Inventing Elvis

Commentary



Elvis-The First Year-1954, narrated by Jack Perkins, 1992



Elvis Presley a rock and roll hero of my youth, if not to me personally then to many I knew especially girls, is the subject of this in-depth look at the first year that Elvis began inventing himself as the 'King'. Jack Perkins’s somber narration and idiosyncratic style sets the tone for a thoughtful look back at Elvis’s trials and tribulation on the road to stardom. We have the full ‘talking head’ treatment here from Elvis’s surviving band member, Scotty Moore, to ex-sweethearts, motel owners, agents, radio producers and announcers, cooks, bakers and candlestick makers. Basically anyone who crossed his path in 1954 in that first tough year out on the road.

And what a road it was. Playing small clubs, high school auditoriums, the Louisiana Hayride and every where he could get his foot in the door Elvis stretched and clawed his way to success, and apparently was not a bad guy to hang around with then either. He, moreover, exhibited all the virtues that small town white Southerners liked in the 1950’s, except maybe those sideburns and, just maybe, swinging that pelvis just a little too much when their daughters were around.

An interesting part of this presentation is an attempt to place the roots of Elvis’s music in the context of his time and place. And, as has been expressed elsewhere as well, that included black musical influences in the deeply segregated South. Sun Records Sam Phillip’s old adage comes true through Elvis- finding a white boy who could sing black. This segment only adds to something that I have been arguing for the past few years- the roots of rock and roll owe more than a little to black blues musical influence – think in this regard of the importance of Big Joe Turner’s Shake, Rattle and Roll, also produced in 1954. But Elvis certainly rode the wave to great effect and this little valentine to him is good for those who like musical history with their music. For those who need just the music look elsewhere.

Elvis's Sun Sessions Commemorative CD, Elvis Presley, 1990

As to this present compilation of Elvis's Sun sessions that give flesh to the above DVD review some comments are worth mentioning. As with all such compilations there is some unevenness in the quality of performance, even in the case of Elvis. Some of this is calculated with the use of alternative takes to beef up the size of the compilation. However, any way you cut it these Sun sessions and that studio played to Elvis’s strengths musically. Starting with the classics It’s All Right, Mama, Blue Moon of Kentucky and Good Rockin’, Tonight and through such ballad covers as Blue Moon and Harbor Lights Elvis demonstrates his versatility in song style and that distinctive intonation that no one else in the Sun stable could duplicate (and they tried, believe me). Elvis fanatics will want this one just like every other thing that has been put out in his name. But the real reason to get it is to hear pure Elvis when the man, the moment and the environment all came together when Rock 'n' Roll was young.

The following is a comment made in connection with the Public Broadcasting System's documentary about Sun Records entitled Good Rockin' Tonight. I have added it to all comments on Sun Records artists that I have reviewed over the past several months

A note on sound- no, not of this American Masters production which like virtually all PBS productions is technically of high quality. No, I am referring here to the sound in Sun Studio. I do not believe in ghosts or other such things but tell me this. Why, for example, does Johnny Cash in his Sun Records days sound like god’s own creation when on work from other recordings I can take him or leave him? And that goes for Elvis, Carl, Jerry Lee and the others as well. The gods and goddesses of Rock and Roll were smiling on that joint- thanks.