his contribution. It’s interesting to note that you cannot name me one significant cover of an Elvis Presley song. There are no other notable versions of “Hound Dog” or “Jailhouse Rock”. Those songs are so indelibly connected to EP that no one else dared to attempt them. The wonderful thing about Chuck is that his songs were really for everybody. Every important rock artist after Chuck had to try their hand at one of his songs. If for no other reason than to make it clear what their intentions were: if you cover “Johnny B. Goode”, it tells the world what kind of band you are.

The connection may not be readily apparent but we’ll start with the Beach Boys. Brian Wilson may be the most successful songwriter ever who was least influenced by black music but Brian, his brother, guitarist Carl and their cousin, lead vocalist Mike Love were all enamored of doo wop and – mostly Carl, natch – Chuck Berry. Brian Wilson enjoyed Chuck’s “Sweet Little Sixteen” so much that he took the melody and changed the lyrics to include popular surf spots across the country. Initially, the songwriting credit listed only Wilson. Then it was changed to credit Berry only. I remember, when I was 12, owning the popular Beach Boys compilation “Endless Summer” and noticing that it listed Chuck Berry as the writer of “Surfin’ U.S.A” which was a real head-scratcher for me. Nowadays, both Wilson and Berry are credited. It’s always been published by Chuck’s Arc Music publisher. Chuck was a major influence on Carl’s playing and the Beach Boys released an early tribute to Chuck and others called “Do You Remember?” in 1964: “Chuck Berry’s gotta be the greatest thing that came along. He made the guitar beat and wrote the all time greatest songs”.  Then, in the 1970’s, the Beach Boys emerged from a creative valley with the album “15 Big Ones” that featured, as it’s lead-off single, Chuck’s “Rock ‘n’ Roll Music”. The single went to #5, which was their highest charting single since the landmark “Good Vibrations” in 1966.

Like every other beat group that emerged in England in the early 1960’s, the Beatles were heavily influenced by rhythm and blues. If you had seen them in pre-stardom days on stage in Hamburg or at the Cavern Club in Liverpool, you would have seen a gnarly bunch of greasers crunching their way through a set list loaded with covers of their favourite records. Chuck Berry loomed large. Their raucous cover of Chuck’s “Roll Over Beethoven” was featured on their second album, 1963’s “With the Beatles”. This track of Chuck’s was a favourite of the boys’ since even before they were called “the Beatles”. Just as exciting was their cover of “Rock ‘n’ Roll Music”. This track appeared on “Beatles For Sale” in ’64 and features an excellent, frenetic vocal from John. Another litigation episode involves the Beatles. The Beatles’ 1969 song “Come Together” was targeted by the owner of the copyright to Chuck’s tune “You Can’t Catch Me”. The owner claimed the two tracks were similar musically (they aren’t) and that the first two lines of the Beatles song – “Here come ol’ flattop, he come groovin’ up slowly” – was too close to a line of Chuck’s: “Here come a flattop, he was movin’ up with me”. They settled out of court with John promising to record three future songs that were controlled by the same copyright owner. The result was Lennon recording “You Can’t Catch Me” and “Ya Ya” for his excellent 1975 album of covers “Rock ‘n’ Roll” (his “Stand By Me” is spectacular).

Elvis Presley and Chuck Berry. I mean, that’s it, right? The two legends together are probably the most influential artists in rock history. EP covered Chuck in early 1964. Presley was experiencing  his first dry spell on the charts and he had latched on to Chuck’s “Memphis, Tennessee” for his next single. Memphis, after all, was Elvis’ hometown and he worked hard on getting just the right sound for his recording, a recording Presley believed would restore his standing on the pop charts. At this time, Elvis and his buds were living in Elvis’ Los Angeles home and when they were not at the studio working on “Memphis”, they were kicking it around in the living room and talking excitedly about the track. Hanging around the house at the time was singer Johnny Rivers. Elvis biographers and many ‘Memphis Mafia’ books report that Elvis felt betrayed when, after sharing his hopes about the song with the boys with Rivers in attendance, Rivers himself released a version of “Memphis” of his own and watched it rise to #2. Elvis was deflated and felt that releasing his version now would just seem exploitative. Rivers and Chuck Berry himself have claimed that the move by Rivers was not malicious but simply orchestrated by Rivers’ record label. No matter. Johnny Rivers became persona non grata with Elvis and the boys and is a minor villain in ‘Elvis World’. Presley went to Chuck again for a track that easily ranks among the top ten Elvis Presley recordings of all time; 1973’s “Promised Land”. In terms of energy and flat-out, driving, pedal-to-the-metal power, it’s hard to find an EP recording that tops this. Adding to the coolness level of this recording is the fact that it was recorded at the famed Stax Studio in Memphis and features some stellar clavinet. It’s hard to do justice in words to Presley’s recording of this track; you have to listen to it. A lot. Interesting to note that Berry wrote this song while incarcerated in 1961-62 for violating the Mann Act. He has said that while writing the song he wanted to study an atlas to confirm some of the lyrics but one wouldn’t be provided. It may prove too helpful in planning an escape route.

There’s been many other fantastic covers of Chuck’s songs. They make for great listening because when you’ve got a well-written rock song and an artist who wants to pay homage and at the same time sink his teeth in and put his own stamp on a song, the results quite often are good. Cases in point include the Animals and their scintillating “Around and Around”, Electric Light Orchestra’s soaring version of “Roll Over Beethoven” and Rod Stewart (back when he was cool) tearing a strip off “Sweet Little Rock ‘n’ Roller”, with the help of a rabid dog. I’ve tried here to provide details on some of the earliest stand-out covers of Chuck Berry’s songs. The three artists we looked at here are as big as you get and it’s telling that they’ve all notably – NOTABLY – tackled Chuck Berry’s music with interesting and exciting results. But the list of other artists to cover Berry is extensive. And varied. Everyone from Wyclef Jean to Uriah Heap. From Tanya Tucker to Peter Tosh. I haven’t even touched on the Rolling Stones’ fantastic Chuck run-throughs in their early days and gritty bluesman George Thorogood’s devotion to Chuck’s songs. But if you check the lists of artists who have covered Chuck, you’ll see that his music has been visited most by three of the biggest artists in music history. What does that tell you?

Thanks, Chuck.

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Uncategorized

Spotlight on…Del Shannon

I recently listened to a Del Shannon 2-CD Greatest Hits package and it really got me thinking. I have known of him since basically the beginning of my awareness of “oldies”, due in most part to his timeless 1961 #1 song “Runaway”. It was the biggest success of his career and the number he is most remembered for. But I seemed to recall having heard things about his later career, about how super stardom seemed to elude him and of his tragic end.

Del was born Charles Westover in Michigan. Just as he was beginning to get his recording career off the ground, he joined forces with a keyboardist named Max Crook who had invented his own organ-type keyboard called a musitron. Del and Max reworked an older song of theirs called “Little Runaway” and recorded it as “Runaway” in early 1961. The song reached #1 in many countries in April of that year and became one of what I would call the pillars of classic rock ‘n’ roll. Even today, many people have heard or heard of the song and it has even become something more than just a song and has become an iconic symbol of another era. “Runaway” also received the Lucas Stamp. George Lucas deemed the song indicative enough of classic rock ‘n’ roll that he included it in his seminal document of the era, “American Graffiti”. Del is interesting to me because he was more than just a one-hit wonder and was able to follow up “Runaway” with other moderate hits. Indeed, his next single – “Hats Off to Larry” – peaked at number five and he closed out the year with two other songs reaching the top 40. Not bad. While Del was not an excellent vocalist, he did have an excellent falsetto that was featured on both of these early hits and became something of a trademark of his recordings. 1962 started with minor chart activity until late in the year when “Little Town Flirt” reached #12 in the US and also did well globally (#1 in Ireland). And then the hits seemed to dry up. So, really, that’s only two calendar years but three notable hit recordings – one eventually reaching iconic status – is a pretty good resume for the fickle world of early ’60’s rock ‘n’ roll.

He continued to be popular in England – where he was always more popular – and in fact added to his rep in 1963 by becoming the first American artist to record a Beatles song. Del’s recording of “From Me to You” charted in the States before the Beatles version did. In 1964, after a few more minor chart entries, Del had a hit with the excellent “Keep Searchin’ (We’ll Follow the Sun)” which entered the top ten late in the year. Also in 1964, Del produced some demo recordings for fellow Michigander Bob Seger. The demos fell into the hands of Dick Clark and shortly thereafter Seger signed a recording contract and began his lengthy career with some regional successes. In 1965, British pop duo Peter and Gordon scored a hit with Del’s gorgeous “I Go to Pieces” but chart success eluded Shannon during the late 1960’s. He turned to production and discovered country singer Johnny Craver (?) and the band Smith, who you may remember had a hit with a remake of “Baby, It’s You”. He also produced Brian Hyland’s 1970 hit “Gypsy Woman”. A telling sign that his own recording career was nearly over is his re-recording of his big hit “Runaway” in 1967, although the single was successful in Canada and Australia. Also in that year, back in welcoming England, Del worked with former Rolling Stones manager Andrew Loog Oldham on an album called “Home and Away”. Oldham intended the album to be in the vein of the Beach Boys’ 1966 masterpiece “Pet Sounds”. However – and this is a common story in rock ‘n’ roll history – the record company shelved the ambitious album and refused to release it. Another highly regarded album – “The Further Adventures of Charles Westover” – couldn’t find an audience and sold poorly.

So, at the dawn of the 1970’s, Del had a good rep as a live performer and was looked on as somewhat of a survivor but his lack of chart success disappointed him and – another common story – he turned to alcohol. However, Del cleaned up enough to record the album “Drop Down and Get Me” in 1982. Del had a fan in Tom Petty and Petty produced this album and his Heartbreakers play on it. It features the moderate hit remake of “Sea of Love” (#33). Petty and his friends would come back onto the scene after Del enjoyed a resurgence when he re-recorded “Runaway” yet again for use over the opening credits of the great Michael Mann show starring Dennis Farina, “Crime Story”. At this time, Del also worked with Jeff Lynne, Tom Petty’s band mate in the supergroup the Traveling Wilburys who had just lost their resident early ’60’s legend when Roy Orbison died. Here’s the part I actually remember about Del and it used to bug me. There was every indication that he would be the perfect – freakishly perfect – replacement for Orbison. But Shannon had been suffering from depression, depression caused by his faltering recording career. He had been taking Prozac for this depression and, despite his possible future as a Wilbury, he took his own life in February of 1990 with a rifle (!?).

The part that bugged me was, at the time, I was stunned by his depression caused by not having a chart hit for many years. What did he expect? I remember thinking. He started out in 1960, he still wants hits in 1990?! Well, yes, he did. Easy for us fans to sit back and say ‘hey, Del, you gave us “Runaway”. That’s good enough’. But for him and for artists like him it’s not good enough. They want to continue to make music and have it heard by the world. When they feel they can’t do that, I’m sure it can be a blow.

So, what is Del Shannon’s legacy? What is he? A ‘one-hit wonder’? Just another tragic example of how middling success can take a toll on those who aim for super stardom? Seems to me it’s yes and no and somewhere in between. He was responsible for one of the most enduring songs of an era that has taken on the rosy glow of nostalgia for many people. And that’s enough for us, the fans. But he had ambitions and he had more music in him. It’s just that the majority of the record-buying public wasn’t into that music. And that’s a shame. It’s also a shame that Del Shannon’s story is a common one.

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