3 Elvis Presley Quotes on Emotional depth

Elvis Presley quotes on emotional depth

90. 'When healthy and serious, he was flat-out the world's greatest singer. In his voice, he possessed the most beautiful musical instrument, and the genius to play that instrument perfectly; he could jump from octave to countless other octaves with such agility without voice crack, simultaneously sing a duet with his own overtones, rein in an always-lurking atomic explosion to so effortlessly fondle, and release, the most delicate chimes of pathos. Yet, those who haven't been open (or had the chance) to explore some of Presley's most brilliant work - the almost esoteric ballads and semi-classical recordings -, have cheated themselves out of one of the most beautiful gifts to fall out of the sky in a lifetime. Fortunately, this magnificent musical instrument reached its perfection around 1960, the same time the recording industry finally achieved sound reproduction rivaling that of today. So, it's never too late to explore and cherish a well-preserved miracle, as a simple trip to the record store will truly produce unparalleled chills and thrills, for the rest of your life; and then you'll finally understand the best reason this guy never goes away'.

108. 'Heartbreak, jealousy, loneliness-, Elvis Presley gave luxuriant voice to these less than cheerful emotions, but did you ever think of him as a balladeer of the unbearable bleakness of being, of the horror of existing without purpose in a godless universe? In the improbably vivacious London-born production of 'Woyzeck', vintage Elvis recordings provide much of the background music for Daniel Kramer's adaptation of Georg Buchner's great, prophetic drama of existential emptiness from the 1830's. Dolly Parton and, more predictably, Beethoven, make aural guest appearances but it's the voice of the Pelvis that sets the rhythm of life. And if the 'wedding' of Presley and Buchner is more shotgun marriage than natural love match, at least you leave the theater feeling less suicidal than you normally do, after two hours with one of the grimmest heroes in Western literature.

158. 'We are startled, on the amazing 'Blue Moon,'(1954), by his trick of shifting, in a heartbeat, from saloon baritone to pants-too-tight wailing and by his near Hawaiian avoiding of consonants ('Ya-hoo A-know Ah can be fou'/ Sittin' home all alo''), from 'Don't Be Cruel' (1956), a song that comes close to redefining the art of the pop vocal; So, what's left? A terrific crooner who was closer, in intonation, vocal virtuosity and care for a song's mood, to Bing Crosby, than to any top singer of the rock era. Toward the end, he still had it as a Gospel ballader, the choir-soloist power of the hymn 'He Touched Me' (1971) - his voice breaking poignantly at the end of the hymn, as if he had just seen Jesus - still thrills and haunts. So does his desire to please an audience of kids and grandmas, instead of comfortably occupying a niche, as almost every pop star has done since'