Category Archives: R&B

One Fine Evening

One Fine Evening

Carole King proves that she’s still the queen of song.

 

September 23, 2004 

As the sun set on Chastain Park Amphitheater in Atlanta in late July, the final rays of the day glimmered off the glossy black grand piano at stage center. A pair of lamps, towering potted plants, a couch, and a couple of plush thrift-store chairs decorated the stage. A posh audience peeled shrimp, uncorked wine, and chatted incessantly. It took a full 10 seconds for the high-brows to realize that Carole King had wandered onto the stage and was waiting patiently (and somewhat slightly embarrassed) for their acknowledgement. King, who is still easy on the eyes at 62, smiled as a smattering of applause erupted into a standing ovation. After bowing ceremoniously and taking her seat behind the piano, she flicked on the small lamp above the instrument and pounded out the opening chords to “Home Again,” her dirty-blond curls bouncing in time to her prancing fingers. Due to King’s notorious stage fright, she rarely gives live performances. This was her first tour in more than a decade, and I was fortunate enough to be in the front row witnessing a performance I’d been waiting my entire life to see.

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It’s been more than four decades since the songs of Carole King and her former husband, lyricist Gerry Goffin, ignited a 1960s phenomenon known as “girl groups.” The Shirelles scored one of their earliest hits in 1960 with the couple’s “Will You Love Me Tomorrow?” The Cookies recorded “Chains” (which later became an even bigger hit for The Beatles); the controversial “He Hit Me (and It Felt Like a Kiss)” was recorded by The Crystals in 1962, while The Chiffons put the irresistible “One Fine Day” on the pop charts in 1963. Other artists began paying attention, and soon The Animals added a tone of danger to King’s music with their foreboding version of “Don’t Bring Me Down.”

Her songs also found a niche in the 1966 bubblegum craze: “Pleasant Valley Sunday” by The Monkees; “I’m Into Something Good” by Herman’s Hermits; and Donny Osmond with the syrupy “Go Away Little Girl” and “Hey Girl.” Her babysitter landed in the Top 40 as Little Eva singing “The Loco-Motion,” the vocals of which sounded suspiciously close to King’s. Aretha Franklin recorded a soulful version of “(You Make Me Feel Like) A Natural Woman.” Blood, Sweat, and Tears covered “That Old Sweet Roll (Hi De Ho).”

 

Her voice, never a thing of beauty but nevertheless always a perfect fit, has aged with a ragged edge that adds a touch of oddly refined dignity and genuine personality.

King was a prominent pioneer in modern pop music at a time when it was a man’s world. Yet despite the legacy of her influence on early rock’n’roll, 1971′s Tapestry remains King’s masterpiece. Her two previous albums received little response, but Tapestry was the record that made King a star. It sold in the millions before such numbers were relatively common in the music industry (current sales of Tapestry are over 15 million). The record introduced a new genre: soft rock. “Will You Love Me Tomorrow?” “You’ve Got a Friend,” “I Feel the Earth Move, “(You Make Me Feel Like) A Natural Woman,” “Home Again,” “Tapestry,” “It’s Too Late,” and the sentimental “So Far Away” brought hippies from the edge to the middle of the road, and suddenly the piano was almost as hip as the electric guitar.

Carole King has dubbed her summer concert itinerary “The Living Room Tour.” She had been stumping for presidential candidate John Kerry, going into rich folks’ homes to raise money and, inevitably, to play a song or two. King decided that an intimate series of shows armed with only her piano and a couple of acoustic guitarists (who wisely stayed out of the way for much of the evening) would be a good way to spend the summer. Surprisingly, the only political grandstanding of the evening came when King plugged wilderness protection near her Idaho home (“I moved to Idaho after Tapestry when heavy metal appeared,” King told the audience, laughing) and demanded that people register to vote, regardless of their choice of candidates.

 

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Her voice, never a thing of beauty but nevertheless always a perfect fit, has aged with a ragged edge that adds a touch of oddly refined dignity and genuine personality. The only glaring negative was a near-condescending moment when she and the guitarists decided to “write a song from scratch” to give the crowd a taste of the mystery of songwriting—which is really not so mysterious considering that probably 99 percent of the audience had invented an equally stupid little tune at some point in their lives, even if it were only making up melodies to nursery rhymes as kids.

Several of her 1960s hits recorded by others were lumped into a medley, which was understandable given time constraints. A verse and chorus of “Go Away Little Girl,” in which King wished aloud that Donny Osmond was present to perform a duet with her (which would’ve made a near-perfect evening even finer) was certainly better than nothing. A surprising highlight was a full rendition of her Monkees hit “Pleasant Valley Sunday.” Throughout the evening, she chatted amicably to the audience between songs, engaging in stories behind the creation of some of her biggest hits. It really was like having Carole King playing piano in your living room—if your home had been invaded by a wine and cheese brigade staffed by balding, affluent men and middle-aged women with fake breasts and skirts too short for ex-hippies hoisting glasses of Burgundy in toast to Carole King. &

Set List: Ludacris, Tobi Keith, The Isley Brothers, and more

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The Set List

 

July 29, 2004Little Charlie and the Nightcats
In a world saturated with bad blues acts, swing and jump blues masters Little Charlie and the Nightcats provide redemption for the most worn-out genre in the history of music. They’re the best blues band in the world. Despite Charlie Baty’s talent at dashing off clever and tasteful guitar licks, the real show-stealer is harmonica virtuoso and wry vocalist Rick Estrin. (Estrin’s immaculate, eye-popping suits are worth the price of admission alone.) His gangster persona never fails to entertain. (Saturday, July 31, at Workplay; 7 p.m.; $15-$17.) — Ed Reynolds

Mac McAnally
He started out as the Warren Zevon for the Jimmy Buffet set. Mac McAnally then spent the ’80s putting out great country-pop albums that could’ve spared us the Americana movement had they been more successful. Fortunately, he’s been covered enough to guarantee that labels would fund his own string of ’90s releases (most of which went straight to the cheap bins). The patronage of David Geffen has also ensured the occasional windfall from projects like the soundtrack to The Prince of Egypt. Europeans still haven’t discovered McAnally as a cult figure, though, most likely because very few recording artists can do justice to his unashamedly emotional tunes. Adrienne Barbeau has recorded an impressively torchy version of “All These Years,” though. (Tuesday, August 3, at Zydeco; 8 p.m. $15.) —J.R. Taylor

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Little Charlie and the Nightcats (click for larger version)

 


KISS/Poison
Don’t mistake this for a KISS reunion tour. It’s really another fine summer cash-in, but it pales next to the potential of the Gene Simmons solo tour we should be enjoying. Poison deserves the privileged opening slot, though, since they were always The Ramones in spandex. Nobody wrote better pop songs about girls and best friends—at least, for about two years back in the ’80s. Here’s a Don Dokken quote that really sums up the band’s long career: “Poison’s having the last laugh on all of us. It makes me feel like I wasted a lot of time practicing guitar and reading poetry.” (Tuesday, August 3, at Verizon Music Center; 7:30 p.m. $25-$60 R.S.) —J.R. Taylor

 

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Poison (click for larger version)

Garrison Starr
Don’t blame Hilary Duff because Garrison Starr isn’t on a major label. Airstreams & Satellites is an album worthy of any woman who’s been around long enough to be Duff’s mom. True adult pop still doesn’t sell—but if it did, Starr’s defiant jangle-pop would ensure that her posters covered the bedroom walls of many beleaguered adults. (Wednesday, August 4, at Workplay; 8 p.m. $17; Laser’s Edge in-store concert; TBA; free admission.) —J.R. Taylor

Toby Keith/Terri Clark
They’re still terrified of Southern rednecks, so Toby Keith has certainly done his part to keep country scary for the national media. The press will never get close enough to appreciate his complexity, either. In that same spirit, Terri Clark’s new Greatest Hits collection showcases one of country’s most bizarre femmes—or soft butches, as the case may be—who has an angry sexuality that doesn’t scare away the fans of her fun and tuneful work. (Thursday, August 5, at Verizon Music Center; 7:30 p.m. $32-$64.) —J.R. Taylor

Ludacris/Lil Jon & the East Side Boyz/Sleepy Brown/David Banner
Everybody knows Ludacris is so crazy, and Sleepy Brown is still an unknown quantity when not performing with Outkast. That leaves David Banner, who is this bill’s biggest deal as the critics’ darling of Crunk—mostly because he adds a spiritual spin to rapping about the joys of bouncing along in a Cadillac. Banner also has an impressive stash of instrumental tricks, and everyone likes the idea of storytellers coming out of Mississippi. Lil Jon & the East Side Boys, however, remain the true Kings of Crunk, and not just because they used the word as an album title back in 2002. Their big jeep beats are the closest that Southern hip-hop will ever get to matching the stigma of bad Southern Rock blaring from Camaros. (Friday, August 6, at Alabama State Fairgrounds; 7 p.m. $25 per day; $40 for weekend.) —J.R. Taylor

The Isley Brothers featuring Ronald Isley/The Gap Band/Bobby Womack/Avant/The Bar-Kays
The Isley Brothers are back to being chart-topping pop stars, so there’s little to add there. The Gap Band and The Bar-Kays are equally iconic as vanguards of funk. So that leaves Bobby Womack sorely in need of being remembered as a soulful crooner whose long, long career has him defining any number of genres. This singer/songwriter has plenty of hits to fill his stage time, but Womack could’ve also built an entire alternate career out of some stunning album tracks. He’s still a great live act, too. Avant also appears as the token young-blood soul man who’s probably thrilled to share a bill with guys who were legends before he was born. (Saturday, August 7, at Alabama State Fairgrounds; 5 p.m. $25 per day; $40 for weekend.) —J.R. Taylor

 

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The Isley Brothers (click for larger version)

Bobby Womack
When Bobby Womack was a young man singing in a gospel group with his four brothers, his father, Friendly Sr., warned of eternal damnation if his son went secular, which acquaintance Sam Cooke was encouraging him to do. So what did Womack do? He convinced his brothers to join him on the secular circuit despite threats of damnation. They changed their name from the Womacks to the Valentinos, and released a pair of songs written by Bobby that would be famously recorded by The Rolling Stones ["It's All Over Now"] and The J. Geils Band ["Lookin' for a Love"]. After going solo, Womack later penned many songs for Wilson Pickett (including “I’m a Midnight Mover” and “I’m in Love”) and recorded in the studio or performed live with acts such as Ray Charles, James Brown, Aretha Franklin, and Sly & the Family Stone. As a solo artist, he had a string of R&B hits, including “Woman’s Gotta Have It,” “Nobody Knows You When You’re Down and Out,” and the blaxploitation classic “Across 110th Street” (last heard on the soundtrack to Quentin Tarantino’s Jackie Brown).

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Bobby Womack (click for larger version)

But despite his success, Bobby Womack might have wondered if his dad had been right, because tragedy was not far behind. Womack married Sam Cooke’s wife a few months after Cooke’s murder. The resulting ill will in the R&B community stalled his career, and he began battling a drug addiction that almost killed him. In 1974, Womack’s brother was stabbed to death by his girlfriend at Bobby’s home, and in 1978, Womack’s son Truth Bobby died at the age of four months. Another son committed suicide at age 21.

Throughout his adversity, Womack continued to record and was generally known as a bit of an iconoclast. At one point in the late ’70s, Womack badgered his reluctant label into letting him do a full album of country music, something he’d always loved but that the label regarded as commercially inadvisable. The album, BW Goes C&W, sold poorly. What’s more unfortunate is that the label didn’t release it under the title Womack reportedly wanted: Step Aside, Charley Pride, Give Another Nigger a Try.

Womack’s output slowed throughout the ’80s and ’90s. His last studio recordings were a 1994 album for the label owned by friend Ron Wood and a 1997 gospel album, Back to My Roots. (Saturday, August 7 at Alabama State Fairgrounds, August 6 through 8; $25 per day, $40 for the weekend.) — Ed Reynolds

White Animals
The White Animals date back to precious days when a band had to be sure they had good songs before investing in studio time. They’d be D.I.Y. legends if they’d been turning out bad punk rock. Instead, the White Animals deserve to be heroes of jam bands everywhere for pioneering trashy frat-rock that bespoke a World Music collection instead of a token reggae LP. Actually, they’re probably responsible for a lot of really bad music from bands that followed in their wake. At least their recent originals are pretty good, and they’re touring seldom enough to make this show worth seeing. (Saturday, August 7, at Zydeco; 10 p.m. $10-$12.) —J.R. Taylor

Patterson Hood
In retrospect, Patterson Hood had little to worry about at the start of 2001. His band, the Drive-By Truckers, was already getting more press than any other project from this rapidly aging rocker. Any musician about to tour behind a popular album doesn’t get much sympathy for being recently divorced, either. Hood nevertheless worked out all of his bad feelings in his living room on his new solo album, Killers and Stars—a pleasant diversion from the determined Southern goth of the Truckers. The album is less of a singer/songwriter bid than a look at the self-loathing and self-obsession that eventually turn into grander obsessions for the band project. Hood’s feeling much better, of course, and maybe this solo appearance will bring up some of the poppier tendencies that some of us still hope to hear again. (Thursday, August 12, at Workplay; 9 p.m. $12.) —J.R. Taylor

The Set List — Hank Williams, Jr., .R.E.M., and others.

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The Set List


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Hank Williams, Jr.

Hank Williams, Jr.
Though he first appeared on the Grand Ole Opry at age 11, performing his late father’s tunes, Hank Williams, Jr., later chose to rebel against the expectations heaped upon him as the son of the greatest country music singer of all time by cranking up the electric guitars and extolling the virtues of smoking pot while sipping Jim Beam. Never mind that his dad had been shooting up morphine long before Hank, Jr., puffed his first joint. Maybe the real reason he chose to rebel was that his father nicknamed him Bocephus, after a dummy used by a Grand Ole Opry ventriloquist. Regardless, Hank, Sr.’s devout legions didn’t quite know what to make of Junior’s version of a hillbilly, but his undying allegiance to the Confederate flag had them in his corner in no time. Originally viewed as an embarrassment by hardcore country fans, Williams Jr.’s, crass songs were merely caricatures of the plaintive, stark beauty of country music. For the past decade, however, he’s been more or less a saving grace in a world where Shania Twain and Tim McGraw are revered more than Loretta Lynn and George Jones, though he’ll never live down those jingles that promote “Monday Night Football.” (Saturday, September 13, at Oak Mountain Amphitheater, 7:20 p.m.; $10-$39.75. R.S.) —Ed Reynolds

Jay Farrar
It’s been hard times for those who prefer Son Volt to the suddenly-sanctified Wilco. Jay Farrar didn’t even rate a mention in the Wilco documentary I Am Trying to Break Your Heart (despite his long history with Wilco’s Jeff Tweedy in Uncle Tupelo), and then Farrar’s first post-Son Volt project got swamped in the wake of Wilco’s lousy Yankee Hotel Foxtrot. Fortunately, this bought Farrar the time to record ThirdShiftGrottoSlack, an EP on which he finally ditched Americana and started exploring his avant leanings. Now, all of his visions have come together with Terroir Blues, a 23-track collection of gorgeous, quiet compositions augmented by noisy interludes and assorted reprises. Neil Young couldn’t have come up with a better mix of ambitious indulgence and genuine talent. The critics, naturally, aren’t pleased. Farrar probably couldn’t be happier. (Wednesday, September 17, at WorkPlay, 10 p.m. $20.) —J.R. Taylor

Hayseed Dixie/The Kerosene Brothers
Or Bill Dana opening for Jose Jimenez. Hayseed Dixie has been more successful than they could have hoped by playing bluegrass covers of AC/DC and Kiss. Now it’s time for the Kerosene Brothers to tour on Hayseed’s coattails—and those are mighty short coattails since The Kerosene Brothers are Hayseed Dixie in their purest form, before an indulgent side-project kinda took over their careers. Choose Your Own Title shows the Kerosene Brothers bringing that Hayseed energy to their own fun originals, with no hint of any deep insight having been buried by their successful alter-egos. It’s simply one good joke after another, and it’s not their fault if the joke has become more believable than most acts’ sincerity. (Wednesday, September 24, at The Nick.) —J.R.T.

R.E.M./Sparklehorse
They should be calling it the “Sorry About the ’90s” Tour since Michael Stipe can no longer tell the executives at his record label that questions about sales performance are “mean-spirited.” There have even been rumors of advance money being handed back, although that remains unconfirmed.

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R.E.M.

Let’s concede that some people out there are looking forward to buying R.E.M.’s recent best-of compilation, even after hearing the crappy new single. Meanwhile, the vast majority of fans haven’t really cared about anything R.E.M. has recorded since 1992. The fans haven’t missed a thing, either. Pete Buck still drinks and plays too much, Mike Mills remains the only talented member, and none of them know how to produce a rock album. The Michael Stipe co-produced American Movie, however, was a pretty cool film.

Sparklehorse, incidentally, is an R.E.M. tribute band, in that leader Mark Linkous’ rote sound collages—occasionally containing a good melody—are a tribute to how so many lame art-rockers have been able to limp along thanks to R.E.M.’s support over the years. Thankfully, that’s pretty much over, too. (Wednesday, September 24, at Oak Mountain Amphitheatre, 7:30 p.m. $15-$60 R.S.) —J.R.T.

The Polyphonic Spree/Starlight Mints/Corn Mo
Redefining both cult-rock and the cult of Mitch Miller, Tim Delaughter’s (former singer for Tripping Daisy) traveling band of white-robed glee clubbers sounds like an honest big deal on Beginning Stages of the Polyphonic Spree. They also do a fine job of burying the lame Sunshine Pop scene that came skipping out of the 1960s. Unlike their hippie forebears, this 24-piece ensemble plays off orchestral arrangements and fun synth touches to create truly entertaining pop masterpieces.

 

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Corn Mo

There’s also the occasional artistic misfire. But the only real problem is that nobody seems to remember how to actually produce a record by a big choral group nowadays. You have to see the band live to appreciate some of the delicate touches that are wiped away in the album’s traditionalist rock mix.

Starlight Mints are a proudly trippy act in their own right, getting past their dull power-pop roots and now indulging in a lot of privileged quirkiness on Built for Squares. And it’s left to Corn Mo to represent the Great Spirit in his role as the Heavy Metal/Prog-Rockin’ God of the Accordion. (See feature, this issue.) (Thursday, September 25, at WorkPlay, 8 p.m. $15) —J.R.T.

Caitlin Cary/Mimi Holland
College begins, and this former Whiskeytown girl stays on the road, and that’s pretty good news for fans of both country-pop and spoken word. There’s simply no live act that better captures the simple charm of a witty Southern gal—except maybe Rufus Wainwright. And the band plays up the jangle-pop subtext that makes I’m Staying Out such an impressive recovery from Cary’s lousy debut album. (Cary only, Friday, September 12, at Laser’s Edge CDs, 5:30 p.m. Free admission; Cary and Holland, Friday, September 12, at WorkPlay, 9 p.m. $15.) —J.R.T.

Blue Rodeo
Remember how stupid those Brits looked battling it out between Oasis and Blur? Canadians were reduced to taking sides between Blue Rodeo and The Tragically Hip—two interesting, brooding bands that each took their time compiling an album’s worth of decent live material. Blue Rodeo gets some bonus points for being a lot more Canadian, though, slowly compiling an epic farmland rock opera. In the process, they managed a few masterpieces and a lot of pleasant minor tunes. They’re still a big deal back home, but it’s always enjoyable to see Blue Rodeo working small clubs and pulling out greatest hits for an audience that’s never heard of them. (Friday, September 12, at The Nick.) —J.R.T.

Leon Redbone
It’s funny how quickly Leon Redbone has been forgotten in the midst of the continual O’ Brother mania, despite his having a long-standing set list that could’ve passed for a rough version of the film’s soundtrack. He’s certainly contributed to his own low profile, too. A night at the local public library seems like a step up from touring kiddie shows, but at least it’s one less tax dollar being spent on a professional storyteller. And though his Panama Jack routine was thoroughly tired by the ’80s, he’s spent his old age priming himself as a blues guitar god capable of replicating lost artists. Redbone’s death will be like losing Tiny Tim, taking a good section of the Great American Songbook with him. (Friday and Saturday, September 12 and 13, at the Hoover Public Library, 8 p.m. $15.) —J.R.T. &


One Night With Elvis — Fans from across the globe visit Graceland to pay their respects.

One Night With Elvis

Fans from across the globe visit Graceland to pay their respects.

Elvis Presley Boulevard in Memphis is a bizarre slice of civilization strewn with dilapidated barbecue shacks, check-cashing pawn shops, liquor stores, car washes (one doubles as a burger joint that serves a “Murder Burger”), and umbrella-toting prostitutes winking at passersby in the pre-dawn rain. It’s hard to believe that this neighborhood is the eternal resting place for a star of Elvis Presley’s magnitude. A few thousand feet from Graceland, cheap Screen Shot 2017-08-16 at 3.37.17 PMautomobiles are available in a dismal looking car lot called Heaven-Sent Used Cars. Nearby looms one of the city’s several massive billboards that proclaim: “Johnny Cochran — America’s Lawyer,” a huge, imposing photo of the famous attorney accompanying his telephone number. Another billboard advertises “Dr. Nick’s Memories of Elvis” at a local casino, featuring Dr. George Nichopoulos himself, Elvis’ legendary prescription writer.

On the weekend of August 16, more than 30,000 worshippers solemnly filed past Elvis’ grave, each clutching a candle lit from another candle that was lit by the eternal flame at Presley’s tombstone on the mansion’s front lawn. Colored lights bathed trees in various hues as Graceland’s lawn stereo oozed Presley hymns and ballads around-the-clock, the only sound evident as several thousand worshippers patiently stood in a hushed, snail-paced line beginning at 5 a.m. on Friday to pay respects and proffer gifts at the grave of the King. Offerings included teddy bears, long-stemmed roses, poems, and assorted brands of pork rinds. In the middle of Presley Boulevard, devotees abandoned burning candles in parting tribute, creating an oasis of melting candlewax altars where flames sizzled as raindrops fell.

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Welcome Elvis Fans: Feeding throngs of fans proved too exhausting for this vendor.

“I stood in line for six hours,” said Becky Baker, a 55-year-old Detroit woman who credits Presley with putting an end to her suicide attempts. “I had no desire to live ’til I heard Elvis sing,” she sobbed uncontrollably to a middle-aged man with sideburns, a pompadour, and a white Elvis suit and who claimed to be Elvis Presley, Jr. “My mother was Bonnie,” the man explained with a shrug, “one of Elvis’ early girlfriends. I was conceived when they were both 14.” He admitted to harboring lingering resentment at Lisa Marie’s refusal to recognize him as her brother. The crying woman from Detroit rubbed his hand, nodded her head, and sighed, “I knew there had to be more children, ’cause Elvis had so many girlfriends.”

A disheveled woman with unkempt gray hair aimlessly wandered back and forth on the sidewalk in front of Graceland’s graffiti-covered stone wall. She babbled incessantly to herself while dragging a worn yellow suitcase with a Greyhound luggage tag dangling from the handle. Identifying herself as “Mary from Kansas City,” she explained that she had walked several miles from the downtown Memphis bus station to reach Graceland. She distributed photocopies of tabloid headlines about recent Elvis sightings in the Midwest. The woman ventured a theory that Elvis could have been abducted by curious aliens 25 years ago. Most of the mourners simply ignored her.

The annual Elvis Candlelight Vigil held each summer to commemorate Presley’s death is a world-class freak show that would have made the late Colonel Tom Parker proud. Nowhere else would this collection of oddities be afforded such dignity and respect. A midget Elvis posed for pictures with a group of Japanese tourists. A balding Canadian man with scraggly red sideburns said it was his third trip to the vigil. He moonlights as an Elvis and Roy Orbison impersonator in his native British Columbia, crooning a verse of “Love Me Tender” to convince all who doubted him.

The most notable curiosities, however, labeled themselves Presley’s closest confidants and assembled at a University of Memphis symposium. Framed by a backdrop of velvet Elvis paintings, the informal group recounted favorite stories about how much he had meant to each of their lives, offering nothing less than complete reverence and respect as they praised the man who at one time had most of them on his payroll.

Al De Goren, the man who coined the phrase “Elvis has left the building,” recalled Presley’s generosity. Julie Parish, Elvis’ costar in Paradise, Hawaiian Style, claimed that one afternoon the entire right side of her body had gone numb “after too many diet pills.” Presley laid his hands over her in a healing manner right there on the movie set. Elvis’ dentist remembered the day Presley refused painkillers before oral surgery. “Elvis hypnotized himself,” said the dentist, obviously still in awe. “He never blinked and he never moved. It was amazing.”

Charlie Hodge, the man responsible for handing Presley his scarves and glasses of water on stage, told of the evening Elvis and the Colonel purchased 150 seats behind the stage for a group of blind fans — except no one told Elvis they were blind. Each time Presley tossed the group one of his scarves, it would simply flutter to the ground as if no one cared to catch it. Elvis almost became unglued during the performance, convinced that he had lost his ability to mesmerize an audience.

Struggling with English in a thick Korean accent, Master Kang Rhee, Presley’s long-time karate instructor, remembered that Elvis often didn’t know his own strength when using bodyguard Red West as a practice dummy. Rhee used to applaud enthusiastically as Elvis smashed up hotel furniture with hand chops and flying kicks. “Master Tiger [Elvis] deserve all kind of black belt,” Rhee noted, praising the star’s martial arts prowess. At the end of his talk, Kang Rhee, dressed in a black business suit, removed his shoes and socks to give a karate demonstration, complete with grunts and the classic air punches that became a staple of Presley’s Las Vegas act.

Larry Geller, Elvis’ hairdresser and spiritual adviser, called Presley “an Adonis and modern-day Robin Hood” who had hair “so fine that it needed lots of hairspray.” The hair stylist has previously claimed that Elvis was reading a book about Jesus the moment he died, a book the barber had given him five days before his death. Geller at one time had been ostracized by Colonel Parker and the Memphis Mafia, who blamed him for Presley’s fascination with different religions. At one point, Colonel Tom refused to let him be alone with Presley, limiting barber sessions to a half hour with a chaperon. The Colonel eventually confiscated all spiritual books Geller had given the singer, which Priscilla convinced Elvis to burn one night at Graceland.

Red West was the unexpected guest. West and his brother Sonny had written a tell-all book entitled Elvis, What Happened? after being fired from their bodyguard roles. Presley contemplated having the pair killed after the book came out but failed to carry through with the scheme. Years later, a tearful West has nothing but kind words for his former boss, and recollections about various attempts to break the monotony of life with Elvis in Las Vegas. For one prank, the Memphis Mafia staged an assassination attempt on Elvis, loading everyone’s guns with blanks in an afternoon shoot-out where Presley played dead as those not in on the joke jumped on his body to protect him from the imaginary bullets.

Leave it to Sam Phillips, founder of Sun Records and the man who discovered Elvis, to be the one speaker willing to toss a few irreverent barbs in everyone’s direction. Phillips is widely regarded as the man who unleashed rock ‘n’ roll with the release of “Rocket ’88′” by Jackie Brentson. In the early 1950s, Phillips had discovered a black singing group known as the Prisonaires incarcerated at the Tennessee State Penitentiary in Nashville. Impressed, Phillips began soliciting tapes of songs from other convicts, including one who sounded an awful lot like the Presley kid that had made acetate recordings 10 months earlier at Phillips’ Memphis Recording Service. Phillips was forced to give Presley a second listen, eventually hooking him up with guitarist Scotty Moore’s group, the Starlite Wranglers. Moore was initially impressed more with the singer’s name than voice because he thought the name “Elvis Presley” sounded like it came from a science fiction movie. Two years later, Phillips sold Presley’s contract to Colonel Tom Parker for $35,000.

Admitting that “anybody this damn old ought to be dead,” Phillips opened his address expressing admiration for the RCA microphone before him. He praised its aluminum strip and magnetic poles as he noted, “You make the performer feel like he owns that microphone,” the excitement rising in his voice. Admitting that he had more tolerance for Red than Red’s brother Sonny, Phillips praised West for being “exactly what Elvis needed in a bodyguard.” He said the brothers’ tell-all book wasn’t written to make money, but rather “to help Presley straighten his life out.” Phillips spoke in a stream of consciousness delivery that veered off on various tangents before suddenly returning to the topic at hand as he forgave West for writing the book.

Sam Phillips has claimed to have had no regrets about selling Elvis to the Colonel, whom he called “a fat boy with a long tongue and fat mouth.” But he can’t hide his disdain for the man who once had a carnival sideshow featuring dancing chickens on a plugged-in hot plate. “I’ll never say anything against Tom Parker . . . I wish he were still alive — then I would!” Phillips then turned his sarcasm towards Charlie Hodge: “It ain’t easy passin’ a glass of water to Elvis Presley. Forget the scarves.” He finally got around to exalting Presley, lauding him as a man of his word. “Elvis wouldn’t break a damn contract, even if it cost him his lower anatomy. He was the most important personality of the 20th and 21st centuries . . . I loved him because I wanted to kiss him and never got to.” As the audience laughed nervously at Phillips’ peculiar anecdotes, the legendary record producer concluded with a philosophical flurry of words that put a perspective on the two-day Memphis spectacle that few in the throng of 30,000 Graceland mourners would dare acknowledge. “We’re not talkin’ about no damn deities, and we don’t need another pope,” Phillips said quietly of the man who drew revelers from all corners of the globe on the 25th anniversary of his death. “No use in kidding ourselves. Elvis Presley got himself in the mess he made, and you know he did.” &

Elvis Summer Heats Up

Elvis Summer Heats Up

 

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As the 25th anniversary of Elvis Presley’s August 16 death approaches, the late singer currently has a number one hit in Europe with “A Little Less Conversation.” The chart-topper fulfills Colonel Tom Parker’s prophecy that Presley would be worth more to the manager dead than alive. His 1977 passing also opened the door for a new form of entertainment — the Elvis impersonator.

No one is more shocked by his chosen profession than impersonator David Lee. “It’s beyond my belief,” Lee observes about life portraying the greatest American icon of all time. “I don’t think anybody sets out to make a career being an Elvis impersonator.” The singer is revered as one of the top Elvis performers in North America, currently holding the champion’s title after having won the Canadian Elvis Fest 2001. He also placed third in the number one Elvis contest in the world, Images of the King 2001, which is held each August in Memphis in observance of Presley’s 1977 death.

 

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Lee didn’t start out as an Elvis fan. “My best friend had Elvis playing all the time, and I thought, ‘Man, this guy’s a little strange.’” But he soon became a convert, and began impersonating Presley in 1995 after being told he sounded a lot like him. “Deep down, I’m just a big Elvis fan, but I took it to another level.” He presently owns nine Elvis jumpsuits, including the American Eagle costume (from Presley’s legendary 1973 “Aloha from Hawaii” concert), the Peacock outfit, and the white fringe suit. Lee focuses on the more obscure Presley tunes. “You go to the contests and you hear ‘Suspicious Minds’ and ‘Jailhouse Rock’ 3,000 times. I try to look for songs that people don’t do.

“I try to give the people an accurate account of what it might be like to see Elvis,” Lee says. “Of course, there was only one Elvis . . . So if you can give ‘em just a touch of it, you’ve done your job.”

David Lee will perform at the BJCC Theatre August 9 with the Promised Land band. Showtime is 8 p.m. He will also be at the Birmingham International Raceway August 10 with the Muddy King Orchestra. For tickets or information, call 205-266-3030 or visit www.elvis4u.com.

Immaculate Deception

Immaculate Deception


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An Elvis impersonator sings “G.I. Blues” to adoring fans.

Decades after Elvis Presley’s twin brother Jesse died at birth, and years before scientists began work on human cloning, an odd strain of human known as the “Elvis impersonator” karate-chopped its way into the belly of 20th century world culture. Long live the King.

Twenty Elvis impersonators invaded Birmingham June 15 and 16 for the second Annual Elvis in Dixieland contest. Memphis-native William Styles, who vomited on Presley as an infant (his parents were pals of Elvis), was crowned champ after his mighty fine version of Elvis’ rendition of “Walk a Mile in My Shoes.” Styles, who bears an alarming resemblance to Kurt Russell’s Hollywood portrayal of Elvis, won $1,000 and the opportunity to compete in the world-wide “Images of the King” contest in Memphis in August during the 25th anniversary vigil of Elvis’ death.

David Lee, billed as “Birmingham’s Favorite Elvis Entertainer,” served as master of ceremonies. The reigning Canadian Grand Champion Elvis impersonator, Lee placed third during last year’s Memphis celebration. He introduced an assortment of contenders that aped every Elvis move imaginable — karate kicks, fists punching the air, and hips quivering uncontrollably. Grown women squealed like teenagers as they rushed the stage for kisses and scarves from performers in between endless versions of “Suspicious Minds” and the proverbial Elvis catch-phrase: “Thank you, thank you very much.”

Impersonator Michael Ratcliffe, a member of Virginia’s “Touched By Elvis” fan club, struggled to stay on pitch, but that didn’t stop him from belting out an emotional, off-key version of “My Way.” Danny Dale, an overweight Las Vegas Elvis from Louisville, Kentucky, mingled in the hallway with other contestants after his performance, sweat glistening off his chest as he explained his motivation for imitating the King. “It’s like doing aerobics. I try to mimic [his] moves. I started like most of the impersonators did, doing karaoke. Eventually, I rented a suit and started doing parties.” Beside him stood his 18-year-old son, “Little D,” who waited his turn to present a 1950s Elvis act.

“This is for my country and my Savior,” said a Presley imitator in a sparkling rhinestone-studded blue jumpsuit as he introduced “Dixie.” A gospel Elvis said he got his start impersonating the King at “rodeos, churches, and nursing homes.” Bragging that his Church of God rearing was every bit as religious as Presley’s youth, he opened his set by announcing, “I’d like to put in a plug for the two kings — King Jesus and King Elvis.”

The Men Who Should Be King

The Men Who Should Be King


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Elvis admirers strike a pose at Graceland.

If imitation is the sincerest form of flattery, Elvis Presley must be tossing and turning in his Graceland tomb, wondering where he went wrong. Maybe he’ll rise from the dead one day to set the record straight, but until then, the endless parade of imitation Elvis resurrections will continue to thrive as the most alluring sideshow in American culture.

On Saturday, June 16, an army of Elvis clones will invade the BJCC Ballroom to compete in the inaugural Elvis in Dixieland Impersonator Contest. The winner will jet up Highway 78 to Memphis in August to compete for the title True King in the “Images of Elvis Contest,” the most bizarre event of the sacred vigil known as “Death Week.”

The impersonator contest is sponsored by B&K Enterprises, “a household name in the custom costume world.” Internationally acclaimed for authentic reproductions of Elvis costumes, Elvis jumpsuits, and Elvis accessories, B&K Enterprises employs patterns and techniques handed down from original Elvis-wear designers Bill Belew and Gene Doucette. Jumpsuits go for as high as $4,000, capes up to $2,400, and belts for $350. The company also manufactures Elvis-style eyeglasses by Dennis Roberts, the original designer who created 488 pairs of eyeglasses for the King from 1970 to 1977. Roberts also created Presley’s classic “TCB with lightening bolt” necklace.

The host of the contest will be David Lee, who bills himself as “Birmingham’s Favorite Elvis Entertainer.” Lee is also a member of the Professional Elvis Impersonators Association (PEIA), an international organization that promotes “the advancement of Elvis Presley’s music and Style [sic] throughout the world. PEIA’s code of Ethics includes the promise to “not physically, mentally, psychologically, (or) verbally abuse or slander other performers or members.”

First prize will be $1,000 cash; other prizes include a replica of Elvis’ “Aloha” belt and custom-made “puffy-sleeve” satin shirts from B&K Enterprises. Part of the proceeds from the impersonator contest will benefit Grace House Ministries..” Advance tickets are $4 for adults, and $2 for ages 6 through 12. At the door, it’s $5 for adults.