He rarely over-sang when recording, delivering a vocal to suit the song. So, he can loudly accuse in "Hound Dog" (1956), rasp and rage for "Jailhouse Rock" (1957), bare his soul and beg on "Any Day Now" (1969) and sound quietly, sadly, worldly-wise on "Funny How Time Slips Away". (1970). This gift may explain why his music endures so powerfully and why his performances remain so easy to hear.
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Paul Simpson, in his book "The Rough Guide to Elvis".Elvis Presley
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This is the best way to hear Elvis the Superstar, with "Hound Dog," (1956),"All Shook Up,"(1957), "Are You Lonesome Tonight" (1960), and the ever zany "Suspicious Minds" (1969), still sounding fresh and immediate —impressive given how many times most the world has heard them —, and showing off the diversity of Elvis' singing, from the purity of his gospel falsetto to his rock and roll purr.
Elvis Presley
Even in his laziest moments, Presley was a master of intonation and phrasing, delivering his rich baritone with a disarming naturalness. And when he caught a spark from his great T.C.B. Band, Presley could still out-sing anyone in American pop. You can hear it here on inspired versions of Muddy Waters' "Got My Mojo Working" (1971), Wayne Carson's "Always on My Mind"(1972), Chuck Berry's "Promised Land" (1975), McCartney's "Lady Madonna" (1970), Percy Mayfield's "Stranger in My Own Hometown"(1969), Dennis Linde's "Burning Love" (1972) and Joe South's "Walk a Mile in My Shoes" (1970).
Elvis Presley
On his live versions of songs like "How Great Thou Art" (1975), "Unchained Melody" (1976) and "Hurt" (1977), you will be able to hear how high he can go; but, it is essentially on "What Now My Love" (sang live at his "Aloha from Hawaii" global telecast, which reached 1 billion viewers when first aired in 1973), where he goes up three octaves at the end of the song, that you can really hear his true vocal power.
Elvis Presley
... they said, "Sir, we want to tell you a joke." I said, "You don't have time to tell me a joke." They said, "Oh, you gotta hear this one." So I came in, they shut the door, and they said, "Here's"— I said, "What's the joke?" I said, "What's the joke?" They said, "9/11. Saddam Hussein. If he didn't do it, too bad. He should've! Because we're gonna get him anyway." I said, "But that's not funny." I said, "That's not very funny." They said, "It sure isn't."
Wesley Clark
It has something for everyone, except perhaps Irving Berlin, who attempted to get Elvis's recording of "White Christmas" banned from radio play, deeming it "vulgar and disrespectful". And it was, which is part of the reason why the drastically rearranged tune is so memorable, as the then-young singer masticated the contemporary classic, adding his idiosyncratic dynamics and trills ( the so-called educated yodels of one's vocal chords); equally irreverent and just as riveting is the King's gritty take on Leiber and Stoller's "Santa Claus Is Back in Town", one of the most sexually suggestive holiday tunes ever, and his rollicking "Here Comes Santa Claus". And who can forget the song that changed the hue of Yuletide, "Blue Christmas", or his wistful, definitive version of "I'll Be Home for Christmas", which cemented his reputation as pop's top dreamboat. Along with Phil Spector's "Christmas Gift for You", this is arguably the finest Rock & Roll Christmas album of all-time, a seasonal yet essential recording belonging under any Christmas tree".
Elvis Presley
Presley, Elvis
Pressel, Wilhelm von
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