5 Elvis Presley Quotes on Interpretation

Elvis Presley quotes on interpretation

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'

106. 'It has something for everyone, except perhaps Irving Berlin, who attempted to get Elvis's recording of 'White Christmas' banned from radio play, deeming it 'vulgar and disrespectful'. And it was, which is part of the reason why the drastically rearranged tune is so memorable, as the then-young singer masticated the contemporary classic, adding his idiosyncratic dynamics and trills ( the so-called educated yodls of one's vocal chords); equally irreverent and just as riveting is the King's gritty take on Leiber and Stoller's 'Santa Claus Is Back in Town', one of the most sexually suggestive holiday tunes ever, and his rollicking 'Here Comes Santa Claus'. And who can forget the song that changed the hue of Yuletide, 'Blue Christmas', or his wistful, definitive version of 'I'll Be Home for Christmas', which cemented his reputation as pop's top dreamboat. Along with Phil Spector's 'Christmas Gift for You', this is arguably the finest Rock & Roll Christmas album of all-time, a seasonal yet essential recording belonging under any Christmas tree'

111. 'He rarely over-sang when recording, delivering a vocal to suit the song. So, he can loudly accuse in 'Hound Dog' (1956), rasp and rage for 'Jailhouse Rock' (1957), bare his soul and beg on 'Any Day Now' (1969) and sound quietly, sadly, worldly-wise on 'Funny How Time Slips Away'. (1970). This gift may explain why his music endures so powerfully and why his performances remain so easy to hear'

149. 'As a vocalist, Elvis Presley possessed the rare ability to give the melodramatic a genuine authenticity; it's easy to take Elvis Presley for granted and yes, we all know that Elvis had a huge role in defining rock in the beginning, but few of us really know what that means; but then there's that voice, which Elvis uses to cut through to the most complex meaning of the song - the meaning that the song's writers might not even know exists - and lay it bare. On 'From Elvis In Memphis', he takes the longing sentiment in 'Any Day Now' (1969), his voice lending it a certain buoyancy that most artists would never even think belongs, and in doing so he embeds a deceptively simple pop song with depth and mystery, all through inflection; a craftsman at heart, his experimentation didn't manifest itself in innovation, but in refinement of his already incomparable technique; as a result, 'From Elvis In Memphis' documents what happens when an artist who instinctively personalizes the songs he sings decides to get even more personal; the outcome is raw, stripped of all pretense, and dedicated to the idea of the song, his voice bringing with it a grave amount of weight; if you want an indication of why Elvis deserves a place in current pop culture, pick up 'From Elvis In Memphis'; the music speaks for itself; authenticity never goes out of style.

172. '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...'