Mark Duffett - Counting Down Elvis: His 100 Finest Songs

ROWMAN & LITTLEFIELD

Lanham Boulder New York London

Library of Congress Cataloging-in-Publication Data

Names: Duffett, Mark.

Title: Counting down Elvis : his 100 finest songs / Mark Duffett.

Description: Lanham : Rowman & Littlefield, [2018] | Series: Counting down | Includes bibliographical references and index.

Identifiers: LCCN 2017038499 (print) | LCCN 2017039831 (ebook) | ISBN 9781442248052 (electronic) | ISBN 9781442248045 (cloth : alk. paper)

Subjects: LCSH: Presley, Elvis, 1935-1977Criticism and interpretation. | Rock musicUnited StatesHistory and criticism.

Classification: LCC ML420.P96 (ebook) | LCC ML420.P96 D72 2018 (print) | DDC 782.42166092dc23 LC record available at https://lccn.loc.gov/2017038499

TM The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.

Printed in the United States of America

Back in 1999, I completed a PhD examining the relationship between Elvis and his fans at what was then the University of Wales (Aberystwyth). Since then, I have taught at the University of Chester and published academic research on music fandom. Over the years, I amassed quite a library of Elvis material as part of my research process. This book had its origins in a visit to a famous London book emporium where I spotted another Rowman & Littlefield publication: Edward Komara and Greg Johnsons 100 Books Every Blues Fan Should Own (2014). When I saw Komara and Johnsons volume, my first thought was that I might write a parallel tome on books about the Memphis singer. It was Bennett Graff, then a senior acquisitions editor, who steered me away from that idea and toward what you are now reading. First, I would therefore like to thank Bennett. Not only did he have faith that I could speak as a music critic and write something interesting, he also put the case to his editorial board that Elvis Presley made a creative contribution to popular music. As Bennett said, even though Elvis was not a songwriter, he was innovative in picking and interpreting material. I hope what I have written affirms Bennetts claim and celebrates some of Elviss collaborators too. At Rowman & Littlefield, Id also like to thank Natalie Mandziuk for her patience while I was finishing the manuscript.

I hope Counting Down Elvis will have at least two types of readers: recent fans, who want to get beyond the greatest hits and do not know quite where to start, and dedicated fans, who might use it as an inspirational day by day.

My thinking on Elvis would be impoverished if it were not for the support and friendship Ive had over the years from many Elvis fans and colleagues. Id like to thank Julie Mundy for giving me permission to visit the Official Elvis Fan Club of Great Britain annual convention at Hemsby in 1997 and the fans there for participating in my original research. I have fond memories from visiting several fan club conventions since then. In academia, Id also like to thank colleagues at Chester and those beyond who have supported my research over the years. They have encouraged me to think in more detail about popular music and Elvis fandom. In no particular order, I would therefore like to thank the following: Tom Attah, Lucy Bennett, Michael Bertrand, Gary Burns, Claude Chastagner, Mark Goodwin, Jon Hackett, Ben Halligan, Anja Lbert, Richard Phillips, Paul Richardson, the late David Sanjek, Tim Wall, Eileen Weston, Jessica Wettasinghe, and Tim Wise.

To conclude this section, I will add a quick note on method. This book is my own interpretation, but existing thorough research has been invaluable in helping it come together. I was already aware of outstanding Elvis research by several authorssuch as Peter Guralnick, Ernst Jrgensen, and Trevor Cajiaowho deserve great credit. Their work continues to be inspiring and invaluable. I also want to thank those who have pointed me away from myths or questionable sourcesnotably Richard Boussirons 2004 volume Elvis: A Musical Inventory 193955toward more reliable ones, especially Keith Flynns excellent website: http://www.keithflynn.com/.

Finally, I would like to thank my parents, my brothers, and my partner, the wonderful Julie Burns. This book is dedicated to Julie, to Elvis, and to his family of fans.

Picture the scene: a hot July night in Memphis, 1954. Up on the mezzanine level of the Hotel Chisca, in his WHBQ studio, the madcap DJ Dewey Phillips is talking to a shy, nineteen-year-old singer. Dewey starts asking him about a new and as-yet-unknown record called Thats All Right, a recording that seems to ignore age-old divisions between country and blues, just ripping them up for the sake of youthful abandon.

Track forward six decades. The universe has changed. Rock n roll exploded. Rockabilly happened. Cliff Richard and the Beatles got all shook up. A new generation discovered blues, folk, and soul power. Rock was their baby. Elvis Presley spread his wings, inspired everyone who mattered, reclaimed his crown, lost his way, and died too young. Almost immediately, he was reborn like a phoenix. The world could not let him go. And we still cant.

Maybe it was the shake of a leg. Maybe it was that Southern accent, the hooded eyes, the curling lip. His deference, his charm, his wit. His grace. His voice. Whatever it was, we find ourselves walking back to Memphis, even if we have never been there before. As an icon, he was never quite with us, though we knew of his magic. Now he is never quite gone. The weight of his presence remains truly immense.

Those who dont know much about Elvis constantly ask things like: Wasnt he that guy who was hypnotized by his manager? Who did those bland movies? Didnt he just sing schlocky love songs, like all those bad-taste tribute artists? Arent his followers a bit mad?