Having mentioned Elvis Presley's ballad singing yesterday, I thought I would find an example for you today, and "Love Me Tender" is as good as any. What's immediately striking to me, whenever I listen to Elvis now, is the control he had over his instrument, seemingly from the very beginning, and the astonishing resonance that it was capable of producing. It was no doubt largely informed by his knowledge of gospel singing (another example of taste being the most important attribute for a musician). Check it out: http://www.youtube.com/watch?v=HZBUb0ElnNY.

And now have a listen to the same song (in a medley with "Witchcraft") sung by Presley and Frank Sinatra: http://www.youtube.com/watch?v=gVfXCYk0xSA. How many rock and roll singers could have done that? I think Frank speaks for all of us with his final comment in the clip: "Thank you, Elvis".

Eddie Cochran's "Something Else" is one of the all-time great story-songs. It features a narrator who is deeply impressed with two things: a girl and a car. In the end, we find that he has compromised on one (the latter), but not the other. Without hitting us over the head, the song asks the listener to consider the nature of compromise - where it matters and where it doesn't. Here's the link: http://www.youtube.com/watch?v=aW34W67ZYG0, and lyrics:

A look a-there, here she comes

There comes that girl again

Wanted to date her since I don't know when

But she don't notice me when I pass

She goes with all the guys from outta my class

But that can't stop me from a-thinkin' to myself

She's sure fine lookin' man, she's something else

Hey, look a-there, across the street

There's a car made just for me

To own that car would be a luxury

But my dollar can't afford the gas

A brand new convertible is outa my class

But that can't stop me from a—thinkin' to myself

That car's fine lookin' man, it's something else

Hey, look a—here, just wait and see

Worked hard and saved my dough

I'll buy that car that I been wanting so

Get me that girl and we'll go ridin' around

We'll look real sharp with the flight top down

I keep right on a-dreamin' and a-thinkin' to myself

When it all comes true man, wow, that's something else

Look a-there, what's all this

Never thought I'd do this before

But here I am a-knockin' on her door

My car's out front and it's all mine

Just a forty-one Ford, not a fifty-nine

I got that girl an' I'm a-thinkin' to myself

She's sure fine lookin' man, wow, she's something else

I mentioned yesterday that I feel that McCartney is primarily a narrative-driven songwriter, influenced by Chuck Berry and Cochran, and that Lennon was more concerned with the emotional content (from humour to despair) found in the work of Presley. Abbey Road, which contains their final work together, is a place where this divergence is pretty clear. Here's the list of the Lennon songs: "I Want You (She's So Heavy)", "Come Together", and "Because". And here are McCartney's: "Maxwell's Silver Hammer", "Oh! Darling", and the side-two medley that begins with "You Never Give Me Your Money" and ends with "The End" - with the exception of "Polythene Pam", which was Lennon's.

Lennon was influenced by Presley in terms of performing style as well. His stage demeanor - feet apart, head up high, humourous expression - is clearly an extension of Elvis'. One could do worse: http://www.youtube.com/watch?v=PU5xxh5UX4U

I'll always be a fan of the J. Geils Band after seeing them on the night that Elvis Presley died. They were backing up Peter Frampton at the Montreal Forum, and they found just the right tone - respectful but fun-loving - for the occasion. I remember thinking that he would've enjoyed the show. Peter Wolf, the fast-talking, former-DJ hipster who's fronted the group for over forty years dedicated one of their slow ones (sorry, I'm not sure which) to Elvis, saying that without him, "none of us would be here tonight", which was quite simply right. Wolf, always a great entertainer, gave a particularly wild performance that night. I remember him doing crazy frog-type leaps around the stage while singing "Must've Got Lost". As the man himself might have said, "That cat is gone." The album I've been re-listening to lately is their second, The Morning After from 1971, which is a pure r&b blast. But for a sense of what the aforementioned show was like, I'd recommend their memorably-titled double live album, Blow Your Face Out (1976). Here's a link to the studio version of their cover of the Supremes' "Where Did Our Love Go?" http://www.youtube.com/watch?v=D9KdTeqGrzg . It's terrific, but try to hear the live one if you can. That's where they're at their best (as was Elvis).

As I'm sure you know, it would have been John Lennon's seventieth birthday on Saturday. So I thought I'd write about him today, for that reason, and because I'm looking forward to the release of Nowhere Boy this Friday (in Montreal, anyway). First, as a guitarist, Lennon rarely got the respect he deserved, but his contributions to the Beatles' sound was immense. Like Pete Townshend, the bulk of his instrumental innovation can be found in his rhythm guitar playing. One of the greatest examples is the triplet-feel part that he plays on "All My Loving" (http://www.youtube.com/watch?v=PuVVs30gIb8&feature=related). He plays a very difficult feel with great touch and swing. Very hard to do and completely original.

As a performer, he had some of the Elvis Presley quality of being both in the middle of, as well as above, the frenzy. There was always a sense of humour involved, and he used it wisely. On the early records, and in the early videos, it's clear that he's the leader of the band. He was the oldest member, and at that point the most assured performer and vocalist. Over time, that changed somewhat, as the others caught up, but they only did so with his example to follow. As a singer, well, I've written about it before, but for me, he's in the top five all-time. Here is a list of some of his great vocal performances: "Twist and Shout", "Baby, It's You", "It Won't Be Long", "Money (That's What I Want)", "Rain", "Any Time at All", "Run For Your Life", "In My Life", "No Reply", "Mr. Moonlight", "Help!", "Dizzy Miss Lizzy", "Norwegian Wood", "Girl", "I'm Only Sleeping" - and that's only up to 1966. There are many others from before and after that date. I'd recommend listening to all of the above (and the others as well), but if I had to pick only one performance to exemplify the passion and the fun that his voice conveys, it would be this one: http://www.youtube.com/watch?v=dXOdAgLZQPs.

"Hold it, fellas... That don't move me. Let's get real, real gone for a change."

In "Milk Cow Blues Boogie", Elvis Presley re-enacts the legendary events of a few months earlier during which rock and roll (or at the very least, one of its main sources) was born. Apparently it happened during a break in recording, with Elvis picking up his guitar and starting to "goof around", in his words, and singing a souped-up version of "That's All Right (Mama)". Sam Phillips asked what he was doing, and then famously said, "Just don't lose it." He didn't, and the rest we know.

A few points:

1. Rock and roll is "blues with a country beat", said Carl Perkins. It's still the most succinct and accurate definition. (It's also important to remember that most innovations in anything come from combining elements that already exist. It's one more reason that learning the poetic concept - where something new is seen through something familiar - is so important.)

2. You've got to love "gone" as an adjective, as in "That cat is gone." (Many cool words came from musicians, including the word "cool" itself. More on Lester Young soon.)

3. "Exuberance is beauty." - William Blake

4. "Hearing Elvis was like a jailbreak, and I didn't even know I was in jail." - Bob Dylan