Book Review:

Elvis Music FAQ

All That’s Left to Know about the King’s Recorded Works

by Mike Eder

Backbeat Books, USA, 2013, Softcover, 362 pages, Illustrated (b&w), ISBN-13: 978-1617130496

Reviewed by Nigel Patterson, Dec 2013 

 

Mike Eder is well known in the Elvis world and has been a long time Elvis fan (since the tender age of 6).   He is a regular contributor to Erik Lorentzen’s sublime The Elvis Files series of books and magazines and is active on the FECC message board.  Eder is also a rather prolific author in his own right having written feature articles about the Beatles, Beach Boys, First Edition and the Three Stooges.  His latest book is Elvis Music FAQ All That’s Left to Know about the King’s Recorded Works.

 

The publisher’s press release for the book states that Elvis Music FAQ chronicles the trajectory of Elvis’ musical career, with a look at his pioneering original label Sun, insight into his management, a summation of each of the King’s concert tours, and a review of his nearly 800 recordings.  Along the way Eder draws attention to the numerous genres of music included in Elvis’ music canon – gospel, country, pop, ballads, rockabilly, blues and of course, rock and roll. 

 

At this point, let me say that Elvis Music FAQ is a book that doesn’t know what it wants to be! For the record, Elvis Music FAQ is mistitled, as while it covers the music it covers much more as well (more on this later).

 

 

 

 

Eder’s text is thoughtful, continually resonating how carefully he has considered the interaction of Elvis the recording artist and Elvis the performer.

 

There is plenty to savour throughout the narrative as the author offers an often fresh take on Elvis, his music and tangential issues.  Eder’s colourful prose paints a multi-layered canvas – on one level reflecting on Elvis’ recordings in a context of ‘environmental/broader influences’ and on another level taking the reader deep within individual recordings. 

 

For example, Eder regards Hound Dog as the “defining work of (Elvis’) entire career”:

 

“Hound Dog” breathes the same rarefied air of prestige as “Don’t Be Cruel”.  An iconic recording of the first order, there was some truth to the gag when Elvis took to introducing it as the national anthem.  it is a magical record, one that grabs the listeners from the first note and doesn’t let go until it’s finished………………Scotty’s multiple solos are increasingly more wild and metallic.  The defining work of his entire career, it’s no hyperbole to call this an important part of the evolution of hard-rock guitar.  Booming and echoing around the ear canal, D.J.’s drums sound like machine gun fire.

 

June 8, 1956, Los Angeles. Vol 2 from the outstanding 'Rockin' Rebel' bootleg series

 

Eder’s thought process on his subject matter also reflects a serious consideration of how Elvis’ recordings changed over time.  In considering the musical numbers in Viva Las Vegas, Eder observes: 

 

The slick Red West and Joe Cooper rocker ”If You Think I Don’t Need You” was a solid selection.  It lacks some of the daring Elvis might have given it during the fifties or late sixties, but the restraint in this case adds a nice bit of tension.  Red thought going for a Ray Charles type of song would yield better results than writing something stereotypically “Elvis”.  Elvis in turn seemed to have more fun stretching out than sticking to a more predictable formula.

 

The author also offers nice insight to the filming of the musical content of Elvis’ third feature film, Jailhouse Rock (and in so doing, comments meaningfully on the visual iconography of Elvis in his films):

 

Treating Elvis like a creative entity whose input mattered, choreographer Alex Romero didn’t make Presley conform to his vision of how the music would be presented.  Instead, he created the dance routines around Elvis’ real style.  And with the possible exception of Loving You, none of his other films presented him with such a proper showcase for his music.

 

Eder also notes the importance of Elvis’ music to socio-cultural changes.  On Heartbreak Hotel he writes:

 

As “Heartbreak Hotel” slowly became a phenomenon, it gave young people something of their own to hold on to.

 

On Elvis’ changing musical direction in the mid-1950s Eder comments (both insightfully and somewhat contentiously):

 

“I Was The One” was another leap forward in an unexpected direction.  Elvis’ attachment to romantic love songs had not been on public display before, and his use of backing singers (makeshift though they were) was also something new for him.  Until now, Elvis had never sounded even close to this self-assured when dealing with a slow beat, nor had he issued a ballad that modern teens could relate to personally.  Backed by a good rhythm, and coming across far less country than the slow songs he had cut up until now, it was the prototype of the Elvis “beat ballads” to come over the next several years.

 

Eder also notes that on I Was the One, Elvis sounds more seasoned vocally than he had at Sun and this helped:

 

 .......his credibility in getting the theme across.  Only eighteen months into his career, the growth in Elvis is staggering.

 

Similarly, in considering Elvis the performer, Eder contends:

 

Being the expert performer he was, Elvis had the natural instinct and self-taught knowledge to grasp the way his audience would respond to him.

 

In addressing the malaise that afflicted Elvis’ (largely movie) recordings in the 1960s Eder comments insightfully:

 

By doing this kind of challenging material [Tomorrow Is A Long Time], Elvis was valiantly fighting against the morass of dead ends his career had become.  Because of its sheer quality, “Tomorrow Is A Long Time” is one of the key performances in Presley’s career.

 

While My Way may be most associated with the iconic recording by Frank Sinatra, Eder observes:

 

One of Elvis’ strengths was to take songs and make them his own.  It would be nearly impossible for anyone else to encroach on Frank Sinatra’s territory, but Elvis completely reinvents the ballad as a statement of purpose.  This composition remains fresh to the end, the lyrics being among those Elvis afforded personal meaning to.

 

While Eder’s chronological consistency in treating Elvis’ music unfortunately wavers back and forth at times, his assessment of how Elvis’ recorded output changed over time, highlighting the personal and extraneous forces which impacted Elvis and affected his studio recordings and live performances, is a strong one.  The result is the reader attains a great feel for Elvis and his music as a whole rather than just the relative importance of individual recordings.  Both positive and negative influences are well covered with a refreshing honesty sometimes missing in other accounts of Elvis’ career:

 

    1963:

 

Elvis headed back to Radio Recorders to cut the Fun in Acapulco L.P.  It was a poor collection, with “Bossa Nova Baby” being the only good song, and “Guadalajara” the sole authentic representation of Mexican music.  Otherwise, it was distressingly bad, coming only three years after the brilliance of the Elvis Is Back! recordings.  Elvis sang well enough, but he couldn’t save the album or the movie.

 

In May, Elvis went to Nashville to record a new studio LP and a few singles.  The sessions weren’t completely devoid of the quality issues plaguing the 1961-62 non-soundtrack recordings, but on the whole the results were better than almost anything he had cut since 1960.  There was less Latin-style crooning, and even those numbers were more restrained.  A lot of rock and roll was cut, and there was even an R&B flavor to some of the masters.  Top that with a few remarkably well-sung ballads and you have yourself a fine LP.

 

Sadly, Colonel Parker didn’t see it the same way, and the music was to be parceled off as soundtrack LP filler, a few singles, and the 1965 Elvis for Everyone compilation.

 

    1970:

 

The release of “I’ve Lost You” proved two things.  The first was that Elvis was staying contemporary, and the second was that this was not necessarily how the masses wanted him.

 

    1976:

 

Nineteen seventy-six is often agreed as the point where Elvis’ decline really started to affect him.  His weight shot to an all-time high, most of it stemming from an unhealthy bloat he attained as his body began to break down.  He worked very hard, but the unevenness of the last three years had now reached a point where the bad moments weren’t evenly matched by the good ones.  With a total of ten tours, two casino engagements, and two sets of recording sessions this year, one couldn’t complain that Elvis wasn’t prolific.  What did rankle was the quality of much of his work, especially onstage.

 

There has been some criticism of Elvis Music FAQ within the “inner” Elvis world.  Yes, Eder’s examination of the Elvis music catalog does stray off on tangential issues including Colonel Parker’s management of Elvis and the presence of ETAs.  Not all of the detours are music based.

 

That the author addresses aspects of Colonel Parker’s management of Elvis is certainly legitimate, given there were various management decisions which restricted Elvis’ ability to regularly record contemporary and quality musical output!

 

It is also very important to note that Elvis Music FAQ is targeted at both the casual Elvis fan (who are likely to comprise the majority of sales for the book) and not just the hardcore Elvisphile!   While some of the latter may question the inclusion of narrative on artists such as Jimmy Ellis (Orion) it should be remembered that, 36 years after his death, Elvis ‘sound-alikes’ and tribute artists are a material element in keeping Elvis and his music alive.  In fact, in 2014 they probably do more on an ongoing basis to keep the Elvis song catalog before the public than does Sony Music. 

 

An argument can also be put that by taking these often interesting detours, Eder maintains interest throughout his nearly 400 page journey of Elvis’ music canon.   Those expecting a focused analysis of just Elvis’ music will not agree.

 

In the chapter Come Along With Me, he examines songs ‘discarded’ (not being released by RCA on any regular LP, EP or single), for example Britches; Black Star and Have A Happy; while in Long Lonely Highway he provides a guide to Elvis’ Hollywood Years.  Love The Life I Lead is an examination of the most underrated and often ignored year in Elvis' career....1971 while I Can Roll, But I Just Can't Rock looks at 1976, the point where many consider Elvis' decline really started to afect him.  Eder’s detour into the world of Elvis tribute artists and sound-a-likes hasn’t pleased some fans (the subject being viewed as extraneous to Elvis’ music), however there will be readers who will find it interesting.  To me its value is as a symbol of the influence of Elvis’ music on other people.

 

Another area where Eder strays tangentially is in assessing Elvis’ films (as against just their musical content).  There are too many chapters on Elvis’ film career!  Had Eder kept this to one chapter and not several I would have little issue with this particular detour as I believe his thoughtful analysis adds valuable information for the reader to consider.  For instance:

 

Live a Little, Love a Little plays like a daring late-sixties sitcom.  The presence of the future second Darrin in Bewitched, Dick Sargent, certainly adds to that impression, but the film is charming in its somewhat distant take on modern love affairs.

 

With the exception of the numerous chapters about Elvis’ celluloid career, the author’s segue into non-musical issues didn’t greatly affect my overall enjoyment of Elvis Music FAQ.  I suspect that for many casual and even some ‘hardcore’ readers, some, but not necessarily all of the detours, will be an interesting side dish which complements the main course of sweet and savoury messages about Elvis’ recordings.

 

To me, the weaknesses in Elvis Music FAQ are generally not the tangential inclusions (apart from the numerous film chapters).  I was more concerned about the black and white* visuals which are generally dark and unremarkable, essentially being selected record cover images from the author’s personal collection.  It is unfortunate colour images were not an option. 

(Right: A fairly typical dark image, taken from page 300, showing the cover of a 1998 10" vinyl bootleg)

The book includes a names index but incredibly (for a book purportedly about the music) no song index!  This is inexplicable and a major weakness!!

* The 2015 ebook/Kindle edition featured color visuals

 

Also, Eder would have been best served by treating the Comeback Special (given its significance in the Elvis music story) in greater detail – while there are references to it throughout the book Eder’s analysis would have been better considered if the chapter (Saved) was greater than 7 pages (in comparison he devotes 11 pages to the Aloha satellite special).  Eder does however make a relevant observation:

 

Though Elvis’ 1968 Singer Presents Elvis television special has rightly been seen as a major turning point, it was not the first step in what has come to be known as his “comeback”.  If you go strictly by his non-soundtrack studio recordings, the entire period of 1966-1972 represents Elvis as a mature artist trying to create a new sound for himself.

 

While the author claims to review every song recorded by Elvis I’m not sure this is actually the case (but I didn’t go hunting to confirm my suspicion).  At times the narrative timeline (which starts out as linear) becomes confusing as Eder goes backwards and forwards – retaining a linear progression would have improved the book.

 

Having said this, Elvis Music FAQ is an entertaining, informative and insightful examination written in an easy flowing writing style.  Eder also has a wry sense of humour.  For example, I smiled broadly when reading this passage:

 

Follow That Dream was a somewhat condescending comedy, but as it and Kid Galahad were filmed before the Blue Hawaii clone program began, they are actual movies.  They have good actors, interesting scripts,  and a few unctuous moments, and, in the case of Kid Galahad, there are even some cool songs.

 

And after discussing the unfortunate recording of Confidence (in Clambake), Eder observes:

 

“After that, “How Can You Lose What You Never Had” sounds like a masterpiece.  It isn’t extraordinary, but the soulful, country-tinged music is solid.  Played either by Jordanaire Hoyt Hawkins or Floyd Cramer, the organ is slick, and Elvis makes an effort to overcome the clumsy words.  Reflecting the unfathomable tastes of those who made these decisions, it was snipped from the film.

 

Many of the chapter titles in Elvis Music FAQ are intriguing and suggestive of issues in both Elvis’ life and career (again symbolising Eder’s analytical approach to his subject).  Examples include:

 

  • One for the Money: Colonel Parker
  • I Want to Be Free: 1957
  • Sweet Song of Choir: Elvis’ Gospel Recordings
  • Saved: The Comeback Special
  • Got My Mojo Working: 1970
  • Where Do I Go From Here: 1972
  • Fairytale: A Consumer’s Guide to the Later Years
  • Medicine Within Me: The Effects of Drugs on the Music

Elvis Music FAQ also features a foreword by Lee Dawson from Elvis Express Radio in the UK.

 

Verdict: Elvis Music FAQ is an entertaining and informative read.  It will satisfy the casual reader with the breadth of its multi-layered coverage and insight, and will be a nice “refresher” for the more ‘hardcore’ fan.  Much of the book’s impact and inherent strength is that the author “knows his music” and insightfully addresses broad influences which affected the quality and direction of both Elvis’ studio and live recordings and paints a vivid picture of Elvis as a creative artist often constrained by forces seemingly beyond his control.  The book does cover more than just Elvis’ music and in that sense would have benefitted from a more appropriate title.

 

-Copyright EIN January 2014
EIN Website content © Copyright the Elvis Information Network.

Click here to Comment on this review


Elvis Music FAQ - Mike Eder Interview: Before the book was released issued author Mike Eder talked with EIN about what to expect from this book.


Plenty of EIN readers had pre-ordered the book and want to know more.
What format does the book take, was Felton Jarvis a good producer, was Colonel Parker good or bad, what was Elvis' worst record, Elvis' most overlooked record, did 'Do The Clam' really chart higher than 'Kentucky Rain' ....

Click here where EIN's Piers Beagley poses all the questions and more to author Mike Eder.

(Interviews, Source;ElvisInfoNetwork)


Go here for other relevant information:

'Elvis Films FAQ' Book Review- Highly recommended

Interview with 'Elvis Films FAQ' author Paul Simpson:

Bootleg Elvis (Book Review)

'Elvis - Aloha Via Satellite: A 40th Anniv Release' Review

'Elvis: Walk A Mile In My Shoes' - EIN Review

The Dark Side of the Colonel


EIN Website content ©

Copyright the Elvis Information Network.
Elvis Presley, Elvis and Graceland are trademarks of Elvis Presley Enterprises.
The Elvis Information Network has been running since 1986 and is an EPE officially recognised Elvis fan club.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

From the Archives....

have you read?

'48 Hours To Memphis' FTD CD Review:
Blue Hawaii - The Movie- EIN special spotlight:
When Roy Orbison met the King
Shawn Klush and Donny Edwards In Australia - Review:
'Elvis in Vegas' Special book PREVIEW:
Elvis By Special Request '71 At 40 (Book Review):
"Kissed By Elvis" Janet Fulton Interview:
'1956, Elvis Presley’s Pivotal Year':
'The Elvis Files Vol. 4' Book Review:
'Young Man with the Big Beat' In-Depth Review:
'Fashion For A King' FTD in-depth Review:
"ReBooked At The International'- in-depth Review:
EIN interviews John Scheinfeld director of  'Fame & Fortune':
EIN Spotlight on Alfred Wertheimer:
Jerry Leiber Interview for EIN:
SONY/RCA 2011 Future CD Release Details:
ELVIS WEEK 2011 - the stories and reports
Elvis Paradise Hawaiian Interview - with Peter Noone:
'Stage Rehearsal' FTD Review:
Elvis' 1956 Mystery Kisser Found!
Elvis Amarillo ’77 FTD CD Review:
'Elvis On Tour November 1971' Book Review:
Sam Thompson, Elvis' bodyguard, 2011 Interview:
 
Reviews
'48 Hours To Memphis' FTD CD Review:
Shawn Klush and Donny Edwards In Australia - Review:
Elvis By Special Request '71 At 40 (Book Review):
'The Elvis Files Vol. 4' Book Review:
'Young Man with the Big Beat' In-Depth Review:
'Fashion For A King' FTD in-depth Review:
"ReBooked At The International'- in-depth Review:
'Stage Rehearsal' FTD Review:
Elvis Amarillo ’77 FTD CD Review:
'Elvis On Tour November 1971' Book Review:
-'Elvis At Madison Square Garden' An In-Depth Report:
'Spanish Eyes By Request' GRM CD Review:
MRS 'G.I Blues - Café Europa Sessions' Review:
'Losing Graceland' Book Review - plus Micah Nathan Interview:
'Good To Be Back' CD Review:
'Bringing It All Back Home' CD/Book Review:
'The Final Curtain' Deluxe Box-Set Review:
'The Elvis Files Vol. 2' Book Review:
'The Complete Elvis Presley Masters' in-depth Review:
'VIVA ELVIS'- The King Butchered! CD review:
'The Complete Elvis Presley Masters' in-depth Review:
 
Articles (Spotlights)
Shawn Klush and Donny Edwards In Australia - Review:
"Kissed By Elvis" Janet Fulton Interview:
EIN Spotlight on Alfred Wertheimer:
SONY/RCA 2011 Future CD Release Details:
ELVIS WEEK 2011 - the stories and reports
-'Elvis At Madison Square Garden' An In-Depth Report:
'Elvis Memphis to Madison 1977' The Gas Station Incident:
'Heartbreak Hotel '- 55 years ago today:
John Lennon And Elvis: It was "Thirty Years Ago Today"
Elvis Statues & Memorials - an EIN Spotlight:
Remember 'The King' with Music:
'Elvis Tattoos' and EIN Spotlight:
SONY/RCA 2010 Future CD Release Details:
ELVIS WEEK 2010, EIN Exclusive reports:
Elvis' 1956 Mystery Kisser Found!
EIN Spotlight on 'Girl Happy':
'Elvis Forever' London concert Review:
'The Original Elvis Tribute 2010'- An Elvis band on Tour:
'Elvis Meets The Beatles':
Elvis or Michael Jackson - who is the bigger star?
Dark Side of the Colonel

 

Interviews
EIN interviews John Scheinfeld director of  'Fame & Fortune':
Jerry Leiber Interview for EIN:
Elvis Paradise Hawaiian Interview - with Peter Noone:
Sam Thompson, Elvis' bodyguard, 2011 Interview:
'Losing Graceland' Book Review - plus Micah Nathan Interview:
James Burton Interview - Rick Nelson & Elvis:
Elvis Drummer Jerome "Stump" Monroe EIN Interview:
Donnie Sumner Remembers his friend Sherrill Nielsen: 
Lamar Fike EIN Exclusive Interview
Jamie Aaron Kelley - EIN Interview:
Ernst Jorgensen interview about 'The Complete Masters' and more:
D.J Fontana Interview - Elvis Week 2010 special: 
Red West Interview:- 2010 Elvis week special
Linda Thompson - Interview Special:
Elvis in 1969 - Ann Moses & Ray Connolly Interviews:
Ernst Jorgensen interview about 'On Stage' and Elvis' Legacy in 2010:
Paul Lichter
Dr. Nick talks to EIN
Alanna Nash
Ernst Jorgensen (2009)
Ron Brandon - Elvis in Tupelo
Jimmy Velvet
Eliza Presley (Part 1)
Paul Monroe
Duke Bardwell Interview
Sandi Miller Interview:

Lamar Fike

 

Audio-Visual
Best of Elvis on YouTube
Graceland cam
EPE's Multimedia Elvis Gallery
Sirius Elvis Satellite Radio
Elvis Radio (ETA's)
Elvis Express Radio
Ultimate Elvis Radio
Elvis Only Radio
"Images in Concert" PhotoDatabase
Radio Interview: Vernon & Gladys Presley
Sanja's Elvis Week 2007 Photo Gallery
'EIN's Best of Elvis on YouTube'
The Music of Elvis Presley - Australian Radio Show
Reference
All about Elvis
All about Elvis Tribute Artists
All about Graceland
All about Lisa Marie Presley
Ancestors of Elvis
Art Archives
Book Releases 2009
Contact List
Elvis and Racism
Elvis as Religion
Elvis Film Guide
Elvis Online Virtual Library
Elvis Research Forum
Elvis Rules on Television
Graceland - The National Historic Landmark
How & where do I sell my Elvis collection?
Is Elvis the best selling artist?
Links to Elvis' family & friends
Links to other Elvis sites
Marty's Musings
Online Elvis Symposium
Parkes Elvis Festival 2009 (Australia)
Presley Law legal archives (Preslaw)
Presleys In The Press
Sale of EPE (Archives)
6th Annual Elvis Website Survey
Spotlight on The King
"Wikipedia" Elvis biography
Did You Miss?
50,000,000 Elvis Fans Can't Be Wrong - the most 'covered' Elvis album of all-time
Spotlight: Elvis Film Posters
FTD Review: An American Trilogy
Book Review: Elvis: A King in the Making
Interview: Vic Colonna - the Dangerous World of Bootlegging Elvis