SONGS IN THE TOP 10

Rolling Stone – 0 VH1 – 0

That was tough to take. Not one Elvis song in either Top 10. Of course, the competition was very tough, with the Beatles, Led Zeppelin, Bruce Springsteen, Bob Dylan, the Beach Boys, Ray Charles, Chuck Berry, the Rolling Stones, Marvin Gaye, Aretha Franklin, John Lennon and others taking a position in the top 10. Both polls had great songs selected on their lists, although they had some significant differences. I’d have trouble disagreeing with any of the choices. There just wasn’t any Elvis in there!

SONGS IN THE TOP 20

Rolling Stone – 1 VH1 – 1

They each pick one… but not the same one. VH1 rates “Jailhouse Rock” as #18, while Rolling Stone has “Hound Dog” at #19. These classic old songs both deserve that recognition, or better. But, there are other equally good Elvis songs that should have been there, too.

SONGS IN THE TOP 50

Rolling Stone – 2 VH1 – 2

Come on! Only 2 Elvis songs in the Top 50 of all time. That’s just wrong. All VH1 could add was “Hound Dog” at # 31. Rolling Stone added “Heartbreak Hotel” at # 45. Out of the Top 50 rock songs, they found only three Elvis recordings between them: “Hound Dog,” “Jailhouse Rock,” and “Heartbreak Hotel.” Sorry, they are all Top 20 material, at least.

SONGS IN THE TOP 100

Rolling Stone – 5 VH1 – 4

Rolling Stone gets on board with “Jailhouse Rock” at #67 and adds two new titles: “Mystery Train" at # 77 and “Suspicious Minds” at # 91. It’s easy to agree with these picks. We can be pleased Rolling Stone’s Top 100 recognized both a song from Elvis’ early work at Sun Records and also a staple of his later jumpsuit years. “All Shook Up” is mentioned for the first time at #68 on the VH1 poll, and they gave a belated nod to “Heartbreak Hotel” at #71. Between the two polls, there were just six different Elvis songs selected in the top 100. That’s not enough.

SONGS IN THE TOP 500

Rolling Stone –11

Next up was another Sun disc, “That’s All Right (Mama),” at # 112. That’s a good pick, but this was followed by the poll’s second-biggest mistake: “Don’t Be Cruel” at only # 197. I can’t believe it. There can’t be too many members of the selection committee who were around in 1956, and had that song in their 45 collection. If they had, “Don’t Be Cruel” would be Top 20, maybe Top 10.

Rolling Stone rated “All Shook Up” at # 352. Give me a break. “All Shook Up at # 352??? The song stayed # 1 on the charts for twelve straight weeks. How could they possibly make a mistake this big? At least VH1 had it at # 68.

The first Elvis ballad to appear was “I Can’t Help falling In Love” at # 394. Next came “Blue Suede Shoes” at # 423. Carl Perkins’ version came in at # 95, making “Blue Suede Shoes” the only song to be in the Top 500 by two different artists. Frankly, I think a good argument could be made for Perkins’ version being in the Top 20.

The last Elvis song to make the Rolling Stone list was “Love Me Tender” at # 437.

My initial anger at the lack of respect given to Elvis songs in these polls has now been tempered by a new realization. It wasn’t the songs that made Elvis special. It was Elvis. His looks, his clothing, his voice, his stage persona. He was the total package and probably would have succeeded even if he had recorded lesser material.

In spite of this handy justification, it’s still fun to think where we would put Elvis recordings in the Top 500 rock & roll songs of all time. “Hound Dog” and “Jailhouse Rock” would squeeze into the Top 10 somewhere. “Heartbreak Hotel,” “All Shook Up” and “Don’t Be Cruel” belong in the Top 20. “That’s All Right,” “Mystery train,” and “Suspicious Minds” would be in the Top 50. “Love Me Tender” and “Can’t Help Falling In Love” would be joined by another ballad, “Loving You,” in the Top 100. Certainly the next 400 places would include “Teddy Bear,” Blue Suede Shoes,” “Are You Lonesome Tonight,” and “Burning Love.”

Adding it up, our revised list would have two Elvis songs in the top 10, five in the top 20, eight in the top 50, eleven in the top 100, and eighteen in the top 500. Now that’s more like it.

If it was up to this writer, the Top 500 would also include three personal favorites. “(You’re So Square) Baby I Don’t Care,” featured the movie Jailhouse Rock, is arguably the best song Elvis recorded that was never released as a single. “Reconsider Baby” from the album Elvis Is Back is considered by many to be Elvis’ best blues recording. And “Santa Claus Is Back In Town” is simply the best rock & roll Christmas song ever.

There were six songs selected to the Top 10 in both polls: “Like a Rolling Stone”/Bob Dylan, “Satisfaction”/ The Rolling Stones, “Respect”/Aretha Franklin, “Imagine”/John Lennon, “Good Vibrations”/Beach Boys, and “Hey Jude”/Beatles. The polls were done years apart by different all-star juries, which gives credence to the outstanding quality of these songs. The biggest Top 10 discrepancies were “What’d I Say”/Ray Charles (# 10 Rolling Stone, # 41 VH1), and “Hotel California”/Eagles (# 6 VH1, # 49 Rolling Stone)

The selection committee for the Rolling Stone Top 500 seemed to be especially fond of 60’s music, choosing 202 hits from this decade. The 70’s were next with 144 selections. The 50’s were only the third best decade with a puny 71 picks. That’s not enough. It’s painfully obvious that not many of the judges were around and listening to music in that decade. They missed dozens of outstanding songs on their list.

In yet another tribute to the genius of Sam Phillips, Sun Records provided five of the Top 100 songs. The honored songs were: “I Walk The Line”/Johnny Cash, “Whole Lotta Shakin’ Going On”/Jerry Lee Lewis, “Mystery Train”/Elvis Presley, “Blue Suede Shoes”/Carl Perkins, and “Great Balls Of Fire”/Jerry Lee Lewis. And “That’s All Right” was close behind at # 112.

Chuck Berry challenged Elvis with the second most 50’s songs on the list. Buddy Holly, The Everly Brothers, Little Richard and Bo Diddley followed, but Fats Domino was way under represented (eight Top 10 hits, only two songs on the list)

Every song on Rolling Stone’s list received a critique narrative, which enabled the magazine to fill forty-one pages of the issue. It was also interspersed with fifty-six full-page advertisements and numerous partial pages, so it was a good marketing move.

Here’s some of what they had to say about the Elvis songs.

Hound Dog: “With snarling vocal authority, precision rockabilly jump and slashing lead guitar by Scotty Moore, Presley transformed the song’s blues changes and put-down rhyme into a declaration of independence… “ (For my money, everything Elvis recorded in the 50’s was a declaration of independence.)

Heartbreak Hotel: “… what Sun Records founder Sam Phillips called a ‘morbid mess’ went on to become Presley’s first Number One hit and million selling single, thanks in part to Scotty Moore’s steely guitar and a thumping bass from Bill Black.” (Would it have hurt to give some kudos to DJ Fontana, too?)

Jailhouse Rock: “The King… sang it as straight rock & roll, overlooking the jokes in the lyrics and then introducing Scotty Moore’s guitar solo with a cry so intense the take almost collapses.” (I’ve gone back and listened to that part of the song again several times, and I still don’t know what that writer was talking about.)

Suspicious Minds: “Recorded between four and seven in the morning, during the landmark Memphis session that helped return The King to his throne, ‘Suspicious Minds’ is Presley’s masterpiece.” (But only # 91 on their list.)

That’s All right: “Recorded in a shockingly fast, lusty new style, the single was the place where race and hillbilly music collided and became rock & roll. … and the world changed.” (When the magazine sang the praises of their top pick, ‘Like a Rolling Stone,’ they said, “no other pop song has so thoroughly challenged and transformed the commercial laws and artistic conventions of its time.” (Baloney! “That’s All Right” did all that and more. It changed the world, remember?)

Don’t Be Cruel: “… his take on this blues song, “Don’t Be Cruel,” backed with “Hound Dog,’ became a double-sided hit on the pop, R&B and country charts.” (But that was only good enough for # 197 on your list.)

All Shook Up: “Presley fell in love with the tune the first time he heard it. The song went on to sell 2 million copies.” (Not enough to get it higher than # 352. Their biggest slight to an Elvis song.)

I Can’t Help falling In Love: “… this was no vacation for Presley. It took him twenty-nine takes to nail his exquisitely gentle vocals.” (Rolling Stone accompanied this narrative with a nice picture of Elvis.)

Blue Suede Shoes: “Perkins’ single got to Number Two, but Presley’s peaked at Number Twenty.” (Carl’s version was better, but Elvis did a major improvement when he re-recorded the song for the movie, “GI Blues.”)

Love Me Tender: “It represented a brand-new sound for The King. He sang in his softest voice, accompanied by his own acoustic guitar.

Rolling Stone magazine had no trouble referring to Elvis as “The King” in most of their song critiques. We wish they had treated his songs with more respect in their list; but let’s face it, the key to Elvis’ success was Elvis himself, not just his recordings.

Contributing Editor Phil Arnold is a big Elvis fan and can be reached at philarnold@charter.net

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Saturday, January 1

BACKSTAGE With 21 MUSIC LEGENDS ................... By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 08:00 PM EST

From: Elvis International, The Magazine -- 70th Birthday Tribute, January 2005

It’s been a real kick contributing to Elvis International magazine for six years, and my best fringe benefit so far happened in Memphis during Elvis Week 2004. It was probably a once-in-a-lifetime opportunity. Darwin Lamm, Editor/Publisher of Elvis International, put on the two biggest concerts of the week … back to back on one night. Darwin is exceptionally organized, and he has been promoting concerts since 1988, but he still needed two “Production Assistants” for these shows.

Gary Olsen, a Vancouver, BC, disc jockey and experienced concert promoter, was the number one man. I was the go-fer. Gary carried around a stack of papers, referred to them often, made decisions and gave orders. I went for ice. I also went for sandwiches, sodas, and Xerox copies (three different times). If Scotty Moore wanted a bottle of water from the VIP room, I was tickled to go-fer it.

The first of the two concerts was “The Legends Salute the 50^th Anniversary of Rock & Roll.” The title, of course, was tied to the theme for this year’s festivities, a celebration of the 50 years since Elvis recorded his first release “That’s All Right (Mama)” in 1954. The Legends concert was scheduled to start at 6:30 PM, but Darwin, Gary and I got to the venue at 9:30 AM. And what a venue -- The Cannon Center for The Performing Arts. This theater is almost brand new and there isn’t a bad seat in the place. It is home to the Memphis Symphony, so you know it has superb acoustics.

When we arrived backstage, the two biggest names on the whole program, Scotty Moore and DJ Fontana, were already there. There wasn’t any of that big-star-late-arrival stuff for these good old boys.

Also on the scene were several members of Ronnie McDowell’s band. Steve Shepherd, keyboard player in the band, quickly assumed the role of floor manager, as he put tape down on the stage to mark where the vocalists and other performers were to stand. It looked like he had plenty of experience doing this. Later, I learned he is also a superb keyboard player, and he contributed significantly to the quality of the music that evening.

Scotty and DJ supervised the construction of the riser, which is an elevated platform, three steps above the floor, on which DJ would do his magic. It was at the back of the stage, but the height enabled the audience to see him.

As time went by, other performers strolled in. Bob Moore, who was Elvis’ bass man for 18 years, was an early arrival. Billy Swan, one of five featured vocalists, showed up soon afterward. One by one, the four Jordanaires joined the group. Millie Kirkham, who did back-up vocals for Elvis for 15 years, was warmly received by all the men. Everyone was in a happy mood, catching up with the others. It began to resemble a family affair. Each new arrival made the rounds, talking with the rest, just like at a reunion. Obviously these folks were dear old friends.

Lee Rocker, fresh off the Straycats reunion tour in Europe, added his unique presence to the swelling crowd of performers. He sported black leather and lots of sterling silver ear-rings. Ronnie McDowell, who would be the surprise vocal guest of the night, dressed another way with shorts, tee-shirt and sandals.

Stan Perkins, oldest son of rockabilly legend Carl Perkins, arrived with a few friends and had a good time shaking hands and talking with everyone. Eddie Miles, the great Elvis tribute artist, showed up wearing jeans, cowboy boots and a cowboy hat. His entourage blended into the growing group of people who displayed all-access badges, but who had no specific part in the performances. It just added more to the party atmosphere.

Finally, the one man everybody adores, Boots Randolph, strolled on stage. It didn’t take long to figure out that Mr Yakety-Sax is a super nice guy. Boots was so friendly and had lots of stories to tell. Later, backstage at the second concert, when a chair next to Boots became available, I wasted no time claiming that prized spot.

Actually, the entire day at the theater was a prize, one that gave me the opportunity to go autograph hunting. For a fifteen hour period I carried with me the 50^th Anniversary issue of Elvis International. Darwin Lamm had honored me by publishing in this milestone issue three articles I had written. One was about Scotty, DJ, and the Jordanaires, plus a nice sidebar piece on Bill Black. Another was about all the singers and other musicians who joined them in the Legends concert. Finally, I wrote about the four members of the TCB Band, plus Terry Mike Jeffrey. He handled the vocal duties for the second concert, “The TCB Band Salutes Elvis and the 50^th Anniversary of Rock & Roll.”

In total, the three articles featured short biographies and other commentary on 21 performers. My goal was to get each one to sign their name over the text I had written about them. In my mind, every performer was a legend with a connection to Elvis, and I was out to get all their autographs in my magazine.

First, and most important to me, were Scotty Moore and DJ Fontana. I got them early while the concert hall’s crewmen were assembling DJ’s riser. By the time the Legends Salute rehearsals and sound checks began, I had the autographs of everybody appearing in the first concert.

Rehearsals were interesting, but these folks had all worked with each other enough times in the past that not much rehearsing was needed. Sound checks were kind of boring. I was surprised to learn that there is so much difference in the settings each singer specifies to the guy up in the sound booth.

In between the autograph seeking, I did various Production Assistant jobs. I helped to set up lunch in the VIP room. I was blown away when Elvis’ long-time nurse and friend Marion Cocke pulled into the backstage loading zone with a car full of sandwiches. This wonderful 78 year-old woman made them all in her kitchen. There were four different kinds (but no peanut butter and ‘naner). Later, after the thirsty crowd of performers and their guests consumed all the cases of bottled water, we solved that problem by loading the large bottled water unit in the venue office on a cart and taking it to a prime spot just off-stage.

By the time the first group of performers finished rehearsals, Terry Mike Jeffrey and the four TCB Band members were ready to do their thing. Drummer Ronnie Tutt had been hanging around for several hours spending time with old buddies, and I got his autograph early. Terry Mike was another early arrival, so it was easy to get his signature.

However, guitarist James Burton, bass player Jerry Scheff, and piano player Glen D Hardin got right to business before I could shove my magazine and black Sharpie pen in front of them. The TCB boys really didn’t have to do any rehearsing, as they have played together so many times in the “Elvis, The Concert” shows. Terry Mike Jeffrey has performed with them numerous times in the past few years. I decided to skip their sound check and went back to the hotel for a little nap. It would be a long night, and I wanted to be sharp for all of it. I’d get their autographs later, before the show.

The nap was great, but it turned out to be poorly timed. By the time I returned to The VIP room, a catered hot supper had been delivered … and consumed. I settled for two slices of bread, some potato chips and a soda for my meal. Soon, all thoughts of food vanished as other responsibilities called. My favorite Production Assistant assignment of the night occurred when the son and daughter of the late Bill Black couldn’t get their will-call tickets at the window. I went out front and was able to save the day by talking some sense to the ticket lady. I felt so proud of myself. It also gave me the opportunity to get both of Bill’s children to sign my magazine over the paragraphs I had written about their dad.

The only other non-performer to sign my magazine was Red Robinson, another Vancouver DJ, who served as master of ceremonies and announcer for both concerts. Red turned out to be a real buddy and a great guy to hang out with on Beale Street.

Other writers in this magazine will regale you with accounts of the two concerts as they experienced them from their seats in the audience. My vantage point was backstage, or should I say side-stage. True backstage would be behind the tall black curtain. However, there was a series of parallel side curtains which allowed us to look at the bands from the side, but the audience couldn’t see us. With so many singers and musicians in the Legends Salute, there were a lot of folks backstage. It was so much fun being part of this group.

When the first concert ended, another important Production Assistant job was to guide the performers out to tables in the lobby where they would sign autographs for the fans. We had to be firm with several determined folks who wanted to get autographs before the musicians got to the tables. Once everybody was seated and the line of fans was moving nicely, my assignment was to help out at one of the doors. The venue employee there was overwhelmed trying to take tickets from new fans while trying to keep track of those coming back into the building after a smoke break.

I helped him for twenty minutes, then I begged off to go backstage again and pursue more TCB Band autographs. I got Glen D Hardin’s, but James Burton and Ronnie Scheff were on center stage working out some stuff, so I didn’t bother them. I returned to the lobby and helped escort the Jordanaires back to the VIP room. It was almost 10 PM, and Gordon Stoker needed to get some food before diabetic problems got to him. We literally had to push our way through fans who wanted him to pose with them for pictures. Gordon is too nice to ever say no to fans, so us Production Assistants had to be the bad guys and say, “Sorry, can’t do it.” Gordon paid me back the next night, buying me a meatloaf dinner at the hotel restaurant. Did he ever tell some funny Elvis stories that will never make it to print.

The second concert was also terrific, but it seemed a bit more business-like than the first. There were fewer musicians and only one singer. Terry Mike Jeffrey meshed his traveling band with the TCB boys, and his off-stage entourage consisted of only his daughter-in-law. This time, hardly anybody was backstage, because the whole gang from the Legends show was now in the audience to watch the second concert.

That was good because it gave me a chance to talk more with Boots Randolph. This distinguished 78-year-old gentleman was the only performer to wear a coat and tie. He had been a huge audience favorite during the first concert when he played a down and dirty sax part on the Elvis blues classic, “Reconsider Baby,” followed by an energetic romp with his own hit, “Yakety Sax.” I yelled and cheered during both songs, just like most other folks backstage. Boots was impressive.

Terry Mike Jeffrey certainly thought so, too, because he cornered Boots between the shows and talked him into doing the songs again during the second concert. As we sat together backstage, waiting for Boots’ time to go on, I asked him which he preferred, the keyboard we heard in the first concert, or the piano playing in the second. Boots started out saying he liked both equally well, but the more he talked, the more he realized he liked the keyboard sound better. So did I.

I actually got to walk out on stage during the TCB Salute. Between songs, Jerry Scheff signaled he was thirsty, and I carried a paper cup of cold water to him. It was fun later when a friend of mine from Canada said she saw me on stage.

It was past midnight when the TCB Band Salute ended. I still lacked the autographs of Jerry Scheff and James Burton. I wasn’t sure they were going out to the lobby, because they had a 7AM flight departure that morning for Las Vegas. I hated to bug them, but the window of opportunity was about to close. My new friend Red Robinson helped me get Scheff’s autograph, and I found the nerve to approach James Burton as he was putting his guitar in the case. Both musicians were pleasant while doing my little favor.

So, my magical night backstage with 21 genuine music legends ended on a high note. I went back to my hotel room exhausted, but I was too hyper to sleep. Before finally dozing off, I pondered whether the health of all these people will hold up for another couple of years so we can do this again. I sure hope so. I know where they can get an experienced go-fer.

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GENUINE AMERICAN MUSIC LEGENDS...Scotty Moore, DJ Fontana, The Jordanaires ............................ By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 07:00 PM EST

From: Elvis International, The Magazine -- 50th Anniversary Of Rock & Roll, August 2004

SCOTTY MOORE

The heart of any band is the lead guitar player, and Scotty Moore will be ‘The Man’ for the 50^th Anniversary Legends Salute, just as he was for Elvis. Scotty will be the most admired and appreciated man in Memphis this year during “Tribute Week, 2004.” Now that Sam Phillips is gone, Scotty Moore is the only remaining link to Elvis’ original start in music.

In June 1954, Elvis came to Scotty’s house and met him and Bill Black for the first time. Eight days later, the three musicians recorded “That’s All Right (Mama)” at Sun Records. Everybody knows the story after that. The history of rock ‘n roll spun into a new orbit, with Elvis at the helm and Scotty stoking that musical engine.

The closest we can now come to those days will be at Darwin Lamm’s Legends Salute on August 13 at the Peabody Hotel Grand Ballroom. A few thousand lucky folks are going to have a real treat. Scotty will be surrounded by a group of superb musicians and singers, but his work on guitar will be the main item of interest for most fans. It’s worth the price of admission just to hear Scotty’s guitar licks. After all these years, he produces charming guitar sounds so close to the original, it’s like those fifty years had never passed.

What makes this even more incredible is that Scotty did not perform live for 24 years. After the ’68 Comeback Special on TV, Scotty pretty much put his guitar away and took on new challenges in the music business. He started a record label, supervised all elements of studio operation, and produced albums and a hit record. He owned a tape-duplicating business, and he specialized in record and TV engineering, the latter for Opryland Productions.

In 1992, publisher and concert promoter Darwin Lamm, along with the help of Carl Perkins and DJ Fontana, lured Scotty back on stage. He was paired with Carl Perkins as part of the "Good Rockin’ Tonight Concert," an Elvis Week staple. Scotty’s reemergence into the public eye was so well received, it became the catalyst for his return to regular touring and recording.

Which brings him back to where it all started. Memphis - 50 years later - reunited with DJ Fontana and the Jordanaires – and backed by a most excellent crew of bandmates. This is going to be such a terrific show.

DJ FONTANA

The early touring schedule for Elvis, Scotty, and Bill took them to the Louisiana Hayride in Shreveport in October, 1954. The house drummer, DJ Fontana, joined in during their performances, and he meshed perfectly with the other musicians. Soon, DJ was a full-fledged member of the Elvis team, and he went on to play on approximately 460 RCA cuts with Elvis.

For decades, DJ Fontana has been a veritable fixture in the Nashville music scene. He has recorded with a who’s who of country and rock singers and musicians, including Paul McCartney, Dolly Parton, Kieth Richards, Waylon Jennings, Jim Reeves, and Ringo Starr. For nine years he toured with an all-star band, the Sun Rhythm Section.

In 1998, DJ and Scotty teamed up to record a new CD, All The King’s Men. It received the Nashville Music Award for the best Independent Album Of The Year.

Now, on the occasion of the 50^th anniversary of the birth of rock & roll, interest has intensified to get DJ inducted into the Rock & Roll Hall Of Fame. In fact, a campaign to make this happen is led by four famous drummers: Levon Helm of The Band, Charlie Watts of the Rolling Stones, Ringo Starr of the Beatles, and Max Weinberg from Bruce Springsteen’s E Street Band.

DJ has performed in every "Good Rockin’ Tonight Concert" since 1989, and Darwin Lamm, promoter of the concerts has been quoted, “DJ is such a down home ‘good ole boy’ that when you get to know him, you’ll forget what a great legend he really is.” After you see him in the Legends Salute, you will never forget it.

DJ has more fun at Elvis Week than just about anybody. He makes hundreds of new friends each year as he tirelessly signs autographs. DJ is a great guy, and everybody loves him. Plus he plays some mean drums.

THE JORDANAIRES

When it comes to legendary achievements, it’s hard to top the Jordanaires. It has been estimated that songs with their backing vocals have sold over 2.6 billion records. Think about that: 2,600,000,000 records in a half century of singing behind stars like Marty Robbins, Patsy Cline, Jim Reeves, George Jones, Loretta Lynn, Tammy Wynette, Dolly Parton, K.D. Lang, Willie Nelson, Merle Haggard, Ricky Nelson, Ringo Starr, Chicago, Neil Young, Jimmy Buffett, Connie Francis, Julie Andrews, the Judds, Billy Ray Cyrus, Vince Gill, and, of course, Elvis Presley.

The Jordanaires were formed in 1948 in Springfield, MO, and made their first appearance on the Grand Ole Opry the next year. In early 1955, they appeared at the Cotton Carnival in Memphis. Elvis, who was just in the beginning of his career, came back stage to meet them. He remarked, “If I ever get a recording contract with a major company, I want you guys to back me up.” True to his word, soon after Elvis signed with RCA, the Jordaiaires backed him on the session that produced “Hound Dog,” “Don’t Be Cruel,” and “Any Way You Want Me.”

The Jordanaires personnel at that time were Gordon Stoker (lead tenor), Neal Matthews (second tenor), Hoyt Hawkins (baritone), and Hugh Jarrett (bass). They appeared behind Elvis on most of his landmark TV appearances in 1956 and 1957. In 1958, Ray Walker replaced Jarrett, and the new lineup performed together for the next 24 years. The lineup appearing at the Legends Salute will be Gordon Stoker and Ray Walker, along with newer members Louis Nunley (baritone) and Curtis Young (second tenor).

Elvis had many musical influences, but it was the gospel quartets that moved him the most. The Jordanaires were one of his favorites, because he heard them every Saturday night on the Opry radio show. Once Elvis connected with them, they sang on almost every song he recorded over the next 13 years.

The Nashville Music Association has presented the Jordanaires the coveted ‘Masters Award.’ The National Academy of Recording Arts and Sciences gave them an award for having sung on more top-ten records than any other vocal group. If awards were presented during Darwin Lamm’s Elvis Good Rockin’ Tonight concerts this year, the Jordanaires, Scotty Moore, and DJ Fontana would all be recognized for what they are: Genuine American Music Legends.

Since rumor has it that this will be Darwin Lamm ‘s last concert in Memphis, this could very well be the last time you will see all the legends performing together. Don’t miss it.

Contributing Editor Phil Arnold will be in a front row seat for the Legends Salute. He can be reached at philarnold@charter.net

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A SALUTE TO BILL BLACK -- The Unsung Legend...... By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 06:00 PM EST

From: Elvis International, The Magazine...50th Anniversary Of Rock & Roll, August 2004

The 50^th anniversary of the birth of rock & roll cannot pass without giving just praise to one of the men who was there: Bill Black. Scotty Moore and Bill were the old pros in Sun Records studio on July 5,1954, when "That’s All Right (Mama) was recorded. They were pioneers, just like Elvis, in the unearthing of this new sound. Their musical talents on guitar and base blended with Elvis’s powerful vocal to create history.

Scotty Moore is a headliner of the 2004 Legends Salute. Bill Black, unfortunately, will not be on stage, as he died in 1965 of a brain tumor. His memory should be honored, not just for his contributions in the studio, but also for the huge benefits Elvis’ early live shows got from his stage presence. Quite often Bill’s joking around warmed up the crowd and took some heat off Elvis. Scotty Moore states, “If it hadn’t been for Bill, there were a bunch of shows where we would have died on the vine.”

Bill Black’s bag of tricks included blacking out some of his teeth, wearing oversized bloomers, and riding his stand-up base across the stage. In “That’s Alright Elvis” Scotty Moore tells of the times on stage when Bill would take off Scotty’s belt while he was doing a guitar solo, and throw it out into the audience.

Bill parted company with Elvis in 1958. He went on to considerable success with a string of instrumental hits by Bill Black’s Combo in the early 60’s. He is a true trailblazer in the birth of rock & roll, and should be remembered when “The Legends” salute the 50^th anniversary of rock & roll. Bill Black’s spirit will be up on stage with them that night, a legacy from the ‘unsung legend.’

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NOW APPEARING WITH THE LEGENDS ................... By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 05:30 PM EST

From: Elvis International, The Magazine -- 50th Anniversary Of Rock & Roll, August 2004

Scotty Moore, DJ Fontana, and the Jordanaires are the headliners at Darwin Lamm’s “The Legends” Salute the 50^th Anniversary of Rock & Roll in Memphis this year. But you will see many other musicians and singers on stage, rounding out the band and belting out the lead vocals. All of them have a history with Elvis, a musical connection we draw on for this spectacular show.

Just about every artist on the stage at the Legends Salute has recorded with Scotty, DJ and the Jordanaires numerous times. This show will be like a reunion of sorts for a group of veteran musicians who have known each other for 30-40 years. When all these musical buddies assemble in Memphis in August, it won’t take a great deal of rehearsal time for them to get back into the old groove. Scotty and DJ will have a very tight band that night.

BOB MOORE (Standup Bass): No relation to Scotty, Bob Moore followed Bill Black as the bass player in the band behind Elvis for 28 recording sessions from 1958 to 1966. He played bass on such hits as: “A Big Hunk of Love,” “I Got Stung,” “A Fool Such As I.” “Stuck On You,” “A Mess Of The Blues,” “It’s Now Or Never,” “Are You Lonesome tonight?” and many, many more. Bob Moore is the quintessential Nashville session man, and has played bass in over 17,000 recording sessions. The list of singers he backed would go on for several pages, but some notables include Patsy Cline, Brenda Lee, Bobby Darin, Connie Francis, Roger Miller, Jim Reeves, Tammy Wynette, Dolly Parton, Willie Nelson, Reba McEntire, Don McLean, and Debbie Boone. It has been noted that his dependability, his rock solid beat, his impeccable timing, and his ability to work well with other musicians were the keys to his success in a recording studio. Bob Moore’s web-site claims he may well have played on more recordings than any other musician in the world, and that he could be the greatest all around bassist that has ever lived.

BUDDY HARMAN (Drums): You will notice the Legends Salute has two drummers. Second drummer duties will be performed admirably by Buddy Harmon, another famed studio musician, with almost as many recording sessions to his credit as Bob Moore. Buddy Harman played on most Elvis recording sessions from 1958 to 1968. Nine soundtrack albums from Elvis’ movies feature Buddy Harmon’s drumming. His career also includes drum work with the Everly Brothers, Johnny Burnette, Patti Page, Loretta Lynn, Roy Orbison, Marty Robbins, Johnny Cash, Kenny Rogers, Barbara Mandrell, Simon and Garfunkel, Ann Margaret, Ringo Starr, and dozens more. Buddy Harman has had two terms as house drummer for the Grand Ole Opry, and he was awarded ”Drummer of the Year” in 1981 by the Academy of Country Music. He had the privilege of performing for four American presidents: John F. Kennedy, Gerald Ford, Jimmy Carter, and Ronald Regan. Buddy Harman can be especially proud of being named by the Country Music Hall of Fame as one of a handful of top musicians recognized for creating the “Nashville Sound.”

BOOTS RANDOLPH (Sax): Another member of the band was among the pioneering creators of the ‘Nashville Sound,’ and he has reached “legend” status on his own. Boots Randolph has been a star ever since he recorded “Yakety Sax” in the early 60’s. Several other hits followed, as did more than 40 albums. In addition to recording and performing, Boots has been a much-sought-after session musician. He was the first sax player to play on Elvis recordings, and the only one to have a sax solo in an Elvis song, in the superb blues number, “Reconsider Baby.” Boots Randolph contributed to the soundtrack music for eight Elvis movies. He has played with Chet Atkins, Buddy Holly, Alabama, Al Hirt, Johnny Cash, Pete Fountain, and Doc Severinsen. He has appeared on numerous network TV shows, like those of Ed Sullivan, Mike Douglas, Johnny Carson and Jimmy Dean. More recently, Boots has been a frequent guest on TNN’s “Music City Tonight” and “Prime Time Country.”

MILLIE KIRKHAM (Vocalist): The Jordanaires and Millie Kirkham have recorded and performed together so much that, to many fans, Millie seems like the female member of the vocal group. Millie was with the Jordanaires during her first Elvis recording session in September, 1957. She last backed Elvis at a session in June of 1971. In between her strong, clear soprano voice was recorded on dozens of Elvis’ songs including: “Don’t,” “Blue Christmas,” “How Great Thou Art,” “Guitar Man,” “Surrender,” and ”Bridge Over Troubled Water.” Millie Kirkham also appeared on stage with Elvis in Las Vegas. As a fixture in the Nashville recording scene for decades, she has appeared on record with a galaxy of stars including: Jerry Lee Lewis, Bob Dylan, Carl Perkins, Brook Benton, George Jones, Loretta Lynn, and Eddy Arnold.

BILLY SWAN (Vocalist): You will see a number of men playing guitar during the Legends Salute, and one of them, Billy Swan, will step to the mike to take over lead vocal duty for a part of the night. He’s had lots of practice singing Elvis songs, having released a CD of them titled “Like Elvis Used To Do.” Billy Swan had a two-million seller hit in 1974 called “Let Me Help,” which Elvis later recorded. Billy Swan has been through just about every area of the music business. In addition to his own singing, he has written songs covered by Waylon Jennings, Loretta Lynn, Conway Twitty, and many more. Indeed, Swan wrote the Clyde McPhatter hit “Lover Please” when he was just 16 years old. He produced three albums including Tony Joe White’s “Polk Salad Annie.” He was tour manager for Mel Tillis, Chet Atkins, Boots Randolph, and Floyd Cramer. Billy Swan even appeared in two movies and served as Assistant Musical Director on “Great balls Of Fire.” Over the past decade, he has released a dozen CD’s, including “The Sun Studio Story.”

EDDIE MILES (Vocalist): Only one Elvis tribute artist will be presented at the Legends Salute. Eddie Miles is without a doubt among the very best, and he has a huge national following. All tribute artists have the costumes and the hair, and they sound like Elvis, but no one looks more like the King than Eddie Miles. On top of that, he has a smile that connects with the audience. You just want to like the guy. Scotty Moore once said, “Eddie Miles, a fine entertainer, respectfully re-creating the image. But, most of all, keeping the music alive.” As he did at the Legends Concert two years ago, Miles will specialize in songs from the jump suit era. He will dig deep into the Elvis musical library and perform some lesser-known songs. Fans who dig Eddie Miles will be able to see him headline his own show later in Elvis Week.

STAN PERKINS (Vocalist and Guitar): If DJ Fontana or Buddy Harman need to take a break during the Legends Salute, Stan Perkins can fill in admirably. He is the first born son of Carl Perkins, and he played drums in is father’s band for 22 years. He also recorded with Paul McCartney, Tom Petty, Paul Simon and John Fogerty. After Carl Perkins passed away, Stan emerged to pursue his own career. He is an accomplished guitar player, an excellent singer, and a grand showman who carries on the family tradition in rockabilly and rock ‘n roll music. You will be thoroughly entertained when Stan Perkins talks the stage to sing the songs of both Elvis and his dad.

LEE ROCKER (Vocalist and Standup Bass): A big surprise at the "25th Anniversary, The Legends Concert," was Lee Rocker, who has currently rejoined the Stray Cats on a European tour and returns just in time for The Legends Concert August 13th.

Contributing Editor Phil Arnold wouldn’t miss the Legends Salute for anything. He can be reached at philarnold@charter.net.

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STILL TAKING CARE OF BUSINESS ........................ By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 05:15 PM EST

From: Elvis International, The Magazine -- 50th Anniversary Of Rock & Roll, August, 2004

The TCB BAND Salutes The 50th Anniversary Of Rock & Roll

Darwin Lamm will continue his tradition of ‘Good Rockin’ Tonight’ concerts when he treats Elvis fans to a double-header on August 13 this year in Memphis. One hour after the “Legends” finish their show, the famed TCB Band will take the stage for their salute to the 50^th anniversary of the birth of rock & roll. If the band’s performance is anything like their brilliant Elvis Week concert two years ago, the fans in attendance are in for a superb show.

James Burton, of course, will anchor the group as lead guitar player. When Elvis decided to get back into touring in 1969, he went to James Burton and asked him to put together the TCB Band. Burton was with the group during every Elvis recording session and tour from then until 1977. He started as a member of the Louisiana Hayride house band in the mid-fifties and was recruited for Ricky Nelson’s band in 1958. For the next eight years Burton recorded and performed with Nelson, including appearances in all the closing musical segments of the “Ozzie and Harriet” TV show. Elvis professed watching the show every week just to see him play. After Elvis’ passing, Burton had a very successful career as an in-demand session musician. He recorded with many big names in rock and country music circles, including Buffalo Springfield, Judy Collins, Randy Newman, Emmylou Harris and John Denver. James Burton was inducted into the Rock & Roll Hall of Fame in 2001, joining Scotty Moore as the second Elvis Presley guitar player to be honored in the relatively new Sideman category.

Playing bass will be Jerry Scheff, another original member of the TCB Band. His association with Elvis goes back to 1966 when he played on the “Easy Come, Easy Go” soundtrack recording session. Before that, Scheff was a busy Los Angeles session musician, recording with acts like the Association, Bobby Sherman, the Archies, Pat Boone, the Everly Brothers, the Ventures, Bobby Vinton, and Johnny Rivers. Jerry Scheff and James Burton played on an album session together in 1968. The following year, Burton approached him about joining a new band he was putting together for Elvis. Jerry Scheff was a TCB member until 1973, taking some time off after the “Aloha From Hawaii” TV special to fish, garden, and work on his health. He rejoined Elvis in 1975, and stayed until the end. After that, he kept busy with session work backing singers like Neil Diamond, Barbra Streisand, Linda Ronstadt, Jim Neighbors, Tanya Tucker and Dionne Warwick. In the early eighties, Jerry Scheff joined James Burton to work for John Denver. Scheff played bass in Denver’s band on-and-off for the next dozen years.

Pounding out the ivories on the piano will be Glen D. Hardin, a TCB member from 1970 to 1976. He also wrote the arrangements for many of the songs Elvis performed in concerts. Prior to his time with Elvis, Hardin was an in-demand session player working with artists like Merle Haggard, George Jones, the Everly Brothers, and Ricky Nelson. Hardin recorded and performed with the post-Buddy Holly Crickets. During breaks in Elvis’ schedule, Hardin served as keyboard player for Jonathon Edwards. After Elvis’ death, Hardin performed in traveling bands for Emmylou Harris and John Denver.

Providing the rhythm behind these bandmates will be drummer Ronnie Tutt. At the TCB Band concert in Memphis two years ago, Tutt looked great, obviously recovered from the heart bypass surgery he underwent in 1999. After his seven years in the TCB Band, Ronnie Tutt backed Neil Diamond on tour for almost 20 years and recorded or performed with dozens of rock and country acts, including Gram Parsons, Emmylou Harris, Billy Joel, Johnny Cash, and Elvis Costello.

With a group of musicians this talented, Darwin Lamm has to come up with an equally great singer, and he has. Terry Mike Jeffrey is a renowned performer who has taken his show all over the United States and numerous foreign countries during the past twenty years. His repertoire of songs is huge, but he specializes in Elvis material. In fact, Jeffrey has released three albums of Elvis songs. Unlike Elvis tribute artists, Terry Mike Jeffrey performs without the jumpsuits, black hair and sideburns, and he makes no attempt to sound just like Elvis. But, he can do a bang-up job singing the songs.

As we go to press, negotiations are underway with several other performers, all with Elvis connections, to compliment the lineup. One thing for sure, “The TCB Band Salute” will be a historic event you won’t want to miss.

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THE NEARLY FORGOTTEN ORIGINAL SONGS .......... By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 05:00 PM EST

From: Elvis International, The Magazine -- 69th Birthday Tribute, Junuary, 2004

Elvis' first commercial recording session at Sun Recoerds, on July 5 1954, produced three songs. That's All Right (Mama) started a musical revolution. What's the story on the other two songs?

We’ve all heard the tale many times. Elvis and Scotty and Bill were playing a few songs that first night, but nothing really clicked. Then, Elvis started cutting up with That’s All Right (Mama), a blues song released eight years earlier by Arthur (Big Boy) Crudup. Scotty and Bill joined in, and in no time the three musicians were cookin’.

Then, Sam Phillips rushed out of the control room and asked Elvis what he was doing. Sam told them to do it again, this time with the tape player going. A short time later, Elvis had the song for his first 45 RPM release in the can, and the rest is history.

So what were the two songs they did before catching magic in a bottle?

Harbor Lights was the first song put on tape, and Sam Phillips was not happy with it. Elvis’ voice was high and thin, as though the song should have been played at a lower key. The instrumentation is sparse and at a surprisingly low volume. Even Elvis’ chorus of whistling in the middle did nothing to enhance this generally weak ballad.

Sam Phillips filed the tape away as nothing more than a warm-up effort, where the boys got used to working together. When RCA bought Elvis’ contract and his entire Sun catalogue of 19 songs, they apparently saw little value in Harbor Lights. It remained unreleased for the next twenty years.

Even when RCA released “The Sun Sessions” in 1975, Harbor Lights was still in bad favor and was not included. The producers correctly assessed it would distract from the cohesive Rockabilly sound of the rest of the Sun songs. “The Sun Sessions” album was compiled to present a top quality package, so Harbor Lights would have to wait for use as a curiosity item.

And curiosities were exactly what RCA featured in the 1976 double LP, “Elvis – A Legendary Performer, Volume 2.” Even back then, record producers realized the strength of the public’s demand for never-before-heard Elvis songs. This album contained a little bit of everything: an alternate version of I Want You, I Need You, I Love You, in which Elvis reversed the lyrics; unreleased live versions of Blue Suede Shoes and Baby What You Want Me To Do from the “68’ Comeback Special”; an alternate version of Blue Hawaii from the “Aloha from Hawaii” TV special; in addition to the nearly forgotten song from that first Sun recording session.

Harbor Lights was also selected for the six-record boxed set, “A Golden Celebration.” Released in 1984, to commemorate the fiftieth anniversary of Elvis’ birth, this album also tapped into the deep vein of fan yearning for something different in Elvis songs. It contained outtakes from the Sun sessions, as well as songs from “The Dorsey Brothers Stage Show”, “The Milton Berle Show”, “The Ed Sullivan Show”, and the ever-popular “Mississippi-Alabama Fair and Dairy Show.”

Harbor Lights also appeared on the four-disk “The Complete Sun Sessions” in 1987 and the five-disc “Elvis, The Complete 50’s Masters” in 1992. It has probably been on several other CD’s since then, but it’s been hard to keep up with everything that’s coming out these days.

Its not surprising Elvis chose this song. It had previously been a popular number for Guy Lombardo, Bing Crosby, and Ray Anthony. The Platters had a top-ten hit with Harbor Lights in 1960.

The second song recorded on July 5, 1954, was I Love You Because, previously released by Ernest Tubb, Gene Autry, Eddie Fisher, and Patti Page. Although Elvis and the boys improved with their second effort, Sam Phillips wasn’t crazy about this song, either. There still wasn’t any spark in Elvis’ voice, and more whistling certainly didn’t help. At least he instrumentation was better, indicating the three musicians were starting to get comfortable with each other.

Sam had five takes, but he deemed none to be worthy of commercial release. However, when Elvis’ fame skyrocketed, RCA saw it differently. In early 1956, they created a hybrid version using splices of takes #3 and 5 from the Sun tapes and included it in Elvis’ first album, “Elvis Presley.” Later that year, RCA put I Love You Because on the flip side of a 45 record featuring another previously unreleased Sun recording, Trying To get To You.

A different version of I Love You Because showed up in 1974 on “Elvis – A Legendary Performer, Volume I.” This time it was take 2. Both the spliced version (now called the ‘master’) and take 2 appeared on “The Sun Sessions” in 1975. This album was re-released on CD in 1999 and is now considered a must for serious collectors of Elvis music. VH1 named “The Sun Sessions” number 20 in their ranking of the Top 100 Rock & Roll Albums Of All Time.

The most dedicated Elvis collectors were enticed by 1987’s four-disc set, “The Complete Sun Sessions,” which must contain every single minute of tape Sam Phillips recorded when Elvis was singing. It has outtakes galore and a numbing quantity of alternate versions, including all five takes of I Love You Because. If that sounds like overkill, the album contains seven alternate takes of I’m Left, You’re Right, She’s Gone.

When Elvis went home the night of July 5, 1954, he must have been excited about the prospects for his first single release. He and Scotty and Bill were back the next night, and they clicked again on Blue Moon of Kentucky.

On July 19, Sun Records released Elvis Presley’s first record, That’s All Right (Mama) with Blue Moon of Kentucky on the flip side. The world was never the same since.

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HOW MANY MUSIC HALLS OF FAME CAN ONE MAN BE IN?..................................................by Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 04:45 PM EST

From: Elvis international, The Magazine -- 69th Birthday Tribute, January 2004

Much heartfelt praise of Sam Phillips has been given in other sections of this journal. His huge contribution to American popular music has been deeply chronicled and generously applauded.

All this achievement has also been recognized by four different music halls of fame. Sam Phillips is comfortably enshrined in The Rock and Roll Hall of Fame, The Blues Hall of Fame, The Rockabilly Hall of Fame, and The Country Music Hall of Fame. It is safe to say this achievement is something few other people have any chance of equaling.

The Rock and Roll Hall of Fame recognized Sam Phillips first. Back in 1986, when the charter members were enshrined, Sam Phillips was one of two inductees in the Non-Performer category. As the Hall’s web-site states, “Sun Records produced more rock and roll records than any other label of its time. They included songs that served as the foundation for rock and roll.”

The other charter member in the Non-Performer category was Alan Freed, the legendary disc jockey who is credited with bringing the phrase Rock and Roll into popular use. Over the years, this category has added more legends like Dick Clark, Phil Spector, and Jerry Lieber and Mike Stoller, who wrote “Hound Dog”, “Jailhouse Rock”, and eighteen other songs Elvis recorded.

Not only was Sam honored as a charter member of the Rock and Roll Hall of fame, so were two of his famous protégés. Elvis Presley and Jerry Lee Lewis were in the elite class of only ten performers selected. The next year, two more Sun Records performers, Carl Perkins and Roy Orbison, joined the group. The circle was completed in 1992 when Johnny Cash became the fifth performer who started with Sam Phillips to join him in the Rock & Roll Hall of Fame.

These five singers who joined Sam in the Rock Hall are with him as well in the Rockabilly Hall of Fame. This is not surprising, because this hall has over 5000 members, all of which were inducted in 1997. The list includes many other Sun Records performers, most notably Charlie Rich, Billy Lee Riley, Charlie Feathers, and Rosco Gordon. Even if the Rockabilly Hall of Fame had a much more exclusive membership, it is safe to say that Sam Phillips and these nine singers would all be included.

The Rockabilly Hall of Fame’s web-site pays special tribute to the sound that Sam Phillips’ recordings produced. “Sun records were often imbued with a “slapback echo,” created by a small tape delay when the signal was bounced between machines. Whether on sessions principally overseen by Phillips or others, Sun studio personnel were good at positioning instruments so that an especially crisp sound merged. The resulting 'Sun Sound' was recognizable enough that many collectors automatically respect and purchase almost anything on the label.”

In 1998, Sam was selected for membership in the Blues Hall of Fame, again in the “Non-Performer” category. This time, he was preceded by several of the blues greats who got their start with him at the Memphis Recording Service, the precursor of Sun Records: BB King, Walter Horton, Howlin’ Wolf, and Little Milton. A few years later, Rufus Thomas and Junior Parker, two other artists Sam successfully produced, joined him and the other performers. It is interesting to note that two of these bluesmen also made the Rock and Roll Hall of Fame: B.B. King as a performer, and Howlin’ Wolf as an early Influence.

The Blues Hall of Fame recognized Sam Phillips’ contributions to blues music with this praise on their web-site: “Before Elvis Presley ever walked through the door…, Sam Phillips’ place in history was already assured, thanks to the hundreds of powerful blues recordings he produced in the early 50’s. It is for that body of work, some of the best most classic blues recordings of all time, that he is now being inducted into the Blues Hall of Fame.”

Sam Phillips’ most recent recognition was given By The Country Music Hall of Fame. In 2001, barely two years before his passing, Sam was enshrined. It makes you wonder what took them so long, when you read a quote like this from their web-site, “Just as the music his artists created still inspires new generations of performers and fans in country music and other genres, Sam Phillips stands as one of American music’s most singular figures.”

Two of Sam’s protégés proceeded him into the Country Music Hall of Fame. Johnny Cash was in the class of 1980, and Elvis was inducted in 1998.

So, there it is - Sam Phillips is in four different music halls of fame. He was the producer for seven performers who made The Rock and Roll Hall of Fame, six who made the Blues Hall of Fame, two who made the Country Music Hall of Fame, and nine genuine legends in the Rockabilly Hall of Fame.

It’s very easy to agree with the assessment that Sam Phillips was one of the most influential figures in the history of American music.

What The Halls of Fame Web-sites Have to Say

About Sam Phillips

Rock and Roll Hall of Fame:

“Phillips not only recorded the varied streams that flowed throughout the South in the Fifties - from blues to country and gospel music - but was convinced he could bring them together in on irresistible package.

Phillips launched Sun records on its 16-year, 226 single run. These 45’s with the familiar Sun logo amount to a treasure of music whose greatest moments mark the spot where rock and roll originated and thrived in all its frantic, wild-eyed abandon.”

Rockabilly Hall of Fame:

“Sam Phillips is not just one of the most important producers in rock history. There’s a good argument to be made that he is also one of the most important figures in 20^th-century American culture.”

Blues Hall of Fame:

“Sam Phillips was often greeted crudely by the citizens of Memphis who couldn’t understand the traffic of black musicians in and out of his recording studio. Back in the early days… blues legends-in-the making such as Howlin’ Wolf, B.B. King, Little Milton, Rufus Thomas and dozens more were making regular trips to 706 Union Ave.”

Country Music Hall of Fame:

“By helping to ignite the rockabilly explosion of the 1950’s, Sam Phillips dramatically shaped the history of country music. Phillips encouraged artists not to polish their work but to rely on their own natural energy and straight-ahead, unfettered performances.”

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HARRIS POLL FINDS LOTS OF ELVIS FANS OUT THERE ...................................................By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 04:30 PM EST

From: Elvis International, The Magazine -- 26th Anniversary Issue, August 2003

It seems everyone gets more interested in Elvis around August 16^th each year. This phenomenon was certainly most pronounced in 2002 as we approached the 25^th anniversary of Elvis’ passing. Even the highly respected Harris Poll felt compelled to see how the American population as a whole feel about Elvis.

It’s pleasing to note that 34% of the 209 million adults over eighteen consider themselves Elvis fans. While that may be expected, the big surprise has to be Harris’ finding that 23% of young adults (18 to 23) are Elvis fans. So, it looks like our nation’s fascination with Elvis won’t run out of steam any time soon.

Here’s an incredible statistic: One in ten Americans have visited Graceland. Wow, that’s a lot of people. No wonder the lines are so long, and the prices keep going up.

Do you think there are an awful lot of Elvis impersonators out there? There must be, because according to Harris nearly 72 million folks have seen one. Think about it, 34% of the population has seen a tribute performer, compared to just 5% who saw the real deal live in concert.

The poll also revealed that tribute artists might want to reconsider which Elvis they impersonate. They may prefer to go on stage in jumpsuits, but the public has a different taste. Only 9% preferred the 70’s Elvis, compared with 48% for the 60’s Elvis, and 42% for the 50’s Elvis.

Elvis’ movies often get a lot of bad press, but they still have appeal. 70% of the people polled said they had watched an Elvis movie. That obviously is heavily weighted to TV and video viewing, because an Elvis movie hasn’t been shown in theaters for almost 35 years. Too bad Harris didn’t do a question about how many total viewings we crazies have done over the years. How many Elvis movies did you watch last August?

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ELVIS ALMANAC.................................By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 04:00 PM EST

From: Elvis International, The Magazine -- 26th Anniversary Issue, August 2003

A Flashback of Memorable Elvis International Issues

“ELVIS”, a.k.a. The ’68 Comeback Special

“Elvis International” featured The ’68 Comeback Special in our first year, and again ten years later in the Winter 1998 issue. In the more recent coverage, Donna Deen personalized this turning point in Elvis’s career by describing some of her own feelings as she watched the show.

“… Elvis was in the prime of his professional and personal life, singing with an urgency and rawness that couldn’t help but reach out and grab me. In the ’68 Comeback Special, Elvis looked a bit dangerous, maybe a little too good-looking, and he dripped with attitude – not one of arrogance, necessarily, but certainly one that shouted, ‘so don’t you mess around with me.’ There were precious moments, though, when his vulnerability, humor and sheer love of performing shined through loud and clear.”

Later in the article, Donna pointed out some of the special moments during the live set where Elvis wore that famous black leather outfit. “Remember the fan with the ELVIS button on her dress who sat ringside and gave Elvis a hanky to wipe his sweat? Or the lady who carefully placed a piece of lint from Elvis’ face in her purse after Charlie Hodge presented it to her?”

Two other features on the ’68 Comeback Special round out the coverage in the Winter 1998 Elvis International, one of our most popular issues ever. Fortunately, good quantities of this back issue are available for those wishing to read more.

ELVIS! “You’re In The Army Now!”

In the fall of 1995, “Elvis International” found a unique way to feature The Army Years. We reprinted the entire Associated Press article describing Elvis’ first day of military processing, including all 13 accompanying photographs. The 37 year-old flashback began:

“ARKANSAS, (AP) Fort Chaffee, Tuesday, March 25, 1958 Elvis Presley arrived at Fort Chaffee, Monday night wearing a gray plaid jacket and black and pink socks. 21 other recruits from Memphis accompanied the rock ‘n roll star.”

The article goes on to describe in minute detail all sorts of interesting tidbits, such as what Elvis ate for breakfast (eggs, toast, and cereal), and what he washed it down with (milk, not coffee).

Perhaps not so surprisingly, the AP writer got long-winded when describing Elvis’ Army haircut.

“The sideburns went first, next the back and then the top. Elvis shortly had a regulation haircut, one inch long, high in the front, tapering in the back and no sideburns. Presley smiled for photographers as the haircut progressed. He blew locks of the hair off the palm of his hand for the benefit of the cameras. Before the hair could be dumped in the trash, several photographers and Chaffee soldiers scooped it off the floor.”

The Fall 1995 issue of “Elvis International” is full of additional Elvis Army photographs. For those fans who would like to read more about this significant period, there are a limited number of back issues available.

NIGHTMARE IN MEMPHIS -- August 16, 1977

The 20th anniversary of Elvis’ untimely death came during the tenth year of “Elvis International.” Of course, a tribute issue was in order, but how do you present such a heart-wrenching story?

The answer was to share the poignant memories of a true fan who actually went to Elvis’ viewing in Graceland. Judy Kuniba heard on the Today Show that the Presley family had decided to allow fans to view Elvis one last time, and she knew she had to go to Memphis – immediately.

Her fascinating story touches the emotions on several levels, as shown in the following paragraph: “As I walked through the door into Graceland, I felt dazed and unsure of my senses. Images of a crystal chandelier and mirror seemed to hurl themselves at me. Everything seemed to reflect red, and I was conscious of people in adjoining rooms and children on the steps. Then, I saw HIM and nothing else. He was all in white with a light blue shirt, and my first thought was that he looked like a real Southern gentlemen, the master of this fine old home. Then, he suddenly reminded me of Vernon Presley as he had never done before, something in the set of his jaw and expression. His hair was very black, which accented the paleness of his face. He seemed to be sleeping. It was so unreal to me.”

Very heavy stuff, Judy. Very moving for all of the readers of the Summer 1997 issue of “Elvis International.” Limited quantities of back issues available.

The Las Vegas Years

Our very first issue in 1988 featured the Las Vegas years, and we have come back to this wonderful subject many times. Especially in one of the best Elvis International issues ever: Spring 1996.

Although thousands of people saw Elvis perform in Las Vegas, not very many got invited to the after-show parties at his suite atop the International Hotel. Well, two of the lucky fans who did told their remarkable stories in this same issue.

Luck really had nothing to do with it. Commitment to a dream, and determination to carry it out, were far more responsible for the success of Kathie (Kitten) Spehar and Robin Rosaaen. One year, Kathie went to both Elvis shows every night for two weeks. Robin logged in an impressive total of 72 Elvis performances in Las Vegas and California.

Kathie had the thrill of being invited to Elvis’ suite a few times, and she chose to write about her experience helping a good friend get invited for the first time. It took four days of serious effort to pull it off. Kathie kept after Red West with three phone calls and one visit in the lobby, before success was achieved.

Here are Kathie’s words as Elvis walked into that party. “All of a sudden, we heard Elvis’ voice and he came into the living room area and he looked absolutely gorgeous! Tight black pants, a blue print shirt with the collar up in back, black boots, black and silver belt, everything about him was perfect!”

When Robin saw her first Elvis concert in 1970, it started what she called “a six and a half year affair of the heart with the King of Rock ‘n Roll. With each new concert attendance, I became a little more educated in methods of obtaining closer proximity to the object of my desire.”

Once she became a front row regular, Robin came up with a unique idea to get Elvis’ attention. “I worked for European Health Spa. One of our promotions at the time included a slogan which read “I Want Your Body.” I had numerous opportunities to offer buttons, T-shirts, etc. to Elvis with this suggestive phrase written prominently upon them. In turn, I was rewarded with scarves and kisses, until one evening in February of 1974 …" You’ll have to read the Spring, 1996 issue to find out what happened, and fortunately there are fair supplies of back copies available.

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ELVIS PERFORMERS UNITE FOR 25TH ANNIVERSARY ................................. By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 03:44 PM EST

From: Elvis International, The Magazine -- 68th Birthday Issue, January 2003

When It Comes To Elvis Week concerts, Nobody Can Assemble Musical Friends of Elvis Like Publisher And Concert Promoter Darwin Lamm

The man at the head of this fine magazine is too modest to toot his own horn, so I will do it for him. It’s hard to imagine the 25^th Anniversary celebration in Memphis without the concerts presented by Darwin Lamm – and the incredible list of people from Elvis’ past Darwin gathered together at these events. Elvis International, The Magazine sponsored three major concerts on August 13, 14, and 17, 2002.

THE LEGENDS

First up was “The Legends” concert featuring Scotty Moore and DJ Fontana, and The Jordanaires. The fans packed the grand ballroom of the downtown Peabody Hotel, and they were treated to a night of outstanding music. You could feel the love and admiration of the crowd for these two pioneers of Rock ‘n Roll. DJ has played drums behind dozens of notable singers in Nashville for decades, but Scotty once went for 28 years without performing on stage. Fortunately, Darwin was able to coax him to play at this big event. Those familiar, classic guitar licks didn’t sound one bit rusty. Scotty was back in the groove.

Of course, it takes more than two musicians to make a band, so Darwin also presented a talented group of men who played on various Elvis recording sessions in the 50’s, 60’s, and the 70’s. On bass was Bob Moore, who played on 28 of Elvis’ sessions following the departure of Bill Black in 1958. Bob also wrote the theme song for the hit TV show “My Three Sons.” On keyboards was David Briggs, who played at eight of Elvis’ recording sessions and several live concerts. Second drummer duties were handled admirably by Buddy Harman, a studio musician who performed on nine Elvis movie soundtracks. Buddy’s career also included drum work with the Everly Brothers and the Johhny Burnrtte Trio.

Special guest treatment at the “Legends” concert was afforded to the only man ever to perform a saxophone solo on an Elvis hit – Boots Randolph. Boots, a hit maker in his own right, performed on twenty-one Elvis recording sessions in Nashville.

Of course, all these great musicians couldn’t put on a concert without somebody singing, and here Darwin scored big. The evening started with Lee Rocker, former bass player for the rockabilly band “The Stray Cats.” Lee pounded on a big old upright bass and did a great job on the vocals of almost every song Elvis recorded at Sun records. It was a great start for a long evening of favorite old songs.

Next up was Billy Swan, another rockabilly singer of note. Billy blended well with Scotty Moore, playing rhythm guitar the entire evening, but he shined when he took the mike to sing many Elvis songs from the 60’s. Billy had a hit in 1974 called “Let Me Help,” which Elvis later recorded. Billy also wrote the Clyde McPhatter hit “Lover Please” when he was just 16 years old.

During Billy Swan’s set, back-up singers of the first order were added. The Jordinaires treated the fans to their beloved harmonies on several songs that just wouldn’t seem the same without them. Fan favorite, Gordon Stoker, has been with the group since it first recorded with Elvis in 1956, and Ray Walker has been on-board since 1958. Joining the Jordinaires, as she did many times in the past, was Millie Kirkham. Millie sang back-up on Elvis recordings and in live performances for fifteen years starting in 1957.

Next up as lead singer was Stan Perkins, son of the legendary performer Carl Perkins, and a heck of a talent in his own right. Carl had been a regular fixture at the Good Rockin’ Tonight concerts Darwin Lamm presented at past Elvis Weeks, and Stan should be welcome at any future shows. His far-too-short set included three of his dad’s hits, and he really had the crowd hopping. Of special interest was his performance of a song containing only the names of Elvis songs as lyrics.

Believe it or not, there was even more talent to come. The final set gave the audience a taste of the next night’s main attraction, Eddie Miles. Eddie is without a doubt one of the very best Elvis tribute artists, and he did a few of the King’s hits from the 70’s to end the show.

SALUTE TO ELVIS

The fans walked away from “The Legends” happily extolling it as on of the most fun concerts they had ever attended. Many of these same folks were back in the audience at the Peabody the next night for Darwin second spectacular concert, “Salute To Elvis.”

This time, Eddie Miles headlined and proved why he has such a national following. All tribute artists have the costumes and the hair, and they sound like Elvis. But no one looks more like the King than Eddie Miles. More than that, he has a smile that connects with the audience. You just want to like this guy.

Backed by his own band, Eddie turned in superb performances on dozens of songs, especially those from the jump-suit years. However, Darwin gave the audience more, adding many additional faces to the normal Eddie Miles road show.

MC duties were handled for the second night in a row by Red Robinson, generally regarded as the first Canadian disc jockey to play Elvis recordings on the air. Robinson’s famous interview of Elvis on August 31, 1957 in Vancouver, BC is included in his narration of his concept album “Elvis – A Canadian Tribute,” featuring songs written by Canadian composers.

For most of the night, Eddie Miles also had the benefit of background singers with strong Elvis connections. Ed Enoch and The Golden Covenant, former members of JD Sumner and The Stamps, did a great job on many of the songs they helped Elvis record from 1972 to 1977 JD was missed, but Ed and the boys carried on in the Stamps tradition and added much to the feel of a live Elvis concert.

So too did Myrna Smith, another veteran of the 70’s touring years. Along with two other fine ladies, she provided the familiar female backing sound so generic to the ‘Vegas’ sound of Elvis’ later music.

The band and singers took short breaks when Darwin brought out two old Elvis buddies. Joe Esposito almost needed no introduction for Elvis fans, but he got one anyway: Army buddy, road manager, best man, and dear friend. He certainly is one of the fan’s favorites. Joe can go on for hours with Elvis stories, but time was short.

The other old buddy, Charlie Hodge, talked about Elvis, and he also sang harmony with Eddie Miles on two songs. Charlie is famous for handing Elvis his water and scarves on stage, but he did much more than that. Charlie was a guitarist and singer who recorded two duets with Elvis and complemented his vocals on stage. Charlie became an Elvis buddy in 1956, served with him in the Army in Germany, and lived at Graceland for seventeen years, supervising many musical and personal aspects of Elvis’ life.

When Eddie Miles sang the last song, the audience knew they had indeed seen a fitting 25^th Anniversary Tribute concert. Darwin Lamm had presented a second night of great Elvis music -- but more was to come.

THE 25^TH ANNIVERSARY FAREWELL TRIBUTE

The fans had to wait three nights for the third and last of the Elvis International trilogy. After a fitting pause in deference to the midnight vigil on Thursday night and the huge 25^th Anniversary presentation of “Elvis - The Concert” on Friday, August 16^th, Darwin blew it out the following night. For the fans still in Memphis on Saturday night, August 17th, this was indeed the “Farewell Tribute Concert.”

The grand ballroom of the Peabody Hotel was crammed with wall-to-wall people, all anticipating a bang-up performance by the famous TCB band. They certainly were not disappointed. All four men were at the top of their game.

James Burton of course anchored the group as lead guitar player. James was inducted into the Rock & Roll Hall of Fame in 2001, joining Scotty Moore as the second Elvis Presley guitar player to be honored in the relatively new Sideman category. He was a member of the Louisiana Hayride house band in the mid-fifties and was requited for Ricky Nelson’s band in 1958. For the next eight years James recorded and performed with Nelson, including appearances in all the closing musical segments of the Ozzie and Harriet TV show. When Elvis asked James to form a new band, he professed watching the show every week to see him play. James organized the TCB band and toured and recorded with Elvis from 1969 to 1977.

Playing bass was Jerry Scheff, another original member of the TCB Band. Jerry’s association with Elvis goes back to 1966 when he played on the “Easy Come, Easy Go” soundtrack recording session. During the concert Jerry related a number of charming Elvis stories to the fans. We learned how he composed the song “The Fire Down Below” about Elvis’ determination to conquer his problems and get back to good health. Jerry is convinced to this day that Elvis was going to do it, but the tragedy of August 16, 1977 came first. Elvis had planned to record the song, but never got the chance.

Pounding out the ivories on the piano was Glen D. Hardin, a TCB member from 1970 on. Prior to his time with Elvis, Glen performed with the post-Buddy Holly Crickets, and subsequently performed in Emmylou Harris’ traveling band.

Providing the rhythm behind these bandmates was drummer Ronnie Tutt. Ronnie looked great, obviously recovered from the heart bypass surgery he underwent in 1999. After his seven years in the TCB Band, Ronnie backed Neil Diamond on tour for almost 20 years and recorded or performed with dozens of rock and country acts.

With a group of musicians this talented, Darwin had to come up with an equally great singer, and he did. Terry Mike Jeffrey is a renowned performer who has taken his show all over the country and numerous foreign countries during the past twenty years. His repertoire of songs is huge, but he specializes in Elvis material. In fact, Terry Mike has released three albums of Elvis songs.

Unlike Elvis tribute artists, Terry Mike performs without the jumpsuits, black hair and sideburns, and he makes no attempt to sound just like Elvis. But he can do a bang-up job singing the songs.

The show opened with the Terry Mike Jeffrey Band, including his wife and son. One notable substitution was DJ Fontana on drums for the first few songs. When DJ left to catch a plane, he got a rousing send-off from the appreciating crowd.

A short time late, Red Robinson introduced the TCB Band, and things got hot. Terry Mike handled the singing duties alone for while, but soon a cast of Elvis friends joined the action. Charlie Hodge was back to sing a few duets and tell stories..

Fan favorite Joe Esposito enlivened the proceedings on stage for a while, and there were two especially poignant moments. After being too ill to appear at the earlier shows, Sam Phillips came out this night to thunderous applause. Sam looked great in a spiffy white suit, and he delivered inspiring, but all too short remarks.

Darwin came up with something of a surprise for the audience with guest singer John Wilkinson. Best known as the TCB rhythm guitar player, John and James Burton were the only two musicians in every one of the bands performances with Elvis. Before that, John enjoyed a solo singing career and occasional fill-in duty with the Kingston Trio on tour. When Elvis turned the stage spotlight over to his bandmates, he had John sing the hit “Early Morning Rain.” In 1989 John suffered a severe stroke, ending his guitar playing days. But he did a great job singing at the Farewell Tribute concert.

To end the evening Darwin called on the legendary Al Dorvin to proclaim his famous words, "Elvis has left the building.” As the fans left the building, they knew they had witnessed an historic concert. If they had attended all three of Darwin Lamm’s productions, they had to be impressed with the wealth of talent he had assembled. It is doubtful that as many musical friends of Elvis will ever be together again, but if anybody can do it, Darwin will.

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THE ELVIS STAMP REVISITED ...... By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 03:30 PM EST

From: Elvis International, The Magazine -- 68th Birthday Issue, January 2003

Can you believe it’s been ten years since the Elvis stamp came out? You and I and every other Elvis fan bought 124 million of them, making it the biggest seller in US history.

Of course, we put most of our Elvis stamps away as collectibles. A short time later, the Postal Service threw us a curve by reissuing the stamp as part of their Rock 'n‘ Roll Pioneers series. It had the same picture, but used the full name, Elvis Presley, and you had to purchase them as part of a set with eight other early rockers.

I bought the sets, separated out the Elvis stamps, and used Clyde McPhatter, Buddy Holly and the rest to mail envelopes. I probably should have saved the sets, but at least I saved the second Elvis stamps. They’re the ones that are going to be rare and valuable down the road.

Do you remember the Postal Service’s contest to decide which Elvis picture to use on the stamp -- the 'young Elvis' from his early Memphis days or the 'old Elvis' from his Las Vegas days? I voted for the young Elvis seven times. A total of 1.2 million votes were cast nationally.

Voting was easy. You simply went down to the post office and asked for ballots. They were self-addressed postcards showing the two competing drawings, with boxes to check for your choice. I got ten ballots and kept three as collectibles.

Yes, I admit it. I'm an Elvis collector, but I'm not compulsive about it. I showed my restraint when a catalog from Graceland came in the mail shortly after the stamps were issued. It contained 28 items featuring the Elvis stamp picture, but the only things I bought were the baseball cap, the T-shirt, the refrigerator magnet, and the beach towel. The Elvis stamp watch doesn't count, because my wife gave it to me for Christmas later that year.

Back when the Elvis stamps first came out, I bought lots of other related stuff, too. The Postal Service got surprisingly creative and offered a full-color commemorative book in the exact size and shape of an old vinyl LP album cover. Naturally, I had to have that.

I also put in an order with one of those mail-order stamp collectors societies to get five special envelopes, postmarked in Memphis on the first day of issue, January 8, 1993. In addition to the stamp, each envelope had a different full-color drawing of Elvis on it, and the postmarks were in the design of the grillwork of the iron gates at Graceland. Someday, I hope to trade one or two of these envelopes for some equally cool Elvis goodie.

That special purchase put me on the permanent mailing list of the mail-order stamp company, and since then many catalogs have come in, all containing new Elvis stamps. One had a choice of Elvis stamps from eight foreign countries. Big stamps. Expensive ones. Even a nifty set of nine different poses, connected together to make a sheet. Yes, I had to get that.

For years, each catalog from that mail-order company contained different, colorful Elvis stamps issued by the Republic of Chad in Africa. I guess the Chad government figured they had a good thing going and decided to keep issuing new ones. Someday you may look up Chad in the encyclopedia and see their main export listed as Elvis stamps.

The most unique offer from Chad was a double stamp. On one side was Elvis holding a guitar; on the other was Bill Clinton holding a saxophone. The caption above the picture of the stamp set said (I'm not making this up), "Elvis and Bubba." That was pretty funny, but I didn't want Bill Clinton's face in my Elvis collection, so I didn’t buy any of these stamps.

However, if the Postal Service would ever consider pairing Elvis with someone else, I have a suggestion. How about an "Elvis and Gladys” stamp, issued as a Mothers Day commemorative. The Postal Service would be hard pressed to find another image that better depicts a son’s love for his mom.

They better hurry, though, or Chad will beat them to it.

Phil Arnold is a free-lance writer and big Elvis fan at e-mail address: philarnold@charter.net

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SAM PHILLIPS ' OTHER NICHE IN ROCK & ROLL HISTORY ........................................... By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 02:30 PM EST

From: Elvis International, The Magazine -- 67th Birthday Issue, January 2002

Sam Phillips may have more claims to fame than most people realize. Of course, everyone knows the legendary story about his discovery of Elvis and those marvelous 45’s they produced together at Sun Records.

However, if there had never been an Elvis, Sam can still take credit for launching the careers of no less than five other rock and country stars: Carl Perkins, Johnny Cash, Jerry Lee Lewis, Roy Orbison, and Charlie Rich. This in itself is a notable achievement.

But, suppose none of these rockabilly cats had ever been drawn to Sun Records. Sam Phillips could still claim to have influenced the early careers of several blues singers who went on to great commercial success with other labels. This group includes B.B. King, Howlin’ Wolf, Junior Parker, Little Milton, Walter Horton, James Cotton, and Rufus Thomas. Sam Phillips gave all of these major bluesmen their first opportunity to record and reach a wider audience.

Yet, if you take away all of these achievements, there is still one more highlight in Sam Phillips’ resume. Many music experts and historians argue he produced the very first rock ‘n roll hit record. Here is the story.

Sam Phillips rented a small Memphis storefront property at 706 Union Street in January 1950. With previous experience as a disc jockey and radio engineer, he had the expertise to start a small studio called the Memphis Recording Service. The company’s slogan was “We Record Anything, Anywhere, Anytime.”

Early income was derived from recording weddings, bar mitzvahs, and other social functions, plus making off-the-air transcriptions for local radio stations. This was supplemented by recording personal records for people walking in off the street. For four dollars they could record two songs. (This specialty continued after the company evolved into Sun Studios two years later and led to the well documented discovery of Elvis.)

From the beginning, Sam Phillips had larger ambitions than recording weddings and amateur singers. His intention was to record the blues and other music he loved, using musicians and singers from Memphis and the nearby Mississippi delta. He is quoted as saying, “I knew, or I felt, that there was a bigger audience for blues than just the black man of the mid-South.”

The recordings Sam Phillips made in his tiny studio were leased to larger out-of-town labels like Modern, Chess, and Duke, who then released and promoted the records. Who knows how long it would have taken BB King, Howlin’ Wolf, and the others to reach success without getting their careers launched this way.

Another young musician hoping to do the same was working as a DJ on radio station WROX in Clarksdale, Mississippi. His name was Ike Turner. Years later he would achieve considerable fame paired with wife Tina, but in 1951 he was an up-and-coming piano player leading a fledgling band called The Kings of Rhythm.

Turner wrote most of the songs for the group, one of which was inspired by the Oldsmobile 88. With its famed Olds Rocket V8 engine, it was considered the fastest American car on the road. Turner titled the song Rocket 88, and he composed lyrics extolling the joys of fast cars, booze and chicks.

Ike Turner and the Kings of Rhythm decided to drive to Memphis and audition the song for Sam Phillips. On the road, however, some of the gear tied to the top of the car fell off, breaking the speaker cone of the guitarist’s amp. Rather than cancel the session, Phillips and the band tinkered around, stuffing a little paper around the cone. They found they liked the distorted guitar sound this produced.

Ike Turner did not have a particularly strong voice, so the singer for the recording session was a young saxophone player named Jackie Brenston. His confidant, powerful sound belied his youth and limited experience. Sam Phillips went on a hunch and over-amplified the distorted guitar sound, Ike Turner pounded away on the piano, and another bandmate provided two scorching tenor sax solos. The finished product was a raucous boogie with a heavy churning beat and unbridled energy.

Sam Phillips shipped the tape of Rocket 88 to Chess Records in Chicago. For some reason he labeled it as performed by Jackie Brenston and his Delta Cats, and Chess released it as such. The song rushed up to the top spot on the R&B charts and stayed there for a month.

After this success, Jackie Brenston signed a contract with Chess Records but had little follow-up success. By 1956 he was back with Ike Turner’s band, playing baritone sax. In 1962, Brenston left the music business, never to return.

Years later, music historians and journalists began to debate what was the first rock ‘n roll record. Sam Phillips was glad to provide the answer: Rocket 88. His vote was given much credibility coming from the man who discovered Elvis Presley. There was much to back up his claim.

Structurally, the song fit the defining characteristic of early rock, which was an 8-to-the bar boogie- rhythm with a heavy backbeat drum accent on the 4^th and 8^th beats.

It also had the sound that defined rock ‘n roll songs in the seminal period of 1955-57. If you listen to Rocket 88 mixed in a sequence of the early hits of Chuck Berry, Little Richard and the Coasters, there is no distinguishing difference. It’s hard to believe Rocket 88 was released five or six years before the others.

Perhaps most important was the song’s crossover appeal to the white audiences. This was rare in 1951, but there was enough of it for Rocket 88 to warrant air play on the earliest “Blasts From The Past” radio broadcasts and inclusion in many of the original “Oldies But Goodies” albums.

Of course, some music pundits dissent and champion other songs as the first rock ‘n roll record. There is no way to prove it one way or another. Although the other candidates had earlier release dates (some going back to1949), none can claim the body of arguments presented for Rocket 88. One thing for sure, none of the others were produced by the man who discovered Elvis Presley. From this writer’s viewpoint, Sam Phillips discovered rock ‘n roll in 1951 and its future King in 1954.

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DOES VH1 HATE ELVIS -- OR ARE THEY JUST STUPID?.......................................... By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 02:00 PM EST

From: Elvis International, The Magazine -- 24th Anniversary Issue, August, 2001

In the 24 years since his passing, Elvis has been immortalized by almost every element of the media. His continuing popularity is lauded, and his substantial lifetime achievements are extolled by almost all writers and pundits of the entertainment world . . . with the exception of those associated with cable network VH1, it would seem.

VH1 has cleverly devised a way to fill many hours of air time. They have panels of so-called experts create lists of the 100 best this-or-that. Then they take a week to reveal each complete list, filling 15 hours of TV time in the process. Hosts like Kevin Bacon and Jeff Bridges offer commentary, and the program shows short film clips covering each entry.

Typically, they countdown from #100 to 81 on a Monday from 10 to 11PM. On Tuesday they repeat these at 9PM, and at 10PM they show #80 to 61. By Friday, the countdown starts at 6PM with #100 and finishes up at 11PM with # 1. Of course, they repeat the whole process many more times over the ensuing weeks and months and years.

Here are the most notable top 100 lists VH1 has already unveiled: “Greatest Artists of Rock ‘N Roll,” “Greatest Albums of Rock ‘N Roll,” “Greatest Songs of Rock ‘N Roll,” and “Greatest Rock ‘N Roll Moments on TV”. Serious fans and students of Elvis have reason to beef about how VH1 treated The King on all four lists. Let’s take a closer look.

The most recent of the lists was “The 100 Greatest Albums of Rock ’N Roll.” How many Elvis albums made it? One! Just one, from the artist who merely had nine #1 albums in his career. By comparison, the Beatles had five on the list, and they were all in the top eleven. The Rolling Stones and Bob Dylan had four each. These are great talents, and probably deserve such recognition. But only one Elvis album? Come on VH1. Get real.

Let’s give them credit for the one selection they did make. It is The Sun Sessions, an absolute must for the music collection of any serious Elvis fan. Although he recorded the songs in 1954 and 1955, RCA did not release them on an LP until 1976. On January 8, 1999, the CD version was released, featuring a different cover and some of those now nearly requisite out-takes.

The Sun Sessions contains all ten songs released on Elvis’ original Sun singles, plus the other six songs recorded at the same sessions. Those six went over to RCA when they bought Elvis’ contract, and five of them appeared on his first RCA album. If any album could be called a time-capsule, The Sun Sessions is it, and we should commend VH1 for placing it number 21 on the list.

However, there can be no excuse for their omitting Elvis’ first album, simply titled Elvis Presley. RCA released it in 1956, and it rode the crest of Elvis hysteria to become the company’s first million-dollar selling album. It contained raw and gritty songs like “Heartbreak Hotel,” “Blue Suede shoes,” and “I Got A Woman.” Elvis Presley quickly shot up the charts and became RCA’s first rock ‘n roll album to reach number one, a position it held with a strangle-hold for ten weeks.

But there is much more to justify the greatness of this album than just impressive statistics. It also had a profound effect on the record buying habits of America’s young people. Before Elvis Presley, teenagers bought 45’s, not long-play albums. Elvis changed this and opened the way for countless rockers to reap millions of album sales to teens. Elvis himself enjoyed three more number one albums in the next two years

Arguments for inclusion in the top 100 list can be made for other worthy Elvis albums, most notably Blue Hawaii. This soundtrack from his most successful movie stayed on the national album charts for over a full year, including an extraordinary twenty weeks at number one. There should have been a place on the VH1 list for Blue Hawaii.

It’s noteworthy VH1 not only ignored the ground-breaking Elvis Presley LP, but also every other album released in the late 50’s, the widely praised ‘golden age of rock ‘n roll.’ One can only guess at their panel members’ prejudices for skipping such classics as Here’s Little Richard and The Buddy Holly Story.

VH1 should be praised, however, for treating the 45 singles of the late fifties with much more respect in the “100 Greatest Songs Of Rock ‘n Roll.” Oviously a different set of experts make these selections. In addition to Elvis, the fifties were represented by Jerry Lee Lewis (“Great Balls of Fire," “Whole Lotta Shakin’ Going On”), Richie Valens (“La Bamba”), Carl Perkins (“Blue Suede Shoes”), Eddie Cochran (“Summertime Blues”), Little Richard (“Good Golly, Miss Molly”), Buddy Holly and The Crickets (“That’ll Be The Day”), Bill Haley (“Rock Around The Clock”), Chuck Berry (“Johnny B. Goode”), and Ray Charles (“What’d I Say”). Great selections all, except one might quibble that “Long Tall Sally” or “Tutti-Fruitti” were even better Little Richard selections.

Elvis placed four songs in the top 100: “Jailhouse Rock” (#18), “Hound Dog” (#31), “All Shook Up” (#68), and “Heartbreak Hotel” (#71). Arguments could be made ad finitum that any or all of these songs deserved a higher rank, but more important is the snub to those songs that missed the list entirely. What about “Are You Lonesome Tonight?”, number one for six weeks, or “Teddy Bear” that held the top position for seven weeks?

Some non-fans of Elvis might counter that there just wasn’t room for every deserving song, but how could VH1 possibly omit “Don’t Be Cruel”? There was simply no bigger rock ‘n roll record in the fifties. It hit number one in August, 1956, and stayed there for an incredible eleven weeks. It even came back years later as hits for Bill Black’s Combo and Cheap Trick. “Don’t Be Cruel” was an absolutely monster hit and deserves a spot in the all-time top twenty, not just the top 100.

Without question, Elvis got his worst treatment in the VH1 polls when they presented their “100 Greatest Artists of Rock ‘N Roll.” This seems like such a no-brainer – Elvis was number one, right? No, according to VH1 he was number eight. Think about it. NUMBER EIGHT! You can only shake your head and wonder how they could do this to someone universally regarded as “The King of Rock ‘N Roll.”

Here’s who they thought was better than Elvis. Number seven was David Bowie, most noted for his gender-bending stage personas in the early 70’s. Yes, he’s had some good hits and notable albums, and he does have the staying power to still be a factor in contemporary music. But it is a joke to consider him in the same breath with Elvis.

Number six was James Brown. James also made unique music for over thirty years, and his stage shows were knockouts. However, his music appealed primarily to a niche audience and did not reach the majority of the rock fans. James Brown is great, but his impact was far less then Elvis’.

Number five was Bob Dylan. Certainly he has few equals as a writer of music and lyrics, and he has been around forever. There has always been a core group of loyal fans for whom Dylan is the best, and some of them must have been VH1 panelists. He would rank highest in the “Greatest Artists Of Folk Music” category, but he just can’t touch Elvis for overall rock & roll greatness.

The number four on the list goes to another act that got its start in the late sixties – Led Zeppelin. It’s an amazing tribute to their greatness that they broke up over 20 years ago, and their music is still hugely poplar today. They were the Rosetta Stone of heavy metal and the inspiration for scores of bands to follow. They fully deserve the number one position they received in VH1’s list of the “Greatest Artist of Hard Rock.” Elvis can’t compete in that category, but he still tops them in the wide world of all rock & roll.

Jimi Hendrix placed number three on the list, and it’s entirely possible he could have given Elvis a run for the title “King of Rock ‘N Roll” if his career had lasted more than four years. He wrote songs that will last forever, and his skill as a guitar player has no equal. He was a trailblazer with his unique musical style, much as Elvis was with his. Sorry, Jimi, your body of work is just too small to rival Elvis.

If you think about it, you can probably guess the artists who occupy the top two spots on the VH1 list: The Rolling Stones and The Beatles. It’s hard to argue against either group because their accomplishments are so great. The Stones came in number two and have certainly the most intriguing story in rock ‘n roll. Considering the life style they led for so long, it’s amazing any of them are still alive, but they’re still rocking after 35 years in the limelight. They easily deserve top awards for the their total volume of quality work and their longevity, but they never had the impact on America’s youth the way Elvis did. While they still generate passive respect for their long career, Elvis generates enthusiastic fan support 23 years after his death. Total it all up, and Elvis ranks higher than the Rolling Stones.

And finally, The Beatles. For seven years before their break-up in 1970, they were the absolute biggest thing in rock & roll. They had fan adoration the equal of Elvis’. They wrote their own songs and played their own instruments. Their music grew and bridged the gap between what is now called “Oldies Rock” and “Classic Rock.” Their records still sell well to this day. Without question, The Beatles were the greatest rock band in history.

Say it again: greatest band. It is that one word, band, which settles the dispute of who is the greatest artist. The Beatles were four artists, and each one had a successful solo career after the band broke up. John Lennon and Paul McCartney both gained admission to the Rock & Roll Hall of Fame for their post-Beatles accomplishments. These four men comprised the greatest band in rock ‘n roll history, but Elvis was the greatest artist.

VH1 treated Elvis fairly well on their list of the “100 Greatest Rock & Roll Moments” on TV: five entries, including two in the top ten. However, it is fair to argue the Elvis Aloha From Hawaii TV special should have placed much higher than number 92. After all, NBC beamed it by satellite to over one billion people in forty countries. This technological feat occurred in 1973, and it was a quantum leap in the history of television broadcasting. In the United States, 92 percent of all people watching TV that night tuned to Elvis Aloha From Hawaii. This special was big, historically significant, and hugely successful. It deserves to be in the top 20 on the list.

VH1 gave number 75 to another TV special. It was Welcome Home Elvis, which appeared in 1960 after Elvis returned home from the Army. Despite the title, this was really the fourth in a series of specials hosted by Frank Sinatra, and most of the airtime was filled with Frank, his friends Sammy Davis Jr., Peter Lawford, Joey Bishop, and his daughter Nancy. Elvis had barely six minutes of air time. VH1 was probably generous to place Welcome Home Elvis number 75.

Elvis’ most famous television special ranked number two on the list of Greatest Rock ‘n Roll Moments on TV. It appeared on December 3, 1968, and was simply titled Elvis, but it is now generally known as the ’68 Comeback Special. Certainly, no other TV moment on the list had a more positive effect on the career of the headliner than this one. The special put Elvis back on the map as an exciting, vital singer after seven years of making movies, but not one appearance in front of a live audience. When the TV viewers saw Elvis belting out songs, dripping sweat in that black leather outfit, and driving the girls in the audience to delirium, it was obvious Elvis was back.

It should be noted the number one TV moment went to the Beatles first performance on the Ed Sullivan Show in 1964. This was a very big event, watched by 73 million viewers. Since we argued Elvis deserved the greatest artist title over The Beatles, it seems fair to not quibble about them getting the number one TV moment title.

Elvis’ other two TV appearances that made the VH1 list were both from 1956. For some reason, they gave a tie for number 50 to Elvis and Jerry Lee Lewis for their unrelated appearances on the Steve Allen Show. Jerry Lee’s lyrics on “Whole Lotta Shakin’ Going On” caused much controversy in those simpler, purer times, as did Elvis’ wild gyrations. This is why Steve Allen chose to make Elvis wear a tuxedo and sing “Hound Dog” to an actual hound dog.

Elvis’ moves were something Ed Sullivan also wanted to de-emphasize when Elvis appeared on his show, so he had him shot from the waist up. VH1’s panel considered this significant enough to place it number nine on the list. As pleasing as that ranking is, it shows they really don’t have a clue. VH1 totally missed Elvis’ most significant 1956 TV appearance, the one that created such an incredible public uproar, the one that caused both Ed Sullivan and Steve Allen to take measures to clean up Elvis’ act on their shows.

It was the June 5, 1956, Milton Berle Show, the night Elvis introduced “Hound Dog” to America, complete with some of his best hip and leg moves. The resulting uproar was loud and fierce. Preachers denounced Elvis for contributing to juvenile delinquency, and some disc jockeys made grandiose public announcements declaring they would no longer play Elvis songs. Newspaper editorials depicted him as the downfall of the nation's teenagers. And Elvis’ popularity soared. Without question, his appearance on the Milton Berle Show was a far greater TV moment than the two shows that followed. In fact, it probably should rank as the number one on the list.

Sorry, Beatles, it looks like we dropped you to number two, again. Maybe we should also drop something on VH1 to protest their shabby treatment of the King. Better yet, let’s use the 24^th anniversary week as motivation to drop a few thousand e-mail complaints to VH1. Their e-mail address is feedback@vh1.com.

Phil Arnold is a free-lance writer and big Elvis fan. He can be reached at philarnold@charter.net

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THE GUITAR THAT CHANGED THE WORLD ................ By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 01:00 PM EST

From: Elvis International, The Magazine -- Winter 2000 Issue

Scotty Moore's 1964 LP Finds New Life On CD

About ten years ago, I came across an interesting book in the music section of a large bookstore. The title was something like The 100 Worst Record Albums of All Time, which spiked my curiosity as an avid record collector. I flipped through it with mild amusement to see what albums the author had selected, but had quite a jolt when I came upon The Guitar That Changed The World by Scotty Moore.

“Wow,” I thought, “I didn’t know Scotty Moore recorded a solo album of Elvis songs.” Although I was pleased to learn of its existence, it bugged me that some jerk author could write such a bad review about the work of a legendary rock guitarist held in high esteem by Elvis fans. His argument was basically that the original songs were so outstanding nobody should have the audacity to record cover versions.

In an effort to hopefully disprove this slap at Scotty, I contacted a few record-collecting buddies to see if one of them had a copy of the album. One friend in Nebraska did and gladly volunteered to make a cassette copy and mail it to me. I couldn’t wait for it to arrive.

Well, the wait was worth it. The Guitar That Changed The World may have been a bit exuberantly titled, but it contained great music. All twelve songs were from the 1955-56 period, a wonderful tribute to the originals recorded by Elvis and the boys at Sun Records and RCA.

During the first listen or two, I especially liked the up-tempo songs. Now, after repeated listening, the three slow numbers, “Loving You,” “Don’t,” and “Love Me Tender,” all are much more appreciated for their different kind of charm. They are the most successful of the six songs where Scotty directly takes on Elvis’ vocal parts with his guitar.

Scotty holds his ground here well, with a sound reminiscent of Duane Eddy’s more mellow instrumental releases. “Love Me Tender” is an interesting choice for inclusion on the song list, because Scotty did not play guitar on the original hit. All of the songs featured in Elvis’ first movie were recorded with Hollywood studio musicians.

To my ears, it is the rockers where the old Scotty Moore sound really comes through. All his familiar guitar licks from the originals are on them, but he also gets to jam on new solo breakouts.

Part of the credit for the total sound must go to the group of band-mates Scotty assembled for the recording sessions. D. J. Fontana on drums was a natural choice. Also joining them was Boots Randolph on saxophone and famed session-man Jerry Kennedy on guitar. Bob Moore (no relation to Scotty) replicated the fine bass sounds of Bill Black, and Bill Purcell added some piano to the mix. Finally, there was the Jordanaires to add vocal touches and complete the sound.

The album opens with the classic “Hound Dog.” complete with DJ’s trademark machine-gun drum lead-in and the familiar hand-clapping of the original. The Jordanaires and Boots Randolph get to work-out on all the parts where we are used to hearing Elvis’ vocals. Scotty is happy to provide instrumental breaks connecting their verses, and they are great He does four guitar solos, every one is different, and every one is killer.

Speaking of DJ’s drumming, it’s noteworthy that two of the song selections had no drum part on the famed Elvis versions. “That’s All Right” and “Milk Cow Boogie” were originally recorded at Sun Records with just Elvis, Scotty and Bill making all the sound. Bill’s slapping on that stand-up base provided the rhythm back then, but the songs shine with the addition of DJ’s handiwork on drums.

“Milk Cow Boogie” ranks as one of my two favorites on this album. It features a large contribution by Jerry Kennedy on guitar, with a sound completely different than Scotty’s. The interplay between these two wizards is superb.

If I had any complaint about the album, it would be that we don’t get enough of Scotty’s solos. A good example would be “My Baby Left Me,” which starts off great as an instrumental, and then, halfway through, switches to the Jordanaires on vocal lead. However, we do get to hear extended solos by Scotty on the instrumental breaks of “Mystery Train” and “Money Honey,” and he kicks butt with his distinctive guitar style taking over the Elvis vocal part on “Don’t Be Cruel.”

My other choice for best song has to be “Mean Woman Blues,” the last song on the album. Again, the combination of two very different guitars is wonderful, but Scotty takes over for a gritty solo that makes you wish they’d looped it around for two or three more repetitions.

The last few years have seen a huge renaissance for Scotty Moore. In 1997, he published his biography, titled That’s Alright, Elvis. He has recorded with Carl Perkins and teamed up with DJ Fontana and a dozen other recording artists for the acclaimed All The Kings Men CD. Scotty and DJ also thrilled audiences on several European tour dates, including one with the Rolling Stones in Hamburg. Germany. Keith Richards is credited with a wonderful quote about his youth: “Everybody else wanted to be Elvis. I wanted to be Scotty.”

Gibson Guitars has come out with a hot, new guitar named in Scotty’s honor, and autographed by him, selling for thousands of dollars. In 1999, Scotty had an interview in Rolling Stone magazine, the result of his well-deserved induction into the Rock and Roll Hall Of Fame.

In conjunction with this great honor, Scotty’s 35 year old album was re-released on CD. Now every fan of the old Elvis music (and the distinctive guitar sound that propelled it along) can enjoy this long-lost classic. I strongly urge you to add The Guitar That Changed The World to your music library. Don’t worry if you can’t find it at the local record store. You can purchase it on the internet at CDNow.com or Amazon.com for a gentle price of about $12.

If you ever come across a copy of the old vinyl LP, please let me know. I’m still looking for one for my collection. “The Guitar That Changed The World” is absolutely not one of the worst record albums of all time, but it sure is hard to find.

Phil Arnold is a free lance writer and big Elvis fan. He can be reached at philarnold@charter.net.

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THE MUSIC OF BILL BLACK'S COMBO .................... By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 12:30 PM EST

From: Elvis International, The Magazine -- Fall 2000 Issue

Bill Black’s split with Elvis has been widely chronicled. Most sources lament that it was a shame Scotty and Bill were so reluctant to stand up for decent compensation; that it was a too bad Elvis wasn’t more aware of what was going on; that it was unfair the way Colonel was such a power-hungry skinflint with Elvis’ money.

However, at least in Bill Black’s case, the split opened up the door for a very successful personal career. Black last recorded with Elvis in February 1958. On March 24 Elvis reported for two years of Army duty, and the Blue Moon Boys were simply let go.

Black quickly found work outside the music business, but started spending time at the studios of the newly formed Memphis label, Hi Records. He did occasional session work there, usually with an up-and-coming guitarist named Reggie Young.

When Elvis finished basic training in June, 1958, he was rushed to a recording session in Nashville, and RCA used local musicians for the guitar and base parts. It was obvious to Bill Black and Scotty Moore that it was over.

Bill Black found solace in the Hi Records session band he had organized with Reggie Young. A record executive suggested they form a full-fledged recording and touring band, and that was all the encouragement they needed. They recruited a piano player, a drummer, and a saxman to go with their own bass and guitar, and the Bill Black Combo was born.

It was co-owned equally by Black and Young, but they decided to name it after Black because of his name recognition from working with Elvis. However, both men took a back seat to the others when they started recording their first songs. Lead instrumental parts were shared by the sax and piano players, while Black and Young filled in the rhythm.

In late December, 1959, the Bill Black Combo released an instrumental, Smokie (Part 2), and it quickly shot up the charts. Just as it peaked at #17, Reggie Young received his draft notice. Before he left for two years of service, the group recorded their second hit, White Silver Sands. It was on this song that the famous sound of the Bill Black Combo was born.

If you’re familiar with the band’s music, you can recognize this sound immediately. It has been described variously as a gritty, hypnotic groove, a shuffle, and a marvelous display of rhythmic mastery. Here is how it was achieved. According to Young, “I turned my guitar down a few steps, where it was real low, and I played rhythm with a pencil as a pick,” But the real secret was to have Young’s guitar, Black’s base and the drum strike each beat in perfect unison. This took a lot of work to perfect, but it gave the band a trademark sound not duplicated by any other group of note.

White Silver Sands peaked at # 9 on the charts, making it the biggest hit the band would enjoy. In addition to the new beat, the lead instruments changed to saxophone and organ. However, they switched back to piano and sax for the band’s third release later in 1960. It was a remake of the old Fats Domino hit, Hello Josephine, and it made it into the Top Twenty.

Before the year ended, the group hit gold with another remake. It was a somewhat surprising choice: the old Elvis hit, “Don’t Be Cruel.” Three more top twenty hits followed in 1961, and the band even cashed in on the twist craze in 1962 with “Twist-Her.”

Of course, there were LP albums released during these times as well. The first, in late 1959 Was Smokie, named for their first hit. It contained almost all original compositions, many written by Bill Black himself. However, when “White Silver Sands went big three month later, Hi Records dropped two song selections, replaced them with ‘Sands’ and its flip side, and reissued the album under the name “Saxy Jazz.”

This was followed by “Solid and Raunchy,’ which contained nothing but cover versions of previous hits by a dozen stars of the 50’s. The band seemed to like themes for their albums, and in 1961 they did a collection of up-tempo gospel songs in “That Wonderful feeling.”

It was back to remakes of old hits again in 1962 with “Movin’,” and “Record Hop.” The latter contained “Twist-Her, and in early 1963 the album was rereleased withthe new title “Let’s Twist Her” to take advantage of the huge fad the twist was causing.

Subsequent albums covered themes like country music, western music, the blues, Chuck Berry hits, and big band music.

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ELVIS PRESLEY BLUESMAN ..............By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 12:00 PM EST

From: Elvis International, The Magazine -- Summer 2000 Issue

The Time-Life series of Elvis CD's is up to 13 volumes, including one titled Rhythm and Blues. This offering does contain some wonderful Elvis blues numbers, but it easily could have been 100% solid blues.

Elvis recorded lots of fine blues songs, certainly enough to fill a double CD. I already have eighteen of his blues numbers compiled on a cassette tape, personally selected from thirteen different albums.

The project started ten years ago when I purchased a copy of the 1960 LP, Elvis Is Back, at a record show. I had never owned it as a youth, probably because it contained no hits. Although Elvis had big hit singles that year, like “Stuck On You” and “It’s Now Or Never”, none made it to this album for some reason.

To my surprise, three of the last four songs on Elvis Is Back were blues numbers. Not blues-rockers; these were pure blues songs, and they were great. From that moment, I was driven to make a tape titled ‘Elvis Presley - Bluesman.’

Naturally, I started with those three songs: “Reconsider Baby,” “It Feels So Right,” and “Like A Baby.” “Reconsider Baby” was an earlier hit for its composer, Lowell Folson, and has gone on to become a standard, recorded by almost every blues artist sooner or later. The other two songs were written just for Elvis. One of them, “It Feels So Right,” also has some additional pedigree. The 1965 movie, “Tickle Me,” had Elvis ‘singing’ the song, but what we actually heard was the recording from 1960.

Elvis Is Back was the first album he did after returning home from the Army. Maybe he listened to a lot of blues while in Germany and came back itching to record some himself. If so, he was quickly given the chance.

Elvis was rushed into a Nashville recording studio less than two weeks after he arrived home. His old bandmates Scotty and D.J. were teamed up with some heavy duty session men, including Floyd Cramer on piano and Boots Randolf on sax. I never thought of either as a bluesman, but they do great work on these songs. Within two years, both would break through as major solo performers.

To find more good Elvis blues songs, I checked out my collection of albums, starting with the oldest. The first one, Elvis Presley, from 1956, provided “Tryin’ To Get To You.” This is another song with an interesting history. Elvis recorded it during his last session at Sun Records in 1955, but Sun sold his contract before it could be released, and RCA got to use it instead. It is also the only Sun recording by Elvis to use a piano, which was probably played by Elvis himself. Most notably, “Tryin’ To Get To You” was one of the gritty acoustic songs performed by Elvis on the tiny in-the-round stage during the “68 Comeback Special.”

His second album, also released in 1956, and simply titled Elvis had two blues numbers, “Any Place Is Paradise” and “So Glad You’re Mine.” The latter was written by an old bluesman, Arthur (Big Boy) Crudup, noted for composing Elvis’ first commercial recording, “That’s All Right Mama.”

Elvis’ second movie, Loving You produced his first sound track album in 1957. A good trivia fact is that not one song on Side 2 of the Loving You LP was from the movie. However, one of these filler tunes was an excellent blues number, “I Need You So.”

“Mean Woman Blues” on Side 1 was featured in the movie in a big way. Elvis’ character sang it to the accompaniment of a jukebox in a club. Is there anyone who doesn’t remember the famous scene where Elvis fights a trouble-maker and knocks him into that juke box? Although Elvis never had a hit single with “Mean Woman Blues,” Roy Orbison charted with it at #5 a few years later.

Another 1957 movie, Jailhouse Rock, also contained a blues song, but there was no soundtrack album to showcase it. “I Want To Be Free” had to wait two more years to appear on the LP, A Date With Elvis.

Elvis’ only movie from 1958, King Creole, did provide a sound track album with a blues number for my tape. “Trouble” is different than the other songs in my collection because of its heavy use of blaring trumpets in the instrumentation. Frankly, I wish there were some album containing an alternate version without those loud trumpets.

“One Night” was a big hit in 1957, but didn’t show up on an album until 1959, when it joined many other old hits on 50,000 Fans Can’t Be Wrong. A more powerful version of “One Night” can be heard on any of the various recordings to come out of the 68 Comeback Special. As we watched Elvis (wearing that black leather outfit) wailing to this song in the pit session, we knew he was back. It was an electrifying performance and the version I used on my tape.

The 1961 album, Something For Everybody, was well named, for it did have a blues tune to satisfy this fan. “Give Me The Right” was cut from the same mold as the three songs from Elvis Is Back a year earlier. Boots Randolph and Floyd Cramer again lent excellent support to the recording.

The next song I put on my Elvis blues tape was from the1961 movie sound track, Blue Hawai. It was “Beach Boy Blues”, a tongue-in-cheek number sung by Elvis while in jail after a fight. It has the great(?) lyric, “I’m like a ripe pineapple. I’m in the can.”

It took four more years until another blues song appeared on an Elvis album, the 1965 release, Elvis For Everyone. However, the song “When it Rains It Really Pours” had been recorded back in 1957.

The next year, the soundtrack from Spinout contained three bonus songs not in the movie. One of them, “Down In The Valley,” is a blues song that had been originally recorded by the Clovers.

Elvis’ 68 Comeback Special spawned a number of official and bootleg albums, including Elvis – TV Special, which I own. It’s hard to believe, but there is one song Elvis performed during the show that he had never previously recorded. It was the blues standard, “Baby, What You Want Me To Do,” written by Jimmy Reed.

Also on this album is the shortest song to make my Elvis blues tape. “Nothingville” lasts just about one minute. It was one of many songs, including “Trouble” and “Guitar Man”, woven into the special’s long dance number.

The last song on my tape is one of the best. It is “Steamroller Blues,” which Elvis Performed on the Aloha From Hawaii television special in 1973. However, I prefer the version used on the album, The Alternate Aloha, This recording of the rehearsal concert was released in 1988. The song was originally written and recorded by James Taylor, but the lyrics fit Elvis much better when he wails, “I’m a burning urn of churning funk.”

So that’s it, 60 minutes of solid Elvis blues music. I play the tape all the time and love it. Surely, plenty of other Elvis fans would as well. Elvis music seems to be re-released in new forms nearly every-other month, so maybe the record company will someday get around to an Elvis blues compilation. If so, you and I may be able to watch Darwin on QVC again, introducing a CD called Elvis Presley - Bluesman. I’ll bet it really sells.

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ELVIS IS BACK ..................................By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 11:00 AM EST

From: Elvis International, The Magazine -- Spring 2000 Issue

His First Recording Sessions After Returning From The Army

Elvis was rushed to a recording studio less than two weeks after he got home from Germany in 1960. There was good reason for this; the previous nine months had gone by without a single Elvis hit.

Of course, there had been no releases, either. The vaults at RCA were empty. All those fine songs recorded in June 1958, just before Elvis’ induction, had been used up in the first year he was away. The plan to issue a new release every three months was certainly successful, achieving four top ten hits, including ”A Big Hunk O’ Love” which reached #1. After that, there was nothing left to release.

So, ex-soldier Elvis needed to record some new music. The place where it happened was the RCA studios in Nashville, where he had done those last pre Army sessions. Old band mates Scotty Moore and D.J. Fontana were on hand, as were the Jordanaires, but one element of the old studio gang was not present. Bill Black started his own combo in 1958, and by this point, he had a couple of his own hits and was touring heavily.

His position as bass player in the band was filled with popular Nashville musician, Bob Moore, no relation to Scotty. Bob Moore’s main claim to fame, other than thousands of recording sessions, was as the composer of the theme song from “My Three Sons” TV show.

Also in the studio were Hank Garland, famous session guitarist, and two soon-to-be big name guests: piano player, Floyd Cramer and sax man, Boots Randolph. Within two years, both would break through as major solo performers.

Except for a few extra movie songs recorded in Hollywood, the RCA Nashville Studio was to be Elvis’ recording home for the next four years after his return from the Army. And all sessons were done at night. In early 1960, this was scheduled as two, two-night rounds about ten days apart. In between, Elvis and the boys took the train down to Miami to tape a TV special with Frank Sinatra.

During the first two-nighter in Nashville, Elvis cut six songs. “Stuck On You” must have been deemed the most likely hit, so it was quickly rushed on the market. This process was speeded up partly because the paper sleeves had been printed before the song was recorded. Not knowing what songs would be used for this release, RCA simply printed a cover with two color pictures of Elvis on it, but no titles. The sleeve had a large die-cut circle hole in the center so the record label could be seen to reveal the titles.

Elvis performed “Stuck On You” and the flip-side, “Fame And Fortune,” on the Sinatra special. It soon shot to #1 on the charts. Pretty easy to do, if you have advance orders totaling over 1.2 million copies.

The second two-nighter produced two more huge #1 hits. “It’s Now Or Never” spent five weeks in that position in late summer, and “Are You Lonesome Tonight” finished the year in the top spot for six weeks. Both releases had credible flip-sides in “A Mess Of The Blues” and “I Gotta Know,” respectively.

The two Nashville sessions produced more than enough songs to fill an album, so in April, the LP, Elvis Is Back, hit the market. Guess what? No songs listed directly on the jacket; presumably the result of another speed-up print order. The titles were printed on a yellow sticker affixed to the front cover. If your copy of this album has song titles printed on the front, it is a later pressing.

Stereo technology was just coming into the market in 1960, so Elvis Is Back was also his first LP to be issued in true stereo. Not all copies, however, just a small percentage. If you have this album in stereo, you have something worth five times the mono version as a collectible.

The selection of songs for the LP is puzzling. Out of the 18 songs recorded at the sessions, six were used only for 45 single releases, and twelve were used only for album release. Elvis Is Back contained absolutely no hit songs, and not one of the cuts was ever released as a single.

This is not to call the album bad. In fact, it is often rated as one of his best, because of the heavy blues content. It did reach #2 on the album charts, and sales surpasses $1 million.

Three of the album songs did have additional attention years later. Elvis sang “Fever” in his 1973 TV special Elvis: Aloha From Hawaii. And two of the bluesier numbers, “It Feels So Right” and “Dirty, Dirty Feeling” were lip-synched by Elvis in the 1965 movie “Tickle Me.”

In 1999, we were treated to a new CD release of Elvis Is Back. Most compact disc versions of old albums give you some sort of new bonus tracks, and this one is no exception. Now you can hear the entire recording sessions, including the hit singles and flip sides, at one time. This is a terrific choice for anyone with a beginning Elvis music collection who has to pick what’s next from the large selection of newly released CD options.

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ARTIST OF THE CENTURY ................. By Phil Arnold

by Phil Arnold on Sat 01 Jan 2005 10:00 AM EST

From: Elvis International, The Magazine -- Winter 1999 Issue

They Didn't Need To Wait 44 Years To Name Elvis Artist Of The Century. I Knew it back in 1956

Elvis is getting well-deserved acclaim as the Artist of The Century. Many words will be written in the media about this crown bestowed on ‘The King’, and most articles will recite the long list of Elvis’ accomplishments. You know the ones: over a hundred top 40 hits, 33 movies, record-breaking Las Vegas gigs and tour performances, and about a gazillion records sold.

This documentation is valuable if there are any folks out there who seriously doubt Elvis is indeed the Artist of The Century. But I don’t need it. I’ve known Elvis deserved the title since June 5, 1956. All it took for me to know was a black-and-white TV with rabbit-ears on top and a tiny 12-inch screen.

I’ve always remembered that my personal Elvis epiphany took place sometime during his first year in the national spotlight, but the details were fuzzy. One clear image was seeing Elvis do “Hound Dog” on television, but I didn’t know what show or when it was on. I also thought I remembered never hearing the song on the radio prior to that night, but I wasn’t sure.

Fortunately, I have lots of reference books and a few videos, so I decided to do some research into my discovery of Elvis. I wanted to see if I could narrow it down to the exact day. Here’s what I found.

My initial contact with Elvis’ music was in late February 1956 when I heard his first RCA recording, “Heartbreak Hotel,” beaming from the radio in my room. I was 13 years old and in the 7th grade, and I listened to music while doing homework. My favorite disc jockey was Joe Niagara on WIBG, 99 AM in Philadelphia. Rock & roll was in its infancy, and I was there right from the start. I loved this exciting new music.

Joe Niagara had never played any of Elvis’ earlier Sun releases, but he played the heck out of “Heartbreak Hotel.” I liked it, but it didn’t become a huge personal favorite. Maybe it was the heavy blues beat. I preferred fast, jump songs like “Tutt-Frutti” by Little Richard. I was just learning to jitterbug, and it was the fast songs that moved me. “Heartbreak Hotel” was not what you would call a ‘good dance song’.

At that time, I had no idea Elvis had already performed on TV. He made a total of six guest appearances on Tommy and Jimmy Dorsey’s half-hour variety series “Stage Show” in early 1956. My mom and dad did not watch this program, so I missed all of them. The reporters must have seen the performances, however, because Elvis was starting to get a lot of press.

I can only assume I had a conflict on April 3, 1956, because I also missed Elvis’ first appearance on “The Milton Berle Show.” This was performed on the flight deck of the aircraft carrier, USS Hancock, and I had no previous recollection of seeing Elvis singing on a ship when I viewed the video of the show years later. As a brand new rock ’n roll fan in mid-1956, I would certainly have wanted to tune in and see this phenomenon in action, but I missed it.

Shortly after this show, Elvis’ second release, “I Want You, I Need You, I Love You,” started getting radio airplay. I liked it OK but didn’t get excited about it. After all, it was just a ballad, not a rocker.

Elvis’ second appearance with Milton Berle was scheduled for June 5. By this time, Elvis was getting massive coverage in the press, and the hype leading up to the show was unprecedented. As things turned out, it was well-deserved.

A new look at the video of that old Milton Berle broadcast showed me why. Elvis was incredible. He wiggled and swayed and gyrated all over the stage. He had legs of rubber that went nuts when Scotty Moore jammed on the instrumental guitar parts. The whole band was hot, and Elvis was like molten lava pouring from that tiny TV screen.

That had to be it. This was when Elvis got me. His performance of “Hound Dog” on the second Berle show was the defining moment in 1956 I was looking for. Although Elvis sang the song four more times on television that year that year, this was unquestionably his most outstanding performance of it.

My hunch about never previously hearing the song on the radio proved to be right. A check in the research books confirmed Elvis did not record “Hound Dog” until nearly one month later. Apparently, Elvis heard another group perform the song in Las Vegas, and he started doing it on tour, eventually using it as his closing number.

The recording session for “Hound Dog” was scheduled for July 2, one day after Elvis’ only appearance on “The Steve Allen Show.” This was the infamous program where they had Elvis wear a tux and sing “Hound Dog” to a bored-looking basset hound on a stool. That must have been a tough pill for Elvis to swallow, but he performed like a trooper.

When “Hound Dog” was released, it was backed with “Don’t Be Cruel,” another killer song. This became a giant two-sided hit record, with one song or the other occupying the #1 position on the charts for 12 straight weeks. Elvis was now doing the kind of music that pushed my ON button.

About this time, I got my own record-player. It was one of those squatty little things that played 45’s only. It provided sound quality that would be considered lame by today’s standards -- mono through a single, small, built-in speaker – but it seemed wonderful at the time. I bought “Hound Dog / Don’t Be Cruel” and played it to death. It quickly became my favorite record.

Thus, I was quite excited to learn Ed Sullivan had signed Elvis to appear on three shows, starting in early September. It is interesting to note that Ed Sullivan had earlier said he would never have Elvis Presley on his TV show, but that changed after Elvis caused a huge rating jump on his Steve Allen appearance, when the show captured 55% of the evening’s viewing audience.

Elvis’ first appearance on “The Ed Sullivan Show” was on Sunday, September 9, 1956. I was really psyched about seeing this show, and I obviously wasn’t alone. Ed Sullivan’s ratings went from 15% of the viewing public on the night Elvis was with Steve Allen in the same time-slot to 82% when Ed had Elvis himself.

Another strange thing happened during Elvis’ appearance on “The Ed Sullivan Show.” Ed Sullivan missed it. He was involved in a automobile accident that put him in the hospital for several weeks. His choice for a substitute host certainly had nothing to do with the show’s high-powered guest. It was an old, serious actor, Charles Laughton, who couldn’t have been farther in looks or demeanor from Elvis.

Elvis performed four songs that night. “Love Me Tender” was a natural. He had a movie of the same name coming out soon. “Ready Teddy” was great, a real rocker, and I already had the original Little Richard release in my collection of 45’s. A fresh look at the video shows Elvis twice doing weird things with his eyes. It’s like he was teasing us, looking like he was about to go over the edge, and then coming back. I love watching it now, just as I did back in 1956; but features like pause, rewind, and slo-mo on the VCR sure add a lot to today’s enjoyment.

The other two songs on the first Sullivan show were my two favorites, “Hound Dog” and “Don’t Be Cruel.” Elvis showed us all his classic moves and did that cool lip-thing several times while singing. I remember sitting there, transfixed on the TV screen, knowing that a new, powerful force had taken over the universe. Elvis was in orbit, in perfect harmony with the planets and stars.

From then on, nothing was the same for millions of teenagers, including me. Elvis influenced everything: music, clothes, haircuts, attitude. I was now 14 and in the 8th grade. I was changing from a boy to a man, a journey accompanied by Elvis’ music the whole way. Elvis was the most. The best. The ‘King.’

Media writers of that time poured out lines like this one in a New York Times review: “Elvis Presley is currently the entertainment world’s most astonishing figure.” Paul Lichter later wrote: “In the entire history of show business, no entertainer has had such a meteoric rise and such sudden, frantic, widespread adulation . . . as Elvis.”

For those of us who experienced this phenomenon, Elvis was already our Artist of The Century. Everything that happened in the next 44 years just confirmed it.

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