This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 53°23′″N23°36′″N |
---|---|
name | The Christmas Song (Merry Christmas to You) |
type | Christmas song |
artist | The King Cole Trio |
b-side | "In the Cool of Evening" (Capitol 311)"Laguna Mood" (Capitol 15201)"(All I Want for Christmas Is) My Two Front Teeth" (Capitol F90036; Capitol F2955)"The Little Boy that Santa Claus Forgot" (Capitol 3561) |
published | 1944 |
released | |
recorded | |
format | 10-inch, 7-inch |
genre | Christmas, Jazz, Pop |
length | (1946 recording) (1953 recording) |
label | Capitol 311 (1946)Capitol 15201 (1948)Capitol F90036 (1953)Capitol F2955 (1954)Capitol 3561 (1956) |
writer | Mel Tormé,Bob Wells |
misc | }} |
"The Christmas Song" (commonly subtitled "Chestnuts Roasting on an Open Fire" or, as it was originally subtitled, "Merry Christmas to You") is a classic Christmas song written in 1944 by musician, composer, and vocalist Mel Tormé (aka The Velvet Fog), and Bob Wells. According to Tormé, the song was written during a blistering hot summer. In an effort to "stay cool by thinking cool", the most-performed (according to BMI) Christmas song was born.
"I saw a spiral pad on his piano with four lines written in pencil", Tormé recalled. "They started, "Chestnuts roasting..., Jack Frost nipping..., Yuletide carols..., Folks dressed up like Eskimos.' Bob (Wells, co-writer) didn't think he was writing a song lyric. He said he thought if he could immerse himself in winter he could cool off. Forty minutes later that song was written. I wrote all the music and some of the lyrics."
The Nat King Cole Trio first recorded the song early in 1946. At Cole's behest and over the objections of his label, Capitol Records a second recording was made the same year utilizing a small string section, this version becoming a massive hit on both the pop and R&B; charts. Cole again recorded the song in 1953, using the same arrangement with a full orchestra arranged and conducted by Nelson Riddle, and once more in 1961, in a stereophonic version with orchestra conducted by Ralph Carmichael. Nat King Cole's 1961 version is generally regarded as definitive, and in 2004 was the most loved seasonal song with women aged 30–49, while Cole's original 1946 recording was inducted into the Grammy Hall of Fame in 1974. Mel Tormé recorded the song himself in 1954, and again in 1961, 1966 and 1992.
Second recording: Recorded at WMCA Radio Studios, New York City, August 19, 1946. First record issue. Label credit: The King Cole Trio with String Choir (Nat King Cole, vocal-pianist, Oscar Moore, guitarist; Johnny Miller, bassist; Charlie Grean, conductor of 4 string players, a harpist and a drummer) Lacquer disc master #981. Issued November 1946 as Capitol 311 (78rpm). This is featured on a CD called ''The Holiday Album'', which has 1940s Christmas songs recorded by Cole and Bing Crosby. In 2005 Capitol restored and re-released it for the 25 bit re-mastered Cole album "The Christmas Song", which also contains tracks from his 1960 and 1963 holiday albums.
Third recording: Recorded at Capitol Studios, Hollywood, August 24, 1953. This was the song,s first magnetic tape recording. Label credit: The King Cole Trio with String Choir (Actual artists: Nat King Cole, vocal; Nelson Riddle, orchestra conductor) Master #11726, take 11. Issued November 1953 as the "new" Capitol 90036(78rpm) / F90036(45rpm) (Capitol first issued 90036 in 1950 with the second recording). Correct label credit issued on October 18, 1954 as Capitol 2955(78rpm) / F2955(45rpm). Label credit: Nat "King" Cole with Orchestra Conducted by Nelson Riddle. This recording is available on the 1990 CD ''Cole, Christmas and Kids,'' as well as the various-artists compilation ''Casey Kasem Presents All Time Christmas Favorites''. It was also included, along with both 1946 recordings, on the 1991 Mosaic Records box set ''The Complete Capitol Recordings of the Nat King Cole Trio''.
Fourth recording: Recorded at Capitol Studios, New York City, March 30, 1961. This rendition, the first recorded in stereo, is widely played on radio stations during the Christmas season, and is probably the most famous version of this song. Label credit: Nat King Cole (Nat King Cole, vocal; Charles Grean and Pete Rugolo, orchestration; Ralph Carmichael, orchestra conductor). The instrumental arrangement is nearly identical with the 1953 version, but the vocals are much deeper and more focused. Originally done for ''The Nat King Cole Story'' (a 1961 LP devoted to stereo re-recordings of Cole's earlier hits), this recording was later appended to a reissue of Cole's 1960 holiday album ''The Magic of Christmas''. Retitled ''The Christmas Song'', the album was issued in 1963 as Capitol W-1967(mono) / SW-1967(stereo) and today is in print on compact disc. This recording of "The Christmas Song" is also available on numerous compilation albums. Some are Capitol pop standards Christmas compilations while others are broader-based. It's available on WCBS-FM's ''Ultimate Christmas Album Volume 3'', for example.
There were several covers of Nat Cole's original record in the 1940s. The first of these was said to be by Dick Haymes on the Decca label, but his was released first not recorded first. The first cover of "The Christmas Song" was performed by pop tenor and bandleader Eddy Howard on Majestic. Howard was a big Cole fan, and also covered Nat's versions of "I Want to Thank Your Folks" and "I Love You for Sentimental Reasons", among others.
Category:Christmas songs Category:1946 songs Category:1961 singles Category:1999 singles Category:2009 singles Category:Nat King Cole songs Category:Amy Grant songs Category:Christina Aguilera songs Category:Toby Keith songs Category:Martina McBride songs Category:Joe Nichols songs Category:George Strait songs Category:Kenny Loggins songs Category:Trisha Yearwood songs Category:Vocal duets Category:Grammy Hall of Fame Award recipients Category:Barbra Streisand songs Category:Bob Dylan songs Category:Sheryl Crow songs Category:CeCe Peniston songs Category:The Partridge Family songs
es:The Christmas Song fr:The Christmas Song id:The Christmas Song it:The Christmas Song no:The Christmas Song pl:The Christmas Song pt:The Christmas Song simple:The Christmas Song sv:The Christmas Song tr:The Christmas Song vi:The Christmas SongThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 53°23′″N23°36′″N |
---|---|
name | Jimmy Page |
background | non_vocal_instrumentalist |
birth name | James Patrick Page |
born | January 09, 1944Heston, Middlesex, England |
instrument | Guitar, mandolin, dulcimer, theremin, bass, banjo, harmonica, dobro, sitar, keyboards, tambourine, tamboura, hurdy gurdy, pedal steel guitar |
genre | Hard rock, heavy metal, blues rock, rock and roll, folk rock |
occupation | Musician, songwriter, producer |
years active | 1957–present |
label | Swan Song, Atlantic, Geffen, Fontana, Mercury |
associated acts | The Yardbirds, Led Zeppelin, The Honeydrippers, The Firm, Coverdale and Page, Page and Plant, Herman's Hermits, XYZ, Joe Cocker, The Edge, Jack White, Donovan, The Black Crowes |
website | |
notable instruments | }} |
James Patrick "Jimmy" Page, OBE (born 9 January 1944) is an English multi-instrumentalist, songwriter, and record producer. He began his career as a studio session guitarist in London and was subsequently a member of The Yardbirds from 1966 to 1968, after which he founded the English rock band Led Zeppelin.
Jimmy Page is viewed by critics and fans alike as one of the most influential and important guitarists and songwriters in rock music. ''Rolling Stone'' magazine has described him as "the pontiff of power riffing & probably the most digitally sampled artist in pop today after James Brown." In 2010, Jimmy Page was ranked No.2 in Gibson's list of "Top 50 Guitarists of All Time" and, in 2007, No.4 on ''Classic Rock Magazine'''s "100 Wildest Guitar Heroes". Page was ranked ninth in ''Rolling Stone'' magazine's list of the "100 Greatest Guitarists of All Time" in 2003. He has been inducted into the Rock and Roll Hall of Fame twice; once as a member of The Yardbirds (1992), and once as a member of Led Zeppelin (1995).
When I grew up there weren't many other guitarists ... There was one other guitarist in my school who actually showed me the first chords that I learned, and I went on from there. I was bored so I taught myself the guitar from listening to records. So obviously it was a very personal thing.
Among Page's early influences were rockabilly guitarists Scotty Moore and James Burton, who both played on recordings made by Elvis Presley. Hearing the Elvis Presley song "Baby Let's Play House" is cited by Page as being his inspiration to take up playing the guitar. Although he appears on BBC1 in 1957 with another guitar, Page states that his first guitar was a second-hand 1959 Futurama Grazioso, which was later replaced by a Telecaster.
Page's musical tastes included skiffle (a popular English music genre of the time) and acoustic folk playing, particularly that of Bert Jansch and John Renbourn, and the blues sounds of Elmore James, B.B. King, Willie Dixon, Otis Rush, Buddy Guy, Freddie King and Hubert Sumlin. "Basically, that was the start: a mixture between rock and blues."
At the age of 13, Page appeared on Huw Wheldon's ''All Your Own'' talent quest programme in a skiffle quartet, one performance of which aired on BBC TV in 1957. The group played "Mama Don't Want To Skiffle Anymore" and another very American-flavoured song, "In Them Ol' Cottonfields Back Home". Televised Contest. When asked by Wheldon what he wanted to do after schooling, Page said, "I want to do biological research" to find a cure for "cancer, if it isn't discovered by then".
In an interview with ''Guitar Player'' magazine, Page stated that "there was a lot of busking in the early days, but as they say, I had to come to grips with it, and it was a good schooling." Page would take a guitar to school each day and have it confiscated and handed back to him at 4:00 P.M. Although he had an interview for a job as a laboratory assistant, he ultimately chose to leave Danetree Secondary School, West Ewell, to pursue music instead.
Initially, Page had difficulty finding other musicians with whom he could play on a regular basis. "It wasn't as though there was an abundance. I used to play in many groups... anyone who could get a gig together, really." Following stints backing recitals by Beat poet Royston Ellis at the Mermaid Theatre between 1960–61, and singer Red E. Lewis, he was asked by singer Neil Christian to join his band, The Crusaders, after Christian had seen a fifteen-year-old Page playing in a local hall. Page toured with Christian for approximately two years and later played on several of his records, including the November 1962 single, "The Road to Love".
During his stint with Christian, Page fell seriously ill with glandular fever (infectious mononucleosis) and couldn't continue touring. While recovering, he decided to put his musical career on hold and concentrate on his other love, painting, and enrolled at Sutton Art College in Surrey. As he explained in 1975:
After brief stints with Carter-Lewis and the Southerners, Mike Hurst and the Method, and Mickey Finn and the Blue Men, Page committed himself to full-time session work. As a session guitarist he was known as 'Little Jim' so there was no confusion with other noted British session guitarist Big Jim Sullivan. Page was mainly called in to sessions as "insurance" in instances when a replacement or second guitarist was required by the recording artist. "It was usually myself and a drummer", he explained, "though they never mention the drummer these days, just me ... Anyone needing a guitarist either went to Big Jim [Sullivan] or myself." He has also stated that "In the initial stages they just said, play what you want, cos at that time I couldn't read music or anything."
Page was the favoured session guitarist of producer Shel Talmy. As a result, he secured session work on songs for The Who and The Kinks. Page is credited with playing acoustic twelve string guitar on two tracks on The Kinks' debut album "I'm a Lover Not a Fighter" and "I've Been Driving On Bald Mountain" and possibly on the b-side "I Gotta Move". He played six-string rhythm guitar on the sessions for The Who's first single "I Can't Explain" (although Pete Townshend was reluctant to allow Page's contribution on the final recording, Page also played lead guitar on the B-side "Bald Headed Woman"). Page's studio output in 1964 included Marianne Faithfull's "As Tears Go By", The Nashville Teens' "Tobacco Road", The Rolling Stones' "Heart of Stone" (released on ''Metamorphosis''), Van Morrison & Them's "Baby Please Don't Go" and "Here Comes the Night", Dave Berry's "The Crying Game" and "My Baby Left Me", Brenda Lee's "Is It True," and Petula Clark's "Downtown".
In 1965 Page was hired by Rolling Stones manager Andrew Loog Oldham to act as house producer and A&R; man for the newly-formed Immediate Records label, which also allowed him to play on and/or produce tracks by John Mayall, Nico, Chris Farlowe, Twice as Much and Eric Clapton. Page also formed a brief songwriting partnership with then romantic interest, Jackie DeShannon. He also composed and recorded songs for the John Williams album ''The Maureeny Wishful Album'' with Big Jim Sullivan. Page worked as session musician on Donovan Leitch's ''Sunshine Superman'' (1966) and the Johnny Hallyday albums ''Jeune Homme'' (1968) and ''Je Suis Né Dans La Rue'' (1969), the Al Stewart album ''Love Chronicles'' (1969), and played guitar on five tracks of Joe Cocker's debut album, ''With a Little Help from My Friends''.
When questioned about which songs he played on, especially ones where there exists some controversy as to what his exact role was, Page often points out that it is hard to remember exactly what he did given the enormous number of sessions he was playing at the time. In a radio interview he explained that "I was doing three sessions a day, fifteen sessions a week. Sometimes I would be playing with a group, sometimes I could be doing film music, it could be a folk session ... I was able to fit all these different roles."
Although Page recorded with many notable musicians, many of these early tracks are only available as bootleg recordings, several of which were released by the Led Zeppelin fan club in the late 1970s. One of the rarest of these is the early jam session featuring Jimmy Page playing with Rolling Stones guitarist Keith Richards, featuring a cover of "Little Queen of Spades" by Robert Johnson. Several songs which featured Page's involvement were compiled on the twin album release, ''Jimmy Page: Session Man''.
Page decided to leave studio work when the increasing influence of Stax Records on popular music led to the greater incorporation of brass and orchestral arrangements into recordings at the expense of guitars. However, he has stated that his time as a session player served as extremely good schooling for his development as a musician:
Within weeks, Page attended a Yardbirds concert at Oxford. After the show he went backstage where Paul Samwell-Smith announced that he was leaving the group. Page offered to replace Samwell-Smith and this was accepted by the group. He initially played electric bass with the Yardbirds before finally switching to twin lead guitar with Beck when Chris Dreja moved to bass. The musical potential of the line-up was scuttled, however, by interpersonal conflicts caused by constant touring and a lack of commercial success, although they released one single, "Happenings Ten Years Time Ago". (While Page and Jeff Beck played together in The Yardbirds, the trio of Page, Beck and Clapton never played in the original group at the same time. The three guitarists did appear on stage together at the ARMS charity concerts in 1983.)
After Beck's departure, the Yardbirds remained a quartet. They recorded one album with Page on lead guitar, ''Little Games''. The album received indifferent reviews and was not a commercial success, peaking at only number 80 on the Billboard Music Charts. Though their studio sound was fairly commercial at the time, the band's live performances were just the opposite, becoming heavier and more experimental. These concerts featured musical aspects that Page would later perfect with Led Zeppelin, most notably performances of "Dazed and Confused".
After the departure of Keith Relf and Jim McCarty in 1968, Page reconfigured the group with a new line-up to fulfill unfinished tour dates in Scandinavia. As he said:
To this end, Page recruited vocalist Robert Plant and drummer John Bonham, and he was also contacted by John Paul Jones who asked to join. During the Scandinavian tour the new group appeared as "The New Yardbirds", but soon recalled the old joke by Keith Moon and John Entwistle. Page stuck with that name to use for his new band. Peter Grant changed it to "Led Zeppelin", to avoid a mispronunciation of ''"Leed Zeppelin."''
Page has explained that he had a very specific idea in mind as to what he wanted Led Zeppelin to be, from the very beginning:
In 1982 Page collaborated with director Michael Winner to record the ''Death Wish II'' soundtrack. This, and several subsequent Page recordings including ''Death Wish III'' soundtrack (1985), were recorded and produced at his own recording studio, The Sol in Cookham, which he had purchased from Gus Dudgeon in the early 1980s.
In 1983 Page appeared with the A.R.M.S. (Action Research for Multiple Sclerosis) charity series of concerts which honoured Small Faces bass player Ronnie Lane, who suffered from the disease. For the first shows at the Royal Albert Hall in London, Page's set consisted of songs from the ''Death Wish II'' soundtrack (with Steve Winwood on vocals) and an instrumental version of "Stairway to Heaven". A four-city tour of the United States followed, with Paul Rodgers of Bad Company replacing Winwood as vocalist. During the US tour, Page and Rodgers also performed "Midnight Moonlight" which would later be recorded for The Firm's first album. All of the shows featured an on stage jam of "Layla" that reunited Page with Yardbirds guitarists Beck and Eric Clapton. According to the book ''Hammer of the Gods'', it was reportedly around this time that Page told friends that he'd just given up heroin after seven years of use. On 13 December 1983, Page joined Robert Plant on-stage for one encore at the Hammersmith Odeon in London.
Page next linked up with Roy Harper for the 1984 album (''Whatever Happened to Jugula?'') and occasional concerts, performing a predominantly acoustic set at folk festivals under various guises such as the MacGregors, and Themselves. Also in 1984 Page recorded with former Led Zeppelin vocalist Robert Plant as The Honeydrippers on the album''The Honeydrippers: Volume 1'', and with John Paul Jones on the film soundtrack ''Scream for Help''.
Page subsequently collaborated with Paul Rodgers to record two albums under the name The Firm. The first album, released in 1985, was the self-titled ''The Firm''. Popular songs included "Radioactive" and "Satisfaction Guaranteed". The album peaked at number 17 on the ''Billboard'' pop albums chart and went gold in the US. It was followed by ''Mean Business'' in 1986. The band toured in support of both albums but soon split up.
Various other projects followed, such as session work for Graham Nash, Stephen Stills and The Rolling Stones (on their 1986 single "One Hit (to the Body)"). In 1986, Page reunited temporarily with his ex-Yardbirds band members to play on several tracks of the Box of Frogs album ''Strange Land''. Page released a solo album entitled ''Outrider'' in 1988 which featured contributions from Robert Plant, with Page contributing in turn to Plant's solo album ''Now and Zen'', which was released the same year. Page also embarked on a collaboration with David Coverdale in 1993 entitled Coverdale Page.
Throughout these years Page also reunited with the other former members of Led Zeppelin to perform live on a few occasions, most notably in 1985 for the Live Aid concert with both Phil Collins and Tony Thompson filling drum duties. However, the band members considered this performance to be sub-standard, with Page having been let down by a poorly tuned Les Paul. Page, Plant and Jones, as well as John Bonham's son Jason, performed at the Atlantic Records 40th Anniversary show on 14 May 1988, closing the 12-hour show. In 1990, a Knebworth concert to aid the Nordoff-Robbins Music Therapy Centre and the British School for Performing Arts and Technology saw Plant unexpectedly joined by Page to perform "Misty Mountain Hop", "Wearing and Tearing" and "Rock and Roll". Page also performed with the band's former members at various private family functions.
In 1994, Page reunited with Plant for the penultimate performance in ''MTV'''s "Unplugged" series. The 90-minute special, dubbed ''Unledded'', premiered to the highest ratings in MTV's history. In October of the same year, the session was released as the CD ''No Quarter: Jimmy Page and Robert Plant Unledded'', and in 2004 as the DVD ''No Quarter Unledded''. Following a highly successful mid-90s tour to support ''No Quarter'', Page and Plant recorded 1998's ''Walking into Clarksdale''.
Since 1990, Page has been heavily involved in remastering the entire Led Zeppelin back catalogue and is currently participating in various charity concerts and charity work, particularly the ''Action for Brazil's Children Trust'' (ABC Trust), founded by his wife Jimena Gomez-Paratcha in 1998. In the same year, Page played guitar for rap singer/producer Puff Daddy's song "Come with Me", which heavily samples Led Zeppelin's "Kashmir" and was included in the soundtrack of ''Godzilla''. The two later performed the song on ''Saturday Night Live''.
In October 1999, Page teamed up with The Black Crowes for a two-night performance of material from the Led Zeppelin catalogue and old blues and rock standards. The concert was recorded and released as a double live album, ''Live at the Greek'' in 2000. In 2001 he made an appearance on stage with Limp Bizkit frontman Fred Durst and Wes Scantlin of Puddle of Mudd at the MTV Europe Video Music Awards in Frankfurt, where they performed a version of Led Zeppelin's "Thank You".
In 2005, Page was appointed Officer of the Order of the British Empire (OBE) in recognition of his Brazilian charity work for Task Brazil and Action For Brazil's Children's Trust, made an honorary citizen of Rio de Janeiro later that year, and was awarded a Grammy award.
In November 2006, Led Zeppelin was inducted into the UK Music Hall of Fame. The television broadcasting of the event consisted of an introduction to the band by various famous admirers (including Roger Taylor, Slash, Joe Perry, Steven Tyler, Jack White and Tony Iommi), a presentation of an award to Jimmy Page, and then a short speech by the guitarist. After this, rock group Wolfmother played a tribute to Led Zeppelin, playing the song "Communication Breakdown".
In 2006, Page attended the induction of Led Zeppelin to the UK Music Hall of Fame. During an interview for the BBC for said event, he expressed plans to record new material in 2007, saying "It's an album that I really need to get out of my system... there's a good album in there and it's ready to come out" and "Also there will be some Zeppelin things on the horizon".
On 10 December 2007, the surviving members of Led Zeppelin, as well as John Bonham's son, Jason Bonham played a charity concert at the O2 Arena London.
For the 2008 Olympics, Jimmy Page, David Beckham and Leona Lewis represented Britain during the closing ceremonies on 24 August 2008. Beckham rode a double-decker bus into the stadium, and Page and Lewis performed "Whole Lotta Love".
In 2008 Page co-produced a documentary film directed by Davis Guggenheim entitled ''It Might Get Loud''. The film examines the history of the electric guitar, focusing on the careers and styles of Page, The Edge, and Jack White. The film premiered on 5 September 2008 at the Toronto Film Festival. Page also participated in the 3 part BBC documentary ''London Calling: The making of the Olympic handover ceremony'' on 4 March 2009. On 4 April 2009, Page inducted Jeff Beck into the Rock and Roll Hall of Fame. Page has announced his 2010 solo tour while talking to the Sky News on 16 December 2009.
On 7 June 2008, Page and John Paul Jones appeared with the Foo Fighters to close out the band's concert at Wembley Stadium, performing "Rock and Roll" and "Ramble On."
In January 2010, Jimmy Page announced he is publishing an autobiography through Genesis Publications, in a hand-crafted, limited edition of 2,500 copies. Page has also been honoured with a first-ever Global Peace Award by the United Nations' Pathways to Peace organisation after confirming reports that he would be among the headliners at a planned Show of Peace Concert in Beijing, China on 10 October 2010.
On 13 July 2011, Page made an unannounced appearance with The Black Crowes at the Shepherd's Bush Empire in London.
Many other rock guitarists were also influenced by Jimmy Page, such as Ace Frehley, Joe Satriani, John Frusciante, James Hetfield, Kirk Hammett, Zakk Wylde, Yngwie Malmsteen, Ritchie Blackmore, Tony Iommi, Joe Perry, Richie Sambora, Angus Young, Slash, Dave Mustaine, Mike McCready, Jerry Cantrell, Stone Gossard, Mick Mars, Paul Stanley, Alex Lifeson, and Dan Hawkins.
Page has been described by ''Uncut'' as the "rock's greatest and most mysterious guitar hero". According to ''msnbc.com'' Jimmy Page "played some of the most fundamental and memorable guitar in rock history—from the heaviest crunch to the most delicate acoustic finger picking." Page's solo in the famous epic "Stairway to Heaven" has been voted by readers of ''Guitar World'' and ''Total Guitar'' as the greatest guitar solo of all time, and he was named 'Guitarist of the Year' five times during the 1970s in ''Creem'' magazine's annual reader poll. ''Guitar World'' wrote: "Truly a guitar god, Jimmy Page is one of the most captivating soloists the rock world has ever known." In 1996 ''Mojo Magazine'' ranked him number 7 on their list of "100 Greatest Guitarists Of All Time". In 2002 he was voted the second greatest guitarist of all time in a ''Total Guitar'' magazine reader poll. In 2003, ''Rolling Stone'' magazine named him number nine on their list of the "100 greatest guitarists of all time". In 2007, ''Classic Rock Magazine'' ranked him #4 on their list of the "100 Wildest Guitar Heroes". ''Gigwise.com'', an online music magazine, ranked Page #2 on their list of the "50 greatest guitarists ever" in 2008. In August 2009, ''Time Magazine'' ranked him the 6th greatest electric-guitar player of all time. In 2010, Jimmy Page was ranked #2 on Gibson's "Top 50 Guitarists of All Time".
David Fricke, a senior editor at ''Rolling Stone'' magazine, described Jimmy Page in 1988 as "probably the most digitally sampled artist in pop today after James Brown." Roger Daltrey of The Who has been a longtime fan of Page and expressed his desire to form a supergroup with Page in 2010 saying: "I’d love to do something, I’d love to do an album with Jimmy Page." Keith Richards of The Rolling Stones has described Jimmy Page as "one of the best guitar players I've ever known." Jimmy Page was the first inductee onto the British Walk of Fame in August 2004. Page was awarded "Living Legend Award" at ''Classic Rock Magazine'' Roll of Honour 2007. In June 2008, he was awarded an honorary doctorate by the University of Surrey for his services to the music industry. Page was inducted into ''Mojo'' Hall Of Fame at the magazine's award ceremony on 11 June 2010.
In August 2010, Auburn University graduate student Justin Havird named a new species of fish "Lepidocephalichthys zeppelini" after Led Zeppelin, because the fish's pectoral fin reminded him of the double-neck guitar used by Jimmy Page.
Page also plays his guitar with a cello bow, as on the live versions of the songs "Dazed and Confused" and "How Many More Times". This was a technique he developed during his session days. On MTV's ''Led Zeppelin Rockumentary'', Page said that he obtained the idea of playing the guitar with a bow from David McCallum, Sr. who was also a session musician. Page used his Fender Telecaster and later his Gibson Les Paul for his bow solos.
In December 2009, Gibson released the 'Jimmy Page "Number Two" Les Paul'. This is a re-creation of Page's famous number 2 Les Paul used by him since about 1974 until present. The model includes the same pick-up switching setup as devised by Page, shaved-down neck profile, Burstbucker pick-up at neck and 'Pagebucker' at the bridge. A total of 325 were made in three finishes: 25 Aged by Gibson's Tom Murphy, signed and played by Page ($26,000), 100 aged ($16,000) and 200 with VOS finish ($12,000).
Page used a limited number of effects, including a Maestro Echoplex, a Dunlop Cry Baby, and an MXR phaser and Blue Box (distortion/octaver). Page also played a theremin.
This apprenticeship ... became a part of [learning] how things were recorded. I started to learn microphone placements and things like that, what did and what didn't work. I certainly knew what did and didn't work with drummers because they put drummers in these little sound booths that had no sound deflection at all, and the drums would just sound awful. The reality of it is the drum is a musical instrument, it relies on having a bright room and a live room ... And so bit by bit I was learning really how ''not'' to record.
He developed a reputation for employing effects in new ways and trying out different methods of using microphones and amplification. During the late 1960s, most British music producers placed microphones directly in front of amplifiers and drums, resulting in the sometimes "tinny" sound of the recordings of the era. Page commented to ''Guitar World'' magazine that he felt the drum sounds of the day in particular "sounded like cardboard boxes." Instead, Page was a fan of 1950s recording techniques, Sun Studios being a particular favourite. In the same ''Guitar World'' interview, Page remarked, "Recording used to be a science", and "[engineers] used to have a maxim: distance equals depth." Taking this maxim to heart, Page developed the idea of placing an additional microphone some distance from the amplifier (as much as twenty feet) and then recording the balance between the two. By adopting this technique, Page became one of the first British producers to record a band's "ambient sound" – the distance of a note's time-lag from one end of the room to the other.
For the recording of several Led Zeppelin tracks, such as "Whole Lotta Love" and "You Shook Me", Page additionally utilised "reverse echo" – a technique which he claims to have invented himself while with The Yardbirds (he had originally developed the method when recording the 1967 single "Ten Little Indians"). This production technique involved hearing the echo before the main sound instead of after it, achieved by turning the tape over and employing the echo on a spare track, then turning the tape back over again to get the echo preceding the signal.
Page has stated that, as producer, he deliberately changed the audio engineers on Led Zeppelin albums, from Glyn Johns for the first album, to Eddie Kramer for ''Led Zeppelin II'', to Andy Johns for ''Led Zeppelin III'' and later albums. He explained that "I consciously kept changing engineers because I didn't want people to think that they were responsible for our sound. I wanted people to know it was me."
John Paul Jones acknowledged that Page's production techniques were a key component of the success of Led Zeppelin:
In an interview that Page himself gave to ''Guitar World'' magazine in 1993, he remarked on his work as a producer:
From 1986 to 1995 Page was married to Patricia Ecker, a model and waitress. They have a son, James Patrick Page III (born April 1988). Page later married Jimena Gómez-Paratcha, whom he met in Brazil on the No Quarter tour. He adopted her oldest daughter Jana (born 1994), and they have two children together: Zofia Jade (born 1997) and Ashen Josan (born 1999).
In 1972 Page bought, from Richard Harris, the home which William Burges (1827–1881) designed for himself in London, The Tower House. "I had an interest going back to my teens in the pre-Raphaelite movement and the architecture of Burges", he said. "What a wonderful world to discover." The reputation of Burges rests on his extravagant designs and his contribution to the Gothic revival in architecture in the nineteenth century.
From 1980 to 2004 Page owned The Mill House, Mill Lane, Windsor, which was formerly the home of actor Michael Caine. Fellow Led Zeppelin band member John Bonham died at the house in 1980.
From the early 1970s to the early 1990s, Page owned the Boleskine House, the former residence of occultist Aleister Crowley. Sections of Page's fantasy sequence in the film ''The Song Remains the Same'' were filmed at night on the mountain side directly behind Boleskine House.
According to ''The Sunday Times'' Rich List, Page's assets are worth £75 million as of 2009. He resides in West Sussex.
In 1975, Page began to use heroin, a fact attributed to Richard Cole, who stated that Page (in addition to himself) was taking the drug during the recording sessions of the album ''Presence'' in that year, and that Page admitted to him shortly afterwards that he was addicted to the drug.
By Led Zeppelin's 1977 tour of the United States, Page's heroin addiction was beginning to hamper his guitar playing performances. By this time the guitarist had lost a noticeable amount of weight. His onstage appearance was not the only obvious change; his addiction caused Page to become so inward and isolated it altered the dynamic between him and Plant considerably. During the recording sessions for ''In Through the Out Door'' in 1978, Page's diminished influence on the album (relative to bassist John Paul Jones) is partly attributed to his heroin addiction, which resulted in his absence from the studio for long periods of time.
Page reportedly kicked his heroin habit in the early 1980s. In a 1988 interview with ''Musician'' magazine, Page took offence when the interviewer noted that heroin had been associated with his name, and insisted "Do I look as if I'm a smack addict? Well, I'm not. Thank you very much."
In an interview he gave to ''Q magazine'' in 2003, Page responded to a question as to whether he regrets getting so involved in heroin and cocaine:
During tours and performances after the release of the fourth album, Page often had the "Zoso" symbol embroidered on his clothes, along with zodiac symbols. These were visible most notably on his "Dragon Suit", which included the signs for Capricorn, Scorpio and Cancer which are Page's Sun, Ascendant, and Moon signs, respectively.
The artwork inside the album cover of ''Led Zeppelin IV'' is from a painting by William Holman Hunt, influenced by the traditional Rider/Waite Tarot card design for the card called "The Hermit". Page transforms into this character during his fantasy sequence in Led Zeppelin's concert film ''The Song Remains the Same''.
In the early 1970s Page owned an occult bookshop and publishing house, "The Equinox Booksellers and Publishers" in Kensington High Street, London, eventually closing it as the increasing success of Led Zeppelin resulted in his having insufficient time to devote to it. The company published a facsimile of English occultist's Aleister Crowley's 1904 edition of ''The Goetia''. Page has maintained a strong interest in Crowley for many years. In 1978, he explained:
Page was commissioned to write the soundtrack music for the film ''Lucifer Rising'' by another occultist and Crowley admirer, underground movie director Kenneth Anger. Page ultimately produced 23 minutes of music which Anger felt was insufficient because the film ran for 28 minutes and Anger wanted the film to have a full soundtrack. Anger claimed Page took three years to deliver the music, and the final product was only 23 minutes of droning. The director also slammed the guitarist in the press by calling him a "dabbler" in the occult and an addict, and being too strung out on drugs to complete the project. Page countered that he had fulfilled all his obligations, even going so far as to lend Anger his own film editing equipment to help him finish the project.
Although Page collected works by Crowley, he has never described himself as a Thelemite nor was he ever initiated into the O.T.O. The Equinox Bookstore and Boleskine House were both sold off during the 1980s, as Page settled into family life and participated in charity work.
Please note that there are several duplicates amongst all these albums.
Category:English blues guitarists Category:English heavy metal guitarists Category:English rock guitarists Category:English session musicians Category:English songwriters Category:TVT Records artists Category:Grammy Award winners Category:Kerrang! Awards winners Category:Lead guitarists Category:Led Zeppelin members Category:Officers of the Order of the British Empire Category:Pedal steel guitarists Category:People from Heston Category:Musicians from London Category:People from Windsor, Berkshire Category:Slide guitarists Category:The Yardbirds members Category:Atlantic Records artists Category:Skiffle Category:1944 births Category:Living people Category:British rhythm and blues boom musicians
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Coordinates | 53°23′″N23°36′″N |
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Name | Elvis Presley |
Alt | A young man dancing, swiveling his hips. He has dark hair, short and slicked up a bit. He wears an unbuttoned band-collared jacket over a shirt with bold black-and-white horizontal stripes. Behind him, on either side, are a pair of barred frames, like prison doors. |
Background | solo_singer |
Birth name | Elvis Aaron Presley |
Birth date | January 08, 1935 |
Birth place | |
Death date | August 16, 1977 |
Death place | |
Genre | Rock and roll, pop, rockabilly, country, blues, gospel, R&B; |
Associated acts | The Blue Moon Boys, The Jordanaires, The Imperials |
Occupation | Musician, actor |
Instrument | Vocals, guitar, piano |
Years active | 1953–77 |
Label | Sun, RCA Victor |
Website | }} |
Born in Tupelo, Mississippi, Presley moved to Memphis, Tennessee, with his family at the age of 13. He began his career there in 1954, working with Sun Records owner Sam Phillips, who wanted to bring the sound of African American music to a wider audience. Accompanied by guitarist Scotty Moore and bassist Bill Black, Presley was one of the originators of rockabilly, an uptempo, backbeat-driven fusion of country and rhythm and blues. RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who would manage the singer for over two decades. Presley's first RCA single, "Heartbreak Hotel", released in January 1956, was a number one hit. He became the leading figure of the newly popular sound of rock and roll with a series of network television appearances and chart-topping records. His energized interpretations of songs, many from African American sources, and his uninhibited performance style made him enormously popular—and controversial. In November 1956, he made his film debut in ''Love Me Tender''.
Conscripted into military service in 1958, Presley relaunched his recording career two years later with some of his most commercially successful work. He staged few concerts however, and guided by Parker, proceeded to devote much of the 1960s to making Hollywood movies and soundtrack albums, most of them critically derided. In 1968, after seven years away from the stage, he returned to live performance in a celebrated comeback television special that led to an extended Las Vegas concert residency and a string of profitable tours. In 1973 Presley staged the first concert broadcast globally via satellite, ''Aloha from Hawaii'', seen by approximately 1.5 billion viewers. Prescription drug abuse severely compromised his health, and he died suddenly in 1977 at the age of 42.
Presley is regarded as one of the most important figures of 20th-century popular culture. He had a versatile voice and unusually wide success encompassing many genres, including country, pop ballads, gospel, and blues. He is the best-selling solo artist in the history of popular music. Nominated for 14 competitive Grammys, he won three, and received the Grammy Lifetime Achievement Award at age 36. He has been inducted into multiple music halls of fame.
Presley's ancestry was primarily a Western European mix: On his mother's side, he was Scots-Irish, with some French Norman; one of Gladys's great-great-grandmothers was Cherokee. His father's forebears were of Scottish or German origin. Gladys was regarded by relatives and friends as the dominant member of the small family. Vernon moved from one odd job to the next, evidencing little ambition. The family often relied on help from neighbors and government food assistance. In 1938, they lost their home after Vernon was found guilty of altering a check written by the landowner. He was jailed for eight months, and Gladys and Elvis moved in with relatives.
In September 1941, Presley entered first grade at East Tupelo Consolidated, where his instructors regarded him as "average". He was encouraged to enter a singing contest after impressing his schoolteacher with a rendition of Red Foley's country song "Old Shep" during morning prayers. The contest, held at the Mississippi-Alabama Fair and Dairy Show on October 3, 1945, saw his first public performance: dressed as a cowboy, the ten-year-old Presley stood on a chair to reach the microphone and sang "Old Shep". He recalled placing fifth. A few months later, Presley received his first guitar for his birthday; he had hoped for something else—by different accounts, either a bicycle or a rifle. Over the following year, he received basic guitar lessons from two of his uncles and the new pastor at the family's church. Presley recalled, "I took the guitar, and I watched people, and I learned to play a little bit. But I would never sing in public. I was very shy about it."
Entering a new school, Milam, for sixth grade in September 1946, Presley was regarded as a loner. The following year, he began bringing his guitar in on a daily basis. He played and sang during lunchtime, and was often teased as a "trashy" kid who played hillbilly music. The family was by then living in a largely African American neighborhood. A devotee of Mississippi Slim's show on the Tupelo radio station WELO, Presley was described as "crazy about music" by Slim's younger brother, a classmate of Presley's, who often took him in to the station. Slim supplemented Presley's guitar tuition by demonstrating chord techniques. When his protégé was 12 years old, Slim scheduled him for two on-air performances. Presley was overcome by stage fright the first time, but succeeded in performing the following week.
During his junior year, Presley began to stand out more among his classmates, largely because of his appearance: he grew out his sideburns and styled his hair with rose oil and Vaseline. On his own time, he would head down to Beale Street, the heart of Memphis's thriving blues scene, and gaze longingly at the wild, flashy clothes in the windows of Lansky Brothers. By his senior year, he was wearing them. Overcoming his reticence about performing outside the Courts, he competed in Humes's Annual "Minstrel" show in April 1953. Singing and playing guitar, he opened with "Till I Waltz Again with You", a recent hit for Teresa Brewer. Presley recalled that the performance did much for his reputation: "I wasn't popular in school ... I failed music—only thing I ever failed. And then they entered me in this talent show ... when I came onstage I heard people kind of rumbling and whispering and so forth, 'cause nobody knew I even sang. It was amazing how popular I became after that."
Presley, who never received formal music training or learned to read music, studied and played by ear. He frequented record stores with jukeboxes and listening booths. He knew all of Hank Snow's songs and he loved records by other country singers such as Roy Acuff, Ernest Tubb, Ted Daffan, Jimmie Rodgers, Jimmie Davis, and Bob Wills. The Southern Gospel singer Jake Hess, one of his favorite performers, was a significant influence on his ballad-singing style. He was a regular audience member at the monthly All-Night Singings downtown, where many of the white gospel groups that performed reflected the influence of African American spiritual music. He adored the music of black gospel singer Sister Rosetta Tharpe. Like some of his peers, he may have attended blues venues—of necessity, in the segregated South, only on nights designated for exclusively white audiences. He certainly listened to the regional radio stations that played "race records": spirituals, blues, and the modern, backbeat-heavy sound of rhythm and blues. Many of his future recordings were inspired by local African American musicians such as Arthur Crudup and Rufus Thomas. B.B. King recalled that he knew Presley before he was popular when they both used to frequent Beale Street. By the time he graduated high school in June 1953, Presley had already singled out music as his future.
Not long after, he failed an audition for a local vocal quartet, the Songfellows. He explained to his father, "They told me I couldn't sing." Songfellow Jim Hamill later claimed that he was turned down because he did not demonstrate an ear for harmony at the time. In April, Presley began working for the Crown Electric company as a truck driver. His friend Ronnie Smith, after playing a few local gigs with him, suggested he contact Eddie Bond, leader of Smith's professional band, which had an opening for a vocalist. Bond rejected him after a tryout, advising Presley to stick to truck driving "because you're never going to make it as a singer."
Phillips, meanwhile, was always on the lookout for someone who could bring the sound of the black musicians on whom Sun focused to a broader audience. As Keisker reported, "Over and over I remember Sam saying, 'If I could find a white man who had the Negro sound and the Negro feel, I could make a billion dollars.'" In June, he acquired a demo recording of a ballad, "Without You", that he thought might suit the teenaged singer. Presley came by the studio, but was unable to do it justice. Despite this, Phillips asked Presley to sing as many numbers as he knew. He was sufficiently affected by what he heard to invite two local musicians, guitarist Winfield "Scotty" Moore and upright bass player Bill Black, to work something up with Presley for a recording session. }} The session, held the evening of July 5, proved entirely unfruitful until late in the night. As they were about to give up and go home, Presley took his guitar and launched into a 1946 blues number, Arthur Crudup's "That's All Right". Moore recalled, "All of a sudden, Elvis just started singing this song, jumping around and acting the fool, and then Bill picked up his bass, and he started acting the fool, too, and I started playing with them. Sam, I think, had the door to the control booth open ... he stuck his head out and said, 'What are you doing?' And we said, 'We don't know.' 'Well, back up,' he said, 'try to find a place to start, and do it again.'" Phillips quickly began taping; this was the sound he had been looking for. Three days later, popular Memphis DJ Dewey Phillips played "That's All Right" on his ''Red, Hot, and Blue'' show. Listeners began phoning in, eager to find out who the singer was. The interest was such that Phillips played the record repeatedly during the last two hours of his show. Interviewing Presley on-air, Phillips asked him what high school he attended in order to clarify his color for the many callers who had assumed he was black. During the next few days the trio recorded a bluegrass number, Bill Monroe's "Blue Moon of Kentucky", again in a distinctive style and employing a jury-rigged echo effect that Sam Phillips dubbed "slapback". A single was pressed with "That's All Right" on the A side and "Blue Moon of Kentucky" on the reverse.
By early 1955, Presley's regular ''Hayride'' appearances, constant touring, and well-received record releases had made him a substantial regional star, from Tennessee to West Texas. In January, Neal signed a formal management contract with Presley and brought the singer to the attention of Colonel Tom Parker, whom he considered the best promoter in the music business. Parker—Dutch-born, though he claimed to be from West Virginia—had acquired an honorary colonel's commission from country singer turned Louisiana governor Jimmie Davis. Having successfully managed top country star Eddy Arnold, he was now working with the new number one country singer, Hank Snow. Parker booked Presley on Snow's February tour. When the tour reached Odessa, Texas, a 19-year-old Roy Orbison saw Presley for the first time: "His energy was incredible, his instinct was just amazing. ... I just didn't know what to make of it. There was just no reference point in the culture to compare it." Presley made his television debut on March 3 on the KSLA-TV broadcast of ''Louisiana Hayride''. Soon after, he failed an audition for ''Arthur Godfrey's Talent Scouts'' on the CBS television network. By August, Sun had released ten sides credited to "Elvis Presley, Scotty and Bill"; on the latest recordings, the trio were joined by a drummer. Some of the songs, like "That's All Right", were in what one Memphis journalist described as the "R&B; idiom of negro field jazz"; others, like "Blue Moon of Kentucky", were "more in the country field", "but there was a curious blending of the two different musics in both". This blend of styles made it difficult for Presley's music to find radio airplay. According to Neal, many country music disc jockeys would not play it because he sounded too much like a black artist and none of the rhythm and blues stations would touch him because "he sounded too much like a hillbilly." The blend came to be known as rockabilly. At the time, Presley was variously billed as "The King of Western Bop", "The Hillbilly Cat", and "The Memphis Flash".
Presley renewed Neal's management contract in August 1955, simultaneously appointing Parker as his special adviser. The group maintained an extensive touring schedule throughout the second half of the year. Neal recalled, "It was almost frightening, the reaction that came to Elvis from the teenaged boys. So many of them, through some sort of jealousy, would practically hate him. There were occasions in some towns in Texas when we'd have to be sure to have a police guard because somebody'd always try to take a crack at him. They'd get a gang and try to waylay him or something." The trio became a quartet when ''Hayride'' drummer Fontana joined as a full member. In mid-October, they played a few shows in support of Bill Haley, whose "Rock Around the Clock" had been a number one hit the previous year. Haley observed that Presley had a natural feel for rhythm, and advised him to sing fewer ballads.
At the Country Disc Jockey Convention in early November, Presley was voted the year's most promising male artist. Several record companies had by now shown interest in signing him. After three major labels made offers of up to $25,000, Parker and Phillips struck a deal with RCA Victor on November 21 to acquire Presley's Sun contract for an unprecedented $40,000. Presley, at 20, was still a minor, so his father signed the contract. Parker arranged with the owners of Hill and Range Publishing, Jean and Julian Aberbach, to create two entities, Elvis Presley Music and Gladys Music, to handle all of the new material recorded by Presley. Songwriters were obliged to forego one third of their customary royalties in exchange for having him perform their compositions. By December, RCA had begun to heavily promote its new singer, and before month's end had reissued many of his Sun recordings.
The second ''Milton Berle Show'' appearance came on June 5 at NBC's Hollywood studio, amid another hectic tour. Berle persuaded the singer to leave his guitar backstage, advising, "Let 'em see you, son." During the performance, Presley abruptly halted an uptempo rendition of "Hound Dog" with a wave of his arm and launched into a slow, grinding version accentuated with energetic, exaggerated body movements. Presley's gyrations created a storm of controversy. Television critics were outraged: Jack Gould of ''The New York Times'' wrote, "Mr. Presley has no discernible singing ability. ... His phrasing, if it can be called that, consists of the stereotyped variations that go with a beginner's aria in a bathtub. ... His one specialty is an accented movement of the body ... primarily identified with the repertoire of the blond bombshells of the burlesque runway." Ben Gross of the New York ''Daily News'' opined that popular music "has reached its lowest depths in the 'grunt and groin' antics of one Elvis Presley. ... Elvis, who rotates his pelvis ... gave an exhibition that was suggestive and vulgar, tinged with the kind of animalism that should be confined to dives and bordellos". Ed Sullivan, whose own variety show was the nation's most popular, declared him "unfit for family viewing". To Presley's displeasure, he soon found himself being referred to as "Elvis the Pelvis", which he called "one of the most childish expressions I ever heard, comin' from an adult."
The next day, Presley recorded "Hound Dog", along with "Any Way You Want Me" and "Don't Be Cruel". The Jordanaires sang harmony, as they had on ''The Steve Allen Show''; they would work with Presley through the 1960s. A few days later, the singer made an outdoor concert appearance in Memphis at which he announced, "You know, those people in New York are not gonna change me none. I'm gonna show you what the real Elvis is like tonight." In August, a judge in Jacksonville, Florida, ordered Presley to tame his act. Throughout the following performance, he largely kept still, except for wiggling his little finger suggestively in mockery of the order. The single pairing "Don't Be Cruel" with "Hound Dog" ruled the top of the charts for 11 weeks—a mark that would not be surpassed for 36 years. Recording sessions for Presley's second album took place in Hollywood during the first week of September. Leiber and Stoller, the writers of "Hound Dog", contributed "Love Me".
Allen's show with Presley had, for the first time, beaten CBS's ''Ed Sullivan Show'' in the ratings. Sullivan, despite his June pronouncement, booked the singer for three appearances for an unprecedented $50,000. The first, on September 9, 1956, was seen by approximately 60 million viewers—a record 82.6 percent of the television audience. Actor Charles Laughton hosted the show, filling in while Sullivan recuperated from a car accident. Presley appeared in two segments that night from CBS Television City in Los Angeles. According to Elvis legend, Presley was shot only from the waist up. Watching clips of the Allen and Berle shows with his producer, Sullivan had opined that Presley "got some kind of device hanging down below the crotch of his pants–so when he moves his legs back and forth you can see the outline of his cock. ... I think it's a Coke bottle. ... We just can't have this on a Sunday night. This is a family show!" Sullivan publicly told ''TV Guide'', "As for his gyrations, the whole thing can be controlled with camera shots." In fact, Presley was shown head-to-toe in the first and second shows. Though the camerawork was relatively discreet during his debut, with leg-concealing closeups when he danced, the studio audience reacted in customary style: screaming. Presley's performance of his forthcoming single, the ballad "Love Me Tender", prompted a record-shattering million advance orders. More than any other single event, it was this first appearance on ''The Ed Sullivan Show'' that made Presley a national celebrity of barely precedented proportions.
Accompanying Presley's rise to fame, a cultural shift was taking place that he both helped inspire and came to symbolize. Igniting the "biggest pop craze since Glenn Miller and Frank Sinatra ... Presley brought rock'n'roll into the mainstream of popular culture", writes historian Marty Jezer. "As Presley set the artistic pace, other artists followed. ... Presley, more than anyone else, gave the young a belief in themselves as a distinct and somehow unified generation—the first in America ever to feel the power of an integrated youth culture."
Presley returned to the Sullivan show at its main studio in New York, hosted this time by its namesake, on October 28. After the performance, crowds in Nashville and St. Louis burned him in effigy. His first motion picture, ''Love Me Tender'', was released on November 21. Though he was not top billed, the film's original title—''The Reno Brothers''—was changed to capitalize on his latest number one record: "Love Me Tender" had hit the top of the charts earlier that month. To further take advantage of Presley's popularity, four musical numbers were added to what was originally a straight acting role. The movie was panned by the critics but did very well at the box office. Presley would receive top billing on every subsequent film he made.
On December 4, Presley dropped into Sun Records where Carl Perkins and Jerry Lee Lewis were recording and jammed with them. Though Phillips no longer had the right to release any Presley material, he made sure the session was captured on tape. The results became legendary as the "Million Dollar Quartet" recordings—Johnny Cash was long thought to have played as well, but he was present only briefly at Phillips' instigation for a photo opportunity. The year ended with a front-page story in ''The Wall Street Journal'' reporting that Presley merchandise had brought in $22 million on top of his record sales, and ''Billboard''s declaration that he had placed more songs in the top 100 than any other artist since records were first charted. In his first full year on RCA, one of the music industry's largest companies, Presley had accounted for over 50 percent of the label's singles sales.
Presley undertook three brief tours during the year, continuing to generate a crazed audience response. A Detroit newspaper suggested that "the trouble with going to see Elvis Presley is that you're liable to get killed." Villanova students pelted him with eggs in Philadelphia, and in Vancouver, the crowd rioted after the end of the show, destroying the stage. Frank Sinatra, who had famously inspired the swooning of teenaged girls in the 1940s, condemned the new musical phenomenon. In a magazine article, he decried rock and roll as "brutal, ugly, degenerate, vicious. ... It fosters almost totally negative and destructive reactions in young people. It smells phoney and false. It is sung, played and written, for the most part, by cretinous goons. ... This rancid-smelling aphrodisiac I deplore." Asked for a response, Presley said, "I admire the man. He has a right to say what he wants to say. He is a great success and a fine actor, but I think he shouldn't have said it. ... This is a trend, just the same as he faced when he started years ago."
Leiber and Stoller were again in the studio for the recording of ''Elvis' Christmas Album''. Toward the end of the session, they wrote a song on the spot at Presley's request: "Santa Claus Is Back In Town", an innuendo-laden blues. The holiday release stretched Presley's string of number one albums to four and would eventually become the best selling Christmas album of all time. After the session, Moore and Black—drawing only modest weekly salaries, sharing in none of Presley's massive financial success—resigned. Though they were brought back on a per diem basis a few weeks later, it was clear that they had not been part of Presley's inner circle for some time. On December 20, Presley received his draft notice. He was granted a deferment to finish the forthcoming ''King Creole'', in which $350,000 had already been invested by Paramount and producer Hal Wallis. A couple of weeks into the new year, "Don't", another Leiber and Stoller tune, became Presley's tenth number one seller. It had been only 21 months since "Heartbreak Hotel" had brought him to the top for the first time. Recording sessions for the ''King Creole'' soundtrack were held in Hollywood mid-January. Leiber and Stoller provided three songs and were again on hand, but it would be the last time they worked closely with Presley. A studio session on February 1 marked another ending: it was the final occasion on which Black was to perform with Presley. He died in 1965.
Soon after Presley commenced basic training at Fort Hood, Texas, he received a visit from Eddie Fadal, a businessman he had met on tour. According to Fadal, Presley had become convinced his career was finished—"He firmly believed that." During a two-week leave in early June, Presley cut five sides in Nashville. In early August, his mother was diagnosed with hepatitis and her condition swiftly worsened. Presley, granted emergency leave to visit her, arrived in Memphis on August 12. Two days later, she died of heart failure, aged 46. Presley was devastated; their relationship had remained extremely close—even into his adulthood, they would use baby talk with each other and Presley would address her with pet names.
After training, Presley joined the 3rd Armored Division in Friedberg, Germany, on October 1. Introduced to amphetamines by a sergeant while on maneuvers, he became "practically evangelical about their benefits"—not only for energy, but for "strength" and weight loss, as well—and many of his friends in the outfit joined him in indulging. The Army also introduced Presley to karate, which he studied seriously, later including it in his live performances. Fellow soldiers have attested to Presley's wish to be seen as an able, ordinary soldier, despite his fame, and to his generosity. He donated his Army pay to charity, purchased TV sets for the base, and bought an extra set of fatigues for everyone in his outfit.
While in Friedberg, Presley met 14-year-old Priscilla Beaulieu. They would eventually marry after a seven-and-a-half-year courtship. In her autobiography, Priscilla says that despite his worries that it would ruin his career, Parker convinced Presley that to gain popular respect, he should serve his country as a regular soldier rather than in Special Services, where he would have been able to give some musical performances and remain in touch with the public. Media reports echoed Presley's concerns about his career, but RCA producer Steve Sholes and Freddy Bienstock of Hill and Range had carefully prepared for his two-year hiatus. Armed with a substantial amount of unreleased material, they kept up a regular stream of successful releases. Between his induction and discharge, Presley had ten top 40 hits, including "Wear My Ring Around Your Neck", the best-selling "Hard Headed Woman", and "One Night" in 1958, and "(Now and Then There's) A Fool Such as I" and the number one "A Big Hunk o' Love" in 1959. RCA also generated four albums compiling old material during this period, most successfully ''Elvis' Golden Records'' (1958), which hit number three on the LP chart.
Presley returned to television on May 12 as a guest on ''The Frank Sinatra Timex Special''—ironic for both stars, given Sinatra's not-so-distant excoriation of rock and roll. Also known as ''Welcome Home Elvis'', the show had been taped in late March, the only time all year Presley performed in front of an audience. Parker secured an unheard-of $125,000 fee for eight minutes of singing. The broadcast drew an enormous viewership.
''G.I. Blues'', the soundtrack to Presley's first film since his return, was a number one album in October. His first LP of sacred material, ''His Hand in Mine'', followed two months later. It reached number 13 on the U.S. pop chart and number 3 in Great Britain, remarkable figures for a gospel album. In February 1961, Presley performed two shows for a benefit event in Memphis, on behalf of 24 local charities. During a luncheon preceding the event, RCA presented him with a plaque certifying worldwide sales of over 75 million records. A 12-hour Nashville session in mid-March yielded nearly all of Presley's next studio album, ''Something for Everybody''. As described by John Robertson, it exemplifies the Nashville sound, the restrained, cosmopolitan style that would define country music in the 1960s. Presaging much of what was to come from Presley himself over the next half-decade, the album is largely "a pleasant, unthreatening pastiche of the music that had once been Elvis's birthright." It would be his sixth number one LP. Another benefit concert, raising money for a Pearl Harbor memorial, was staged on March 25, in Hawaii. It was to be Presley's last public performance for seven years.
Of Presley's films in the 1960s, 15 were accompanied by soundtrack albums and another 5 by soundtrack EPs. The movies' rapid production and release schedules—he frequently starred in three a year—affected his music. According to Jerry Leiber, the soundtrack formula was already evident before Presley left for the Army: "three ballads, one medium-tempo [number], one up-tempo, and one break blues boogie". As the decade wore on, the quality of the soundtrack songs grew "progressively worse". Julie Parrish, who appeared in ''Paradise, Hawaiian Style'' (1966), says that he hated many of the songs chosen for his films. The Jordanaires' Gordon Stoker describes how Presley would retreat from the studio microphone: "The material was so bad that he felt like he couldn't sing it." Most of the movie albums featured a song or two from respected writers such as the team of Doc Pomus and Mort Shuman. But by and large, according to biographer Jerry Hopkins, the numbers seemed to be "written on order by men who never really understood Elvis or rock and roll." Regardless of the songs' quality, it has been argued that Presley generally sang them well, with commitment. Critic Dave Marsh heard the opposite: "Presley isn't trying, probably the wisest course in the face of material like 'No Room to Rumba in a Sports Car' and 'Rock-a-Hula Baby.'"
In the first half of the decade, three of Presley's soundtrack albums hit number one on the pop charts, and a few of his most popular songs came from his films, such as "Can't Help Falling in Love" (1961) and "Return to Sender" (1962). ("Viva Las Vegas", the title track to the 1964 film, was a minor hit as a B-side, and became truly popular only later.) But, as with artistic merit, the commercial returns steadily diminished. During a five-year span—1964 through 1968—Presley had only one top ten hit: "Crying in the Chapel" (1965), a gospel number recorded back in 1960. As for non-movie albums, between the June 1962 release of ''Pot Luck'' and the November 1968 release of the soundtrack to the television special that signaled his comeback, only one LP of new material by Presley was issued: the gospel album ''How Great Thou Art'' (1967). It won him his first Grammy Award, for Best Sacred Performance. As Marsh described, Presley was "arguably the greatest white gospel singer of his time [and] really the last rock & roll artist to make gospel as vital a component of his musical personality as his secular songs."
Shortly before Christmas 1966, more than seven years since they first met, Presley proposed to Priscilla Beaulieu. They were married on May 1, 1967, in a brief ceremony in their suite at the Aladdin Hotel in Las Vegas. The flow of formulaic movies and assembly-line soundtracks rolled on. It was not until October 1967, when the ''Clambake'' soundtrack LP registered record low sales for a new Presley album, that RCA executives recognized a problem. "By then, of course, the damage had been done", as historians Connie Kirchberg and Marc Hendrickx put it. "Elvis was viewed as a joke by serious music lovers and a has-been to all but his most loyal fans."
Recorded in late June in Burbank, California, the special, called simply ''Elvis'', aired on December 3, 1968. Later known as the '68 Comeback Special, the show featured lavishly staged studio productions as well as songs performed with a band in front of a small audience—Presley's first live performances since 1961. The live segments saw Presley clad in tight black leather, singing and playing guitar in an uninhibited style reminiscent of his early rock and roll days. Director and coproducer Steve Binder had worked hard to reassure the nervous singer and to produce a show that was far from the hour of Christmas songs Parker had originally planned. The show, NBC's highest rated that season, captured 42 percent of the total viewing audience. Jon Landau of ''Eye'' magazine remarked, "There is something magical about watching a man who has lost himself find his way back home. He sang with the kind of power people no longer expect of rock 'n' roll singers. He moved his body with a lack of pretension and effort that must have made Jim Morrison green with envy." Dave Marsh calls the performance one of "emotional grandeur and historical resonance."
By January 1969, the single "If I Can Dream", written for the special, reached number 12. The soundtrack album broke into the top ten. According to friend Jerry Schilling, the special reminded Presley of what "he had not been able to do for years, being able to choose the people; being able to choose what songs and not being told what had to be on the soundtrack. ... He was out of prison, man." Binder said of Presley's reaction, "I played Elvis the 60-minute show, and he told me in the screening room, 'Steve, it's the greatest thing I've ever done in my life. I give you my word I will never sing a song I don't believe in.'"
Presley was keen to resume regular live performing. Following the success of the Comeback Special, offers came in from around the world. The London Palladium offered Parker $28,000 for a one-week engagement. He responded, "That's fine for me, now how much can you get for Elvis?" In May, the brand new International Hotel in Las Vegas, boasting the largest showroom in the city, announced that it had booked Presley. He was scheduled to perform 57 shows over four weeks beginning July 31. Moore, Fontana, and the Jordanaires declined to participate, afraid of losing the lucrative session work they had in Nashville. Presley assembled new, top-notch accompaniment, led by guitarist James Burton and including two gospel groups, The Imperials and Sweet Inspirations. Nonetheless, he was nervous: his only previous Las Vegas engagement, in 1956, had been dismal. Parker, who intended to make Presley's return the show business event of the year, oversaw a major promotional push. For his part, hotel owner Kirk Kerkorian arranged to send his own plane to New York to fly in rock journalists for the debut performance.
Presley took to the stage without introduction. The audience of 2,200, including many celebrities, gave him a standing ovation before he sang a note and another after his performance. A third followed his encore, "Can't Help Falling in Love" (a song that would be his closing number for much of the 1970s). At a press conference after the show, when a journalist referred to him as "The King", Presley gestured toward Fats Domino, who was taking in the scene. "No," Presley said, "that's the real king of rock and roll." The next day, Parker's negotiations with the hotel resulted in a five-year contract for Presley to play each February and August, at an annual salary of $1 million. ''Newsweek'' commented, "There are several unbelievable things about Elvis, but the most incredible is his staying power in a world where meteoric careers fade like shooting stars." ''Rolling Stone'' called Presley "supernatural, his own resurrection." In November, Presley's final non-concert movie, ''Change of Habit'', opened. The double album ''From Memphis To Vegas/From Vegas To Memphis'' came out the same month; the first LP consisted of live performances from the International, the second of more cuts from the American Sound sessions. "Suspicious Minds" reached the top of the charts—Presley's first U.S. pop number one in over seven years, and his last.
Cassandra Peterson, later television's Elvira, met Presley during this period in Las Vegas, where she was working as showgirl. She recalls of their encounter, "He was so anti-drug when I met him. I mentioned to him that I smoked marijuana, and he was just appalled. He said, 'Don't ever do that again.'" Presley was not only deeply opposed to recreational drugs, he also rarely drank. Several of his family members had been alcoholics, a fate he intended to avoid.
The album ''That's the Way It Is'', produced to accompany the documentary and featuring both studio and live recordings, marked a stylistic shift. As music historian John Robertson notes, "The authority of Presley's singing helped disguise the fact that the album stepped decisively away from the American-roots inspiration of the Memphis sessions towards a more middle-of-the-road sound. With country put on the back burner, and soul and R&B; left in Memphis, what was left was very classy, very clean white pop—perfect for the Las Vegas crowd, but a definite retrograde step for Elvis." After the end of his International engagement on September 7, Presley embarked on a week-long concert tour, largely of the South, his first since 1958. Another week-long tour, of the West Coast, followed in November.
On December 21, 1970, Presley engineered a meeting with President Richard Nixon at the White House, where he expressed his patriotism and his contempt for the hippie drug culture. He asked Nixon for a Bureau of Narcotics and Dangerous Drugs badge, to add to similar items he had begun collecting and to signify official sanction of his patriotic efforts. Nixon, who apparently found the encounter awkward, expressed a belief that Presley could send a positive message to young people and that it was therefore important he "retain his credibility". Presley told Nixon that The Beatles, whose songs he regularly performed in concert during the era, exemplified what he saw as a trend of anti-Americanism and drug abuse in popular culture. (Presley and his friends had had a four-hour get-together with The Beatles five years earlier.) On hearing reports of the meeting, Paul McCartney later said that he "felt a bit betrayed. ... The great joke was that we were taking [illegal] drugs, and look what happened to him", a reference to Presley's death, hastened by prescription drug abuse.
The U.S. Junior Chamber of Commerce named Presley one of its annual Ten Most Outstanding Young Men of the Nation on January 16, 1971. Not long after, the City of Memphis named the stretch of Highway 51 South on which Graceland is located "Elvis Presley Boulevard". The same year, Presley became the first rock and roll singer to be awarded the Lifetime Achievement Award (then known as the Bing Crosby Award) by the National Academy of Recording Arts and Sciences, the Grammy Award organization. Three new, non-movie Presley studio albums were released in 1971, as many as had come out over the previous eight years. Best received by critics was ''Elvis Country'', a concept record that focused on genre standards. The biggest seller was ''Elvis Sings the Wonderful World of Christmas'', "the truest statement of all", according to Greil Marcus. "In the midst of ten painfully genteel Christmas songs, every one sung with appalling sincerity and humility, one could find Elvis tom-catting his way through six blazing minutes of 'Merry Christmas, Baby,' a raunchy old Charles Brown blues. ... If [Presley's] sin was his lifelessness, it was his sinfulness that brought him to life".
Presley and his wife, meanwhile, had become increasingly distant, barely cohabiting. In 1971, an affair he had with Joyce Bova resulted—unbeknownst to him—in her pregnancy and an abortion. He often raised the possibility of her moving in to Graceland, saying that he was likely to leave Priscilla. The Presleys separated on February 23, 1972, after Priscilla disclosed her relationship with Mike Stone, a karate instructor Presley had recommended to her. Priscilla relates that when she told him, Presley "grabbed ... and forcefully made love to" her, declaring, "This is how a real man makes love to his woman." Five months later, Presley's new girlfriend, Linda Thompson, a songwriter and one-time Memphis beauty queen, moved in with him. Presley and his wife filed for divorce on August 18. According to Joe Moscheo of the Imperials, the failure of Presley's marriage "was a blow from which he never recovered."
In January 1973, Presley performed two benefit concerts for the Kui Lee Cancer Fund in connection with a groundbreaking TV special, ''Aloha from Hawaii''. The first show served as a practice run and backup should technical problems affect the live broadcast two days later. Aired as scheduled on January 14, ''Aloha from Hawaii'' was the first global concert satellite broadcast, reaching approximately 1.5 billion viewers live and on tape delay. Presley's costume became the most recognized example of the elaborate concert garb with which his latter-day persona became closely associated. As described by Bobbie Ann Mason, "At the end of the show, when he spreads out his American Eagle cape, with the full stretched wings of the eagle studded on the back, he becomes a god figure." The accompanying double album, released in February, went to number one and eventually sold over 5 million copies in the United States. It proved to be Presley's last U.S. number one pop album during his lifetime.
At a midnight show the same month, four men rushed onto the stage in an apparent attack. Security men leapt to Presley's defense, and the singer's karate instinct took over as he ejected one invader from the stage himself. Following the show, he became obsessed with the idea that the men had been sent by Mike Stone to kill him. Though they were shown to have been only overexuberant fans, he raged, "There's too much pain in me ... Stone [must] die." His outbursts continued with such intensity that a physician was unable to calm him, despite administering large doses of medication. After another two full days of raging, Red West, his friend and bodyguard, felt compelled to get a price for a contract killing and was relieved when Presley decided, "Aw hell, let's just leave it for now. Maybe it's a bit heavy."
Presley's condition declined precipitously in September. Keyboardist Tony Brown remembers the singer's arrival at a University of Maryland concert: "He fell out of the limousine, to his knees. People jumped to help, and he pushed them away like, 'Don't help me.' He walked on stage and held onto the mike for the first thirty minutes like it was a post. Everybody's looking at each other like, Is the tour gonna happen?" Guitarist John Wilkinson recalled, "He was all gut. He was slurring. He was so fucked up. ... It was obvious he was drugged. It was obvious there was something terribly wrong with his body. It was so bad the words to the songs were barely intelligible. ... I remember crying. He could barely get through the introductions". Wilkinson recounted that a few nights later in Detroit, "I watched him in his dressing room, just draped over a chair, unable to move. So often I thought, 'Boss, why don't you just cancel this tour and take a year off...?' I mentioned something once in a guarded moment. He patted me on the back and said, 'It'll be all right. Don't you worry about it.'" Presley continued to play to sellout crowds. As cultural critic Marjorie Garber describes, he was now widely seen as a garish pop crooner: "in effect he had become Liberace. Even his fans were now middle-aged matrons and blue-haired grandmothers."
On July 13, 1976, Vernon Presley—who had become deeply involved in his son's financial affairs—fired "Memphis Mafia" bodyguards Red West (Presley's friend since the 1950s), Sonny West, and David Hebler, citing the need to "cut back on expenses". Presley was in Palm Springs at the time, and some suggest the singer was too cowardly to face the three himself. Another associate of Presley's, John O'Grady, argued that the bodyguards were dropped because their rough treatment of fans had prompted too many lawsuits. However, Presley's stepbrother David Stanley has claimed that the bodyguards were fired because they were becoming more outspoken about Presley's drug dependency. Presley and Linda Thompson split in November, and he took up with a new girlfriend, Ginger Alden. He proposed to Alden and gave her an engagement ring two months later, though several of his friends later claimed that he had no serious intention of marrying again.
RCA, which had enjoyed a steady stream of product from Presley for over a decade, grew anxious as his interest in spending time in the studio waned. After a December 1973 session that produced 18 songs, enough for almost two albums, he did not enter the studio in 1974. Parker sold RCA on another concert record, ''Elvis: As Recorded Live on Stage in Memphis''. Recorded on March 20, it included a version of "How Great Thou Art" that would win Presley his third and final competitive Grammy Award. (All three of his competitive Grammy wins—out of 14 total nominations—were for gospel recordings.) Presley returned to the studio in Hollywood in March 1975, but Parker's attempts to arrange another session toward the end of the year were unsuccessful. In 1976, RCA sent a mobile studio to Graceland that made possible two full-scale recording sessions at Presley's home. Even in that comfortable context, the recording process was now a struggle for him.
}} For all the concerns of his label and manager, in studio sessions between July 1973 and October 1976, Presley recorded virtually the entire contents of six albums. Though he was no longer a major presence on the pop charts, five of those albums entered the top five of the country chart, and three went to number one: ''Promised Land'' (1975), ''From Elvis Presley Boulevard, Memphis, Tennessee'' (1976), and ''Moody Blue'' (1977). The story was similar with his singles—there were no major pop hits, but Presley was a significant force in not just the country market, but on adult contemporary radio as well. Eight studio singles from this period released during his lifetime were top ten hits on one or both charts, four in 1974 alone. "My Boy" was a number one AC hit in 1975, and "Moody Blue" topped the country chart and reached the second spot on the AC in 1976. Perhaps his most critically acclaimed recording of the era came that year, with what Greil Marcus described as his "apocalyptic attack" on the soul classic "Hurt". "If he felt the way he sounded", Dave Marsh wrote of Presley's performance, "the wonder isn't that he had only a year left to live but that he managed to survive that long."
The book ''Elvis: What Happened?'', cowritten by the three bodyguards fired the previous year, was published on August 1. It was the first exposé to detail Presley's years of drug misuse. He was devastated by the book and tried unsuccessfully to halt its release by offering money to the publishers. By this point, he suffered from multiple ailments: glaucoma, high blood pressure, liver damage, and an enlarged colon, each aggravated—and possibly caused—by drug abuse.
Presley was scheduled to fly out of Memphis on the evening of August 16, 1977, to begin another tour. That afternoon, Alden discovered him unresponsive on his bathroom floor. Attempts to revive him failed, and death was officially pronounced at 3:30 pm at Baptist Memorial Hospital.
President Jimmy Carter issued a statement that credited Presley with having "permanently changed the face of American popular culture". Thousands of people gathered outside Graceland to view the open casket. One of Presley's cousins, Billy Mann, accepted $18,000 to secretly photograph the corpse; the picture appeared on the cover of the ''National Enquirer''s biggest-selling issue ever. Alden struck a $105,000 deal with the ''Enquirer'' for her story, but settled for less when she broke her exclusivity agreement. Presley left her nothing in his will.
Presley's funeral was held at Graceland, on Thursday, August 18. Outside the gates, a car plowed into a group of fans, killing two women and critically injuring a third. Approximately 80,000 people lined the processional route to Forest Hill Cemetery, where Presley was buried next to his mother. Within a few days, "Way Down" topped the country and UK pop charts. Following an attempt to steal the singer's body in late August, the remains of both Elvis Presley and his mother were reburied in Graceland's Meditation Garden on October 2.
Presley has been inducted into four music halls of fame: the Rock and Roll Hall of Fame (1986), the Country Music Hall of Fame (1998), the Gospel Music Hall of Fame (2001), and the Rockabilly Hall of Fame (2007). In 1984, he received the W. C. Handy Award from the Blues Foundation and the Academy of Country Music's first Golden Hat Award. In 1987, he received the American Music Awards' Award of Merit.
A Junkie XL remix of Presley's "A Little Less Conversation" (credited as "Elvis Vs JXL") was used in a Nike advertising campaign during the 2002 FIFA World Cup. It topped the charts in over 20 countries, and was included in a compilation of Presley's number one hits, ''ELV1S'', that was also an international success. In 2003, a remix of "Rubberneckin'", a 1969 recording of Presley's, topped the U.S. sales chart, as did a 50th-anniversary re-release of "That's All Right" the following year. The latter was an outright hit in Great Britain, reaching number three on the pop chart.
In 2005, another three reissued singles, "Jailhouse Rock", "One Night"/"I Got Stung", and "It's Now or Never", went to number one in Great Britain. A total of 17 Presley singles were reissued during the year; all made the British top five. For the fifth straight year, ''Forbes'' named Presley the top-earning deceased celebrity, with a gross income of $45 million. He placed second in 2006, returned to the top spot the next two years, and ranked fourth in 2009. The following year, he was ranked second, with his highest annual income ever—$60 million—spurred by the celebration of his 75th birthday and the launch of Cirque du Soleil's ''Viva Elvis'' show in Las Vegas. In November 2010, ''Viva Elvis: The Album'' was released, setting his voice to newly recorded instrumental tracks. As of mid-2011, there were an estimated 15,000 licensed Presley products. He was again the second-highest-earning deceased celebrity.
Presley holds the records for most songs charting in ''Billboard''s top 40 and top 100: chart statistician Joel Whitburn calculates the respective totals as 104 and 151; Presley historian Adam Victor gives 114 and 138. Presley's rankings for top ten and number one hits vary depending on how the double-sided "Hound Dog/Don't Be Cruel" and "Don't/I Beg of You" singles, which precede the inception of ''Billboard''s unified Hot 100 chart, are analyzed. According to Whitburn, Presley holds the record for most top ten hits with 38; per ''Billboard''s current assessment, he ranks second with 36, behind Madonna's 37. Whitburn and ''Billboard'' concur that The Beatles hold the record for most number one hits with 20 and that Mariah Carey is second with 18. Whitburn has Presley also with 18 and thus tied for second; ''Billboard'' has him third with 17. Presley retains the record for cumulative weeks at number one: alone at 80, according to Whitburn and the Rock and Roll Hall of Fame; tied with Carey at 79, according to ''Billboard''. He holds the records for most British number one hits, with 21, and top ten hits, with 76.
At RCA, Presley's rock and roll sound grew distinct from rockabilly with group chorus vocals, more heavily amplified electric guitars and a tougher, more intense manner. While he was known for taking songs from various sources and giving them a rockabilly/rock and roll treatment, he also recorded songs in other genres from early in his career, from the pop standard "Blue Moon" at Sun to the country ballad "How's the World Treating You?" on his second LP to the blues of "Santa Claus Is Back In Town". In 1957, his first gospel record was released, the four-song EP ''Peace in the Valley''. Certified as a million seller, it became the top-selling gospel EP in recording history. Presley would record gospel periodically for the rest of his life. }} After his return from military service in 1960, Presley continued to perform rock and roll, but the characteristic style was substantially toned down. His first post-Army single, the number one hit "Stuck on You", is typical of this shift. RCA publicity materials referred to its "mild rock beat"; discographer Ernst Jorgensen calls it "upbeat pop". The modern blues/R&B; sound captured so successfully on ''Elvis Is Back!'' was essentially abandoned for six years until such 1966–67 recordings as "Down in the Alley" and "Hi-Heel Sneakers". The singer's output during most of the 1960s emphasized pop music, often in the form of ballads such as "Are You Lonesome Tonight?", a number one in 1960. While that was a dramatic number, most of what Presley recorded for his movie soundtracks was in a much lighter vein.
While Presley performed several of his classic ballads for the '68 Comeback Special, the sound of the show was dominated by aggressive rock and roll. He would record few new straight-ahead rock and roll songs thereafter; as he explained, they were "hard to find". A significant exception was "Burning Love", his last major hit on the pop charts. Like his work of the 1950s, Presley's subsequent recordings reworked pop and country songs, but in markedly different permutations. His stylistic range now began to embrace a more contemporary rock sound as well as soul and funk. Much of ''Elvis In Memphis'', as well as "Suspicious Minds", cut at the same sessions, reflected his new rock and soul fusion. In the mid-1970s, many of his singles found a home on country radio, the field where he first became a star.
The competence and ethics of two of the centrally involved medical professionals were seriously questioned. Before the autopsy was complete and toxicology results known, medical examiner Dr. Jerry Francisco declared the cause of death as cardiac arrhythmia, a condition that can be determined only in someone who is still alive. Allegations of a cover-up were widespread. While Presley's main physician, Dr. Nichopoulos, was exonerated of criminal liability for the singer's death, the facts were startling: "In the first eight months of 1977 alone, he had [prescribed] more than 10,000 doses of sedatives, amphetamines and narcotics: all in Elvis's name." His license was suspended for three months. It was permanently revoked in the 1990s after the Tennessee Medical Board brought new charges of over-prescription.
In 1994, the Presley autopsy was reopened. Coroner Dr. Joseph Davis declared, "There is nothing in any of the data that supports a death from drugs. In fact, everything points to a sudden, violent heart attack." Whether or not combined drug intoxication was in fact the cause, there is little doubt that polypharmacy contributed significantly to Presley's premature death.
Despite the largely positive view of Presley held by African Americans, a rumor spread in mid-1957 that he had at some point announced, "The only thing Negroes can do for me is buy my records and shine my shoes." A journalist with the national African American weekly ''Jet'', Louie Robinson, pursued the story. On the set of ''Jailhouse Rock'', Presley granted him an interview, though he was no longer dealing with the mainstream press. He denied making such a statement or holding in any way to its racist view. Robinson found no evidence that the remark had ever been made, and on the contrary elicited testimony from many individuals indicating that Presley was anything but racist. Blues singer Ivory Joe Hunter, who had heard the rumor before he visited Graceland one evening, reported of Presley, "He showed me every courtesy, and I think he's one of the greatest." Though the rumored remark was wholly discredited at the time, it was still being used against Presley decades later. The identification of Presley with racism—either personally or symbolically—was expressed most famously in the lyrics of the 1989 rap hit "Fight the Power", by Public Enemy: "Elvis was a hero to most / But he never meant shit to me / Straight-up racist that sucker was / Simple and plain".
The persistence of such attitudes was fueled by resentment over the fact that Presley, whose musical and visual performance idiom owed much to African American sources, achieved the cultural acknowledgment and commercial success largely denied his black peers. Into the 21st century, the notion that Presley had "stolen" black music still found adherents. Notable among African American entertainers expressly rejecting this view was Jackie Wilson, who argued, "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." And throughout his career, Presley plainly acknowledged his debt. Addressing his '68 Comeback Special audience, he said, "Rock 'n' roll music is basically gospel or rhythm and blues, or it sprang from that. People have been adding to it, adding instruments to it, experimenting with it, but it all boils down to [that]." Nine years earlier, he had said, "Rock 'n' roll has been around for many years. It used to be called rhythm and blues."
By 1967, Parker's contracts with Presley gave him 50 percent of most of the singer's earnings from recordings, films, and merchandise. Beginning in February 1972, he took a third of the profit from live appearances; a January 1976 agreement entitled him to half of that as well. Priscilla Presley noted that "Elvis detested the business side of his career. He would sign a contract without even reading it." Presley's friend Marty Lacker regarded Parker as a "hustler and a con artist. He was only interested in 'now money'—get the buck and get gone."
Lacker was instrumental in convincing Presley to record with Memphis producer Chips Moman and his handpicked musicians at American Sound Studio in early 1969. The American Sound sessions represented a significant departure from the control customarily exerted by Hill and Range. Moman still had to deal with the publisher's staff on site, whose song suggestions he regarded as unacceptable. He was on the verge of quitting, until Presley ordered the Hill and Range personnel out of the studio. Although RCA executive Joan Deary was later full of praise for the producer's song choices and the quality of the recordings, Moman, to his fury, received neither credit on the records nor royalties for his work.
Throughout his entire career, Presley performed in only three venues outside the United States—all of them in Canada, during brief tours there in 1957. Rumors that he would play overseas for the first time were fueled in 1974 by a million-dollar bid for an Australian tour. Parker was uncharacteristically reluctant, prompting those close to Presley to speculate about the manager's past and the reasons for his apparent unwillingness to apply for a passport. Parker ultimately squelched any notions Presley had of working abroad, claiming that foreign security was poor and the venues unsuitable for a star of his magnitude.
Parker arguably exercised tightest control over Presley's movie career. In 1957, Robert Mitchum asked Presley to costar with him in ''Thunder Road'', on which Mitchum was writer and producer. According to George Klein, one of his oldest friends, Presley was offered starring roles in ''West Side Story'' and ''Midnight Cowboy''. In 1974, Barbra Streisand approached Presley to star with her in the remake of ''A Star is Born''. In each case, any ambitions the singer may have had to play such parts were thwarted by his manager's negotiating demands or flat refusals. In Lacker's description, "The only thing that kept Elvis going after the early years was a new challenge. But Parker kept running everything into the ground." The operative attitude may have been summed up best by the response Leiber and Stoller received when they brought a serious film project for Presley to Parker and the Hill and Range owners for their consideration. In Leiber's telling, Jean Aberbach warned them to never again "try to interfere with the business or artistic workings of the process known as Elvis Presley".
Larry Geller became Presley's hairdresser in 1964. Unlike others in the Memphis Mafia, he was interested in spiritual questions and recalls how, from their first conversation, Presley revealed his secret thoughts and anxieties: "I mean there ''has'' to be a purpose...there's got to be a reason...why I was chosen to be Elvis Presley. ... I swear to God, no one knows how lonely I get. And how empty I really feel." Thereafter, Geller supplied him with books on religion and mysticism, which the singer read voraciously. Presley would be preoccupied by such matters for much of his life, taking trunkloads of books with him on tour.
While Presley was marketed as an icon of heterosexuality, some cultural critics have argued that his image was ambiguous. In 1959, ''Sight and Sound''s Peter John Dyer described his onscreen persona as "aggressively bisexual in appeal". Brett Farmer places the "orgasmic gyrations" of the title dance sequence in ''Jailhouse Rock'' within a lineage of cinematic musical numbers that offer a "spectacular eroticization, if not homoeroticization, of the male image". In the analysis of Yvonne Tasker, "Elvis was an ambivalent figure who articulated a peculiar feminised, objectifying version of white working-class masculinity as aggressive sexual display."
Reinforcing Presley's image as a sex symbol were the reports of his dalliances with various Hollywood stars and starlets, from Natalie Wood in the 1950s to Connie Stevens and Ann-Margret in the 1960s to Candice Bergen and Cybill Shepherd in the 1970s. June Juanico of Memphis, one of Presley's early girlfriends, later blamed Parker for encouraging him to choose his dating partners with publicity in mind. Presley, however, never grew comfortable with the Hollywood scene, and most of these relationships were insubstantial.
Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture. As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude. With its racially mixed origins—repeatedly affirmed by Presley—rock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture. In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." Al Green agreed: "He broke the ice for all of us." Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: at the age of 21, within a year of his first appearance on American network television, he was one of the most famous people in the world.
Presley's name, image, and voice are instantly recognizable around the globe. He has inspired a legion of impersonators. In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans. "Elvis Presley is the greatest cultural force in the twentieth century", said composer and conductor Leonard Bernstein. "He introduced the beat to everything and he changed everything—music, language, clothes. It's a whole new social revolution—the sixties came from it." Bob Dylan described the sensation of first hearing Presley as "like busting out of jail".
A ''New York Times'' editorial on the 25th anniversary of Presley's death observed, "All the talentless impersonators and appalling black velvet paintings on display can make him seem little more than a perverse and distant memory. But before Elvis was camp, he was its opposite: a genuine cultural force. ... Elvis's breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely." Not only Presley's achievements, but his failings as well, are seen by some cultural observers as adding to the power of his legacy, as in this description by Greil Marcus:
Elvis Presley is a supreme figure in American life, one whose presence, no matter how banal or predictable, brooks no real comparisons. ... The cultural range of his music has expanded to the point where it includes not only the hits of the day, but also patriotic recitals, pure country gospel, and really dirty blues. ... Elvis has emerged as a great ''artist,'' a great ''rocker,'' a great ''purveyor of schlock,'' a great ''heart throb,'' a great ''bore,'' a great ''symbol of potency,'' a great ''ham,'' a great ''nice person,'' and, yes, a great American.
A vast number of recordings have been issued under Presley's name. The total number of his original master recordings has been variously calculated as 665 and 711. His career began and he was most successful during an era when singles were the primary commercial medium for pop music. In the case of his albums, the distinction between "official" studio records and other forms is often blurred. For most of the 1960s, his recording career focused on soundtrack albums. In the 1970s, his most heavily promoted and best-selling LP releases tended to be concert albums. This summary discography lists only the albums and singles that reached the top of one or more of the following charts: the main U.S. ''Billboard'' pop chart; the ''Billboard'' country chart, the genre chart with which he was most identified (there was no country album chart before 1964); and the official British pop chart. In the United States, Presley also had five or six number one R&B; singles and seven number one adult contemporary singles; in 1964, his "Blue Christmas" topped the Christmas singles chart during a period when ''Billboard'' did not rank holiday singles in its primary pop chart. He also had number one hits in many countries beside the United States and United Kingdom.
Year | Album | Type | Chart positions | ||
!style="width: 60px;" | !style="width: 60px;" | !style="width: 60px;" | |||
style="text-align:left;" | studio/comp. | 1 | n.a. | 1 | |
style="text-align:left;" | studio | 1 | n.a. | 3 | |
style="text-align:left;" | sound./studio | 1 | n.a. | 1 | |
studio | 1 | n.a. | 2 | ||
studio | 2 | n.a. | 1 | ||
style="text-align:left;" | soundtrack | 1 | n.a. | 1 | |
studio | 1 | n.a. | 2 | ||
style="text-align:left;" | soundtrack | 1 | n.a. | 1 | |
1962 | style="text-align:left;" | studio | 4 | n.a. | 1 |
1964 | style="text-align:left;" | soundtrack | 1 | — | 12 |
1969 | studio | 13 | 2 | 1 | |
1973 | live | 1 | 1 | 11 | |
1974 | compilation | 43 | 1 | 20 | |
1975 | style="text-align:left;" | studio | 47 | 1 | 21 |
1976 | studio | 41 | 1 | 29 | |
compilation | — | — | 1 | ||
studio/live | 3 | 1 | 3 | ||
style="text-align:left;" | live | 5 | 1 | 13 | |
2002 | style="text-align:left;" | compilation | 1 | 1 | 1 |
2007 | compilation | — | — | 1 |
Year | Single | Chart positions | ||
!style="width: 45px;" | !style="width: 45px;" | !style="width: 45px;" | ||
— | 1 | — | ||
1 | 1 | 2 | ||
1 | 1 | 14 | ||
1 | 1 | 2 | ||
style="text-align:left;" | 1 | 1 | 2 | |
style="text-align:left;" | 1 | 3 | 11 | |
style="text-align:left;" | 1 | 3 | 6 | |
1 | 1 | 1 | ||
style="text-align:left;" | 1 | 1 | 3 | |
style="text-align:left;" | 1 | 1 | 1 | |
style="text-align:left;" | 1 | 2 | 2 | |
1 | 2 | 2 | ||
style="text-align:left;" | 4/8 | 24/— | 1 | |
style="text-align:left;" | 2/4 | — | 1 | |
1 | — | 4 | ||
style="text-align:left;" | 1 | 27 | 3 | |
style="text-align:left;" | 1 | — | 1 | |
style="text-align:left;" | 1 | 22 | 1 | |
— | — | 1 | ||
style="text-align:left;" | 1 | — | 1 | |
style="text-align:left;" | 4/5 | — | 1 | |
2/23 | — | 1 | ||
1 | — | 1 | ||
5 | — | 1 | ||
style="text-align:left;" | 2 | — | 1 | |
1963 | 3 | — | 1 | |
1965 | 3 | — | 1 | |
1969 | 1 | — | 2 | |
1970 | 9 | 37 | 1 | |
style="text-align:left;" | 31 | 1 | 6 | |
18 | 1 | 1 | ||
1981 | style="text-align:left;" | 28 | 1 | 43 |
2002 | style="text-align:left;" | 50 | — | 1 |
— | — | 1 | ||
— | — | 1 | ||
— | — | 1 |
Category:1935 births Category:1977 deaths Category:20th-century actors Category:Actors from Mississippi Category:Actors from Tennessee Category:American baritones Category:American country singers Category:American crooners Category:American expatriates in West Germany Category:American film actors Category:American gospel singers Category:American karateka Category:American male singers Category:American musicians of French descent Category:American musicians of German descent Category:American Pentecostals Category:American people of Cherokee descent Category:American people of Scotch-Irish descent Category:American people of Scottish descent Category:American performers of Christian music Category:American rock singers Category:Blues musicians from Mississippi Category:Burials in Tennessee Category:Country Music Hall of Fame inductees Category:Deaths from myocardial infarction Category:English-language singers Category:Gospel Music Hall of Fame inductees Category:Grammy Award winners Category:Grammy Lifetime Achievement Award winners Category:Identical twins Category:Las Vegas musicians Category:Million Dollar Quartet members Category:Mississippi Blues Trail Category:Musicians from Mississippi Category:Musicians from Nevada Category:Musicians from Tennessee Category:People from Memphis, Tennessee Category:People from the Las Vegas metropolitan area Category:People from Tupelo, Mississippi Category:RCA Victor artists Category:Rock and Roll Hall of Fame inductees Category:Rockabilly Hall of Fame inductees Category:Rockabilly musicians Category:Southern Gospel performers Category:Sun Records artists Category:Traditional pop music singers Category:Twin people from the United States Category:United States Army soldiers
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This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 53°23′″N23°36′″N |
---|---|
Name | Paul Anka |
Background | solo_singer |
Birth name | Paul Albert Anka |
Birth date | July 30, 1941 |
Origin | Ottawa, Ontario, Canada |
Instrument | Vocals, piano, guitar |
Genre | Pop, jazz, soft rock, doo-wop |
Occupation | Singer, songwriter |
Years active | 1955–present |
Label | EMI Columbia, RCA, Columbia |
Website | Official Facebook }} |
Anka first became famous as a teen idol in the late 1950s and 1960s with hit songs like "Diana'", "Lonely Boy", and "Put Your Head on My Shoulder". He went on to write such well-known music as the theme for ''The Tonight Show Starring Johnny Carson'' and one of Tom Jones's biggest hits, "She's a Lady", and the English lyrics for Frank Sinatra's signature song, "My Way" (originally French song "Comme d'habitude").
In 1983, he co-wrote with Michael Jackson the song "I Never Heard", which was retitled and released in 2009 under the name "This Is It". An additional song that Jackson co-wrote with Anka from this 1983 session, "Love Never Felt So Good", has since been discovered, and will be released in the near future. The song was also released by Johnny Mathis in 1984.
Anka became a naturalized US citizen in 1990.
His talent went beyond the theme for ''The Tonight Show Starring Johnny Carson'' (reworked in 1962 from a song Anka wrote earlier called "Toot Sweet" which had been rewritten with lyrics and recorded by Annette Funicello in 1959 as "It's Really Love") since Anka composed Tom Jones' biggest hit record "She's a Lady" and wrote the English lyrics to "My Way", Frank Sinatra's signature song sung by many well known artists.
In the 1960s Anka began acting in motion pictures as well as writing songs for them, most notably the theme for the hit movie ''The Longest Day'', in which he made a cameo appearance as a US Army Ranger. From his movie work, he wrote and recorded one of his greatest hits, "Lonely Boy" and also "My Home Town", which was a #8 pop hit for him the same year. He then went on to become one of the first pop singers to perform at the Las Vegas casinos. Anka returns to Canada several times a year, regularly playing to sold out crowds at the Fallsview Casino in Niagara Falls, Ontario in Canada. In 1960, he appeared twice as himself in NBC's short-lived crime drama ''Dan Raven'', starring Skip Homeier and set on the Sunset Strip of West Hollywood.
His 1998 album ''A Body of Work'' was his first new U.S. studio release since ''Walk a Fine Line'' in 1983; vocals and performers include Celine Dion, Kenny G, Patti LaBelle and Skyler Jett. The album also included a new version of "Hold Me 'Til the Morning Comes," once again performed with Peter Cetera. On September 6, 1990, he became a naturalized citizen of the United States. In 2005, his album of big-band arrangements of contemporary standards, ''Rock Swings'', provided a mainstream comeback of sorts that saw Anka awarded a star on Canada's Walk of Fame in Toronto.
On October 12, 2009, Anka stated that Michael Jackson's new release titled "This Is It" was a collaborative effort between the two musicians, and that it was co-written by Anka in 1983. According to Anka, after recording the song, Michael Jackson decided not to use it and the tune was then recorded and released by singer Sa-Fire. After he threatened to sue for credit and a share of royalties the administrators of Jackson's estate granted Anka fifty percent of the copyright. An additional song that Jackson co-wrote with Anka from this 1983 session, "Love Never Felt So Good", was discovered shortly thereafter and will be released in the near future.
In 2003, Anka came back with an exclusive concert in Bologna, organized by Italian company Mapei during the CERSAIE exhibition. He also recorded a version of "My Way" with alternate lyrics dedicated to the sponsor of the evening.
In 2006, Anka recorded in duet with 1960's Italian hitmaker Adriano Celentano a new cover of "Diana", with Italian lyrics by Celentano-Mogol and with singer/songwriter Alex Britti on the guitar. The song immediately reached #3 on the charts.
A single release in Japanese (''Kokoro No Sasae / Shiawase E No Tabiji'') is also reported on his discography.
In 1993 he recorded a duet with Philippine singer Regine Velasquez entitled "It's Hard to Say Goodbye" included in her album ''Reason Enough''. This song was re-recorded several years later by Anka and Celine Dion and was included in his album ''A Body of Work''.
Anna was featured in the Swedish TV3 show ''Svenska Hollywoodfruar'' (Swedish Hollywood wives).
In 1981, Ottawa City Council named 26 August 'Paul Anka Day' to celebrate his 25th anniversary in show business. A street in Ottawa was named 'Paul Anka Drive' in 1975 in his honor. He attended Fisher Park High School as well as Lisgar Collegiate Institute.
The woman that inspired 'Diana' lives with her family in Ottawa. After receiving a negative review for a 1981 performance in Ottawa, he swore off performing there and did not play there again for almost twenty years, until an April 2002 fundraiser gala at the Ottawa Congress Centre.
In 1991, he signed an investment agreement with the new Ottawa Senators NHL franchise. The agreement ended up being dissolved in an out-of-court settlement in 1993.
Anka guest starred as a rival mobster and suspect in murder in a 1991 ''Perry Mason'' mystery movie (''The Case of the Maligned Mobster'') and played a yacht broker in the 1992 film ''Captain Ron''. In October 1995, he appeared in "Treehouse of Horror VI" on ''The Simpsons.'' He also made a guest appearance as himself in episode 'Red's Last Day' in the sitcom ''That '70s Show''. The scene is like an episode of ''Playboy After Dark'', but in Kelso's old van.
He has also made several appearances on the NBC TV series ''Las Vegas''. On The CW show ''Gilmore Girls'', Lorelai named her new dog Paul Anka. He made a guest appearance as himself in the episode 'The Real Paul Anka', which aired April 11, 2006.
Anka also played a part in the film ''3000 Miles To Graceland'' as an Elvis-hating pit manager.
Anka wrote and performed songs in a 1985 Canadian children's Christmas cartoon, George and the Christmas Star.
In American Idol's Seasons 2 and 3, he made a special appearance and sang an adapted version of "My Way" that mocked the format of the show, as well as participants, participants of past seasons, judges and the host. The performance was praised as "One of the Best Moments in American Idol" by several members of the cast.
In an episode of the animated TV series ''The Simpsons'' entitled "Treehouse of Horror VI", he guest stars as himself.
He makes a special appearance in Las Vegas, a show on Star World.
Anka's song "(You're) Having My Baby" was featured on the first season of the TV show ''Glee'', namely in Episode 10, "Ballad", in which the character Finn sings the song to his pregnant girlfriend, Quinn.
On the TV show Gilmore Girls, Lorelai's dog was named Paul Anka; series co-creator Dan Palladino said he chose that name after hearing the ''Rock Swings'' album.
Year | Single | Chart positions | |||||
! style="width:40px;" | ! style="width:40px;" | ! style="width:40px;" | ! style="width:40px;" | ! style="width:40px;" | ! style="width:40px;" | ||
style="text-align:left;" | 1 | - | 1 | 1 | 2 | - | |
97 | - | - | 3 | - | - | ||
- | - | - | 25 | - | - | ||
7 | - | 14 | 6 | - | - | ||
15 | - | - | 26 | - | - | ||
16 | - | - | - | - | - | ||
69 | - | - | 26 | - | - | ||
80 | - | - | - | - | 15 | ||
29 | - | - | - | - | - | ||
15 | - | - | 10 | 7 | 9 | ||
33 | - | - | - | - | 15 | ||
style="text-align:left;" | 1 | - | 6 | 3 | 8 | 2 | |
style="text-align:left;" | 2 | - | 12 | 7 | 25 | 2 | |
4 | - | 13 | 28 | - | 2 | ||
2 | - | - | 33 | - | 3 | ||
90 | - | - | - | - | 21 | ||
8 | - | - | - | - | 6 | ||
41 | - | - | - | - | - | ||
23 | - | - | 44 | - | 13 | ||
40 | - | - | - | - | - | ||
11 | - | 29 | - | - | - | ||
104 | - | - | - | - | - | ||
16 | - | - | - | - | 26 | ||
108 | - | - | - | - | - | ||
13 | - | - | - | - | 8 | ||
10 | - | - | - | - | 12 | ||
35 | - | - | - | - | - | ||
70 | - | - | - | - | 12 | ||
104 | - | - | - | - | 26 | ||
110 | - | - | - | - | - | ||
103 | - | - | - | - | - | ||
106 | - | - | - | - | - | ||
94 | - | - | - | - | - | ||
12 | - | - | 19 | 45 | - | ||
13 | - | - | 41 | 35 | - | ||
46 | - | - | - | - | - | ||
19 | - | - | - | 14 | 23 | ||
26 | - | - | - | - | - | ||
39 | - | - | - | 42 | - | ||
97 | - | - | - | 46 | - | ||
89 | - | - | - | - | - | ||
1964 | 113 | - | - | - | - | - | |
27 | 2 | - | - | - | - | ||
style="text-align:left;" | 64 | 36 | - | - | - | - | |
80 | 30 | - | - | - | - | ||
86 | 13 | - | - | - | - | ||
1971 | 53 | 14 | - | - | - | - | |
1972 | 65 | - | - | - | - | - | |
80 | 40 | - | - | - | - | ||
1 | 5 | - | 6 | 15 | - | ||
7 | 5 | - | - | - | - | ||
8 | 8 | - | - | - | - | ||
15 | 3 | - | - | - | - | ||
7 | 1 | - | - | - | - | ||
33 | 2 | - | - | - | - | ||
- | 20 | - | - | - | - | ||
60 | 10 | - | - | - | - | ||
80 | 41 | - | - | - | - | ||
75 | - | - | - | - | - | ||
1978 | 35 | 3 | - | - | - | - | |
1979 | - | 29 | - | - | - | - | |
- | - | - | - | - | - | ||
48 | 16 | - | - | - | - | ||
1983 | 40 | 2 | - | - | - | - | |
1984 | - | 14 | - | - | - | - |
Category:1941 births Category:Living people Category:ABC Records artists Category:American crooners Category:American film actors Category:American male singers Category:American pop singers Category:American songwriters Category:Canadian film actors Category:Canadian emigrants to the United States Category:Canadian male singers Category:Canadian Music Hall of Fame inductees Category:Canadian pop singers Category:Canadian songwriters Category:Canadian singer-songwriters Category:Canadian people of Lebanese descent Category:American people of Lebanese descent Category:Naturalized citizens of the United States Category:Officers of the Order of Canada Category:Chevaliers of the Ordre des Arts et des Lettres Category:Musicians from Ottawa Category:RPM Records artists Category:RCA Victor artists Category:Songwriters Hall of Fame inductees Category:Eastern Orthodox Christians from Canada
bg:Пол Анка ca:Paul Anka cs:Paul Anka da:Paul Anka de:Paul Anka es:Paul Anka fr:Paul Anka gl:Paul Anka ko:폴 앵카 hr:Paul Anka id:Paul Anka it:Paul Anka he:פול אנקה la:Paulus Anka hu:Paul Anka nl:Paul Anka ja:ポール・アンカ no:Paul Anka pl:Paul Anka pt:Paul Anka ru:Анка, Пол sc:Paul Anka scn:Paul Anka simple:Paul Anka fi:Paul Anka sv:Paul Anka th:พอล แองคา tr:Paul Anka zh-yue:保羅安卡 zh:保羅·安卡This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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