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- Herausgeber: Icon Books
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
Popular music's most intriguing stories are the tales of what might have been, those seemingly insignificant incidents that would have had the largest unforeseen effects. Imagine That… Elvis is drafted into the army before his first studio session … and quietly lives out his days as a support act The curse of the '27 Club' is broken … and rock music rehabilitates its fallen stars MTV flops as music fans side with the radio star … and hip-hop never reaches the mainstream Engaging, contentious and compulsively readable, each book in this new series takes the reader on a historical flight of fancy, imagining the consequences if history had gone just that little bit differently.
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Veröffentlichungsjahr: 2013
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Contents
Imagine that …
Some of history’s greatest stories are the tales of what might have been. The agonising missed chances, the harrowingly close shaves, the vital complications that affected a major outcome – the course of history is a precarious one. Seemingly insignificant incidents can have the largest unforeseen impacts.
Scientists have pondered whether the flap of a butterfly’s wings on one continent could lead to a tornado on another, and these chains of cause and effect remain fascinating to us. In this book and the others in the series I take a look at those moments where the smallest tweak would have caused history to pan out very differently.
Hence the title, Imagine That …
Michael Sells
Chapter 1
Imagine that … Elvis is drafted into the army before his first studio session … and quietly lives out his days as a support act
The King of Rock and Roll needs no introduction but a little recap surely can do no harm.
In 1953, at the age of eighteen, Elvis Aaron Presley stepped into the recording studios of Sun Records, home to the nationally acclaimed Memphis music producer Sam Phillips. On the particular day that Elvis dropped in, Phillips wasn’t there. Instead it was his assistant, Marion Keisker, who dealt with the striking young vocalist. Presley milled shyly around reception, already sporting the iconic Elvis image of jet-black hair slicked back. Keisker enquired about Elvis’s preferred style or genre, as was customary with any wannabe recording artist. ‘I don’t sound like nobody,’ came the enigmatic reply.
Elvis, while assured of his ability, was not quite so sure where exactly his talents lay. He had been exposed to a wide variety of music from a young age. The area where he grew up, Tupelo, Mississippi, was a melting pot of genres, ethnicities and venues. From the blues music in the towns and the gospel choirs at his church, to the country and folk music at the local fairs, he received a thorough education in many genres. Rather than sounding like nobody, his sound was actually the product of nearly an entire state.
He handed over his $3.98 and recorded two songs – ‘My Happiness’ and ‘That’s When Your Heartache Begins’. Keisker, hearing something she liked in the performance, recorded a separate copy to play to Sam Phillips when he returned to the studio. The pair listened to the recording and both agreed that Presley had talent; but, failing to work out exactly what music he should play, they decided not to pursue him any further.
Elvis had other ideas, though. He began to turn up at Sun Studios with metronomic regularity to ask Marion Keisker whether there were any opportunities going, to which the answer was invariably no. In the hope of refreshing their memory he paid to record another two-track acetate disc, but to no immediate avail. After a year of resilient pestering, however, Phillips finally got back to Elvis. They met at the studios and worked through a number of tracks. The same question was still troubling Phillips, and it was one that Elvis had no answer for: what songs should he sing? The voice was unmistakably strong but it just didn’t quite fit any of the music they were putting it to.
At the time in the Deep South there was a great awareness of the music of black musicians, an almost grudging appreciation from many white audiences, but this is where it stopped. The black stars of the local music scene were destined to be street musicians and session performers who made their money from tips in bars rather than record deals. The music industry was discriminatory at the time; few would dispute this, although the causes are the source of much discussion. Some argued that it was simply the record producers upholding their own racist views. Others claimed that the producers merely responded to the demands of the nation.
As Keisker would later reveal, Sam Phillips had been looking for something, or rather someone, very specific to address this issue. He had, as her account would have it, identified a gap in the market. He said: ‘If I could find a white man who had the Negro sound and the Negro feel, I could make a billion dollars.’
The white man he was looking for was Elvis, the boy who had been pestering him for a year.
In the studio, Elvis was singing all the songs Phillips put to him. The performances were fine, but there was nothing spectacular about them. He was forgettable. When it became clear that none of the tracks Phillips was suggesting were working, the weary producer instructed Elvis to play whatever else he knew. This turned out to be a master-stroke. Liberated from the restrictions of contemporary sounds, Elvis started to play all the songs he knew and loved. He sang the songs of his Mississippi youth and in doing so finally managed to woo the critical ears of Sam Phillips.
Elvis was introduced to guitarist Scotty Moore and the two fumbled over songs, refrains and melodies before stumbling on Arthur ‘Big Boy’ Crudup’s ‘That’s All Right’. Moore pounded through the powerful blues rhythm while Elvis drawled the lyrics in his deep, relaxed tones. The duo worked seamlessly, spurring each another on. Phillips was suitably impressed. They added bass player Bill Black to the mix to balance out the sound and set about making Elvis’s first record.
This was a bold step for a boy aged just nineteen, and word of his music was soon to spread across the globe. Having finished his studies in Memphis, he was working as a truck driver for the Crown Electric Company. Once his songs made their way onto the airwaves, though, Elvis would find that his services were in increasing demand. His first record hit the shelves in 1956, simply titled Elvis Presley. The album, built around the Sun Studios sessions, took top place on the Billboard charts for ten weeks – unprecedented for an established star, let alone a newcomer with a brand-new sound.
His adoring public soon dropped the ‘Presley’ from his name since there was only one Elvis in their eyes. He followed their lead with the release of his second album, this time Elvis would suffice. Again he took to the top of the charts and the seemingly unstoppable Elvis brand powered on. But there was an immovable obstacle up ahead.
On 10 December 1957, Elvis received a letter from the Memphis Draft Board. In the months before his first visit to Sun Studios he had registered, as was mandatory at the time, for the US Selective Service System, national service in short. Four years and three albums (and films) later, he was being called up to serve. While his fans responded incredulously with claims that the government was conspiring against their idol out of fear of his power, Elvis took a far more accepting and altogether surprising approach. It was not unheard-of at the time for the big names from showbiz to find a way around serving their country. Indeed, a number of these loopholes and alternatives were offered to Elvis by the Draft Board in what many took to be an effort to appease the baying mob of fans, but he rejected all but one of them.
His service was deferred by three months to allow him to carry out the filming of his fourth motion picture, King Creole, before returning to serve in March 1958. It was initially proposed that he would join up in an entertainment capacity with what was known as the Special Services. His motives for rejecting this supposedly protected role were, as one might expect, questioned. Some claimed that his staunch patriotic beliefs dictated that he would not join in a token role. Others believed it was a more calculated decision to withhold precious Elvis performances for fear of devaluing the prestigious act. It was a precarious time in his career regardless – he was the biggest name in America and was being forced to put his career on hold. Yet if he had been drafted just a year or two sooner, we might never have heard of Elvis Presley at all.
When Elvis walked through the doors at Sun Studios he did so at the most opportune of moments. In the years after, as his career went from strength to strength, journalists spoke of how Sam Phillips had discovered this hidden star. Elvis was always quick to assert that it was in fact Marion Keisker who had spotted him and that Phillips, although instrumental in his progress, was merely there when his talent eventually came to light. It was only when Elvis started to thrash out ‘That’s All Right’ with Scotty Moore that Phillips truly took to the singer. If Phillips had been present at the recording studios for Elvis’s initial visit that day in 1953, their association would most likely have ended there and then.
In the four years between Elvis’s initial session and his departure for army service the foundation of a career was laid. Right down to the three-month deferral, what Elvis achieved prior to his departure was vitally important to his legacy and his ability to establish himself undisputedly as ‘The King’.
Take his debut album, Elvis Presley, for instance. The record was not just the big break Elvis was looking for – it signalled a new era for music. It was the first time that such a fusion of country and rhythm & blues music had been heard by most of America. These portmanteau genres had been bubbling away in the Deep South before Elvis came along. A number of artists had tried and on the whole failed to popularise a blend similar to the one that Elvis had devised, a genre that came to be known as rockabilly. Had he not struck upon the precious sound when he did, someone else would have come along and taken his place as the face of rockabilly, such was the gathering pace of these sub-genres. It’s impossible to know whether Elvis stood in the way of another more able King, but the evidence suggests that he was the best man for the job. He came to be far more than just a rockabilly act, of course, but without this exciting new genre to catch the public’s attention he wouldn’t have had a platform to showcase his talents. The rockabilly breakthrough elevated Elvis above his peers and enabled him to become ‘The King’.
Telling evidence of his impact on music – and not just in the minority genres – came when he met another iconic act, The Beatles. Throughout the Sixties counterculture there was a common consensus that underlined the majority of music. Politicians were the enemy, the state was corrupt, ‘The Man’ was evil. If music was going to avoid being stifled by this growing political rage it needed a calming influence, someone to provide an alternative sound to dilute the anger. When Elvis and The Beatles finally crossed paths in an LA suburban dwelling in 1965 they were both firmly set in their paths. They knew where they were heading and had both led a host of musicians behind them. The meeting was not one to spark a new generation of music, more to celebrate the one they were enjoying. Like state ambassadors, they met, exchanged niceties and professed their mutual admiration. Elvis dispelled any rumours that there was an underlying rivalry between them, saying: ‘There’s room enough for everybody.’ This approach ensured that they remained on their own musical paths, not cutting across in attempts to outshine each other. Had either The Beatles or Elvis come to prominence alongside a more competitive act, then their own works might well have followed a less creative path, and likewise with those artists who followed their example. They led with a calm assurance that was to the benefit of their followers.
