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Hi everyone So long between drinks! We continue to struggle in returning to a weekly E-Alert. We apologise for this but it is just not possible at present with our busy work schedules. In this issue we have included a real pot pourri of news, reviews and information. We hope you enjoy it! Nigel & Piers Now on www.elvisinfonet.com:
Have a guess who...
There are so many Elvis books released every year from trite biographies, photo books, to Elvis conspiracy investigations but nothing as detailed as this. With 142 interviews and 400 pages 'Writing For The King' is a fascinating text driven exploration of Elvis' music and his songwriters. Unlike the later singer/songwriter era, Elvis never* wrote any of his songs himself but instead was the world's greatest interpreter and innovator of other's compositions. How Elvis could take rather sweet swing-style of Dave Bartholomew/Smiley Lewis' 'One Night' and turn it into his overpowering blues & sex-filled Number One moan was creation in itself. So a real fascination for anybody interested about Elvis' musical heritage is, exactly where did these classic Elvis songs come from? How did Elvis make Dennis Linde/Arthur Alexander's 'Burning Love' into the quintessential Elvis song? Although this book is definitely written for the Elvis fans who love to delve into and investigate his music and creativity rather than the jumpsuit-junkies, there are so many fascinating quotes and side stories that the book takes more than a week to really explore. The first two chapters dedicated to ‘Heartbreak Hotel’ writers Mae Boren Axton and Tommy Durden - “When I first heard Elvis sing Heartbreak Hotel I was a little disappointed”! - along with the original demo, are a fabulous way to start this in-depth exploration. And while the book provides an abundance of reading matter there are plenty of interesting photos of the songwriters as well as memorabilia, such as hand-written lyric sheets, and images of Elvis where appropriate. The author Ken Sharp, a songwriter and performer himself, has managed to gain the confidence of his interviewees and there are plenty of tales to make you laugh as well as feel emotional. There are plenty of insights into every side of composing Elvis’ material, which makes one realise that there is always something new to discover. It's fascinating to learn, and even see, how the script indicated to the songwriters what to provide for the movie soundtracks. There's an original extract from the Blue Hawaii script indicating (to Don Robertson) how they would like a song to be inserted into the action. It says... . .'Elvis as Chad, "I learned that in a little town outside Paris,.. Hey, here's one you'll dig"
Jerry Leiber tells a lovely story of going to see Elvis years later at Madison Square Garden.. “One of the reasons I never saw my acts in person over all those years was that I was claustrophobic and I couldn't take the crowds. But I went and took my family. "I'm gonna grit my teeth," I thought, "I'm gonna grin and bear it and go to the show. It's Elvis!" … He was great and I enjoyed every minute of it. One, it was Elvis Presley. Two, he sang a couple of our songs. Three, I'd NEVER been to a live concert of ANYONE I've ever produced or wrote for. It was incredible. It was like going to see Joe Louis knock out Max Schmeling. At the end when the orchestra starts playing his finale theme, I looked around and said, "Get out of here now, it's gonna be a stampede" and we left. When I got to the office the next day my secretary hands me a note and says, "Read this." It says, "Why did you leave." It was from Elvis. He wanted to know why I left early. There were over 20,000 people in the audience and he saw me leave. How 'bout that?” Then there's the great Doc Pomus/Mort Shuman. Mort Shuman wrote some of Elvis’ very best songs and he has great tales to tell about key songs such as 'Little Sister' and 'A Mess Of Blues'. However, to give you the scope of the book, he also wrote the stinker 'Double Trouble' and his honesty about the writing of that mid-sixties lightweight is eye-opening. .. “‘Double Trouble,’ well, I couldn't care less. All I cared about was getting high or renting another convertible to match either my bloodshot eyes or the blues eyes of my latest girlfriend. I have no idea how the song goes which shows you how much I cared about it. Elvis must have known what those songs were like. He was past caring and he was caught up in a terrible vicious cycle.” Other songwriters are similarly honest about some of their contributions. Lenore Rosenblatt talks about her song 'Startin' Tonight' (from 'Girl Happy') saying, "Startin' Tonight was real piece of crap. Elvis always sounded good but you can't make a silk purse out of a sow's ear." ! These of course are balanced by the stories of the classic Elvis songs with fascinating contributions by people such as Red West, fabulous stories from Jerry Reed ('Guitar Man' etc) and of course Dennis Linde ('Burning Love' etc), the list goes on & on. Dolores Fuller (‘Rock A Hula Baby’ etc) another composer who spent time with Elvis, tells some wonderful tales about meeting Elvis in an elevator, later regretting that she refused dinner at Elvis’ house because her boyfriend objected, and also about the Colonel’s prejudice against women.
Even Fred Burch who wrote the awful 'Yoga Is As Yoga Does' has a good story about meeting Elvis & finding his fridge of Krystal burgers. At the end there are two fascinating interviews with song pluggers Freddy Bienstock as well as Elvis' friend Lamar Fike. Fans who always put down Memphis Mafia member Lamar Fike would do well to read just how involved he was in the music business and not just an Elvis hanger-on. Lamar explains details from an insider’s point of view and I never realised that he was also a friend of Bob Dylan's before, even making it on one of Bob's recordings! My only major compliant about the book is that there is no song index for a quick reference, the songwriters being placed in chronological order instead. A minor disappointment is that a few of the composers also have surprisingly little to say. Mitch Leigh who wrote ‘The Impossible Dream’ had no idea that Elvis had even recorded his song. How weird is that? Does he have no friends who like Elvis? Did he never notice a jump in his royalty cheque! As a final note it's worth sharing part of Dottie Rambo ('If That Isn't Love') with her touching revelations about sharing Bible readings and prayers with Elvis. “Elvis carried the Bible and poetry on the road with him. He and I would sit and read the Bible and share passages, lyrics and poetry. He loved the Bible. Elvis would call me every morning at nine o'clock, and we'd pray. He gave me his Bible and wrote a prayer on a piece of red paper and said, "Now every morning we'll pray together on the phone. If I can't reach you we'll just repeat this prayer." I have it in his handwriting and I carry it with me all the time. Elvis was very dramatic about things. He said, "We'll take a deep breath and then we'll exhale and say, (recites prayer) Jesus light. Jesus peace and Jesus within." That's just a short prayer and it might not mean a lot to other people but it's a treasure to me. If we couldn't find each other I'd repeat that prayer out loud and just feel him near me.”
CD 1 - 'The Recordings' - Twelve tracks come from Elvis’ dynamic 1969 comeback season. Although Elvis’ August 24th Midnight show wasn't his best concert ever, it's still damn good as he comes on like a rock'n'roll punk on speed. He's having fun and feeling playful, "Here we go again man. Looks like my horse has just left", Elvis jokes to the audience after a rockin' 'I Got A Woman'! Elvis' discussion before 'Love Me Tender' is very amusing where he talks about his throat being so dry that "It feels like Bob Dylan slept in your mouth." With a very different feel to the August 26th Midnight show (that featured the laughing 'Are You Lonesome Tonight') there is still an ease & confidence that Elvis exudes which makes this a terrific listen. The 'Hound Dog' intro includes Elvis laughing about the "One big square eye" story, as well as his "A stone cold freak" comment. You can hear the happiness and fun in Elvis' voice as he sings a particularly good-humoured 'Yesterday/Hey Jude' to which he adds an unusual pumped-up ending. When the bootleg CD 'Here I Go Again' of this August 24th concert was released every fan was stumbling over each other to praise it, but now half of it is released officially some fans seem to have been overly negative! This is ridiculous as the original bootleg was in mono, as well as being somewhat muffled, and with added echo. Here the RCA master tape is used and so the audio is vastly improved and in true stereo. There is still a little echo but nothing like the illegal version. Also note that 'Suspicious Minds' and 'CHFIL' on the bootleg were not from the same concert of August 24th so we do get completely new versions here. Four tracks are from Elvis' February 1970 shows which were affected by his cold/cough - and 'Don't Cry Daddy' is a little disappointing as Elvis fights against his cough. Elvis is also only on 3/4 power for 'Walk A Mile In My Shoes'. But how can anyone complain about hearing new 1970 versions of 'Polk' or 'Kentucky Rain' however imperfect they might be? Even Elvis explains to his faithful audience that he needs a kleenex or napkin or tablecloth, "Like everything else when its gotta go, its gotta go!" The three tracks from August 1970 are particularly touching. 'Something' is sumptuous, featuring a very prominent lead vocal and less orchestra than the Master. Felton Jarvis recorded four nights of Elvis' live Vegas shows in February 1972 for RCA of which very little has been officially released. 'American Trilogy' the single and 'It's Impossible' being the only recordings released in Elvis' lifetime. So it is interesting to hear another four tracks from this season and the rockin' 'A Big Hunk O' Love' (introduced into Elvis’ concerts this season) is sensational and worth the price of admission. One of the best versions ever released and makes one look forward to the upcoming FTD from the same season. The band rocks - PLAY LOUD!
The main point is that the CD features 23 of the songs that are discussed within the book - and how good to get new multi-track versions of all these songs. Of course, this is a bonus CD and never intended to be a best-ever ‘Elvis Live’ CD but, on the other hand, it does make a very nice alternate "Greatest live Hits" compilation and is fun to listen to, even if you won't play it as much as 'In Person', 'On Stage', 'Elvis Live' or other major concert compilations. CD 2 'The Demos' In the book a lot of the songwriters describe making demos of their material for Elvis and at the same time trying to create a sound that Elvis would be interested in. Sometimes they would sing the vocals themselves, (ie Bill Giant, Don Robertson, Mort Shuman) or sometimes use quality Elvis style vocalists ie Otis Blackwell or Jimmy Breedlove. In the end, what all these Demos prove is just how damn good Elvis was as an interpreter, vocalist and stylist. And that's why 99% of Elvis imitators sound crap - 'cos they ain't Elvis! Having said that, if you are interested in the book then there are some real delights to be explored here. The original 'Heartbreak Hotel' demo - what a find! The demo by Glen Reeves sounds like an old man on a porch singing out some blues into the Louisiana night. It's not that bad, it's just that Elvis added the scary emptiness of true heartbreak and loneliness which totally transformed it into the spooky classic that challenged the very concept of rock'n'roll. 'Teddy Bear' is fabulous for being vocalised by the great Otis Blackwell and comes on like an Elvis rough first take. In some ways it is a shame that Elvis didn't try for an alternate version at this slower tempo. 'Don't Ask Me Why' by Jimmy Breedlove is another treat for having an alternate doo-wop feel and cutting guitar. 'Hard Headed Woman' comes on feeling far more Jerry Lee Lewis than Elvis. This is very pop orientated and without any of the evil that Elvis managed to imbue it with. Similarly the singer of 'Trouble' sounds very puppyish – as if he's lying on his back waiting for a tickle - with none of the intensity that Elvis managed to add. More and more these demos - like the hopelessly slight Pat Boone pop of 'Wear My Ring Around Your Neck', 'Pocketful of Rainbows' that follows, 'Good Luck Charm', or even the later songs like 'I've Lost You' - show just how much soul, personality and excitement Elvis could add to the original demo and, in the process, transform almost any bland composition. Peter Lee Sterling on 'I've Lost You' sounds more like he's singing about the phone-line dropping out, as opposed to losing his real love! Though it does have an interesting different ending. There's also a little humour to find in the mid-sixties demos! Gerald Nelson come on sounding like a first-grade school teacher with a totally sex-less 'Love Machine' demo, 'My Desert Serenade' is similarly as erotic as watching paint dry, while composer Bob Johnston does a cool Eddie Cochran imitation on a cute 'C'mon Everybody'! Highlights are the Mort Shuman demo of 'His Latest Flame' sounding like Elvis' early takes and another is the 'Clambake' Alternate demo. Winfield Scott (of the alternate 'I'm A Roustabout' find) deserves a medal for persistence in trying to get interesting soundtracks songs to Elvis. While hardly an A-side single at least the suggestive lyric "With a string in one hand I'm a satisfied man, with the other end tied to that girl" is an improvement to the chosen title version - "Mama’s little baby loves Clambake, Clambake". The later seventies songs are interesting for being such a varied selection of styles but none carry the soulful passion that Elvis adds to any lyric. Highlights are of course Dennis Linde's original 'Burning Love' sounding more like Credence Clearwater Revival than Elvis. Boy, did Emory Gordy add some sensational throbbing bass to transform the song! T.R.O.U.B.L.E also shows how Elvis changed a line-dancing country tune into a proper rock song, while 'Raised On Rock' is similarly too sweet as a demo - it sure ain't rock'n'roll! The 'Way Down' demo by composer Layng Martine Jr is a final treat coming on like an "unplugged" version. Once again Elvis transforms a fragile higher-key vocal line into a thick funk-laden track. Intersetingly the backing-vocal and J.D Sumner's bass line are already there. This is the perfect accompaniment to the book and there's also some good fun to be had by programming the sequence The Demo > Elvis' first take > Elvis' Master to as many tracks as you can on your CD stacker. Verdict – FTD’s biggest project and an essential purchase for Elvis fans who love to delve into, and investigate his music. This is a book that deserves one's time being spent poring over the information and so is not for those fans who only like Elvis photo type books. There are plenty of fascinating quotes and Elvis stories along the way and although expensive, this is not a typical lightweight Elvis book that you’ll have finished in a couple of hours. The two CDs are also worthy bonuses that fit in with the overall concept. Being such an expensive book to produce I doubt if FTD could ever afford a re-print, so if this book is for you, don’t let it pass you by. One of the best releases of 2006. Review by Piers Beagley Click here to comment on the review * "Elvis never wrote any of his songs himself" - Not quite true as Elvis was involved in writing his songs 'You'll Be Gone' and 'That's Someone You'll Never Forget' as well as arranging traditional songs and interpretting others. Writing For The King FTD/BMG 8869702027-2
The Demos 1. Heartbreak Hotel (Glenn Reeves)
Insight Editions, 2006, Hardcover (with dust jacket); 253 pages, Illustrated, ISBN: 13-9781933784014/ISBN: 10-1933784016 Reviewed by Nigel Patterson
The book itself is huge. Measuring 40cms x 28cms (14"x11") it is oversized as most books go, and it weighs a ton. Its size is part of its visual attraction and impact. You cannot help miss it and the extra large pages give added emphasis to the hundreds of exquisite black and white Elvis visuals inside. With many full page photos of Elvis and a number of fold-out spreads viewers find their senses first excitedly stimulated, and then at times, numbed, as they struggle to fully comprehend the incredible historical significance of the imagery before them. This is a book you experience in the full sense of the word. Its visuals cascade around you like grand, inspiring canvasses, an offering which, through individual interpretation, reveals new pleasures with every viewing. Many of the photos are previously unpublished. They appear to include Elvis frolicking in the swimming pool; a great shot of a topless Elvis with Pepsi-Cola bottle firmly in hand; and a nattily attired Elvis sitting down to a hearty (nearly finished) meal of bacon, french fries and milk. And did you know Elvis could play the piano accordian? Well it certainly seems that he does thanks to a full page image of Elvis tickling this unusual instrument's ivory. Wertheimer took so many amazing photos of Elvis during his all to brief week or so on the road with The King that it is impossible to do justice to them all. A two page, back view spread of Elvis and a female companion sitting in a take away food joint is so 1950s atmospheric you can literally sense the smells and feeling of the establishment they are in. Extraordinary stuff! Elsewhere, there is an uncanny air of something special in a photographed from above shot of the young Hillbilly Cat, guitar in hand at his side, as he is acknowledged on stage; the cover photo used on Peter Guralnick's sublime Last Train To Memphis The Rise of Elvis Presley, takes on new meaning as a wonderfully evocative two page spread; while the amazing Russwood Park stills exude the still air of the evening and delightfully invade each pore of your being with their addictive presence. For some strange but satisfying reason the Russwood Park photos seem at odds with what has gone before, and for this very reason they have a powerful resonance which sets them apart and fittingly closes the book leaving you not only wondering, but also wanting to revisit the stunning visual treat you have just experienced.
Symbolising its high production quality, Elvis at 21: New York to Memphis was printed using a quadtone process employing four layers of ink: two blacks, a special warm gray, and a metallic pewter. A dry-trapped spot gloss varnish was used to preserve the density of the original prints. Not surprisingly, being a high quality release means Elvis at 21: New York to Memphis comes with a high price tag (particularly the limited edition release). However, believe me, it is worth it! Verdict: Elvis at 21: New York to Memphis by Alfred Wertheimer is a sublime release. Its large sized, evocative images are fresh and alive, and represent a stunning tribute to a young performer on the verge of international superstardom. Highly recommended! Buy "Elvis at 21: New York to Memphis"It is available in two editions: Limited Edition (weighs 17lbs) (see image at top of page) Limited edition features: 1,500 copies, comes in a clamshell box with a signed photograph and contact sheet, clothbound portfolio case containing four limited edition photographic prints (11 x 14), and an exclusive edition of Elvis Ships Out (a 48 page, cloth bound, 8 x 10, keepsake archive of Elvis' stint in the US Army). Regular Edition (weighs 6lbs) Where have all the Aussie fans gone???One fan club president recently suggested 'crisis talks' about the state of Elvis "downunder". Australia, a once proud country of Elvis supporters, appears to have lost its interest in The King! In the past year or so vital cracks have appeared in the Aussie Elvis veneer with:
While demand for Elvis and Elvis product has generally fallen in other countries, in Australia the drop has been particularly marked. It appears to be a trend...is it an indicator of life in the Elvis world after the 30th anniversary?
The King’s tour: Beale Street, Graceland and BBQ ribs The rock ’n’ roll legend moved to Memphis from Tupelo, Miss., in 1948 and graduated from Humes High School in 1953. Get in idea of what life was like during Elvis’ time by visiting the Pink Palace Museum, a regional history museum. Exhibits include a shrunken head, a replica of the original Piggly Wiggly grocery store and a hand-carved miniature circus. The museum includes a planetarium and was voted one of the top five in the South by Southern Living magazine, 3050 Central Ave., (901) 320-6320, www.memphismuseums.org.
Heartbreak Hotel serves as a host to Graceland visitors. The 128-room hotel features four Elvis-themed suites — Graceland, Hollywood, Gold & Platinum and Burning Love — 24-hour-a-day Elvis movies and a heart-shaped pool, (877) 777-0606. 3677 Elvis Presley Blvd., Memphis, Tenn., www.elvis.com/epheartbreakhotel One of Elvis’ early musical influences was the R&B he listened to on Beale Street. There remain plenty of options to catch some live music and a cool beverage on the world-famous street. Alfred’s offers live music nightly and features a downstairs patio. It is one of the last places in Memphis to close its door every night, (888) 433-3711, 197 Beale St., www.alfredsonbeale.com. Memphis music stars such as Ms. Ruby Wilson, the queen of Beale Street, Larry Springfield and Eugene Gales can be heard at B.B. King’s Blues Club, (901) 524-5464, 143 Beale St., www.bbkingbluesclub.com/memphis/index.html. Silky O’Sullivan’s has a beer-drinking goat the predicts the future, and in August it guessed USC would play in the Liberty Bowl. Stop by and pet Maynard, join the sing-a-long piano show and check out one of Beale street’s most historic clubs, which once included a poker room, (901) 522-8462, 183 Beale St., www.silkyosullivans.com. Elvis recorded 18 No. 1 hits. Look for them — or other tunes to fill your IPod — at Memphis Music, which claims to be the largest Blues specialty store in the world, (901) 526-5047, 149 Beale St. Check out some of the same places Elvis hung out at as a youngster with Backbeat Tours of Memphis Music. Tours of the city’s music history are led by Memphis musicians “who'll captivate you with their own magical blend of story and song and bring history alive,” (866) 392-2328, www.backbeattours.com. As legend has it, Elvis was known to sit down to a big meal or two. Get your grub on at one of these dining establishments: The Pig on Beale boasts is has the best slow-smoke barbecue on Beale Street. It features 1950s decor, with checkerboard floors and vintage movie posters. The bar hosts live Americana music Thursday through Sunday, (901) 529-1544, 167 Beale St., www.thepigonbeale.com Corky’s BBQ has been voted the No. 1 barbecue restaurant in Memphis for 20 consecutive years and has been featured on Food Network, Bon Appetit and Southern Living, 1740 N. Germantown Parkway, (800) 926-7597; 5259 Poplar Ave., (800) 926-7697, corkysbbq.com. If you need a change of pace from barbecue, chow down on a steak at the Butcher Shop Steakhouse, recipient of the 2004 Turner CSouth Award for best steaks. The menu includes steaks from 8-ounce filets to 30-ounce T-bones, Atlantic salmon and grilled marinated chicken, 101 South Front St., (901) 521-0856. Looking for something a little different? Head to Cielo, whose international cuisine has influences from South America, the Carribean Islands and Pacific Rim countries. The restaurant’s decor centers on 19th century architecture and artwork featured on the Metropolitan Museum of Art, 679 Adams Ave., (901) 524-1886. Don’t leave town without picking up an Elvis T-shirt and Memphis postcards from the Best of Memphis Gift Shop, 333 Beale St., (901) 522-8832. for more information, visit www.memphistravel.com and www.elvis.com |
Heartbreak Hotel - weeks at # 1: April 21st, 28th May 5th, 12th, 19th & 26th, 1956. Chart debut @ # 26, on the week of march 26th, 1956. Hound Dog* - week (s) at # 1: August 18th, 25th, & September 1st, 1956 . Chart debut at # 1, on the week of August 18th, 1956 . Don’t Be Cruel - week (s) at # 1: September 8, 15, 22, 29, October 6, 13, & 20, 1956. Chart debut @ # 29, the week of August 11, 1956 . |
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Love Me Tender - week (s) at # 1: October 27, November 3, 10, 17 and 24, 1956. Chart debut @ # 40, the week of October 13th, 1956 .
* Hound Dog was the only Elvis single in 1956 to debut at # 1
1957
Too Much - week (s) at # 1: February 16th, 23rd, & March 2nd, 1957 . Chart debut @ # 25, the week of January 26th, 1957
All Shook Up - week (s) at # 1: April 13th, 20th, 27th, May 4th, 11th, 18th, 25th, & June 1st, 1957 . Chart debut @ # 13, the week of April 6th, 1957
(Let Me Be Your) Teddy Bear - week (s) at # 1: July 20th, gap, August 3rd, & 10th, 1957. Chart debut @ # 29, the week of June 29th, 1957 .
Jailhouse Rock* - week (s) at # 1: November 9th, 16th, & 23rd, 1957. Chart debut @ # 1, the week of November 9th, 1957
*Jailhouse Rock was the only Elvis single in 1957 to debut at # 1. The gap in dates between 7/20/57 and 8/3/57 is because another artist/group charted on 7/27 at # 1, and Teddy Bear re-charted at # 1 again, beginning on 8/3/57 .
1958
Don’t - week (s) at # 1: March 1st, 1958 . Chart debut* @ # 36, the week of January 25th, 1958 . * the chart debut date may be incorrect.
There were no single releases that reached the # 1 position in 1959
1960
Stuck On You - weeks at # 1: April 23rd, 30th, May 7th, 14th, 1960. Chart debut @ # 53, the week of April 9th, 1960 .
It’s Now Or Never - week (s) at # 1: August 13th, 20th, 27th, & September 3rd, 1960 . Chart debut @ # 48, the week of July 23rd, 1960 .
Are You Lonesome Tonight? - week (s) at # 1. November 23rd, December 3rd, 10th, 17th, 24th, & 31st, 1960. Chart debut @ # 47, November 19th, 1960
1961
Surrender - week(s) at # 1: March 18th & 25th, 1961. Chart debut @ # 37, the week of February 25th, 1961 .
1962
Good Luck Charm - week (s) at # 1: April 14th, 1962 . Chart debut @ # 36, the week of March 17th, 1962 .
Return To Sender - week (s) at # 1: December 15th, 1962 . Chart debut @ # 61, the week of October 20th, 1962 .
There where no single releases that reached the # 1 position for the years 1962 through 1968.
1969
In The Ghetto (The Vicious Circle) - week (s) at # 1: June 28th, 1968 . Chart debut @ # n/a. Suspicious Minds - week (s) at # 1: October 18th, & 25th, 1969. Chart debut @ # 45, on week of September 13th, 1969 . There where no single releases that reached the # 1 position, from 1970 through 1971. |
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1972
Burning Love - week(s) at # 1: November 11th, 1972 . Chart debut @ # 71, on the week of August 19th, 1972 . This was the last of, pop singles, that Elvis had on the Cashbox best selling single charts.
In total, Elvis registered 18 #1 hits on the Cashbox Top Selling Singles chart.
Elvis had a lot of Top 10, 20 40 hits, on the Cash Box Top 100, and # 1’s in the other charts within Cash Box, like the Country charts. However, I’ve chosen to just list the Cash Box Top 100.
All questions should be e-mailed to: Elvis.Archives@SBCGlobal.net
Information compiled by Paul J. Gois. Anyone associated in using this information waves any responsibilities in regards to errors or infringement.
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