Listening to these songs today, their most remarkable feature is Presley's voice itself. He takes the Platters' Tony Williams's techniques, and any other predecessor's, to new, uncharted pinnacles. For a singer who was only just encountering widespread popularity, his singing resonates with amazing fortitude and confidence, especially on "Heartbreak Hotel," (1956), where Presley alternately shouts words with full lungs, then gulps the following back, as if under water but without missing a beat. In "Loving you" (1957), Presley's baritone on this, the ultimate slow dance number, is almost too powerful, virtually rumbling the floor...
--
David N. Townsend, in his essay "Changing the World: Rock 'n' Roll's Culture and Ideology".Elvis Presley
» Elvis Presley - all quotes »
Presley brought an excitement to singing, in part because rock and roll was greeted as his invention, but for other reasons not so widely reflected on: Elvis Presley had the most beautiful singing voice of any human being on earth. Presley, for some fans, was primarily a balladeer. "Don't Leave Me Now" (1957), is a love song given distinctiveness by Presley's twangy enunciations, and sustained by the guitar and rhythm sections designed perfectly to complement the balladeer, filled out towards the song's end - as with so much of Presley- ,with what one conveniently calls the heavenly choir, which wafts him home but never overwhelms the country lilt Presley gives his music.
Elvis Presley
But it is Presley's singing, halfway between a western and a rock 'n' roll style, that has sent teen-agers into a trance; they like his wailing in a popular song like "Blue Moon" or such western tunes as "I'll Never Let You Go", but they go crazy over the earthy, lusty mood of such rock 'n' roll numbers as "Money Honey"; and the reason is simple enough: Presley sings with a beat; and you can be certain that there'll always be music with a beat and that, whether you like it or not, there will always be an Elvis Presley.
Elvis Presley
Elvis Presley has been described variously as a baritone and a tenor. An extraordinary compass- the so-called register-, and a very wide range of vocal color have something to do with this divergence of opinion. The voice covers two octaves and a third, from the baritone low-G to the tenor high B, with an upward extension in falsetto to at least a D flat. Presley's best octave is in the middle, D-flat to D-flat, granting an extra full step up or down. Call him a high baritone. In "It's'now or never", (1960), he ends it in a full voice cadence (A, G, F), that has nothing to do with the vocal devices of R&B and Country. That A-note is hit right on the nose, and it is rendered less astonishing only by the number of tracks where he lands easy and accurate B-flats. Moreover, he has not been confined to one type of vocal production. In ballads and country songs he belts out full-voiced high G's and A's that an opera baritone might envy. He is a naturally assimilative stylist with a multiplicity of voices - in fact, Elvis' is an extraordinary voice, or many voices.
Elvis Presley
There comes a point when the voice starts to wash over you. You get inside of it, start to really hear what he's doing, and you realise his singing has this extraordinary, effortless quality to it. Sometimes it's like listening to a stream of honey. It's a very smooth ride, the voice of Elvis Presley. I don't think you focus on the words when he's singing. I think he's doing what bel canto singers do - you don't listen to the words, "just" to the beauty of his voice-. When I say "just", that makes it sound as if he's denying you something else but, actually, that's quite enough.
Elvis Presley
M. Elvis Presley was singing "That's All Right" and "Blue Moon of Kentucky". The sound went straight up your spine. The way he sang, the singer sounded black, but something about the songs was really country".
Elvis Presley
Presley, Elvis
Pressel, Wilhelm von
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z