Monday, 31 January 2011

It's Now or Never ('O Sol Mio)

"'O sole mio" is a globally known Neapolitan song written in 1898. The lyrics were written by Giovanni Capurro, and the melody was composed by Eduardo di Capua. It has been performed and covered by many artists, including such stalwarts of opera as Enrico Caruso, Beniamino Gigli, Mario Lanza, The Canadian Tenors, and The Three Tenors, as well as rock/pop artists such as Bryan Adams, Me First and the Gimme Gimmes, Vitas (who sings it in a high countertenor range) and Elvis Presley (It's Now or Never). Luciano Pavarotti won the 1980 Grammy Award for Best Classical Vocal Performance for his rendition of 'O Sole Mio. Though there are versions in other languages, 'O sole mio is usually sung in the original Neapolitan language. 'O sole mio is the Neapolitan equivalent of Standard Italian Il sole mio and translates literally as "My Sun" (not "Oh My Sun").
http://en.wikipedia.org/wiki/'O_Sole_Mio is the source and it has both Neopolitan and the English translation of the original lyric on.

Enter Elvis

In 1915 Charles W. Harrison recorded the first English translation of "O Sole Mio." In 1921, William E. Booth-Clibborn wrote lyrics for a hymn using the music, titled Down From His Glory. In 1949, U.S. singer Tony Martin recorded "There's No Tomorrow", which used the melody of "O Sole Mio and written by Al Hoffman, Leo Corday, and Leon Carr it charted in 1950. The recording was released by RCA Victor Records as a 78rpm record (catalog number 20-3582) and a 45rpm record (catalog number 47-3078). The record first reached the Billboard magazine charts on November 4, 1949 and lasted 27 weeks on the chart, peaking at #2. About ten years later, while stationed in Germany with the U.S. Army, Elvis Presley heard the recording, and put to tape a private version of the song, Upon his discharge, he requested that new lyrics be written especially for him, a job that was undertaken by the songwriting duo of Aaron Schroeder and Wally Gold, with a demo by David Hill. The rewritten version was titled "It's Now or Never" and was a worldwide hit for Presley.





Robert Matthew Walker in Elvis - A Study in Music comments -

" With It's Now or Never we come to one of Presley's greatest performances. This song sold around 10 million copies as a single, and is an English version of a Neapolitan song, 'O Sol Mio' . After a gentle introduction, Presley's first stirring Top E, strong and manly, sets the scene, and the ensuing singing, abetted by Floyd Cramer's graceful piano, adds to the atmosphere. The steady beat is just right and the climax, with Presley soaring up to an incredible G Sharp, is pure magic."


The original writers -



Eduardo di Capua (March 12, 1865 - October 3, 1917) was an Italian singer and songwriter. He was born in Naples, Italy in 1865. Together with the poet Giovanni Capurro, di Capua wrote the song "'O Sole Mio", which has since been recorded by many singers, both classical and popular. He also wrote "Marie Ah, Marie" (O Marie in English), another Neopolitan song. Eduardo di Capua died in 1917 in Milan, Italy.
 http://en.wikipedia.org/wiki/Eduardo_di_Capua

Giovanni Capurro (February 5, 1859 – January 18, 1920) "was an Italian poet, best remembered today as the co-creator, with singer/composer Eduardo di Capua, of the world famous song, "'O Sole Mio". Capurro was born in Naples. He made his living as a poet and playwright. He is considered to be among the finest nineteenth century Italian poets. The actor Viviani gave his first performance in an established theatre, the Teatro Perella in Basso Porto, in The Street Urchin, a sketch by Capurro.



In 1898, Giovanni Capurro wrote the words to 'O Sole Mio and asked Eduardo Di Capua (who at the time was in Odessa with his orchestra-violinist father) to set it to music. The song was later presented at Piedigrotta 1898, organized by the Round Table promoted by the publisher Bideri, and came in second place after a piece called Napule Bello!. But in popular appeal, this result was quickly overturned. 'O Sole Mio became famous. Even so, it made little money for its creators.


Capurro lived in financial scarcity his entire life. An artist for art's sake, he was not concerned about receiving credit for his best-known creation. For thirty years he was associated with the newspaper Rome as a reporter, drama critic, and, late in life, as an administrative employee. Capurro was a devotee of lounges where he sang, played the piano and did amusing imitations.


Capurro died in 1920; some sources say in Naples while others say Mexico. City." http://en.wikipedia.org/wiki/Giovanni_Capurro


Writers of the Presley version


Wally Gold - Mr. Gold, who wrote songs as Wally Gold, was born in Brooklyn. After Navy service in World War II, he sang in a quartet, the Four Esquires, before becoming a songwriter. In 1960 he and his partner, Aaron Schroeder, wrote ''It's Now or Never,'' which was recorded by Elvis Presley and became a No. 1 hit. In 1963 Mr. Gold wrote ''It's My Party'' with John Gluck Jr. and Herb Wienner, and it became a best seller for Lesley Gore. Later Mr. Gold worked as a record producer.

"Aaron Schroeder was one of the key figures around the Brill Building in the 1950s and 1960s. He was a songwriter who preferred to collaborate with others, especially in improving the commerciality of a promising song. He liked to say, not entirely in jest, 'I don't read music – that's why I make so much money'.
It was with Presley that he had his greatest success, co-writing no fewer than five chart-topping hits for the singer. A Big Hunk o' Love in 1959 was followed in 1960 with Stuck on You and It's Now or Never, which Schroeder and his co-writer Wally Gold based on the Italian standard O Sole MioGood Luck Charm went to No 1 in 1962 and finally I Got Stung, originally a 1958 B-side, made No 1 in Britain on its re-release in 2005.
Aaron Harold Schroeder was born in Brooklyn in 1926, was a competent pianist, mostly playing by ear, who was first attracted to the big bands of the 1940s. An early success was with At a Sidewalk Penny Arcade (1948), which was recorded by both Rosemary Clooney and Guy Lombardo. In 1955, he was working as a staff writer for the publishing company Hill and Range when he learnt that they were supplying songs to Elvis Presley, who had been signed to RCA-Victor Records. Schroeder was asked to improve a song by other staff writers, I Was the One, and the result was the B-side of Heartbreak Hotel and made the US Top 20 in its own right.

While serving in the US army, Presley developed a taste for Mario Lanza's recordings and took to singing O Sole Mio for his own amusement. Presley's publisher, Freddy Bienstock, wanted a new English lyric, and Schroeder and Wally Gold wrote It's Now or Never in 30 minutes. The record, which was released in 1960, sold 20 million copies. Schroeder used his windfall to start his own label, Musicor. Whenever Schroeder was away from home, he would buy his wife, Abby, a new charm for her bracelet. This led to him and Gold composing Good Luck Charm (1962), another trans-Atlantic chart-topper for Presley." Read more here http://www.elvis.com.au/presley/aaron_schroeder_elvis_songwriter.shtml


Sunday, 30 January 2011

Surrender ( Torna a Surriento )

"Surrender" is a rearrangement by Doc Pomus and Mort Shuman of a 1902 Neapolitan ballad by Giambattista and Ernesto de Curtis entitled "Torna a Surriento" ("Come Back to Sorrento"). It became a UK and US number-one hit for Elvis Presley in 1961 and has been recorded by many other artists. This was one of 25 songs Doc Pomus and Mort Shuman wrote for Presley.

This is a classic version by Pavarotti but not the original.





Torna a Surriento”, a Neapolitan song, is said to have been composed in 1902 by Ernesto De Curtis to words by his brother, Giambattista. The song was copyrighted officially in 1905; it has since become wildly popular, and has been sung by performers as diverse as Beniamino Gigli, Elvis Presley, Dean Martin, José Carreras, Plácido Domingo, Luciano Pavarotti, Meat Loaf, Mario Lanza, Franco Corelli, Robertino Loretti, Giuseppe Di Stefano, and Francesco Albanese. Claude Aveling wrote the English lyrics, which are titled “Come Back to Sorrento.” Doc Pomus and Mort Shuman re-arranged it and wrote a new set of lyrics for Elvis Presley (“Surrender”).

The song was supposedly written at the request of a friend of Giambattista's, Guglielmo Tramontano, who was mayor of Sorrento in 1902 when the prime minister of Italy, Giuseppe Zanardelli, stayed at his hotel in that town; it was claimed that the piece was meant to celebrate Zanardelli's stay. More recent research indicates that the song may merely have been reworked for the occasion; family papers indicate that the brothers deposited a copy with the Italian Society of Authors and Editors in 1894, eight years before they claimed to have written it. There is also a version in standard Italian called “Torna a Sorrento”  The English lyrics have nothing to do with either of the Italian versions.
http://en.wikipedia.org/wiki/Torna_a_Surriento
And for the original Italian lyrics and translation 
http://www.useless-knowledge.com/1234/06mar/article054.html
Elvis's version - Surrender-

Robert Matthew Walker in ELVIS - A Study in Music 1979 says -
" The enormous success of It's Now or Never demanded a follow up, and Surrender attempts to repeat that formula. The Neopolitan song 'Come back to Sorrento' is transferred to a bossa nova rhythm  with fast guitar chords. It does not quite come off - although Presley sings the arrangement to perfection,with a dazzling top B flat full of powerful head-tone."


The Songwriters

Ernesto De Curtis (October 4, 1875 - December 31, 1937) was an Italian composer. Born in Naples, the son of Giuseppe De Curtis and Elisabetta Minnon, he was a great-grandson of composer Saverio Mercadante and the brother of poet Giambattista De Curtis, with whom he wrote the song "Torna a Surriento". He studied piano and received a diploma from the Conservatory of San Pietro a Maiella in Naples. 
http://en.wikipedia.org/wiki/Ernesto_De_Curtis




Giambattista De Curtis



"(20 July 1860 - 15 January 1926) was an Italian painter and poet remembered today for his song lyrics. He wrote the original words to Torna a Surriento. Born into a noble family in Naples, de Curtis was firstborn of fresco painter Giuseppe de Curtis and his wife, Elisabetta Minnon, and was a great-grandson of composer Saverio Mercadante. He expressed his first interest in painting, which he learned from his father, and which he perfected to the point that he was called a "contemporary Salvator Rosa". He was a complete artist, writing poetry and theatrical works as well as verses for popular songs; he was also a sculptor. His love for Neapolitan song led him to collaborate with composer Vincenzo Valente, at the time a lodger at the de Curtis family palace in corso Garibaldi. It was, in fact, Valente who in 1889 set to music his first song, "A Pacchianella"; the following year, he set another of de Curtis's texts, "Muglierema come fa?". "'I Pazziava" followed in 1890, and "Ninuccia" in 1894; "Tiempe Felice" came in 1895....when composing song lyrics he would often be inspired by some encounter or other that he had had. Indeed, de Curtis was by all accounts a curious and amiable man, and was rarely without a compliment for an attractive woman; he courted many, and would often dedicate his lyrics to them. Nevertheless, he did not wed until 1910, when, at the age of fifty and after nearly twenty years' engagement, he married Carolina Scognamiglio." Read the full article here http://en.wikipedia.org/wiki/Giambattista_De_Curtis


Doc Pomus 
" Jerome Solon Felder, better known as Doc Pomus (June 27, 1925 - March 14, 1991), was a twentieth-century American blues singer and songwriter. He is best known as the lyricist of many rock and roll hits. Pomus was inducted into the Rock and Roll Hall of Fame in the category of non-performer in 1992.He was also inducted into the Songwriters Hall of Fame in 1992. and the Blues Hall of Fame. Pomus asked Shuman to write with him because Doc didn't know much about rock and roll at the time, whereas Mort was well versed in many of the popular artists of the day. Their songwriting efforts had Pomus write the lyrics and Shuman the melody, although quite often they worked on both. They wrote the hit songs: "A Teenager in Love"; "Save The Last Dance For Me"; "Hushabye"; "This Magic Moment"; "Turn Me Loose"; "Sweets For My Sweet" (a hit for the Drifters and then the Searchers); "Go Jimmy Go", "Can't Get Used to Losing You"; "Little Sister"; "Suspicion"; "Surrender"; "Viva Las Vegas"; "(Marie's the Name) His Latest Flame"." More on Doc Pomus here http://en.wikipedia.org/wiki/Doc_Pomus


Mort Shuman (November 12, 1936 - November 2, 1991) was an American singer, pianist and songwriter, best known as co-writer of many 1960s rock and roll hits, including "Viva Las Vegas". He also wrote and sang many songs in French, such as Le Lac Majeur, Allo Papa Tango Charlie, Sha Mi Sha, Un Eté de Porcelaine, Brooklyn by the Sea which became great hits in France. More here http://en.wikipedia.org/wiki/Mort_Shuman

Friday, 28 January 2011

Santa Lucia

Santa Lucia is a traditional Neapolitan song. It was la la transcribed by Teodoro Cottrau (1827–1879) and published by the Cottrau firm, as a "barcarolla", at Naples in 1849. Cottrau translated it from Napuletano into Italian during the first stage of the Risorgimento, the first Neapolitan song to be given Italian lyrics. Its transcriber, who is very often credited as its composer, was the son of the French-born Italian composer and collector of songs Guillaume Louis Cottrau (1797–1847).


Mario Lanza Version






The Neapolitan lyrics of "Santa Lucia" celebrate the picturesque waterfront district, Borgo Santa Lucia, in the Bay of Naples, in the invitation of a boatman to take a turn in his boat, to better enjoy the cool of the evening.



In the United States, an early edition of the song, with an English translation by Thomas Oliphant, was published by M. McCaffrey, Baltimore. Perhaps the definitive 20th century recording of the song was that of Enrico Caruso, the great Neapolitan opera singer.


In Sweden, Finland, Denmark and Norway, "Santa Lucia" has been given various lyrics to accommodate it to the winter-light festival of Saint Lucy, at the darkest time of the year. The three most famous lyrics versions in Swedish are Luciasången, aka Sankta Lucia, ljusklara hägring (“Saint Lucy, bright illusion”), Natten går tunga fjät (“The night walks with heavy steps”) and the 1970s "Kindergarten" version Ute är mörkt och kallt (“Outside it’s dark and cold”).


Source - http://en.wikipedia.org/wiki/Santa_Lucia (Which includes the Italian Lyrics)
Elvis sang it in Viva Las Vegas in 1963 (released 1964) and it appeared on Elvis for Everyone in 1965. Here it is in the film setting followed by If You Think I Don't Need You.



Original Italian lyrics

Sul mare luccica l’astro d’argento.
Placida è l’onda, prospero è il vento.
Sul mare luccica l’astro d’argento.
Placida è l’onda, prospero è il vento.
Venite all’agile barchetta mia,
Santa Lucia! Santa Lucia!
Venite all’agile barchetta mia,
Santa Lucia! Santa Lucia!

Con questo zeffiro, così soave,
Oh, com’è bello star sulla nave!
Con questo zeffiro, così soave,
Oh, com’è bello star sulla nave!
Su passegieri, venite via!
Santa Lucia! Santa Lucia!
Su passegieri, venite via!
Santa Lucia! Santa Lucia!

In fra le tende, bandir la cena
In una sera così serena,
In fra le tende, bandir la cena
In una sera così serena,
Chi non dimanda, chi non desia.
Santa Lucia! Santa Lucia!
Chi non dimanda, chi non desia.
Santa Lucia! Santa Lucia!

Mare sì placida, vento sì caro,
Scordar fa i triboli al marinaro,
Mare sì placida, vento sì caro,
Scordar fa i triboli al marinaro,
E va gridando con allegria,
Santa Lucia! Santa Lucia!
E va gridando con allegria,
Santa Lucia! Santa Lucia!

O dolce Napoli, o suol beato,
Ove sorridere volle il creato,
O dolce Napoli, o suol beato,
Ove sorridere volle il creato,
Tu sei l'impero dell’armonia,
Santa Lucia! Santa Lucia!
Tu sei l'impero dell’armonia,
Santa Lucia! Santa Lucia!

Or che tardate? Bella è la sera.
Spira un’auretta fresca e leggiera.
Or che tardate? Bella è la sera.
Spira un’auretta fresca e leggiera.
Venite all’agile barchetta mia,
Santa Lucia! Santa Lucia!
Venite all’agile barchetta mia,
Santa Lucia! Santa Lucia!
[edit]English translation

On the sea shimmers the silver star.
The wave is peaceful, prosperous is the wind.
On the sea shimmers the silver star.
The wave is peaceful, prosperous is the wind.
Come quickly my boat,
Saint Lucy! Saint Lucy!
Come quickly my boat,
Saint Lucy! Saint Lucy!

With this breeze, so gentle,
Oh, how beautiful to be on the ship!
With this breeze, so gentle,
Oh, how beautiful to be on the ship!
Its passengers, come on!
Saint Lucy! Saint Lucy!
Its passengers, come on!
Saint Lucy! Saint Lucy!

In between the tents, dinner invitations
On such a quiet evening,
In between the tents, dinner invitations
On such a quiet evening,
Who does not demands, desires to those who do not.
Saint Lucy! Saint Lucy!
Who does not demands, desires to those who do not.
Saint Lucy! Saint Lucy!

Sea so calm, the wind so dear,
Forget makes the thistles in marine
Sea so calm, the wind so dear,
Forget makes the thistles in marine
It should be shouting with joy,
Saint Lucy! Saint Lucy!
It should be shouting with joy,
Saint Lucy! Saint Lucy!

O sweet Naples, or wont blessed
Where would smile creation,
O sweet Naples, or wont blessed
Where would smile creation,
You are the empire of harmony,
Saint Lucy! Saint Lucy!
You are the empire of harmony,
Saint Lucy! Saint Lucy!

Or to be late? The evening is beautiful.
A little breeze blows fresh and light.
Or to be late? The evening is beautiful.
A little breeze blows fresh and light.
Come quickly my boat,
Saint Lucy! Saint Lucy!
Come quickly my boat,
Saint Lucy! Saint Lucy!

I Don't Care if the Sun Don't shine - Patti Page - Dean Martin

I Don't Care if the Sun Don't Shine is a popular song, written by Mack David. The most popular version was done by Patti Page in 1950. The Page recording was issued by Mercury Records as catalog number 5396, and first reached the Billboard chart on May 20, 1950, lasting 9 weeks and peaking at #8. It was her first Top 10 hit. Source http://en.wikipedia.org/wiki/I_Don't_Care_if_the_Sun_Don't_Shine




A Dean Martin version of the song was featured in the 1953 film Scared Stiff starring Martin and Jerry Lewis. The Patti Page recording is featured in the movie The Adventures of Priscilla, Queen of the Desert. Actor Guy Pearce also briefly sings excerpts of this song in the film, as does Terrence Stamp. The first Spanish-language version was recorded by Marco Tulio Sanchez, the precursor of rockabilly in his country Colombia during the eighties.



The song was also one of the first recordings by Elvis Presley.
Robert Matthew Walker - in ELVIS - A Study in Music
" the song is unusual in that it includes bongos - possibly played by DJ Fontana - who had been part of Presley's road band for sometime. The song is similar to the faster version of Blue Moon of Kentucky but less innovative.

Elvis's studio version on You Tube



Written by " Mack David (July 5, 1912 – December 30, 1993) was an American lyricist and songwriter, best known for his work in film and television, with a career spanning from the early 1940s through the early 1970s. Mack was credited with writing lyrics and/or music for over one thousand songs.He was particularly well known for his work on the Disney films Cinderella and Alice in Wonderland, and for the mostly-English lyrics through which Édith Piaf's signature song "La Vie en rose" gained much of its familiarity among native speakers of English. - READ More here http://en.wikipedia.org/wiki/Mack_David

Shake Rattle and Roll - Big Joe Turner

"Shake, Rattle and Roll" is a prototypical twelve bar blues-form rock and roll song written in 1954 by Jesse Stone under his assumed songwriting name Charles E. Calhoun. (Already info on Jesse Stone on this blog in the entry for Money Honey - Wiki link about Jesse Stone here - http://en.wikipedia.org/wiki/Jesse_Stone  It was originally recorded by Big Joe Turner, and most successfully by Bill Haley & His Comets. Source http://en.wikipedia.org/wiki/Shake,_Rattle_and_Roll





Early 1954, Herb Abramson of Atlantic Records suggested to Jesse Stone that he write an up-tempo blues for Big Joe Turner, a blues shouter whose career had begun in Kansas City before World War II. Stone played around with various phrases before coming up with "shake, rattle and roll".

However, the phrase had been used in earlier songs. In 1919, Al Bernard recorded a song about gambling with dice with the same title, clearly evoking the action of shooting dice from a cup. The phrase is also heard in "Roll The Bones" by the Excelsior Quartette in 1922. While the phrase was undoubtedly passed along, neither of these songs is a direct ancestor of the 1954 hit.Stone stated that the line about "a one-eyed cat peepin' in a seafood store" was suggested to him by Atlantic session drummer Sam "Baby" Lovett.





Turner's version was recorded in New York on February 15, 1954. The shouting chorus on his version consisted of Jesse Stone, and record-company executives Jerry Wexler and Ahmet Ertegün. The saxophone solo is by Sam "The Man" Taylor. Turner's recording was released in April 1954, and reached # 1 on the Billboard R&B chart on June 12, but its success did not cross over to the pop chart. In spite of this, "Shake, Rattle & Roll" came to be known as "The national anthem of Rock 'n Roll. Black teenagers weren't buying Bill Haley's version, but white teens were buying Turner's.

The song, in its original incarnation, is highly sexual. Perhaps its most salacious lyric, which was absent from the later Bill Haley rendition, is "I've been holdin' it in, way down underneath / You make me roll my eyes, baby, make me grit my teeth". [It may actually be "Over the hill, way down underneath.] On the recording, Turner slurred the lyric "holdin' it in", since this line may have been considered too risqué for publication. The chorus uses "shake, rattle and roll" to refer to boisterous intercourse, in the same way that the words "rock and roll" was first used by numerous rhythm and blues singers, starting with Trixie Smith's "My Man Rocks Me (With One Steady Roll)" in 1922, and continuing on prominently through the 1940s and 50s. http://en.wikipedia.org/wiki/Shake,_Rattle_and_Roll


Bill Haley & His Comets' cover, recorded on June 7, 1954  featured : Johnny Grande (piano), Billy Williamson (steel guitar), Marshall Lytle (bass), and Joey Ambrose (sax). It is known that Danny Cedrone, a session musician who frequently worked for Haley, played lead guitar, but there is controversy over who played drums.  Bill Haley's own stage drummer, Dick Richards, did not play on this record but may have provided backing vocals since he participated in the recording of the song's B-side, "A.B.C. Boogie". This was Cedrone's final recording session as he died only ten days later.
Gabler has explained that he would "clean up" lyrics because, "I didn't want any censor with the radio station to bar the record from being played on the air. With NBC a lot of race records wouldn't get played because of the lyrics. So I had to watch that closely"

Bill Haley's Rock Around the Clock is generally regarded as the first Rock n Roll in the mainstream charts but in the uk, while Rock Around the Clock entered the UK charts reaching No17 in January 1955 in the NME charts, it didn't become a big hit until it re entered the charts in October 1955 when it was featured in the film Blackboard Jungle. Shake Rattle and Roll however reached No 4 in January 1955 and was the first genuine Rock n Roll hit.



Elvis Presley recorded the song twice in a studio setting: a 1955 demo recorded during his Sun Records tenure (which was not released until the 1990s), and as a 1956 single for RCA Victor, although it was not a major hit. Both versions by Elvis used Turner's original lyrics combined with a faster-paced version of Haley's arrangement. There is also footage of Elvis singing it on the Ed Sullivan Show on Youtube  (it was his first ever appearance on TV). My favourite version is an alternate take with piano.





Wednesday, 26 January 2011

Just Because - The Shelton Brothers

Originally recorded by Nelstone's Hawaiians in 1929









Nelstone's Hawaiians - Just Because (1928)

From http://en.wikipedia.org/wiki/Just_Because
"Just Because" is a song written by Joe Shelton, Sydney Robin and Bob Shelton and originally recorded by Nelstone's Hawaiians in 1929 and later recorded by The Shelton Brothers in 1933 or 1942. Some sources say that Sydney Robin wrote the song alone and the Sheltons added their name when they recorded it.











The song has been covered many times, especially since the Shelton Brothers recording. In 1933, RCA VICTOR released a version of the song done by the Lonestar Cowboys. Nelstone's Hawaiians Victor V40273 (1929)

The song has also been recorded by Frank Yankovic. Columbia agreed to release Yancovic's version of "Just Because" in 1948.

Elvis Presley recorded the song on September 10, 1954 at the Sun Studios; while it was never released on Sun, it was included on Elvis's first album, Elvis Presley after he signed to RCA. Paul McCartney later recorded the song in a style that was similar to that of Presley's version.


John Lennon recorded the song on his 1975 album Rock 'n' Roll.

The Shelton Brothers http://en.wikipedia.org/wiki/The_Shelton_Brothers
" The Shelton Brothers, Bob, Joe and Merle, were pioneer country musicians and renowned recording artists based out of Texas from the mid 1930s through the 1960s. They created and popularized the songs Johnson's Old Gray Mule, Deep Elm Blues, These Shoes Are Killing Me, Oh Monah, Match Box Blues and My Heart Oozes Blood For You, "What's The Matter With Deep Elm", "I'm A Handy Man To Have Around" and "Henpecked Husband Blues". The Shelton Brothers (Joe and Bob) also wrote (their names appear as co-writers, but the writer was actually, individually, Sydney Robin) and were the second to record "Just Because" (Decca 46008), a song that has since been recorded numerous times by various artists including Elvis Presley who included it on his very first album titled "Elvis Presley". The original recording was by Nelstone's Hawaiians, comprising Hubert Nelson and James D. Touchstone. The song's opening line reads: Just because you think you're so pretty, just because you think you're so hot..... "Just Because" was the Shelton's first release on Decca but, due to their popularity, they went on to cut over 150 sides for the label. They also recorded sides for Victor Records and King Records. The Shelton Brothers would become one of the most successful country acts of the era.
The Shelton Brothers were also one of the earliest acts to appear on the famous Big D Jamboree which originated from the Dallas Sportatorium in Dallas, Texas. They later became an integral part of The Saturday Night Shindig which also originated from Dallas." http://www.sheltonfamilyoftexas.com/charles_washington_shelton.htm

Nelstone's Hawaiians - a folk group formed in southern Alabama by steel guitarist Hubert Nelson and guitarist James D. Touchstone, recorded for Victor during the late '20s. The Hawaiian style of steel-guitar playing, popular during the '20s after Hawaii entered the Republic, featured on many of their recordings. Little else is known about Nelstone's Hawaiians, though the song "Fatal Flower Garden" was included on Harry Smith's 1952 folksong collection Anthology of American Folk Music. ~ John Bush, Rovi

Monday, 24 January 2011

Elvis and the Beatles 1 - Girl Happy

In this post we don't have one of the original versions of a song recorded by Presley. This is more of an exploration of the impact of the Beatles on an Elvis song and film.





The film Girl Happy was released in the UK summer 1965. It seemed to be the first and only movie to somehow, inherently acknowledge the advent of the Beatles. I could only find one reference to it on the internet though after much searching so lets look at that.

This is the quote I found " As influenced by "Beatlemania" and " The British Invasion of 1964", rock groups were the latest trend putting many solo performers at a disadvantage. With the box office success of "Hard Day's Night (1964) and expected success of "Help"(1965) three band member buddies, played by Gary Crosby - Bing Crosby's son), Jimmy Hawkins and Joby Baker, were added to the plot in order to enhance the film's appeal to a "newer' generation of rock fans and "teeny boppers". " http://www.imdb.com/title/tt0059224/trivia


  • The Beatles sound inherent in the song Girl Happy (especially the harmonies on the hook line) sounded more Beatles 1964 than the jingle jangle Beatles guitar riff sound of 1965 - eg Ticket to Ride.
  • However the soundtrack for Girl Happy was recorded nearly a year before in Hollywood (Radio Recorders) between June 5th and July 8th. Can't Buy Me Love had topped the charts in April and A Hard Day's Night was released in June. So the songs and film would have been written earlier in 1964.
  • As the above quote says, Bealtemania had broken through in the US in 1964 and on Sunday February 9, 1964, at 8 p.m., the Beatles made their first American debut on The Ed Sullivan Show.
To illustrate the impact this site says http://www.iamthebeatles.com/article1036.html
"In preparation for their appearance, CBS Television office on West-Fifty-Third Street in New York was overwhelmed by more than 50,000 requests for tickets to a studio that held 703. During their appearance, the Beatles sang five songs in the following order: All My Loving, Till There Was You, She Loves You, I Saw Her Standing There, and I Want To Hold Your Hand. On this night, 73 million people watched The Beatles. Their appearance had such an impact that most normal activities in America came to a standstill watching their performance. Criminal activity in most of the major cities and towns in America was put on hold, and getting a taxi or bus in New York was almost impossible, until their performance was over. Mass hysteria resulted wherever the Beatles appeared, and Beatlemania was created."





  • The Beatles went on to appear, either in person or on video tape, eight more times on the Sullivan Show. In 1964 they also appeared on February 16th, This would be a live performance from their hotel in Miami Beach, Florida. (more on this soon in relation to Girl Happy). Feb 23rd and May 24th on the release of their movie A Hard Days Night. Result

  • " 1964 is the first year Elvis Presley did not reach the TOP 10 with any of the six singles he released that year."
    MGM sold the film "whose setting was the annual spring break festivities on the beaches of Fort Lauderdale, FL." so as " To take advantage of the popularity among college students of the Ft. Lauderdale Easter vacation, producer Joe Pasternak put together Girl Happy, a youth-oriented film combining Elvis Presley, Ft. Lauderdale, bikini-clad girls, and wacky dance crazes." MGM presented Girl Happy as "a beach party film ("Elvis brings his beat to the beach!" "Elvis jumps with the campus crowd to make the beach 'ball' bounce!") " (See Poster)
  • http://movies.elvispresley.com.au/girl_happy.shtml / http://en.wikipedia.org/wiki/Girl_Happy
  • It just so happens, that the Beatles second appearance on The Ed Sullivan show on February 16th was filmed on location in Miami where they happened to be playing. "




    The next time The Beatles appeared on the show was on February 16, 1964. This would be a live performance from their hotel in Miami Beach, Florida. In preparation for this appearance, The Beatles played to a live audience during the afternoon at the hotel, then at 8 p.m., played the Sullivan Show live performance via satellite. The Beatles sang six songs; She Loves You, This Boy, All My Loving, I Saw Her Standing There, From Me To You,and I Want To Hold Your Hand." . Fort Lauderdale ( where Girl Happy was located is only a little way from Miami)- coincidence or what? - see map.and Beatles video above.

    http://www.iamthebeatles.com/article1036.html

  • The plot - " Elvis stars as struggling pop singer Rusty Wells, whose musical combo works for a tough Chicago nightclub owner known as Big Frank. Big Frank's big weakness is his only daughter Valerie, who insists on spending her Easter vacation in sunny, sinful Ft. Lauderdale. Frank sends Rusty and his friends to Florida to keep an eye on Valerie without her knowing about it.Rusty attempts to pursue a few college coeds of his own, but he is constantly interrupted by the need to rescue Valerie from various Ft. Lauderdale loverboys. Naturally, Valerie, played by Shelley Fabares in her first Elvis Presley musical, falls in love with the smooth-talking Rusty." http://movies.elvispresley.com.au/girl_happy.shtml Light hearted youthful and musical comedy.
  • At this stage Elvis was clearly disillusioned about the merits of making these types of musical comedies with low key songs as expressed behind the scenes to director Boris Segal http://movies.elvispresley.com.au/girl_happy.shtml 
    and wanted to record better material in the studio and make films without soundtracks. Economically the film soundtracks outsold the studio albums and the films acted like worldwide videos in the days before Presley started touring again. It's interesting to note that when Elvis finally met the Beatles in 1965 they jammed on Cilla Black's You're My World which was in the charts around the time of him recording the tracks for Girl Happy and Elvis knew the bass parts for I Feel Fine. Later he recorded tracks from this period such as You've Lost that Lovin Feeling and Yesterday. This sounds like an indication of his preferred choice of material during that period.
    The movie sound track is pretty awful and the choice of single - Do the Clam - was disappointing with it's out of date guitar sound lyrics. However the acoustic song Fort Lauderdale Chamber of Commerce, although clearly a plot song, has a certain charm and interesting lyrics- perhaps a nod to the emerging Dylan sound although not worthy of Dylan himself,it might have been thought to appeal to young people of the time.
    With Girl Happy, the sound, especially in the harmonies of the hook line, are reminiscent of the Beatles 1964. It is also reminiscent Little Richard's The Girl Can't Help it which influenced the Beatles when they were starting out. The Little Richard no is of course much stronger material and works lyrically with that repeated line "The Girl Can't help it". However judging by alternate takes that have since been released the song was originally a lot slower. Girl Happy was speeded up by 8%, a studio trick employed by the Beatles themselves - but later on!

" For reasons unknown, several of Elvis' songs are slightly sped up, making his voice sound higher than usual. This is most noticeable on the title track. This error appears to have originated in the recording studio, as the RCA soundtrack album retains the sped up versions of the songs. A recording of "Girl Happy", mastered at the proper speed, would not be released until the 1990s. The explanation came afterwards that it was intentional and that it was supposed to give the title track an upbeat feeling that it lacked apparently in the original version. It has to be reminded that this soundtrack was recorded at the height of the Beatlemania in June 1964 and that the record company tried to give some "extra-youth" to Elvis by speeding up the tape. " http://www.imdb.com/title/tt0059224/trivia

Saturday, 22 January 2011

Girls Girls Girls - Coasters

Songwriters Lieber and Stoller wrote Girls Girls Girls for the Coasters - a hit for them in 1961,was adapted for the Elvis Movie Girls Girls Girls.

Mike Stoller explained in an interview


" Many of the songs you and Jerry wrote have a delightful element of humour. Two songs Elvis recorded of yours fit that bill, Girls! Girls! Girls! and Little Egypt. Girls! Girls! Girls! and Little Egypt were both written for The Coasters, who were sort of our alter egos. We wrote funny songs for them. Jerry's the lyricist and I write the music, but we work closely with each other on everything. The Coasters were really our voice. Girls! Girls! Girls! wasn't a big hit for The Coasters. So we said, 'Well, maybe Elvis could do it', and he obviously liked it." Source

http://www.elvis.com.au/presley/interview_with_mike_stoller.shtml

Presley used it as the title song of one of his films released in November 1962 and containing the hit single Return to Sender. The recording session at  Radio Recorders in Hollywood (link is to Scotty Moore's site with pics of Radio Recorders) March 1962.

Here is the Coaster's version -




Elvis has two version - the main one as recorded by the Coasters (but with adapted lyrics) which he sings over the credits while hanging on to a boat and a different one with new lyrics at the end of the film.


The movie title version



End of the movie version