22 Elvis Presley Quotes on Influence

Elvis Presley quotes on influence

10. Elvis is the greatest cultural force in the twentieth century. He introduced the beat to everything, music, language, clothes, it's a whole new social revolution - the 60's comes from it.

    Attribution disputed; shown as originally published.

17. The first concert I attended was an Elvis concert when I was eleven. Even at that age he made me realize the tremendous effect a performer could have on an audience.

    Attribution disputed; shown as originally published.

18. It's rare when an artist's talent can touch an entire generation of people. It's even rarer when that same influence affects several generations. Elvis made an imprint on the world of pop music unequaled by any other single performer.

    Attribution disputed; shown as originally published.

24. I learned music listening to Elvis' records. His measurable effect on culture and music was even greater in England than in the States.

    Attribution disputed; shown as originally published.

28. Elvis was a giant and influenced everyone in the business.

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32. Ask anyone. If it hadn't been for Elvis, I don't know where popular music would be. He was the one that started it all off, and he was definitely the start of it for me.

    Attribution disputed; shown as originally published.

42. That's my idol, Elvis Presley. If you went to my house, you'd see pictures all over of Elvis. He's just the greatest entertainer that ever lived. And I think it's because he had such presence. When Elvis walked into a room, Elvis Presley was in the fucking room. I don't give a fuck who was in the room with him, Bogart, Marilyn Monroe...

47. If there was no Elvis Presley, they're would have been no Cliff Richard. I'm sure of that.

54. Elvis was the king. No doubt about it. People like myself, Mick Jagger and all the others only followed in his footsteps.

    Attribution disputed; shown as originally published.

56. A lot of people have accused Elvis of stealing the black man's music, when in fact, almost every black solo entertainer copied his stage mannerisms from Elvis.

62. 'Elvis was a brilliant artist. As a musicologist - and I consider myself one - there was always a great deal of respect for Elvis, especially during his Sun sessions. As a black people, we all knew that. (In fact), Eminem is the new Elvis because, number one, he had the respect for black music that Elvis had.

85. 'The voice is so melodious, and - of course, by accident, this glorious voice and musical sensibility was combined with this beautiful, sexual man and this very unconscious - or unselfconscious stage movements. Presley's registration, the breadth of his tone, listening to some of his records, you'd think you were listening to an opera singer. But:it's an opera singer with a deep connection to the blues.'

91. 'I spoke to over 140 songwriters whose work Presley recorded, and most remarked about his uncanny ability to capture the essence and make it his own; like a musical geneticist, he drew from every strand of DNA in a songwriter's work, which ultimately helped shape his own distinctive personal interpretation; just listen to the wide stylistic swath of genre-hopping material he recorded during his career - from Junior Parker's amphetamine-paced rockabilly classic 'Mystery Train' and the poppin-perfect panache of Otis Blackwell's 'All shook up', to the down and dirty blues swagger of 'Reconsider baby' and the operatic grandeur of 'It's now or never'-; and then there were more controversial and socially conscious anthems ('If I can dream' and 'In the guetto'), and introspective 70's fare like 'Separate ways' and 'Always on my my mind'; right away, you can hear the breath of a master stylist who breathed new life into every song he cut'

109. 'It is when Guralnick shows how young Elvis made his way through this cultural briar patch, that we get what we need. He got voluptuous phrasing and ecstatic self-confidence from gospel, wit and menace from the blues, homespun sincerity from country and, from what we can now call gay theatrics, he got glamour and self-parody. He played the outlaw and the good son. How he flirts with his audiences, first being casual, fervent, sneering, then inviting us to laugh at, or with him. ?As you desire me?, he is saying, ?so shall I be?. Was he a great performer? Yes and yes again. He galvanized rock-and-roll and made you feel the fun and the risk and all the contradictions. That's self-invention, and that's entertainment.'

116. 'Elvis' early vocals, was a witches' brew of gospel swoops, falsetto shrieks, growls, howls, and scat...an anthem to human cockiness, to the healing, transcendent powers of the life-force...'

117. 'I was always mesmerized by strong, pure, beautiful voices, (and) Elvis' voice, the emotion in it, was unbelievable; I'd never heard anything like it, and I was listening to my parents' records, like 'Heartbreak Hotel' and all the '50 s stuff, the real raw Elvis...and that's how I gravitated into Patsy Cline, Linda Ronstadt and Emmylou Harris.'

121. 'I was about 10 years old, the first time I heard Elvis Presley's voice, pouring from my father's car radio, in East St. Louis, Illinois; I can't recall the song, whether it was a ballad or a rocker (but), what I remember is how his voice, that smoldering rumble of a voice, made my skin tingle; I don't know why, but I just loved his voice, his sound just did something to me'

123. 'Elvis loved gospel music, he was raised on it, and he really did know what he was talking about; we would jam with him for an hour, and he had a feel for it and was 'tickled' to have four 'church sisters' backing him up; he was singing Gospel all the time, (in fact), almost anything he did had that flavour. You can't get away from what your roots are.'

124. 'Certainly the most famous performer to be attached to a tongues-speaking fellowship was Elvis Presley; shortly after the Presleys arrived in Memphis, from Tupelo, a First Assembly of God bus swung through their rundown neighborhood, so they climbed aboard and became regulars of Pastor James Hamill's congregation; Hamill remembers Elvis attended Sunday school and was exposed there to the best in Pentecostal music; in 1957, after he achieved international acclaim, Presley said 'We used to go to these religious sing-ins all the time, and there were these perfectly fine singers nobody responded to, but there were also these other singers who cut up all over the place, jumping on the piano, moving every which way, and all of which the audience liked, so I guess I learned from them'; uninhibited Pentecostalism gave young Elvis ideas about music and performance and, from then on, he was sometimes called the 'Evangelist' by his inner circle of friends'

127. 'In the collective memory of his fans, he reigns as the sleek musical genius who soaked up the multiple influences of America's vernacular music -gospel, country swing, rhythm 'n' blues-, and made them his own; Bob Dylan, one of pop's favorite poets, put it best: Elvis, he said, was 'the incendiary atomic musical firebrand loner who conquered the western world.'

142. 'When at last I made my journey to the land of the blues, I never dreamt for one minute that I'd actually become friends with the guys who were my mentors, heroes and my cultural icons. (Witherspoon's) voice held a great mysticism for me, like when I first heard the voice of Elvis Presley-you knew it was coming from the source'

145. 'Elvis was one of the prime architects of rock and roll music. As such, he influenced several generations both musically and socially. The urgency in Presley's voice is just one part of the equation, and the ease with which he swings tells the rest of the story. Equal parts balladeer and rockabilly king, Elvis played both sides of the fence. He was both tender-love-man and hard-hitting rebel. As this collection proves, his genius was in the way he made it work'