9 Elvis Presley Quotes on Genre

Elvis Presley quotes on genre

25. At Sun Studio in Memphis Elvis Presley called to life what would soon be known as rock and roll with a voice that bore strains of the Grand Ole Opry and Beale Street, of country and the blues. At that moment, he ensured - instinctively, unknowingly - that pop music would never again be as simple as black and white.

87. 'He was the most commercially successful singer of rock and roll, but he also had success with ballads, country, gospel, blues, pop, folk and even semi-operatic and jazz standards. His voice, which developed into many voices as his career progressed, had always a unique tonality and an extraordinarily unusual center of gravity, leading to his ability to tackle a range of songs and melodies which would be nearly impossible for most other popular singers to achieve'

102. 'I fell in love with this song, mostly because of Elvis' superior voice, not really thinking about the true meaning behind the lyrics, but rather how the title relates to the music genre I play as DJ house music'.

107. 'The headline news of 'Platinum', which can be appreciated by fans, scholars, critics and religious fanatics alike, is the inclusion of a newly discovered 1954 demo of the unsigned Elvis singing a lilting wisp of a pop song called 'I'll Never Stand in Your Way'. His unsophisticated performance is mesmerizing; clearly indebted to the style of the 'Ink Spots', Elvis' airy tenor floats delicately above his own guitar accompaniment, aching and somewhat pinched in its feeling; you sense the singer itching to cut loose, to really swing the lyric, open it up; it is in those moments, when the pentimento of the blues vocalist reveals itself, that the melding of styles that soon would change the course of popular music is on fleeting display; it's rare when a single song can be said to make a pricey box-set worthwhile, but this particular 'Rosetta stone' of a rare cut, does precisely that. Big time.

125. 'Blues, country, pop, rock and roll, gospel, and beyond, this man could sing anything. From the rockabilly of the Sun Sessions, to the MOR of 'Wooden Heart'(1960), to the later day 'Burnin' Love' (1972), Elvis proved that he had the skills as a vocalist that few have, or will ever have'

141. 'What he actually did was take 'black' and 'white' music and transform them into this third thing; (in the final analysis), no one sang so many different kinds of music - rock, gospel, country, standards -, as well as Presley sang them, at such a high level, and for such a long time'

148. 'Elvis Presley caught the public's imagination through two things: his unique ability to synthesize all American music styles and his fantastic interpretive qualities as a vocalist; that he managed to keep the public's attention after the music began to suffer, is due to his remarkable charisma, an unparalleled force that was stronger than any ten other men in his peer group; (while) it's the charisma that allowed him to get away with covering substandard songs like 'A Little Less Conversation,' (1968), it's his musical ability alone that elevated it to a status it didn't deserve, creating something so endearing that the simplest of remix jobs could make it sound contemporary, a quarter-century after his death; he may always be a punchline to some people, but the continuing evolution of our fascination with the King has to do with his ability to reinvent himself every time he's heard; even, apparently, from beyond.'

156. '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'

165. 'Riding a streamlined rock-and-roll beat, the singer's vocal swoops, slurs, hiccups, moans and growls added up to a new pop singing vocabulary that was instantly memorized by scores of imitators. The antithesis of a relaxed conversational crooning, Presley's style was fraught with tension and animated by an attitude of self-conscious melodrama, woving the whole unwieldy spectrum of pop singing - country-blues, Italianate crooning, Gospel, soul shouting, and honky-tonk yodeling - into an integral personal style. His crowning touch was to accentuate the spontaneously exuberant humor that had always been an ingredient of country, and the blues, but singing it in a way that seemed to poke fun at his own accomplishment.'