Elvis at 80
Had he lived, Elvis Presley would have been 80 on Thursday, January 8, 2015. I first heard “Heartbreak Hotel” when I was at boarding school, aged nine, in 1956. I understand what John Lennon meant when he said that Elvis died the day he had his hair cut and put on a military uniform, but I never believed it. All but one of my 10 Elvis favourites come from the post-army period. Here they are. You might find the choice a little eccentric. Baby, I don’t care…
Written by Jack Pitman, a Canadian songwriter, during a visit to Hawaii in 1946, “Beyond the Reef” was covered by Bing Crosby in 1950 and by the Ventures (as an instrumental) in 1961. Elvis recorded it on May 27, 1966 at RCA Studios in Nashville, during the sessions that produced the sacred album How Great Thou Art (as well as his cover of Dylan’s “Tomorrow Is a Long Time”, which almost made this list). It remained unreleased until 1971, when it surfaced as the B-side of “It’s Only Love”; in 1980 it appeared on a four-CD set titled Elvis Aron Presley. Elvis sings the verses as an extra member of the Jordanaires, emerging to sing lead only on the bridge. On the surface it’s a bit of Polynesian-style kitsch. A little deeper down, it’s a singularly beautiful record of which Ry Cooder would have been proud.
I love Elvis when he finds the spaces between genres. This great UK No 1 hit from 1961 takes the Bo Diddley beat and turns it into pure pop music, just like Buddy Holly did with “Not Fade Away”. Acoustic rhythm guitars, what might be a stand-up bass, the drummer using brushes — and, in the bridge, a switch to a fast shuffle, with Floyd Cramer pounding an eight-to-the-bar piano figure. And a tragic little story of heartbreak in the lyric. The song is by Mort Shuman and Doc Pomus, who also wrote the other side of the 45: “Little Sister”. Along with “Strawberry Fields Forever”/”Penny Lane”, it’s the greatest double A-side in history.
Jerry Leiber and Mike Stoller wrote this for Jailhouse Rock in 1957. I imagine they borrowed the title from Out of the Past, Jacques Tourneur’s 1947 classic film noir, in which Robert Mitchum, in a clinch with Jane Greer, is reminded of her relationship with a powerful mobster and the trouble that might ensue. “Baby,” he drawls, “I don’t care…” As told by Elvis, the story is very different: “You don’t like crazy music, you don’t like rockin’ bands / You just want to go to a picture show and sit there holding hands…” But the teenage soap-opera words are undercut by the backing, which exemplifies that “crazy music” to the max, with an ominously throbbing intro and the most brutally abrupt ending ever.
I’ve talked about this song, and Elvis’s great version of it, here (and elsewhere). Written by Chuck Berry in 1964 and recorded by Presley at the Stax studio in Memphis in 1973, it was perhaps the last genuinely creative act of his life, brilliantly abetted by James Burton and Johnny Christopher on guitars, David Briggs on piano, Per Erik Hallin on electric keyboard, Norbert Putnam on bass guitar and Ronnie Tutt on drums.
Another from the Stax sessions, with a slightly different line-up (including the MGs’ Duck Dunn on bass guitar and Al Jackson Jr on drums), this ballad was written by Chris Arnold, David Martin and Geoff Morrow: three British songwriters. I love the song, for the way it brings the best out of Elvis and for the way the bass fill towards the end of the second bar gives it the hook that makes you play it over and over again.
More pure pop, this time from 1960 and the pens of Sam Bobrick and Beverley Ross. Not released as a single by Elvis until 1976, when it made the UK top 10. Ral Donner had the US hit.
A very nice version of Lowell Fulson’s classic blues, from the Elvis is Back! album in 1960, with the singer on rhythm guitar.
8. “Dark Moon”
I’ve got this on a 1999 RCA CD called Elvis: The Home Recordings. The song was written in 1957 by Ned Miller (later famous for “From a Jack to a King”), and was recorded in a country version by Bonnie Guitar and a poppier rendition by Gale Storm. Singing with his pals to the accompaniment of his own guitar, apparently in his LA house in Bel Air in 1966 or ’67, Elvis finds an irresistible groove.
All the bells and whistles — the full Neapolitan, in fact — on this remake of Eduardo di Capua’s “O Sole Mio”, the new English lyric written by Aaron Schroeder and Wally Gold and recorded on April 3, 1960, the day before “The Girl of My Best Friend”. If you agree with Lennon, it’s exactly the sort of thing you’ll hate. Those were the days when I used to write the week’s No 1 in my diary every Saturday night, and I’m not going to apologise.
From the same session as “It’s Now or Never”, and a No 2 hit in the UK in 1960. Another Pomus/Shuman classic and an early reminder that, even with his hair still shaved army-style, the King still had it.
Happy birthday, Elvis.
* The fine photograph was taken by Lloyd Russell Sherman and appeared on the cover of the 1985 LP Reconsider, Baby.