Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American blues musician and songwriter. His landmark recordings in 1936 and 1937 display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. He is now recognized as a master of the blues, particularly the Delta blues style.

As a traveling performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime. He participated in only two recording sessions, one in San Antonio in 1936, and one in Dallas in 1937, that produced 29 distinct songs (with 13 surviving alternate takes) recorded by famed Country Music Hall of Fame producer Don Law. These songs, recorded at low fidelity in improvised studios, were the totality of his recorded output. Most were released as 10-inch,  rpm singles from 1937–1938, with a few released after his death. Other than these recordings, very little was known of him during his life outside of the small musical circuit in the Mississippi Delta where he spent most of his life; much of his story has been reconstructed after his death by researchers. Johnson’s poorly documented life and death have given rise to much legend. The one most closely a*sociated with his life is that he sold his soul to the devil at a local crossroads to achieve musical success.

His music had a small, but influential, following during his life and in the two decades after his death. In late 1938 John Hammond sought him out for a concert at Carnegie Hall, From Spirituals to Swing, only to discover that Johnson had died. Brunswick Records, which owned the original recordings, was bought by Columbia Records, where Hammond was employed. Musicologist Alan Lomax went to Mississippi in 1941 to record Johnson, also not knowing of his death. Law, who by then worked for Columbia Records, a*sembled a collection of Johnson’s recordings titled King of the Delta Blues Singers that was released by Columbia in 1961. It is widely credited with finally bringing Johnson’s work to a wider audience. The album would become influential, especially on the nascent British blues movement; Eric Clapton has called Johnson “the most important blues singer that ever lived.” Musicians such as Bob Dylan, Keith Richards, and Robert Plant have cited both Johnson’s lyrics and musicianship as key influences on their own work. Many of Johnson’s songs have been covered over the years, becoming hits for other artists, and his guitar licks and lyrics have been borrowed by many later musicians.

Renewed interest in Johnson’s work and life led to a burst of scholarship starting in the 1960s. Much of what is known about him was reconstructed by researchers such as Gayle Dean Wardlow and Bruce Conforth, especially in their 2019 award-winning biography of Johnson: Up Jumped the Devil: The Real Life of Robert Johnson (Chicago Review Press). Two films, the 1991 documentary The Search for Robert Johnson by John Hammond Jr., and a 1997 documentary, Can’t You Hear the Wind Howl, the Life and Music of Robert Johnson, which included reconstructed scenes with Keb’ Mo’ as Johnson, were attempts to document his life, and demonstrated the difficulties arising from the scant historical record and conflicting oral accounts. Over the years, the significance of Johnson and his music has been recognized by numerous organizations and publications, including the Rock and Roll, Grammy, and Blues Halls of Fame; and the National Recording Preservation Board.

Life and career

Early life

Johnson was born in Hazlehurst, Mississippi, possibly on May 8, 1911,[3] to Julia Major Dodds (born October 1874) and Noah Johnson (born December 1884). Julia was married to Charles Dodds (born February 1865), a relatively prosperous landowner and furniture maker, with whom she had ten children. Charles Dodds had been forced by a lynch mob to leave Hazlehurst following a dispute with white landowners. Julia left Hazlehurst with baby Robert, but in less than two years she brought the boy to Memphis to live with her husband, who had changed his name to Charles Spencer.[4] Robert spent the next 8–9 years growing up in Memphis and attending the Carnes Avenue Colored School where he received lessons in arithmetic, reading, language, music, geography, and physical exercise.[5] It was in Memphis that he acquired his love for, and knowledge of, the blues and popular music. His education and urban context placed him apart from most of his contemporary blues musicians.

Robert rejoined his mother around 1919–1920 after she married an illiterate sharecropper named Will “Dusty” Willis. They originally settled on a plantation in Lucas Township in Crittenden County, Arkansas, but soon moved across the Mississippi River to Commerce in the Mississippi Delta, near Tunica and Robinsonville. They lived on the Abbay & Leatherman Plantation.[6] Julia’s new husband was 24 years her junior. Robert was remembered by some residents as “Little Robert Dusty”,[7] but he was registered at Tunica’s Indian Creek School as Robert Spencer. In the 1920 census, he is listed as Robert Spencer, living in Lucas, Arkansas, with Will and Julia Willis. Robert was at school in 1924 and 1927.[8] The quality of his signature on his marriage certificate[9] suggests that he was relatively well educated for a boy of his background. A school friend, Willie Coffee, who was interviewed and filmed in later life, recalled that as a youth Robert was already noted for playing the harmonica and jaw harp.[10] Coffee recalled that Robert was absent for long periods, which suggests that he may have been living and studying in Memphis.[11]

Once Julia informed Robert about his biological father, Robert adopted the surname Johnson, using it on the certificate of his marriage to sixteen-year-old Virginia Travis in February 1929. She died in childbirth shortly after.[12] Surviving relatives of Virginia told the blues researcher Robert “Mack” McCormick that this was a divine punishment for Robert’s decision to sing secular songs, known as “selling your soul to the Devil”. McCormick believed that Johnson himself accepted the phrase as a description of his resolve to abandon the settled life of a husband and farmer to become a full-time blues musician.[13]

Around this time, the blues musician Son House moved to Robinsonville, where his musical partner Willie Brown lived. Late in life, House remembered Johnson as a “little boy” who was a competent harmonica player but an embarrassingly bad guitarist. Soon after, Johnson left Robinsonville for the area around Martinsville, close to his birthplace, possibly searching for his natural father. Here he perfected the guitar style of House and learned other styles from Isaiah “Ike” Zimmerman.[14] Zimmerman was rumored to have learned supernaturally to play guitar by visiting graveyards at midnight.[15] When Johnson next appeared in Robinsonville, he seemed to have miraculously acquired a guitar technique.[16] House was interviewed at a time when the legend of Johnson’s pact with the devil was well known among blues researchers. He was asked whether he attributed Johnson’s technique to this pact, and his equivocal answers have been taken as confirmation.[17]

While living in Martinsville, Johnson fathered a child with Vergie Mae Smith. He married Caletta Craft in May 1931. In 1932, the couple settled for a while in Clarksdale, Mississippi, in the Delta, but Johnson soon left for a career as a “walking” or itinerant musician, and Caletta died in early 1933.

 

Itinerant musician

From 1932 until his death in 1938, Johnson moved frequently between the cities of Memphis and Helena, and the smaller towns of the Mississippi Delta and neighboring regions of Mississippi and Arkansas.[19][20] On occasion, he traveled much further. The blues musician Johnny Shines accompanied him to Chicago, Texas, New York, Canada, Kentucky, and Indiana.[21] Henry Townsend shared a musical engagement with him in St. Louis.[22] In many places he stayed with members of his large extended family or with female friends.[23] He did not marry again but formed some long-term relationships with women to whom he would return periodically. In other places he stayed with whatever woman he was able to seduce at his performance.[24][25] In each location, Johnson’s hosts were largely ignorant of his life elsewhere. He used different names in different places, employing at least eight distinct surnames.[26]

Biographers have looked for consistency from musicians who knew Johnson in different contexts: Shines, who traveled extensively with him; Robert Lockwood, Jr., who knew him as his mother’s partner; David “Honeyboy” Edwards, whose cousin Willie Mae Powell had a relationship with Johnson.[27] From a mass of partial, conflicting, and inconsistent eyewitness accounts,[28] biographers have attempted to summarize Johnson’s character. “He was well mannered, he was soft spoken, he was indecipherable”.[29] “As for his character, everyone seems to agree that, while he was pleasant and outgoing in public, in private he was reserved and liked to go his own way”.[30] “Musicians who knew Johnson testified that he was a nice guy and fairly average—except, of course, for his musical talent, his weakness for whiskey and women, and his commitment to the road.”[31]

When Johnson arrived in a new town, he would play for tips on street corners or in front of the local barbershop or a restaurant. Musical a*sociates have said that in live performances Johnson often did not focus on his dark and complex original compositions, but instead pleased audiences by performing more well-known pop standards of the day[32] – and not necessarily blues. With an ability to pick up tunes at first hearing, he had no trouble giving his audiences what they wanted, and certain of his contemporaries later remarked on his interest in jazz and country music. He also had an uncanny ability to establish a rapport with his audience; in every town in which he stopped, he would establish ties to the local community that would serve him well when he passed through again a month or a year later.

Shines was 20 when he met Johnson in 1936. He estimated Johnson was maybe a year older than himself (Johnson was actually four years older). Shines is quoted describing Johnson in Samuel Charters’s Robert Johnson:

Robert was a very friendly person, even though he was sulky at times, you know. And I hung around Robert for quite a while. One evening he disappeared. He was kind of a peculiar fellow. Robert’d be standing up playing some place, playing like nobody’s business. At about that time it was a hustle with him as well as a pleasure. And money’d be coming from all directions. But Robert’d just pick up and walk off and leave you standing there playing. And you wouldn’t see Robert no more maybe in two or three weeks. … So Robert and I, we began journeying off. I was just, matter of fact, tagging along.

During this time Johnson established what would be a relatively long-term relationship with Estella Coleman, a woman about 15 years his senior and the mother of the blues musician Robert Lockwood, Jr. Johnson reportedly cultivated a woman to look after him in each town he played in. He reputedly asked homely young women living in the country with their families whether he could go home with them, and in most cases, he was accepted, until a boyfriend arrived or Johnson was ready to move on.

In 1941, Alan Lomax learned from Muddy Waters that Johnson had performed in the area around Clarksdale, Mississippi.[34] By 1959, the historian Samuel Charters could add only that Will Shade, of the Memphis Jug Band, remembered Johnson had once briefly played with him in West Memphis, Arkansas.[35] In the last year of his life, Johnson is believed to have traveled to St. Louis, Chicago, Detroit, and New York City.[36] In 1938, Columbia Records producer John H. Hammond, who owned some of Johnson’s records, directed record producer Don Law to seek out Johnson to book him for the first “From Spirituals to Swing” concert at Carnegie Hall in New York. On learning of Johnson’s death, Hammond replaced him with Big Bill Broonzy, but he played two of Johnson’s records from the stage.

Recording sessions

In Jackson, Mississippi, around 1936, Johnson sought out H. C. Speir, who ran a general store and also acted as a talent scout. Speir put Johnson in touch with Ernie Oertle, who, as a salesman for the ARC group of labels, introduced Johnson to Don Law to record his first sessions in San Antonio, Texas. The recording session was held on November 23–25, 1936, in room 414 of the Gunter Hotel in San Antonio.[37] In the ensuing three-day session, Johnson played 16 selections and recorded alternate takes for most of them. Among the songs Johnson recorded in San Antonio were “I Believe I’ll Dust My Broom”, “Sweet Home Chicago”, and “Cross Road Blues”, which later became blues standards. The first to be released was “Terraplane Blues”, backed with “Last Fair Deal Gone Down”, which sold as many as 10,000 copies.[38]

Johnson traveled to Dallas, Texas, for another recording session with Don Law in a makeshift studio at the Vitagraph (Warner Bros.) Building,[39] on June 19–20, 1937.[40] Johnson recorded almost half of the 29 songs that make up his entire discography in Dallas and eleven records from this session were released within the following year. Most of Johnson’s “somber and introspective” songs and performances come from his second recording session.[41] Johnson did two takes of most of these songs, and recordings of those takes survived. Because of this, there is more opportunity to compare different performances of a single song by Johnson than for any other blues performer of his era.[42] In contrast to most Delta players, Johnson had absorbed the idea of fitting a composed song into the three minutes of a 78-rpm side.[43]

Death

Johnson died on August 16, 1938, at the age of 27, near Greenwood, Mississippi, of unknown causes. His death was not reported publicly; he merely disappeared from the historical record and it was not until almost 30 years later, when Gayle Dean Wardlow, a Mississippi-based musicologist researching Johnson’s life, found his death certificate, which listed only the date and location, with no official cause of death. No formal autopsy was done; instead, a pro forma examination was done to file the death certificate, and no immediate cause of death was determined. It is likely he had congenital syphilis and it was suspected later by medical professionals that this may have been a contributing factor in his death. However, 30 years of local oral tradition had, like the rest of his life story, built a legend which has filled in gaps in the scant historical record.[44]

Several differing accounts have described the events preceding his death. Johnson had been playing for a few weeks at a country dance in a town about 15 miles (24 km) from Greenwood. According to one theory, Johnson was murdered by the jealous husband of a woman with whom he had flirted. In an account by the blues musician Sonny Boy Williamson, Johnson had been flirting with a married woman at a dance, and she gave him a bottle of whiskey poisoned by her husband. When Johnson took the bottle, Williamson knocked it out of his hand, admonishing him to never drink from a bottle that he had not personally seen opened. Johnson replied, “Don’t ever knock a bottle out of my hand.” Soon after, he was offered another (poisoned) bottle and accepted it. Johnson is reported to have begun feeling ill the evening after and had to be helped back to his room in the early morning hours. Over the next three days his condition steadily worsened. Witnesses reported that he died in a convulsive state of severe pain. The musicologist Robert “Mack” McCormick claimed to have tracked down the man who murdered Johnson and to have obtained a confession from him in a personal interview, but he declined to reveal the man’s name.[13]

While strychnine has been suggested as the poison that killed Johnson, at least one scholar has disputed the notion. Tom Graves, in his book Crossroads: The Life and Afterlife of Blues Legend Robert Johnson, relies on expert testimony from toxicologists to argue that strychnine has such a distinctive odor and taste that it cannot be disguised, even in strong liquor. Graves also claims that a significant amount of strychnine would have to be consumed in one sitting to be fatal, and that death from the poison would occur within hours, not days.[45]

In their 2019 book Up Jumped the Devil, Bruce Conforth and Gayle Dean Wardlow suggest that the poison was naphthalene, from dissolved mothballs. This was “a common way of poisoning people in the rural South”, but was rarely fatal. However, Johnson had been diagnosed with an ulcer and with esophageal varices, and the poison was sufficient to cause them to hemorrhage. He died after two days of severe abdominal pain, vomiting, and bleeding from the mouth.[46]

The LeFlore County registrar, Cornelia Jordan, years later and after conducting an investigation into Johnson’s death for the state director of vital statistics, R. N. Whitfield, wrote a clarifying note on the back of Johnson’s death certificate:

I talked with the white man on whose place this negro died and I also talked with a negro woman on the place. The plantation owner said the negro man, seemingly about 26 years old, came from Tunica two or three weeks before he died to play banjo at a negro dance given there on the plantation. He stayed in the house with some of the negroes saying he wanted to pick cotton. The white man did not have a doctor for this negro as he had not worked for him. He was buried in a homemade coffin furnished by the county. The plantation owner said it was his opinion that the man died of syphilis.

In 2006, a medical practitioner, David Connell, suggested, on the basis of photographs showing Johnson’s “unnaturally long fingers” and “one bad eye”, that Johnson may have had Marfan syndrome, which could have both affected his guitar playing and contributed to his death due to aortic dissection.

Gravesite

The exact location of Johnson’s grave is officially unknown; three different markers have been erected at possible sites in church cemeteries outside Greenwood.

• Research in the 1980s and 1990s strongly suggests Johnson was buried in the graveyard of the Mount Zion Missionary Baptist Church near Morgan City, Mississippi, not far from Greenwood, in an unmarked grave. A one-ton cenotaph in the shape of an obelisk, listing all of Johnson’s song titles, with a central inscription by Peter Guralnick, was placed at this location in 1990, paid for by Columbia Records and numerous smaller contributions made through the Mt. Zion Memorial Fund.
• In 1990, a small marker with the epitaph “Resting in the Blues” was placed in the cemetery of Payne Chapel, near Quito, Mississippi, by an Atlanta rock group named the Tombstones, after they saw a photograph in Living Blues magazine of an unmarked spot alleged by one of Johnson’s ex-girlfriends to be Johnson’s burial site.
• More recent research by Stephen LaVere (including statements from Rosie Eskridge, the wife of the supposed gravedigger, in 2000) indicates that the actual grave site is under a big pecan tree in the cemetery of the Little Zion Church, north of Greenwood along Money Road. Through LaVere, Sony Music placed a marker at this site, which bears LaVere’s name as well as Johnson’s. Researchers Bruce Conforth and Gayle Dean Wardlow also concluded this was Johnson’s resting place in their 2019 biography.

John Hammond, Jr., in the documentary The Search for Robert Johnson (1991), suggests that owing to poverty and lack of transportation Johnson is most likely to have been buried in a pauper’s grave (or “potter’s field”) very near where he died.

Devil legend

According to legend, as a young man living on a plantation in rural Mississippi, Johnson had a tremendous desire to become a great blues musician. One of the legends often told says that Johnson was instructed to take his guitar to a crossroad near Dockery Plantation at midnight. (There are claims for at least a dozen other sites as the location of the crossroads.)[citation needed] There he was met by a large black man (the Devil) who took the guitar and tuned it. The Devil played a few songs and then returned the guitar to Johnson, giving him mastery of the instrument. This story of a deal with the Devil at the crossroads mirrors the legend of Faust. In exchange for his soul, Johnson was able to create the blues for which he became famous.

Various accounts

This legend was developed over time and has been chronicled by Gayle Dean Wardlow,[51] Edward Komara[52] and Elijah Wald, who sees the legend as largely dating from Johnson’s rediscovery by white fans more than two decades after his death.[53] Son House once told the story to Pete Welding as an explanation of Johnson’s astonishingly rapid mastery of the guitar. Welding reported it as a serious belief in a widely read article in Down Beat in 1966.[citation needed] Other interviewers failed to elicit any confirmation from House and there were fully two years between House’s observation of Johnson as first a novice and then a master.

Further details were absorbed from the imaginative retellings by Greil Marcus[54] and Robert Palmer.[55] Most significantly, the detail was added that Johnson received his gift from a large black man at a crossroads. There is dispute as to how and when the crossroads detail was attached to the Robert Johnson story. All the published evidence, including a full chapter on the subject in the biography Crossroads, by Tom Graves, suggests an origin in the story of the blues musician Tommy Johnson.[56] This story was collected from his musical a*sociate Ishman Bracey and his elder brother Ledell in the 1960s.[17] One version of Ledell Johnson’s account was published in David Evans’s 1971 biography of Tommy Johnson,[57] and was repeated in print in 1982 alongside House’s story in the widely read Searching for Robert Johnson, by Peter Guralnick.[58]

In another version, Ledell placed the meeting not at a crossroads but in a graveyard. This resembles the story told to Steve LaVere that Ike Zimmerman of Hazlehurst, Mississippi, learned to play the guitar at midnight while sitting on tombstones. Zimmerman is believed to have influenced the playing of the young Johnson.

Recent research by the blues scholar Bruce Conforth, in Living Blues magazine, makes the story clearer. Johnson and Ike Zimmerman did practice in a graveyard at night, because it was quiet and no one would disturb them, but it was not the Hazlehurst cemetery as had been believed: Zimmerman was not from Hazlehurst but nearby Beauregard, and he did not practice in one graveyard, but in several in the area.[60] Johnson spent about a year living with and learning from Zimmerman, who ultimately accompanied Johnson back to the Delta to look after him.

While Dockery, Hazlehurst and Beauregard have each been claimed as the locations of the mythical crossroads, there are also tourist attractions claiming to be “The Crossroads” in both Clarksdale and Memphis.[61] Residents of Rosedale, Mississippi, claim Johnson sold his soul to the devil at the intersection of Highways 1 and 8 in their town, while the 1986 movie Crossroads was filmed in Beulah, Mississippi. The blues historian Steve Cheseborough wrote that it may be impossible to discover the exact location of the mythical crossroads, because “Robert Johnson was a rambling guy”.

Interpretations

Some scholars have argued that the devil in these songs may refer not only to the Christian figure of Satan but also to the trickster god of African origin, Legba, himself a*sociated with crossroads. Folklorist Harry M. Hyatt wrote that, during his research in the South from 1935 to 1939, when African-Americans born in the 19th or early 20th century said they or anyone else had “sold their soul to the devil at the crossroads”, they had a different meaning in mind. Hyatt claimed there was evidence indicating African religious retentions surrounding Legba and the making of a “deal” (not selling the soul in the same sense as in the Faustian tradition cited by Graves) with the so-called devil at the crossroads.

The Blues and the Blues singer has really special powers over women, especially. It is said that the Blues singer could possess women and have any woman they wanted. And so when Robert Johnson came back, having left his community as an apparently mediocre musician, with a clear genius in his guitar style and lyrics, people said he must have sold his soul to the devil. And that fits in with this old African a*sociation with the crossroads where you find wisdom: you go down to the crossroads to learn, and in his case to learn in a Faustian pact, with the devil. You sell your soul to become the greatest musician in history.

This view that the devil in Johnson’s songs is derived from an African deity was disputed by the blues scholar David Evans in an essay published in 1999, “Demythologizing the Blues”:

There are … several serious problems with this crossroads myth. The devil imagery found in the blues is thoroughly familiar from western folklore, and nowhere do blues singers ever mention Legba or any other African deity in their songs or other lore. The actual African music connected with cults of Legba and similar trickster deities sounds nothing like the blues, but rather features polyrhythmic percussion and choral call-and-response singing.

The musicologist Alan Lomax dismissed the myth, stating, “In fact, every blues fiddler, banjo picker, harp blower, piano strummer and guitar framer was, in the opinion of both himself and his peers, a child of the Devil, a consequence of the black view of the European dance embrace as sinful in the extreme”.

Musical style

Johnson is considered a master of the blues, particularly of the Delta blues style. Keith Richards, of the Rolling Stones, said in 1990, “You want to know how good the blues can get? Well, this is it”.[67] But according to Elijah Wald, in his book Escaping the Delta, Johnson in his own time was most respected for his ability to play in a wide range of styles, from raw country slide guitar to jazz and pop licks, and for his ability to pick up guitar parts almost instantly upon hearing a song.[68] His first recorded song, “Kind Hearted Woman Blues”, in contrast to the prevailing Delta style of the time, more resembled the style of Chicago or St. Louis, with “a full-fledged, abundantly varied musical arrangement”.[69] The song was part of a cycle of spin-offs and response songs that began with Leroy Carr’s “Mean Mistreater Mama” (1934). According to Wald, it was “the most musically complex in the cycle”[70] and stood apart from most rural blues as a thoroughly composed lyric, rather than an arbitrary collection of more or less unrelated verses.[71] Unusual for a Delta player of the time, a recording exhibits what Johnson could do entirely outside of a blues style. “They’re Red Hot”, from his first recording session, shows that he was also comfortable with an “uptown” swing or ragtime sound similar to that of the Harlem Hamfats, but as Wald remarked, “no record company was heading to Mississippi in search of a down-home Ink Spots … [H]e could undoubtedly have come up with a lot more songs in this style if the producers had wanted them.”

Voice

An important aspect of Johnson’s singing was his use of microtonality. These subtle inflections of pitch help explain why his singing conveys such powerful emotion. Eric Clapton described Johnson’s music as “the most powerful cry that I think you can find in the human voice”. In two takes of “Me and the Devil Blues” he shows a high degree of precision in the complex vocal delivery of the last verse: “The range of tone he can pack into a few lines is astonishing.”[74] The song’s “hip humor and sophistication” is often overlooked. “[G]enerations of blues writers in search of wild Delta primitivism”, wrote Wald, have been inclined to overlook or undervalue aspects that show Johnson as a polished professional performer.[75]

Johnson is also known for using the guitar as “the other vocalist in the song”, a technique later perfected by B.B. King and his personified guitar named Lucille: “In Africa and in Afro-American tradition, there is the tradition of the talking instrument, beginning with the drums … the one-strand and then the six-strings with bottleneck-style performance; it becomes a competing voice … or a complementary voice … in the performance.”

Instrument

Johnson mastered the guitar, being considered today one of the all-time greats on the instrument. His approach was complex and musically advanced. When Keith Richards was first introduced to Johnson’s music by his bandmate Brian Jones, he asked, “Who is the other guy playing with him?”, not realizing it was Johnson playing one guitar. “I was hearing two guitars, and it took a long time to actually realise he was doing it all by himself”,[77] said Richards, who later stated that “Robert Johnson was like an orchestra all by himself”.[73] “As for his guitar technique, it’s politely reedy but ambitiously eclectic—moving effortlessly from hen-picking and bottleneck slides to a full deck of chucka-chucka rhythm figures.”

Lyrics

In The Story with Dick Gordon, Bill Ferris, of American Public Media, said, “Robert Johnson I think of in the same way I think of the British Romantic poets, Keats and Shelley, who burned out early, who were geniuses at wordsmithing poetry … The Blues, if anything, are deeply sexual. You know, ‘my car doesn’t run, I’m gonna check my oil … ‘if you don’t like my apples, don’t shake my tree’. Every verse has sexuality a*sociated with it.”

Influences

Johnson fused approaches specific to Delta blues to those from the broader music world. The slide guitar work on “Ramblin’ on My Mind” is pure Delta and Johnson’s vocal there has “a touch of … Son House rawness”, but the train imitation on the bridge is not at all typical of Delta blues—it is more like something out of minstrel show music or vaudeville.[78] Johnson did record versions of “Preaching the Blues” and “Walking Blues” in the older bluesman’s vocal and guitar style (House’s chronology has been questioned by Guralnick). As with the first take of “Come On in My Kitchen”, the influence of Skip James is evident in James’s “Devil Got My Woman”, but the lyrics rise to the level of first-rate poetry, and Johnson sings with a strained voice found nowhere else in his recorded output.[79]

The sad, romantic “Love in Vain” successfully blends several of Johnson’s disparate influences. The form, including the wordless last verse, follows Leroy Carr’s last hit “When the Sun Goes Down”; the words of the last sung verse come directly from a song Blind Lemon Jefferson recorded in 1926.[80] Johnson’s last recording, “Milkcow’s Calf Blues” is his most direct tribute to Kokomo Arnold, who wrote “Milkcow Blues” and influenced Johnson’s vocal style.[81]

“From Four Until Late” shows Johnson’s mastery of a blues style not usually a*sociated with the Delta. He croons the lyrics in a manner reminiscent of Lonnie Johnson, and his guitar style is more that of a ragtime-influenced player like Blind Blake.[82] Lonnie Johnson’s influence is even clearer in two other departures from the usual Delta style: “Malted Milk” and “Drunken Hearted Man”. Both copy the arrangement of Lonnie Johnson’s “Life Saver Blues”.[83] The two takes of “Me and the Devil Blues” show the influence of Peetie Wheatstraw, calling into question the interpretation of this piece as “the spontaneous heart-cry of a demon-driven folk artist”.

Legacy

Early recognition and reviews

Famed producer John Hammond was an early advocate of Johnson’s music.[84] Using the pen-name Henry Johnson, he wrote his first article on Robert Johnson for the New Masses magazine in March 1937, around the time of the release of Johnson’s first record. In it, he described Johnson as “the greatest Negro blues singer who has cropped up in recent years … Johnson makes Leadbelly sound like an accomplished poseur.”[85] The following year, Hammond hoped to get Johnson to perform at a December 1938 From Spirituals to Swing concert in New York City, as he was unaware that Johnson had died in August.[86] Instead, Hammond played two of his recordings, “Walkin’ Blues” and “Preachin’ Blues (Up Jumped the Devil)”, for the audience and “praised Johnson lavishly from the stage”.[86] Music historian Ted Gioia noted “Here, if only through the medium of recordings, Hammond used his considerable influence at this historic event to advocate a position of preeminence for the late Delta bluesman”.[86] Music educator James Perone also saw that the event “underscored Robert Johnson’s specific importance as a recording artist”.[84] In 1939, Columbia issued a final single, pairing “Preachin’ Blues” with “Love in Vain”.[87]

In 1942, commentary on Johnson’s “Terraplane Blues” and “Last Fair Deal Gone Down” was included in The Jazz Record Book, edited by Charles Edward Smith.[88] The authors described Johnson’s vocals as “imaginative” and “thrilling” and his guitar playing as “exciting as almost anything in the folk blues field”.[88] Music writer Rudi Blesh included a review of Johnson’s “Hellhound on My Trail” in his 1946 book Shining Trumpets: a History of Jazz. He noted the “personal and creative way” Johnson approached the song’s harmony.[89] Jim Wilson, then a writer for the Detroit Free Press, also mentioned his unconventional use of harmony. In a 1949 review, he compared elements of John Lee Hooker’s recent debut “Boogie Chillen”: “His [Hooker’s] dynamic rhythms and subtle nuances on the guitar and his startling disregard for familiar scale and harmony patterns show similarity to the work of Robert Johnson, who made many fine records in this vein.”[90]

Samuel Charters drew further attention to Johnson in a five-page section in his 1959 book, The Country Blues. He focused on the two Johnson recordings that referred to images of the devil or hell – “Hellhound on My Trail” and “Me and the Devil Blues” – to suggest that Johnson was a deeply troubled individual. Charters also included Johnson’s “Preachin’ Blues” on the album published alongside his book.[91] Columbia Records’ first album of Johnson’s recordings, King of the Delta Blues Singers, was issued two years later.

Musicianship

Johnson is mentioned as one of the Delta artists who was a strong influence on blues singers in post-war styles.[92] However, it is Johnson’s guitar technique that is often identified as his greatest contribution.[93] Blues historian Edward Komara wrote:

The execution of a driving bass beat on a plectrum instrument like the guitar (instead of the piano) is Johnson’s most influential accomplishment … This is the aspect of his music that most changed the Delta blues practice and is most retained in the blues guitar tradition.

This technique has been called a “boogie bass pattern” or “boogie shuffle” and is described as a “fifth–sixth [degrees of a major scale] oscillation above the root chord”.[94] Sometimes, it has been attributed to Johnnie Temple, because he was the first to record a song in 1935 using it.[95] However, Temple confirmed that he had learned the technique from Johnson: “He was the first one I ever heard use it … It was similar to a piano boogie bass [which] I learned from R. L. [Johnson] in ’32 or ’33.”[95] Johnny Shines added: “Some of the things that Robert did with the guitar affected the way everybody played. In the early thirties, boogie was rare on the guitar, something to be heard.”[96] Conforth and Wardlow call it “one of the most important riffs in blues music”[95] and music historian Peter Guralnick believes Johnson “popularized a mode [walking bass style on guitar] which would rapidly become the accepted pattern”.[96] Although author Elijah Wald recognizes Johnson’s contribution in popularizing the innovation, he discounts its importance[97] and adds, “As far as the evolution of black music goes, Robert Johnson was an extremely minor figure, and very little that happened in the decades following his death would have been affected if he had never played a note”.

Contemporaries

Johnson’s contemporaries, including Johnny Shines, Johnnie Temple, Henry Townsend, Robert Lockwood, Jr., Calvin Frazier, and David “Honeyboy” Edwards were among those who kept his music alive through performing his songs and using his guitar techniques.[99] Fellow Mississippi native Elmore James is the best known and is responsible for popularizing Johnson’s “Dust My Broom”.[100] In 1951, he recast the song as a Chicago-style blues, with electric slide guitar and a backing band.[101] According to blues historian Gerard Herhaft:

Johnson’s influence upon Elmore James’s music always remained powerful: his falsetto voice, almost shrill, and the intensive use of the “walking” bass notes of the boogie-woogie, several pieces of James’ repertoire were borrowed from Johnson (e.g, “Dust My Broom”, “Rambling on My Mind”, and “Crossroads”).

James’ version is identified as “one of the first recorded examples of what was to become the classic Chicago shuffle beat”.The style often a*sociated with Chicago blues was used extensively by Jimmy Reed beginning with his first record “High and Lonesome” in 1953.[104] Sometimes called “the trademark Reed shuffle” (although also a*sociated his second guitarist, Eddie Taylor),[105] it is the figure Johnson used updated for electric guitar.

Blues standards

Several of Johnson’s songs became blues standards, which is used to describe blues songs that have been widely performed and recorded over a period of time and are seen as having a lasting quality.[107][108] Perone notes “That such a relatively high percentage of the songs attributed to him became blues standards also keeps the legacy of Robert Johnson alive.”[94] Those most often identified are “Sweet Home Chicago” and “Dust My Broom”, but also include “Crossroads” and “Stop Breaking Down”.[96][109][110][111][112][113] As with many blues songs, there are melodic and lyrical precedents.[111] While “Sweet Home Chicago” borrows from Kokomo Arnold’s 1933 “Old Original Kokomo Blues”, “Johnson’s lyrics made the song a natural for Chicago bluesmen, and it’s his version that survived in the repertoires of performers like Magic Sam, Robert Lockwood, and Junior Parker”.[114]

In the first decades after Johnsons’ death, these songs, with some variations in the titles and lyrics, were recorded by Tommy McClennan (1939),[115] Walter Davis (1941),[115] Sonny Boy Williamson I (1945),[116] Arthur Crudup (1949),[117] Elmore James (1951–1959), Baby Boy Warren (1954),[118] Roosevelt Sykes (1955),[119] Junior Parker (1958), and Forest City Joe (1959).[120] Pearson and McCulloch believe that “Sweet Home Chicago” and “Dust My Broom” in particular connect Johnson to “the rightful inheritors of his musical ideas—big-city African American artists whose high-powered, electrically amplified blues remain solidly in touch with Johnson’s musical legacy” at the time of Columbia’s first release of a full album of his songs in 1961.[121]

In Jim O’Neal’s statement when Johnson was inducted into the Blues Foundation Blues Hall of Fame, he identified “Hell Hound on My Trail”, “Sweet Home Chicago”, “Dust My Broom”, “Love in Vain”, and “Crossroads” as Johnson’s classic recordings.[122] Over the years, these songs have been individually inducted into the Blues Hall’s “Classic of Blues Recording – Single or Album Track” category.

Rock music

In the mid-1950s, rock and roll pioneer Chuck Berry adapted the boogie pattern on guitar for his songs “Roll Over Beethoven” and “Johnny B. Goode”.[100] Author Dave Rubin commented:

his [Berry’s] utilization of the bass-string cut-boogie patterns popularized by Robert Johnson on songs like “Sweet Home Chicago” … subtly altered the swing feel of the boogie blues into a more driving, straight 4/4 meter while still maintaining a limber lilt that is often missing in the countless imitations that followed.

The pattern “became one of the signature figures in early electric guitar-based rock and roll,

such as that of Chuck Berry and the numerous rock musicians of the 1960s who were influenced by Berry”, according to Perone.[124] Although music historian Larry Birnbaum also sees the connection, he wrote that Johnson’s “contributions to the origins of rock ‘n’ roll are negligible”.[125] The Rock and Roll Hall of Fame inducted Johnson as an early influence in its first induction ceremony, in 1986, almost a half century after his death. It also included four of his songs it deemed to have shaped the genre: “Sweet Home Chicago”, “Cross Road Blues”, “Hellhound on My Trail”, and “Love in Vain”.[126] Marc Meyers, of the Wall Street Journal, commented, “His ‘Stop Breakin’ Down Blues’ from 1937 is so far ahead of its time that the song could easily have been a rock demo cut in 1954.”[73]

Several rock artists describe Johnson as an influence:

• Eric Clapton – “Robert Johnson to me is the most important blues musician who ever lived”.He recorded several of Johnson’s songs as well as an entire tribute album, Me and Mr. Johnson (2004).Clapton feels that rather than trying to recreate Johnson’s originals, “I was trying to extract as much emotional content from it as I could, while respecting the form at the same time.”
• Bob Dylan – “In about 1964 and ’65, I probably used about five or six of Robert Johnson’s blues song forms, too, unconsciously, but more on the lyrical imagery side of things. If I hadn’t heard the Robert Johnson record when I did, there probably would have been hundreds of lines of mine that would have been shut down—that I wouldn’t have felt free enough or upraised enough to write. [His] code of language was like nothing I’d heard before or since.”
• Robert Plant – “A lot of English musicians were very fired up by Robert Johnson [to] whom we all owe more or less our existence, I guess, in some way”.^[130] Led Zeppelin recorded “Traveling Riverside Blues” and quoted some of Johnson’s lyrics in “The Lemon Song“.
• Keith Richards – “I’ve never heard anybody before or since use the [blues] form and bend it so much to make it work for himself … he came out with such compelling themes [and] just the way they were treated, apart from the music and the performance, [was appealing].”The Rolling Stones recorded “Love in Vain” and “Stop Breaking Down”.
• Johnny Winter – “Robert Johnson knocked me out—he was a genius. [He and Son House] both were big influences on my acoustic slide playing.”He recorded “Dust My Broom” with additional guitar by Derek Trucks.

Problems of biography

Until the 2019 publication of Bruce Conforth and Gayle Dean Wardlow’s biography, Up Jumped the Devil: The Real Life of Robert Johnson, little of Johnson’s early life was known. Two marriage licenses for Johnson have been located in county records offices. The ages given in these certificates point to different birth dates, but Conforth and Wardlow suggest that Johnson lied about his age in order to obtain a marriage license.[136] Carrie Thompson claimed that her mother, who was also Robert’s mother, remembered his birth date as May 8, 1911. He was not listed among his mother’s children in the 1910 census giving further credence to a 1911 birthdate. Although the 1920 census gives his age as 7, suggesting he was born in 1912 or 1913, the entry showing his attendance at Indian Creek School, in Tunica, Mississippi[when?] listed him as being 14 years old.[citation needed]

Five significant dates from his career are documented: Monday, Thursday and Friday, November 23, 26, and 27, 1936, at a recording session in San Antonio, Texas; and Saturday and Sunday, June 19 and 20, 1937, at a recording session in Dallas. His death certificate, discovered in 1968, lists the date and location of his death.[137]

Johnson’s records were admired by record collectors from the time of their first release, and efforts were made to discover his biography, with virtually no success. A relatively full account of Johnson’s brief musical career emerged in the 1960s, largely from accounts by Son House, Johnny Shines, David Honeyboy Edwards and Robert Lockwood. In 1961, the sleeve notes to the album King of the Delta Blues Singers included reminiscences of Don Law who had recorded Johnson in 1936. Law added to the mystique surrounding Johnson, representing him as very young and extraordinarily shy.

The blues researcher Mack McCormick began researching his family background in 1972, but died in 2015 without ever publishing his findings. McCormick’s research eventually became as much a legend as Johnson himself. In 1982, McCormick permitted Peter Guralnick to publish a summary in Living Blues (1982), later reprinted in book form as Searching for Robert Johnson.[58] Later research has sought to confirm this account or to add minor details. A revised summary acknowledging major informants was written by Stephen LaVere for the booklet accompanying Robert Johnson, The Complete Recordings box set (1990). The documentary film The Search for Robert Johnson contains accounts by McCormick and Wardlow of what informants have told them: long interviews of David “Honeyboy” Edwards and Johnny Shines and short interviews of surviving friends and family. Another film, Can’t You Hear the Wind Howl: The Life and Music of Robert Johnson,[138] combines documentary segments with recreated scenes featuring Keb’ Mo’ as Johnson with narration by Danny Glover. Shines, Edwards and Robert Lockwood contribute interviews. These published biographical sketches achieve coherent narratives, partly by ignoring reminiscences and hearsay accounts which contradict or conflict with other accounts.

Photographs

Until the 1980s, it was believed that no images of Johnson had survived. However, three images of Johnson were located in 1972 and 1973, in the possession of his half-sister Carrie Thompson. Two of these, known as the “dime-store photo” (December 1937 or January 1938) and the “studio portrait” (summer 1936), were copyrighted by Stephen LaVere (who had obtained them from the Thompson family) in 1986 and 1989, respectively, with an agreement to share any ensuing royalties 50% with the Johnson estate, at that time administered by Thompson. The “dime-store photo” was first published, almost in passing, in an issue of Rolling Stone magazine in 1986, and the studio portrait in a 1989 article by Stephen Calt and Gayle Dean Wardlow in 78 Quarterly.[139] Both were subsequently featured prominently in the printed materials a*sociated with the 1990 CBS box set of the “complete” Johnson recordings, as well as being widely republished since that time. Because Mississippi courts in 1998 determined that Robert Johnson’s heir was Claud Johnson, a son born out of wedlock, the “estate share” of all monies paid to LaVere by CBS and others ended up going to Claud Johnson, and attempts by the heirs of Carrie Thompson to obtain a ruling that the photographs were her personal property and not part of the estate were dismissed.[140][141] In his book Searching for Robert Johnson, Peter Guralnick stated that the blues archivist Mack McCormick showed him a photograph of Johnson with his nephew Louis, taken at the same time as the famous “pinstripe suit” photograph, showing Louis dressed in his United States Navy uniform; this picture, along with the “studio portrait”, were both lent by Carrie Thompson to McCormick in 1972.[140] This photograph has never been made public.

Another photograph, purporting to show Johnson posing with the blues musician Johnny Shines, was published in the November 2008 issue of Vanity Fair magazine.[142] Its authenticity was claimed by the forensic artist Lois Gibson and by Johnson’s estate in 2013,[143] but has been disputed by some music historians, including Elijah Wald, Bruce Conforth and Gayle Dean Wardlow, who considered that the clothing suggests a date after Johnson’s death and that the photograph may have been reversed and retouched. Further, both David “Honeyboy” Edwards and Robert Lockwood failed to identify either man in the photo. Facial recognition software concluded that neither man was Johnson or Shines. Finally, Gibson claimed the photo was from 1933 to 1934 while it is now known that Johnson did not meet Shines until early 1937.[144] In December 2015, a fourth photograph was published, purportedly showing Johnson, his wife Calletta Craft, Estella Coleman, and Robert Lockwood Jr.[145] This photograph was also declared authentic by Lois Gibson, but her identification of Johnson has been dismissed by other facial recognition experts and blues historians. There are a number of glaring errors in this photo: it has been proven that Craft died before Johnson met Coleman, the clothing could not be prior to the late 1940s, the furniture is from the 1950s, the Coca-Cola bottle cannot be from prior to 1950, etc.[146]

A third photograph of Johnson, this time smiling, was published in 2020. It is believed to have been taken in Memphis on the same occasion as the verified photograph of him with a guitar and cigarette (part of the “dime-store” set), and is in the possession of Annye Anderson, Johnson’s step-sister (Anderson is the daughter of Charles Dodds, later Spencer, who was married to Robert’s mother but was not his father). As a child, Anderson grew up in the same family as Johnson and has claimed to have been present, aged 10 or 11, on the occasion the photograph was taken. This photograph was published in Vanity Fair in May 2020, as the cover image for a book, Brother Robert: Growing Up with Robert Johnson, written by Anderson in collaboration with author Preston Lauterbach,[147] and is considered to be authentic by Johnson scholar Elijah Wald.

Descendants

Johnson left no will. In 1998, the Mississippi Supreme Court ruled that Claud Johnson, a retired truck driver living in Crystal Springs, Mississippi, was the son of Robert Johnson and his only heir. The court heard that he had been born to Virgie Jane Smith (later Virgie Jane Cain), who had a relationship with Robert Johnson in 1931. The relationship was attested to by a friend, Eula Mae Williams, but other relatives descended from Robert Johnson’s half-sister, Carrie Harris Thompson, contested Claud Johnson’s claim. The effect of the judgment was to allow Claud Johnson to receive over $1 million in royalties.[148] Claud Johnson died, aged 83, on June 30, 2015, leaving six children.

Discography

Eleven 78-rpm records by Johnson were released by Vocalion Records in 1937 and 1938, with additional pressings by ARC budget labels. In 1939, a twelfth was issued posthumously.[150] Johnson’s estate holds the copyrights to his songs.[151] In 1961, Columbia Records released King of the Delta Blues Singers, an album representing the first modern-era release of Johnson’s performances, which started the “re-discovery” of Johnson as blues artist. In 1970, Columbia issued a second volume, King of the Delta Blues Singers, Vol. II.

The Complete Recordings, a two-disc set, released on August 28, 1990, contains almost everything Johnson recorded, with all 29 recordings, and 12 alternate takes. Another alternate take of “Traveling Riverside Blues” was released by Sony on the CD reissue of King of the Delta Blues Singers. To celebrate the 100th anniversary of Johnson’s birth, May 8, 2011, Sony Legacy released Robert Johnson: The Centennial Collection, a re-mastered 2-CD set of all 42 of his recordings[152] and two brief fragments, one of Johnson practicing a guitar figure and the other of Johnson saying, presumably to engineer Don Law, “I wanna go on with our next one myself.”[152] Reviewers commented that the sound quality of the 2011 release was a substantial improvement on the 1990 release.

Awards and recognition

• 1980 – Blues Hall of Fame: performer
• 1986 – Rock and Roll Hall of Fame: early influence
• 1990 – Spin magazine: first in its list of “35 Guitar Gods” on the 52nd anniversary of his death
• 1991 – Grammy Award: best historical album (The Complete Recordings)
• 1991 – Blues Music Award: reissue album (The Complete Recordings)
• 1994 – U.S. Postal Service: commemorative stamp
• 1995 – Rock and Roll Hall of Fame “500 Songs That Shaped Rock and Roll”: “Sweet Home Chicago“, “Cross Road Blues“, “Hellhound on My Trail“, “Love in Vain“
• 1998 – Grammy Hall of Fame: “Cross Road Blues”
• 2000 – Mississippi Musicians Hall of Fame: Blues pioneer
• 2003 – National Recording Registry: The Complete Recordings
• 2003 – Rolling Stone‘s David Fricke: fifth on his list of “100 Greatest Guitarists of All Time”
• 2006 – Grammy Lifetime Achievement Award: performer
• 2008 – Marker No. 29 on the Mississippi Blues Trail at his birthplace in Hazlehurst; also, at his presumed gravesite in Greenwood
• 2010 – Gibson.com: ninth on its list of “Top 50 Guitarists of All Time”
• 2014 – Grammy Hall of Fame: “Sweet Home Chicago
• 2015 – Rolling Stone No. 71 on its list of the “100 Greatest Guitarists of All Time” (down from No. 5 on its 2003 list chosen by David Fricke)

Garland Perry “Hank” Cochran (August 2, 1935 – July 15, 2010) was an American country music singer and songwriter. Starting during the 1960s, Cochran was a prolific songwriter in the genre, including major hits by Patsy Cline, Ray Price, Eddy Arnold and others. Cochran was also a recording artist between 1962 and 1980, scoring seven times on the Billboard country music charts, with his greatest solo success being the No. 20 “Sally Was a Good Old Girl.” In 2014, he was inducted into the Country Music Hall of Fame.

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Biography

Hank Cochran was born August 2, 1935 in Isola, Mississippi, during the Great Depression. By the time he turned three, Cochran already had pneumonia, whooping cough, measles, and mumps. The doctor feared he wouldn’t survive to adulthood. His parents divorced when he was nine years old. He then moved with his father to Memphis, Tennessee, and was placed in an orphanage. After running away twice, He then was sent to live with his grandparents, in Greenville, Mississippi. His uncle Otis Cochran taught him to play the guitar as the pair hitchhiked from Mississippi to southeastern New Mexico to work in the oilfields.[4] After returning to Mississippi as a teenager, Cochran went to California and picked olives. While there, he formed The Cochran Brothers, a duo with unrelated Eddie Cochran.

In 1960 at the age of 24, he hitchhiked for Hollywood, but ended up going to Nashville, and teamed with Harlan Howard to write the song “I Fall to Pieces”.[2] It became a major success for Patsy Cline (recorded November 16, 1960), reaching No. 1 on the Billboard country music charts and No. 12 on the Billboard Hot 100 (chart for all music categories). Cline also recorded Cochran’s “She’s Got You” (recorded December 17, 1961, it was another major hit, No. 1 on the country charts and No. 14 on the Hot 100), and “Why Can’t He Be You” (recorded September 5, 1962).

In 1960, during a date at a movie theater, the film inspired him to compose a new song. He left the theater quickly, and by the time he got home fifteen minutes later, composed “Make the World Go Away.” Ray Price recorded the song, and it scored No. 2 on the Billboard country charts in 1963. The next year Eddy Arnold made the song his signature hit, scoring No. 1 on the country music charts, then in 1965 No. 6 on the overall Billboard Hot 100 charts (his highest rated song ever).  Arnold also recorded the song “I Want to Go with You”.

Cochran wrote several successful songs sung by Burl Ives (“A Little Bitty Tear”, “Funny Way of Laughin'”, “The Same Old Hurt”). He also wrote songs for George Strait (“The Chair” with Dean Dillon and “Ocean Front Property” with Dillon and Royce Porter), Merle Haggard (“It’s Not Love (But It’s Not Bad)”), “Don’t You Ever Get Tired (of Hurting Me)”, a No. 1 scoring record for Ronnie Milsap, and Mickey Gilley (“That’s All That Matters”).

While working at publishing company Pamper Music, some evenings, he performed in a Nashville tavern named Tootsie’s Orchid Lounge. While there, he noticed an amazing new talent. He encouraged management to contract the young songwriter, Willie Nelson, giving Nelson a raise owed to him at the time.

Two of his fondest memories were working with Natalie Cole (among other artists) on a 2003 tribute album to Patsy Cline (Remembering Patsy Cline), because of his love for her father Nat King Cole,[4] and his collaboration with Vern Gosdin for the 1988 album Chiseled in Stone (Gosdin’s highest rated album at No. 7).

In 2008, singer Lea Anne Creswell came to Cochran’s home to choose songs for a new album, subsequently called Lea Anne Sings Hank Cochran and ….

Marriages

Cochran was married five times. His fourth wife was country music vocalist Jeannie Seely. They were married twelve years and divorced in 1981. In 1982, he married his fifth wife Suzi and they were married until his death in 2010.

Death

Cochran had surgery for pancreatic cancer in July of 2008. In April of 2010, he had a second surgery to remove and repair a grapefruit sized aortic aneurysm. Cochran’s health did not improve, and he died on July 15, 2010 at age 74.

Tributes

In October 2012, singer Jamey Johnson released Living for a Song: A Tribute to Hank Cochran, featuring his renditions of sixteen Cochran compositions.

Awards and honors

Awards and honors include:

• 1967: Walkway of Stars – Country Music Association
• 1974: Nashville Songwriters Hall of Fame
• 2003: Mississippi Music Hall of Fame
• 2014: Country Music Hall of Fame inductee

Artist recordings

Notable artists recording Hank Cochran songs include:^[4]

Eddy Arnold Patsy Cline Natalie Cole Elvis Costello Bing Crosby Ella Fitzgerald Mickey Gilley Vern Gosdin Merle Haggard Emmylou Harris Rebecca Lynn Howard

Burl Ives Waylon Jennings Jamey Johnson George Jones Norah Jones Loretta Lynn Henry Mancini Dean Martin Reba McEntire Don McLean Ronnie Milsap

Willie Nelson Brad Paisley Johnny Paycheck Elvis Presley Ray Price Jim Reeves Linda Ronstadt Jeannie Seely Dinah Shore Nancy Sinatra George Strait

Richard Thompson Keith Whitley Hank Williams Jr Lee Ann Womack Timi Yuro

 

Sidney Thomas “Tommy” Boyce (September 29, 1939 – November 23, 1994) and Bobby Hart (born Robert Luke Harshman; February 18, 1939) were a prolific American duo of singer-songwriters. In addition to three top-40 hits as artists, the duo is well known for its songwriting for The Monkees.

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Early years

Hart’s father was a church minister and he himself served in the Army after leaving high school. Upon discharge, he travelled to Los Angeles seeking a career as a singer. Boyce was separately pursuing a career as a singer. After being rejected numerous times, Boyce took his father’s suggestion to write a song called “Be My Guest” for rock and roll star Fats Domino. He waited six hours at Domino’s hotel room to present him with the demo, and got Domino to promise to listen to the song. The song hit No. 8 in the US and No. 11 in the UK, becoming Domino’s biggest hit there in several years, and sold over a million copies.  Boyce also found success as the co-writer, with Curtis Lee, of Lee’s 1961 hits “Pretty Little Angel Eyes” and “Under the Moon of Love”.

Boyce met Hart in 1959, and the following year played guitar on Hart’s single “Girl in the Window”, which flopped, but marked the first time he used the name Bobby Hart, since his manager shortened it to fit the label. Their partnership made a breakthrough with a song recorded by Chubby Checker, “Lazy Elsie Molly”, in 1964. They went on to write hits for Jay & the Americans (“Come a Little Bit Closer”), Paul Revere and the Raiders (“(I’m Not Your) Steppin’ Stone”), and The Leaves (“Words”). The latter two songs provided the Monkees with hit B-sides in 1967. The duo also wrote the theme song of the daytime soap Days of Our Lives. At one point in this period, Hart also co-wrote “Hurt So Bad” for Little Anthony & the Imperials with Teddy Randazzo and his regular songwriting partner, Bobby Weinstein. Boyce co-wrote the song “Hello Pretty Girl”, which was a minor hit for singer Ronnie Dove, with Wes Farrell.

The Monkees

In late 1965, they wrote, produced and performed the soundtrack of the pilot for The Monkees, including singing lead vocals (which were later replaced, once the show was cast). In 1966, despite some conflicts with Don Kirshner, who was the show’s musical supervisor, they were retained in essentially the same role. It was Boyce and Hart who wrote, produced and recorded, accompanied by their backing band, the Candy Store Prophets, backing tracks for a large portion of the first season of The Monkees, and the band’s accompanying debut album.

The Monkees themselves re-recorded their vocals over Boyce and Hart’s when it came time to release the songs, including both “(Theme from) The Monkees” and “Last Train to Clarksville”, the latter being a huge hit. Kirshner suddenly relieved Boyce and Hart as producers, by claiming they were using studio time booked for Monkees songs to record tracks for their own solo project.

After their departure from the Monkees, and the negative publicity that erupted when word got out that the band hadn’t played the instruments on their early records, Boyce and Hart were unsure how the Monkees felt about them personally. Attending one of their concerts, though, the duo were spotted in the audience, and singer Davy Jones invited them onstage to introduce them: “These are the fellows who wrote our great hits — Tommy and Bobby!” Every original Monkees album (except for the Head soundtrack and 1996’s Justus) included Boyce and Hart songs.

Other successes

While working with The Monkees, Boyce and Hart embarked on a successful career as recording artists in their own right, releasing three albums on A&M Records: Test Patterns, I Wonder What She’s Doing Tonight, and It’s All Happening on the Inside (released in Canada as Which One’s Boyce and Which One’s Hart?). The duo also had five charting singles; the most well-known of these was “I Wonder What She’s Doing Tonight”, which reached No. 8 in early 1968. It sold over one million copies, and was awarded a gold disc.[4] “Out & About” (#39) and “Alice Long” (#27) were their other Top 40 hits. The duo also performed “I’ll Blow You a Kiss in the Wind” on the television show Bewitched in one of several TV series appearances that included guest spots on The Flying Nun and I Dream of Jeannie (“Jeannie the Hip Hippie”), and all of these shows were produced by Screen Gems, the television subsidiary of Columbia Pictures. In each of the three sitcom guest appearances, their music was featured including two covers (unreleased) they did on The Flying Nun.

Boyce and Hart had filmed video promos for their songs “Out and About” and “Alice Long”.

Boyce and Hart were involved in producing music for Columbia Pictures’ motion pictures during the mid-late 1960s, including two Matt Helm movies (The Ambushers and Murderer’s Row), Winter A-Go-Go and Where Angels Go, Trouble Follows. They also provided the music score for a TV movie called Three’s a Crowd starring Larry Hagman and Jessica Walter. Boyce and Hart did promos for the U.S. Army Reserve and Coca-Cola. This included the creation of two Coca-Cola commercial jingles, one being a powerful psychedelic song, “Wake Up Girl”, while the other was their single “Smilin'” with totally different lyrics.

In 1971 a sitcom named Getting Together appeared on ABC-TV, starring Bobby Sherman and Wes Stern as two struggling songwriters, who were friends of The Partridge Family (and were introduced on their show in the last episode of the show’s first season). The series was reportedly based loosely on Boyce and Hart’s partnership. At this point, they decided to work on various solo projects.

Dolenz, Jones, Boyce, and Hart

In the mid-1970s, Boyce and Hart reunited with Davy Jones and Micky Dolenz, performing the songs Boyce and Hart had written for The Monkees a decade before. Legally prohibited from using the Monkees name, they called themselves Dolenz, Jones, Boyce & Hart. The group toured amusement parks and other venues throughout America, Japan and other locations from July 4, 1975, to early 1977, also becoming the first American band to play in Thailand. Signed to Capitol Records by Al Coury, the group released an album of new material in 1976. (A live album was also recorded in Japan, but was not released in the United States until the mid-1990s.) The tours coincided with the syndication of the Monkees TV series, and helped boost sales of Arista’s The Monkees Greatest Hits.

Dolenz, Jones, Boyce and Hart also starred in their own TV special called The Great Golden Hits of the Monkees Show, which appeared in syndication. It featured a medley of other Boyce and Hart songs, as well as the songs they had produced for the Monkees. It did not include any songs from their new album.

Later years

Boyce released an album under the pseudonym Christopher Cloud in 1973. He produced several hit records UK rock n roll revival group Darts including, “Daddy Cool/The Girl Can’t Help It”, “Come Back My Love” and “It’s Raining”. In 1979, he formed his own band, called The Tommy Band, and toured the UK as support for Andrew Matheson (ex-Hollywood Brats). The tour was largely ignored by the public, especially in Middlesbrough where reportedly just one person paid to watch the show. Boyce and Hart reunited during the 1980s resurgence of the Monkees, and performed live.

During that same year, The First Bobby Hart Solo Album was released in Europe on WEA. The group included: Bobby Hart on keyboard and vocals, Victor Vanacore on keyboards, Larry Taylor on bass, Vince Megna on guitar, John Hoke on drums, and “Blue Jay” Patton on saxophone. Five years later, in 1983, Hart was nominated for an Oscar for his song “Over You”, written for the film Tender Mercies.

After a stint living in the UK, Boyce returned to live in Memphis, Tennessee, where he taught songwriting on Beale Street, and Nashville, Tennessee, and later suffered a brain aneurysm. On November 23, 1994, Boyce died by suicide, by gunshot.

According to the Rolling Stone Encyclopedia of Rock & Roll, Boyce and Hart wrote more than 300 songs, and sold more than 42 million records as a partnership.

Discography

Albums

• Test Patterns (A&M LP 126 (Mono)/SP 4126 (Stereo), 1967, US 200)
• I Wonder What She’s Doing Tonite? (A&M LP 143/SP 4143, 1968, US 109)
• It’s All Happening On The Inside* (A&M SP 4162, 1969)
• Dolenz, Jones, Boyce & Hart (Capitol ST-11513, 1976)
• Dolenz, Jones, Boyce & Hart – Live in Japan (Capitol/Toshiba-EMI ECS-91018, 1981)
• 16 Rarities (SG Records, 1981 – This is a bootleg of B-sides and oddities)
• The Anthology (A&M Records Australia/Polygram 525 193–2, 1995)

Album Notes

• It’s All Happening on the Inside was released in Canada as Which One’s Boyce & Which One’s Hart?

Singles

Year	Single (A-side, B-side) Both sides from same album except where indicated	US Billboard charts	Album
1967	“Out & About” b/w “My Little Chickadee”	39	Test Patterns
	“Sometimes She’s A Little Girl” b/w “Love Every Day” (from I Wonder What She’s Doing Tonite)	110
	“I Wonder What She’s Doing Tonight” b/w “The Ambushers” (Non-album track)	8	I Wonder What She’s Doing Tonite
1968	“Goodbye Baby (I Don’t Want To See You Cry)” b/w “Where Angels Go, Trouble Follows” (Non-album track)	53
	“Alice Long (You’re Still My Favorite Girlfriend)” b/w “P.O. Box 9847” (Non-album track)	27	It’s All Happening on the Inside
	“We’re All Going to the Same Place” b/w “Six + Six” (Non-album track)	123
1969	“L.U.V. (Let Us Vote)” b/w “I Wanna Be Free” (from I Wonder What She’s Doing Tonite)	111	Non-album tracks
	“I’m Gonna Blow You A Kiss in the Wind” b/w “Smilin'”
Dolenz, Jones, Boyce & Hart
1975	“I Remember The Feeling” b/w “You and I”		Dolenz, Jones, Boyce & Hart
1976	“I Love You (and I’m Glad That I Said It)” b/w “Savin’ My Love For You”

Singles notes:

• “L.U.V. (Let Us Vote)” was the official campaign song for the Let Us Vote movement to lower the voting age to 18.
• “P.O. Box 9847” and “I Wanna Be Free” were originally released by The Monkees.
• “You and I” (DJB&H) was later re-recorded and released in 1996 by The Monkees.
• “I’ll Blow You A Kiss In The Wind” was featured on the Bewitched episode “Serena Stops the Show”, aired on February 19, 1970, on which Boyce and Hart appeared as themselves. The episode also features Elizabeth Montgomery’s performance (as Serena) of the song.
• “The Ambushers” and “Where Angels Go, Trouble Follows” are Columbia Pictures movie theme titles.

Tommy Boyce Singles:

• Along Came Linda (1962, US 118)
• I’ll Remember Carol (1962, US 80)
• Have You Had A Change of Heart (1962, US MV 146)
• Sunday, the Day Before Monday (1966, US 132)

Bobby Hart Singles:

• Lovers for the Night (1980, US 110)

Sir Thomas Hicks, OBE (born 17 December 1936), known professionally as Tommy Steele, is an English entertainer, regarded as Britain’s first teen idol and rock and roll star. He reached number one with “Singing the Blues” in 1957, and The Tommy Steele Story was the first album by a UK act to reach number one in his native country.

Steele’s film credits include Half a Sixpence, The Happiest Millionaire and Finian’s Rainbow (musical) and he has made many stage tours in the UK. He is also a songwriter, author, and sculptor.

In 2012, Steele was among the cultural icons selected by pop-artist Sir Peter Blake to appear in “Vintage Blake”, a montage to celebrate Blake’s 80th birthday.

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Biography

Early life

Steele was born in Bermondsey, London, England in 1936. His father Darbo was a racing tipster and his mother Betty worked in a factory.

Singer

Steele worked in various jobs, including a brief period as a merchant seaman. He was not eligible for national service because, at eighteen years old, he was diagnosed with cardiomyopathy. In his autobiography, Bermondsey Boy: Memories of a Forgotten World, he reports that he failed the medical because he had flat feet. Whenever not working, he played guitar and banjo and sang in two coffee houses in Soho, the 2i’s Coffee Bar and the Cat’s Whisker, both as a solo performer and with Wally Whyton’s Vipers Skiffle Group.

When a ship Steele was serving on docked in Norfolk, Virginia, U.S., he heard Buddy Holly[citation needed] and fell in love with rock and roll, turning his back on the British skiffle craze. He was discovered by freelance photographer John Kennedy, who believed Steele could be Britain’s answer to Elvis Presley.  Later co-manager Larry Parnes was incorrectly credited with creating the stage name ‘Tommy Steele’. It was Steele who adapted the surname of his Scandinavian paternal grandfather, Thomas Stil-Hicks (pronounced Steel-Hicks), adding another E to the spelling.

Steele became famous in the UK as the frontman for a rock and roll band, the Steelmen, after their first single, “Rock With the Caveman”, reached number 13 in the UK Singles Chart in 1956. Steele and other British singers would pick known hit records from the United States, record their cover versions of these songs, and release them in the UK before the American versions could enter the charts. Most of Steele’s 1950s recordings were covers of American hits, such as “Singing the Blues” and “Knee Deep in the Blues”. Although Steele never proved a serious threat to Presley’s popularity in the UK, he did well on the 1950s UK chart and “Singing the Blues” got to Number 1 in the UK before Presley did so. Guy Mitchell was number 1 with “Singing the Blues” on 4 January 1957 and Tommy Steele on 11 January 1957. Steele’s 1957 album, The Tommy Steele Story, was the first by a UK-based act to reach No. 1 in the UK.

Only four months after his first chart presence, he was filming his life story. To do so, Steele and his songwriting collaborators, Lionel Bart and Mike Pratt, wrote twelve songs in seven days. His first three single releases were issued at a rate of one every three weeks.  In 1957 Steele bought a four-bedroomed house in South London for his parents. In August 1959, Steele undertook a three-day concert visit to Moscow.

In 1958, Steele had the opportunity to work with his younger brother, Colin Hicks, during a tour in which the latter replaced one of the other performers, Terry Dene, who had withdrawn for psychiatric reasons.

In late 2009 his greatest hits collection, The Very Best of Tommy Steele, reached the Top 40 in the UK Albums Chart. This was the first UK chart entry, of any kind, that Steele had enjoyed for over 46 years.

Actor

The increase in home-grown musical talent during the 1950s and 1960s allowed Steele to progress to a career in stage and film musicals, leaving behind his pop-idol identity. In 1957, he was voted the seventh-most-popular actor at the British box office.

In 1960, a tour of Australia had not been particularly successful, and on his return to England he received two offers, one to star in the play Billy Liar, the other to join the Old Vic Company. He chose the latter.

In the West End, he appeared in She Stoops to Conquer, and played the title role of Hans Christian Andersen. On film, he recreated his London and Broadway stage role in Half a Sixpence, and played character roles in The Happiest Millionaire and Finian’s Rainbow, although many critics[who?] found his personality to be somewhat overwhelming on screen. In this latter film, probably his best known appearance in the films, he played Og, the leprechaun turning human, and co-starred with Petula Clark and Fred Astaire. In 1968, British exhibitors voted him the fourth most popular star at the local box office.[16] The following year, he starred with Stanley Baker in the period drama Where’s Jack?.

In April 1971, Steele starred in his own show Meet Me in London at London’s Adelphi Theatre.

In 1978, Steele performed in a TV movie version of Gilbert and Sullivan’s The Yeomen of the Guard (misspelt as “The Yeoman…”), singing the role of the hapless jester Jack Point.

In 1983, Steele directed and starred in the West End stage production of Singin’ in the Rain at the London Palladium. In 1991 he toured with Some Like It Hot the stage version of the Jack Lemmon/Tony Curtis/Marilyn Monroe film. In 2003, after a decade-long hiatus, save his one-man shows An Evening With Tommy Steele and What A Show!, he toured as Ebenezer Scrooge in a production of Scrooge: The Musical, an adaptation of Scrooge. Following this return, he reprised his role at the Palace Theatre, Manchester over Christmas 2004, and brought the production to the London Palladium for Christmas 2005. In 2008, at the age of 71, Steele toured in the lead role of the stage musical Doctor Dolittle, and has reprised his role as Scrooge every Christmas season since 2009.

He was the subject of This Is Your Life in 1958 when he was surprised by Eamonn Andrews at the BBC Television Theatre.

Sculptor

Steele is a respected sculptor and four of his major works have been on public display. Bermondsey Boy at Rotherhithe Town Hall in London, was stolen in 1998: its current whereabouts is unknown. Eleanor Rigby, which he sculpted and donated to the City of Liverpool as a tribute to the Beatles, stands in Stanley Street, Liverpool, not far from the Cavern Club. Union, featuring two rugby players, is on display at Twickenham Stadium. Trinity, designed during the regeneration of the docklands area in Bermondsey, stood outside the Trinity building in Bermondsey. When Steele lived in Montrose House, Petersham, Surrey, his life-sized sculpture of Charlie Chaplin as “The Tramp” stood outside his front door. He is also an artist of some note and has exhibited at the Royal Academy.

Personal life and other talents

Steele was born in Bermondsey, London. His father was Thomas Walter Hicks, and his mother was Elizabeth Ellen Bennett; they had married in 1933, in Bermondsey. There is a London Borough of Southwark blue plaque on Nickleby House, in the Dickens Estate in Bermondsey, commemorating Steele.

Steele and [Winifred] Ann Donoughue married at St. Patrick’s Church, Soho Square, London, in spring 1960. They have one daughter, Emma Elizabeth (1969).

In the 1980 New Year Honours, he was appointed an Officer of the Order of the British Empire (OBE) for his work as an entertainer and actor.

In 1981, Steele wrote and published a novel titled The Final Run about World War II and the evacuation of Dunkirk.

He also wrote a children’s novel, entitled Quincy, about a reject toy trying to save himself and his fellow rejects in the basement of a toy store from the furnace the day after Christmas.  Released in 1983, it was based on his own television film, Quincy’s Quest, from 1979, in which Steele played Quincy and Mel Martin played Quincy’s girlfriend doll, Rebecca.

Steele is mentioned briefly in Ian Fleming’s James Bond novel Thunderball.

Steele co-wrote many of his early songs with Lionel Bart and Mike Pratt, but he used the pseudonym of Jimmy Bennett from 1958 onwards.

On 7 November 2019, Steele was awarded a Lifetime Achievement Award by the British Music Hall Society, at a Celebratory Luncheon in Mayfair’s Lansdowne Club. Those paying tribute to his then 63 years and 2 days in show business included Sir Tim Rice, Wyn Calvin MBE and Bill Kenwright CBE.

In May 2020, Steele announced a new project which he had been working on titled ‘Breakheart,’ which was available exclusively online throughout May. Announced via a specially recorded video during the Covid-19 lockdown, ‘Breakheart’ was a seven-episode audio thriller, written by Steele and set during the Second World War. A new episode was released each day for a week.

He was knighted in the 2020 Birthday Honours for services to entertainment and charity.

Claimed meeting with Elvis Presley in Britain

For many years it was thought that Elvis Presley had never set foot in Britain, apart from spending a few minutes on the tarmac at Prestwick Airport in Scotland where his military plane, en route to the United States after completing his army service in West Germany, stopped to refuel. However, on 21 April 2008, in a BBC Radio 2 interview with theatre impresario Bill Kenwright, it was claimed that Presley, then 23, had visited Britain for a day, after a phone conversation with Steele in London in 1958.

According to Kenwright: “Elvis flew in for a day and Tommy showed him round London. He showed him the Houses of Parliament and spent the day with him”. Kenwright admitted in 2008 that he was not sure whether he should have told the story. Steele said: “It was two young men sharing the same love of their music. I swore never to divulge publicly what took place and I regret that it has found some way of getting into the light. I only hope he can forgive me.”

Press officers employed by Stagecoach, the company that owns Prestwick Airport, rapidly issued a statement requesting proof, photographic or otherwise, of the said meeting. Until such proof is provided, they will continue to describe their property, Prestwick Airport, as being the only place in Britain where Elvis Presley ever set foot, and will not be removing the marker, photographs and special lounge at their airport which relate to their claim.[

Lamar Fike, a former member of the Memphis Mafia, who lived with Presley at the time, has posted a claim that it was he, not Presley, who visited London and Steele for a day in 1958.

Discography

Partial discography:

Singles

With the Steelmen

• ” Princess” / “Happy Guitar” – (Decca 1958)

Solo

Albums

Toni Wine (born June 4, 1947 in Washington Heights, New York City, United States) is an American pop music songwriter, who wrote songs for such artists as The Mindbenders (“A Groovy Kind of Love”), Tony Orlando and Dawn (“Candida”), and Checkmates, Ltd. (“Black Pearl”) in the late 1960s and 1970s. Wine also sang the female vocals for the cartoon music group The Archies, most notably on their #1 hit song “Sugar, Sugar” (singing the line “I’m gonna make your life so sweet”). She shared the lead vocals in the Archies’ subsequent single, “Jingle Jangle” with Ron Dante using his falsetto voice. In addition, Wine was a backing vocalist on Gene Pitney’s “It Hurts to Be in Love” and on Willie Nelson’s “Always on My Mind.”

Career

In 1963, Toni Wine had a nationally charted single with “My Boyfriend’s Coming Home For Christmas”. It reached #22 on Billboard’s “Best Bets For Christmas” survey. She co-wrote The Shirelles’ early 1964 mid-chart hit “Tonight You’re Gonna Fall in Love With Me”.

Wine attended the Juilliard School of Music, where she studied piano. She worked as a songwriter for Screen Gems Publishing, where she collaborated with several other artists and then teamed with Carole Bayer Sager. They wrote the song “A Groovy Kind of Love,” recorded by The Mindbenders in 1966 (after the group split with Wayne Fontana) and reached the top of the U.S. Billboard Hot 100 chart. She also recorded as a solo artist in this period. She co-wrote The Ronettes 1969 single “You Came, You Saw, You Conquered” with Phil Spector.

Wine became a member of The Archies in 1969, along with Jeff Barry, Bobby Bloom, and Ron Dante. In 1970, she co-wrote “Candida”, which she recorded with Linda November and Tony Orlando. This was followed by “Knock Three Times”, which became a major hit.

After moving to Memphis, Tennessee with her husband, record producer Chips Moman, Wine continued to write and record songs and work as a session singer. For over 30 years, she was one of the voices of Meow Mix Cat Food, sharing with Linda November on the “meow, meow, meow, meow.”

In 2007, Wine toured and appeared in concert with Tony Orlando as vocalist and keyboardist. She performed the same function in Orlando’s 2011, 2014 and 2016 tours.

Maria Luisa McKee (born August 17, 1964) is an American singer-songwriter. She is best known for her work with Lone Justice, her 1990 UK solo chart-topping hit “Show Me Heaven“, and her song “If Love Is a Red Dress (Hang Me in Rags)” from the film Pulp Fiction. She is the half-sister of Bryan MacLean, who was best known as a guitarist and vocalist in the band Love.

Early life

Maria McKee was born in Los Angeles in 1964. She grew up in a bohemian family and is the half-sister of Bryan MacLean, who had been the guitarist and vocalist for the 1960s psychedelic band, Love (he died in 1998 at age 51).

Music

McKee was a founding member of the cowpunk and proto Americana band, Lone Justice, in 1982, with whom she released two albums. Several compilations of both previously released and unreleased material and a BBC Live in Concert album have been released since the group disbanded in 1987. Bob Dylan wrote the song “Go Away Little Boy” for the band’s debut album, Lone Justice, which later appeared as a B-side. The band opened for such acts as U2 and Tom Petty. During this period of her career she was managed by Jimmy Iovine.

When she was 19, she wrote Feargal Sharkey’s 1985 song, “A Good Heart”, which she has since recorded and released on her album Late December. Sharkey later also covered “To Miss Someone” (from McKee’s self-titled solo debut) on his third solo album “Songs From The Mardi Gras”. In 1987 she appeared in the Robbie Robertson music video “Somewhere Down the Crazy River” (directed by Martin Scorsese) and contributed back-up vocals to his debut solo album, which included the song. She released her first solo, self-titled album in 1989. On the album Richard Thompson played guitar and Steve Wickham from The Waterboys played fiddle. It received critical acclaim in Europe, prompting McKee to move to Ireland.

Her song “Show Me Heaven”, which appeared on the soundtrack to the film Days of Thunder, was a number one single in the UK for four weeks in 1990. She rarely performed this song in public up until recently,  when she sang it at Dublin Pride.

Her song “If Love Is a Red Dress, Hang Me in Rags” was personally selected by Quentin Tarantino for his feature film Pulp Fiction. It is the only original song on the soundtrack.

In 1992 she released the song “Sweetest Child” which was produced by Youth and featured Robert “Throb” Young from the band Primal Scream.[citation needed]

Following her debut, McKee has released five studio and two live albums. The album Life Is Sweet debuted McKee’s lead guitar work described as “feral” by Mojo magazine which listed it as runner up to album of the year in their critics poll. The raw postmodern album (produced by Mark Freegard) represented a smash up of her roots rock persona and is seen as a demarcation event in her career. It is now considered a minor classic and currently out of print. The later three, High Dive, Peddlin’ Dreams and Late December, were released independently via her own Viewfinder Records label (distributed in the UK via Cooking Vinyl).

In 1995, Bette Midler recorded McKee’s tracks “To Deserve You” and “The Last Time” for her platinum album Bette of Roses. In 1998, The Dixie Chicks recorded McKee’s “Am I the Only One (Who’s Ever Felt This Way?)” and included it on their Grammy-nominated album Wide Open Spaces.

McKee appears on the 2014 compilation Songs from a Stolen Spring that paired Western musicians with artists from the Arab Spring. On the album, McKee’s performance of the Tony Joe White song “Ol’ Mother Earth” was meshed with “I Still Exist” by the Egyptian band Massar Egbari.

She recorded a medley of “Ride a White Swan” and “She Was Born to Be My Unicorn” for the Marc Bolan tribute album, Angel Headed Hipster, produced by Hal Wilner.[citation needed] The album also includes tracks by Gavin Friday, Father John Misty and Nick Cave.

On June 25, 2019, The New York Times Magazine listed Maria McKee among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Session and guest work

In addition to writing Sharkey’s hit “A Good Heart”, McKee has also contributed to the Victoria Williams’ tribute album Sweet Relief, on the song “Opelousas (Sweet Relief)”. She has also provided backing vocals to U2’s cover of Creedence Clearwater Revival’s “Fortunate Son” (B-side of 1992 “Who’s Gonna Ride Your Wild Horses” single from their Achtung Baby album), as well as to the Counting Crows’ 1993 debut August and Everything After on “Sullivan Street” and “Mr. Jones”. On Robin Zander’s 1993 solo album she sang backing vocals for the track “Reactionary Girl”. She also sang backing vocals on Robbie Robertson’s debut and self-titled solo album, on the track “American Roulette”. Much lesser known is her contribution of lead and co-lead vocals on two tracks on a contemporary Christian praise and worship album called Come As You Are.

McKee also contributed a song, “Never Be You,” for the soundtrack to the Walter Hill movie Streets of Fire. She recorded a duet, “Friends in Time”, with The Golden Horde on their eponymously titled album in 1991. She also recorded another duet, “This Road is Long,” with Stuart A. Staples of the band Tindersticks on his 2006 album, Leaving Songs. In addition she co-wrote the duet, titled “Promise You Anything,” with Steve Earle which appeared on his 1990 album, The Hard Way. She teamed with Dwight Yoakam for a duet on “Bury Me,” from his 1986 debut, Guitars, Cadillacs, Etc., Etc. McKee contributed the lyrics and vocals to the song “No Big Bang” on the only album by The Heads, No Talking, Just Head, also playing guitar and synthesizer on the song together with the band, mostly ex-members of Talking Heads.

In 2016, she performed the Blind Willie Johnson song, “Let Your Light Shine On Me”, on the tribute album God Don’t Never Change: The Songs of Blind Willie Johnson.

Film work

In 2013, McKee and her husband, Jim Akin, self-released their first independent feature film, After the Triumph of Your Birth, through their production company, Shootist Films. The film was written, directed, shot, recorded, and edited by Akin and features McKee (who co-produced) in her acting debut as an ensemble cast member. They scored the film together and the soundtrack was released in 2012.

Shootist Films’ second feature film The Ocean of Helena Lee (featuring McKee in a supporting role) was released May 2015 with accompanying soundtrack. The film played a week run at The American Cinematheque at The Egyptian Theater. Akin, McKee and drummer Tom Dunne (also an actor and lead player in the film) performed a set of music after each screening. The film screened in competition at The Indie Memphis Film Festival and The Pesaro International Film Festival as well as out of competition in The Fastnet Film Festival in Schull, Ireland. It received a four out of four star review on RogerEbert.com. Shootist Films’ latest release Beauty Majesty and Terror will be released in 2019. It features McKee in the leading role.

Published fiction

In 2009, McKee’s short story “Charcoal, was included in the Melville House Publishing short fiction anthology Amplified: Fiction from Leading Alt-Country, Indie Rock, Blues and Folk Musicians. In 2018, an audio version of “Charcoal” was recorded by voice actor Patrice Gambardella and published on Bibliophone, a free audio book platform.

Personal life

She is married to musician and filmmaker Jim Akin. Maria came out in 2018 as pansexual and referred to herself as a “dyke”  and has done advocacy and activist work for trans women, helping them access hormones and gender affirming surgeries.

She is a dog lover, and she and Akin have had a range of breeds as pets over the years, including a pug, greyhound, and whippet. She also has volunteered with a greyhound adoption group. Her song, “My First Night without You”, was written after one of her pugs died.

She recently moved to London where she recorded her latest album La Vita Nuova

John Michael “Ozzy” Osbourne (born 3 December 1948)[2] is an English singer, songwriter, and television personality. He rose to prominence during the 1970s as the lead vocalist of the heavy metal band Black Sabbath, during which period he adopted the nickname “Prince of Darkness”.

Osbourne was fired from Black Sabbath in 1979 due to alcohol and drug problems, but went on to have a successful solo career, releasing 12 studio albums, the first seven of which received multi-platinum certifications in the US. Osbourne has since reunited with Black Sabbath on several occasions. He rejoined in 1997 and helped record the group’s final studio album, 13 (2013), before they embarked on a farewell tour that ended with a February 2017 performance in their hometown, Birmingham, England. His longevity and success have earned him the informal title “Godfather of Metal”.

Osbourne’s total album sales from his years in Black Sabbath, combined with his solo work, is over 100 million. He was inducted into the Rock and Roll Hall of Fame as a member of Black Sabbath and into the UK Music Hall of Fame as a solo artist and as a member of the band. He has been honoured with stars on the Hollywood Walk of Fame and Birmingham Walk of Stars. At the 2014 MTV Europe Music Awards, he received the Global Icon Award. In 2015, Osbourne received the Ivor Novello Award for Lifetime Achievement from the British Academy of Songwriters, Composers and Authors.

In the early 2000s, Osbourne became a reality television star, appearing as himself in the MTV reality show The Osbournes alongside wife and manager Sharon and two of their three children, Kelly and Jack. He co-stars with Jack and Kelly in the television series Ozzy & Jack’s World Detour. The show’s third season debuted in June 2018.

Early life

Osbourne was born in the Aston area of Birmingham, England.[2] His mother, Lilian (née Unitt; 1916–2001), was a non-observant Catholic who worked days at a factory. His father, John Thomas “Jack” Osbourne (1915–1977), worked night shifts as a toolmaker at the General Electric Company. Osbourne has three older sisters, Jean, Iris, and Gillian, and two younger brothers, Paul and Tony. The family lived in a small two-bedroom home at 14 Lodge Road in Aston. Osbourne has had the nickname “Ozzy” since primary school. Osbourne dealt with dyslexia at school. At the age of 11, he suffered sexual abuse from school bullies. Drawn to the stage, he took part in school plays such as Gilbert and Sullivan’s The Mikado and HMS Pinafore. He possesses a “hesitant” Brummie accent.

Upon hearing their first hit single at age 14, Osbourne became a fan of the Beatles. He credits their 1963 song “She Loves You” for inspiring him to become a musician. He said in the 2011 documentary God Bless Ozzy Osbourne, “I knew I was going to be a rock star the rest of my life.” Osbourne left school at 15 and was employed as a construction site labourer, trainee plumber, apprentice toolmaker, car factory horn-tuner, and abattoir worker. He attempted burglary, stealing a television (which fell on him during his getaway and had to be abandoned), a handful of baby clothes (originally thought to be adult clothes as it was too dark to see when he committed the burglary, and which were stolen to sell to people at a pub), and some T-shirts. He spent six weeks in Winson Green Prison when he was unable to pay a fine after being convicted of burgling a clothes shop; to teach his son a lesson, his father refused to pay the fine.

Career

Black Sabbath

In late 1967, Geezer Butler formed his first band, Rare Breed, and soon recruited Osbourne to serve as vocalist.  The band played two shows, then broke up. Osbourne and Butler reunited in Polka Tulk Blues, along with guitarist Tony Iommi and drummer Bill Ward, whose band Mythology had recently broken up. They renamed themselves Earth, but after being accidentally booked for a show instead of a different band with the same name, they decided to change their name again. They finally settled on the name Black Sabbath in August 1969, based on the film of the same title. The band had noticed how people enjoyed being frightened; inspired, the band decided to play a heavy blues style of music laced with gloomy sounds and lyrics. While recording their first album, Butler read an occult book and woke up seeing a dark figure at the end of his bed. Butler told Osbourne about it and together they wrote the lyrics to “Black Sabbath”, their first song in a darker vein.

Despite only a modest investment from their US record label Warner Bros. Records, Black Sabbath met with swift and enduring success. Built around Tony Iommi’s guitar riffs, Geezer Butler’s lyrics, Bill Ward’s dark tempo drumbeats, and topped by Osbourne’s eerie vocals, early records such as their debut album Black Sabbath and Paranoid sold huge numbers, as well as getting considerable airplay. Osbourne recalls a band lament, “in those days, the band wasn’t very popular with the women”.

At about this time, Osbourne first met his future wife, Sharon Arden. After the unexpected success of their first album, Black Sabbath were considering her father, Don Arden, as their new manager, and Sharon was at that time working as Don’s receptionist. Osbourne admits he was attracted to her immediately but a*sumed that “she probably thought I was a lunatic”.  Osbourne said years later that the best thing about eventually choosing Don Arden as manager was that he got to see Sharon regularly, though their relationship was strictly professional at that point.

Just five months after the release of Paranoid, the band released Master of Reality. The album reached the top ten in both the United States and UK, and was certified gold in less than two months. In the 1980s it received platinum certification  and went Double Platinum in the early 21st century. Reviews of the album were unfavourable. Lester Bangs of Rolling Stone famously dismissed Master of Reality as “naïve, simplistic, repetitive, absolute doggerel”, although the very same magazine would later place the album at number 298 on their 500 Greatest Albums of All Time list, compiled in 2003. Black Sabbath’s Volume 4 was released in September 1972. Critics were again dismissive of the album, yet it achieved gold status in less than a month. It was the band’s fourth consecutive release to sell one million copies in the United States.

In November 1973, Black Sabbath released the critically acclaimed Sabbath Bloody Sabbath. For the first time, the band received favourable reviews in the mainstream press. Gordon Fletcher of Rolling Stone called the album “an extraordinarily gripping affair”, and “nothing less than a complete success”. Decades later, AllMusic’s Eduardo Rivadavia called the album a “masterpiece, essential to any heavy metal collection”, while also claiming the band displayed “a newfound sense of finesse and maturity”. The album marked the band’s fifth consecutive platinum selling album in the US. Sabotage was released in July 1975. Again there were favourable reviews. Rolling Stone stated, “Sabotage is not only Black Sabbath’s best record since Paranoid, it might be their best ever.” In a retrospective review, AllMusic was less favourable, noting that “the magical chemistry that made such albums as Paranoid and Volume 4 so special was beginning to disintegrate”. Technical Ecstasy, released on 25 September 1976, was also met with mixed reviews. AllMusic gives the album two stars, and notes that the band was “unravelling at an alarming rate”.

Dismissal

In 1978, Osbourne left the band for three months to pursue a solo project he called Blizzard of Ozz, a title which had been suggested by his father. Three members of the band Necromandus, who had supported Sabbath in Birmingham when they were called Earth, backed Osbourne in the studio and briefly became the first incarnation of his solo band.

At the request of the other members, Osbourne rejoined Sabbath. The band spent five months at Sounds Interchange Studios in Toronto, Ontario, Canada, writing and recording what would become Never Say Die! “It took quite a long time”, Iommi said. “We were getting really drugged out, doing a lot of dope. We’d go down to the sessions, and have to pack up because we were too stoned; we’d have to stop. Nobody could get anything right, we were all over the place, everybody’s playing a different thing. We’d go back and sleep it off, and try again the next day.”

Touring in support of Never Say Die! began in May 1978 with openers Van Halen. Reviewers called Sabbath’s performance “tired and uninspired”, in stark contrast to the “youthful” performance of Van Halen, who were touring the world for the first time. The band filmed a performance at the Hammersmith Odeon in June 1978, released on video as Never Say Die. The final show of the tour – and Osbourne’s last appearance with the band until 1985 – was in Albuquerque, New Mexico on 11 December.

In 1979, back in the studio, tension and conflict arose between the members. Osbourne recalls being asked to record his vocals over and over, and tracks being manipulated endlessly by Iommi. This was a point of contention between Osbourne and Iommi. At Iommi’s insistence, and with the support of Butler and Ward, Osbourne was fired on 27 April 1979. The reasons provided to him were that he was unreliable and had excessive substance abuse issues compared to the other members. Osbourne claims his drug use and alcohol consumption at that time was neither better nor worse than that of the other members.

The band replaced him with former Rainbow singer Ronnie James Dio. “I was not, and never will be, Ozzy Osbourne,” Dio noted. “He was the vocalist and songwriter in that era who helped create that band and make it what it was, and what it is in its classic form.”

Conflict had existed between Iommi and Osbourne from the beginning. When responding to a 1969 flyer reading “Ozzy Zig Needs Gig- has own PA”  posted in a record store, Iommi and Ward arrived at the listed address to speak with Ozzy Zig. When Iommi saw Osbourne emerge from another room of the house, he left upon discovering it was the same “pest” he knew from growing up, as he knew of and disliked Osbourne from back in their school days.  Iommi had reportedly “punched out” Osbourne numerous times over the years when the singer’s drunken antics had become too much to take. Iommi recalls one incident in the early 1970s in which Osbourne and Butler were fighting in a hotel room. Iommi pulled Osbourne off Butler in an attempt to break up the drunken fight, and the vocalist proceeded to turn around and take a wild swing at him. Iommi responded by knocking Osbourne unconscious with one punch to the jaw.

Solo career

On leaving Sabbath, Osbourne recalled, “I’d got £96,000 for my share of the name, so I’d just locked myself away and spent three months doing coke and booze. My thinking was, ‘This is my last party, because after this I’m going back to Birmingham and the dole.”[41] However, Don Arden signed him to Jet Records with the aim of recording new material. Arden dispatched his daughter Sharon to Los Angeles to “look after Ozzy’s needs, whatever they were”, to protect his investment.[42] Initially, Arden hoped Osbourne would return to Sabbath (who he was personally managing at that time), and later attempted to convince the singer to name his new band “Son of Sabbath”, which Osbourne hated.[10] Sharon attempted to convince Osbourne to form a supergroup with guitarist Gary Moore.[10] “When I lived in Los Angeles,” Moore recalled, “[Moore’s band] G-Force helped him to audition musicians. If drummers were trying out, I played guitar, and if a bassist came along, my drummer would help out. We felt sorry for him, basically. He was always hovering around trying to get me to join, and I wasn’t having any of it.”

In late 1979, under the management of the Ardens, Osbourne formed the Blizzard of Ozz, featuring drummer Lee Kerslake (of Uriah Heep), bassist-lyricist Bob Daisley (of Rainbow and later Uriah Heep), keyboardist Don Airey (of Rainbow, and later Deep Purple), and guitarist Randy Rhoads (of Quiet Riot). The record company would eventually title the group’s debut album Blizzard of Ozz, credited simply to Osbourne, thus commencing his solo career. Cowritten with Daisley and Rhoads, it brought Osbourne considerable success on his first solo effort. Though it is generally accepted that Osbourne and Rhoads started the band, Daisley later claimed that he and Osbourne formed the band in England before Rhoads officially joined.

Blizzard of Ozz is one of the few albums amongst the 100 best-sellers of the 1980s to have achieved multi-platinum status without the benefit of a top-40 single. As of August 1997, it had achieved quadruple platinum status, according to RIAA. “I envied Ozzy’s career…” remarked former Sabbath drummer Bill Ward. “He seemed to be coming around from whatever it was that he’d gone through and he seemed to be on his way again; making records and stuff… I envied it because I wanted that… I was bitter. And I had a thoroughly miserable time.”

Osbourne’s second album, Diary of a Madman, featured more songs co-written with Lee Kerslake. For his work on this album and Blizzard of Ozz, Rhoads was ranked the 85th-greatest guitarist of all time by Rolling Stone magazine in 2003. This album is known for the singles “Over the Mountain” and “Flying High Again” and, as Osbourne explains in his autobiography, is his personal favourite. Tommy Aldridge and Rudy Sarzo soon replaced Kerslake and Daisley. Aldridge had been Osbourne’s original choice for drummer, but a commitment to Gary Moore had made him unavailable. Sarzo had played in Quiet Riot with Rhoads, who recommended him for the position.

On 19 March 1982, the band were in Florida for the Diary of a Madman tour, and a week away from playing Madison Square Garden in New York City. A light aircraft piloted by Andrew Aycock (the band’s tour bus driver) – carrying Rhoads and Rachel Youngblood, the band’s costume and make-up designer – crashed while performing low passes over the band’s tour bus. The left wing of the aircraft clipped the bus, causing the plane to graze a tree and crash into the garage of a nearby mansion, killing Rhoads, Aycock, and Youngblood. The crash was ruled the result of “poor judgement by the pilot in buzzing the bus and misjudging clearance of obstacles”. Experiencing firsthand the horrific death of his close friend and bandmate, Osbourne fell into a deep depression. The tour was cancelled for two weeks while Osbourne, Sharon, and Aldridge returned to Los Angeles to take stock while Sarzo remained in Florida with family.

Gary Moore was the first approached to replace Rhoads, but refused. With a two-week deadline to find a new guitarist and resume the tour, Robert Sarzo, brother of the band’s bassist Rudy Sarzo, was chosen to replace Rhoads. However, former Gillan guitarist Bernie Tormé had flown to California from England with the promise from Jet Records that he had the job. Once Sharon realized that Jet Records had already paid Tormé an advance, he was reluctantly hired instead of Sarzo. The tour resumed on 1 April 1982, but Tormé’s blues-based style was unpopular with fans. After a handful of shows he informed Sharon that he would be returning to England to continue work on a solo album he had begun before coming to America. At an audition in a hotel room, Osbourne selected Night Ranger’s Brad Gillis to finish the tour. The tour culminated in the release of the 1982 live album Speak of the Devil, recorded at the Ritz in New York City. A live tribute album for Rhoads was also later released. Despite the difficulties, Osbourne moved on after Rhoads’ death. Speak of the Devil, known in the United Kingdom as Talk of the Devil, was originally planned to consist of live recordings from 1981, primarily from Osbourne’s solo work. Under contract to produce a live album, it ended up consisting entirely of Sabbath covers recorded with Gillis, Sarzo and Tommy Aldridge.

In 1982 Osbourne appeared as lead vocalist on the Was (Not Was) pop dance track “Shake Your Head (Let’s Go to Bed)”. Remixed and rereleased in the early 1990s for a Was (Not Was) hits album in Europe, it reached number four on the UK Singles Chart. In 1983, Jake E. Lee, formerly of Ratt and Rough Cutt, joined Osbourne to record Bark at the Moon. The album, cowritten with Daisley, featured Aldridge and former Rainbow keyboard player Don Airey. The album contains the fan favourite “Bark at the Moon”. The music video for “Bark at the Moon” was partially filmed at the Holloway Sanitorium outside London, England. Within weeks the album became certified gold. It has sold three million copies in the US. 1986’s The Ultimate Sin followed (with bassist Phil Soussan and drummer Randy Castillo), and touring behind both albums with former Uriah Heep keyboardist John Sinclair joining prior to the Ultimate Sin tour. At the time of its release, The Ultimate Sin was Osbourne’s highest charting studio album. The RIAA awarded the album Platinum status on 14 May 1986, soon after its release; it was awarded Double Platinum status on 26 October 1994.

Jake E. Lee and Osbourne parted ways in 1987. Osbourne continued to struggle with chemical dependency. That year he commemorated the fifth anniversary of Rhoads’ death with Tribute, a collection of live recordings from 1981. In 1988 Osbourne appeared in The Decline of Western Civilization Part II: The Metal Years and told the director Penelope Spheeris that “sobriety f*cking sucks”. Meanwhile, Osbourne found Zakk Wylde, who was the most enduring replacement for Rhoads to date. Together they recorded No Rest for the Wicked with Castillo on drums, Sinclair on keyboards, and Daisley co-writing lyrics and playing bass. The subsequent tour saw Osbourne reunited with erstwhile Black Sabbath bandmate Geezer Butler on bass. A live EP (entitled Just Say Ozzy) featuring Geezer was released two years later. In 1988, Osbourne performed on the rock ballad “Close My Eyes Forever”, a duet with Lita Ford, reaching No. 8 on the Billboard Hot 100. In 1989 Osbourne performed at the Moscow Music Peace Festival.

Successful through the 1980s, Osbourne sustained commercial success into the 1990s, starting with 1991’s No More Tears, featuring “Mama, I’m Coming Home”. The album enjoyed much radio and MTV exposure. It also initiated a practice of bringing in outside composers to help pen Osbourne’s solo material instead of relying on his recording ensemble. The album was mixed by veteran rock producer Michael Wagener. Osbourne was awarded a Grammy Award for the track “I Don’t Want to Change the World” from Live & Loud, for Best Metal Performance of 1994. Wagener also mixed the live album Live & Loud released on 28 June 1993. Intended to be Osbourne’s final album, it went platinum four times over, and ranked at number 10 on that year’s Billboard rock charts. At this point Osbourne expressed his fatigue with touring, and proclaimed his “retirement tour” (which was to be short-lived). It was called “No More Tours”, a pun on No More Tears. Alice in Chains’ Mike Inez took over on bass and Kevin Jones played keyboards as Sinclair was touring with the Cult.

Osbourne’s entire CD catalogue was remastered and reissued in 1995. In 1995 Osbourne released Ozzmosis and returned to touring, dubbing his concert performances “The Retirement Sucks Tour”. The album reached number 4 on the US Billboard 200. The RIAA certified the album gold and platinum in that same year, and double platinum in April 1999.

The line-up on Ozzmosis was Wylde, Butler (who had just quit Black Sabbath again) and former Bad English, Steve Vai and Hardline drummer Deen Castronovo, who later joined Journey. Keyboards were played by Rick Wakeman and producer Michael Beinhorn. The tour maintained Butler and Castronovo and saw Sinclair return, but a major line-up change was the introduction of former David Lee Roth guitarist Joe Holmes. Wylde was considering an offer to join Guns N’ Roses. Unable to wait for a decision on Wylde’s departure, Osbourne replaced him. In early 1996, Butler and Castronovo left. Inez and Randy Castillo (Lita Ford, Mötley Crüe) filled in. Ultimately, Faith No More’s Mike Bordin and former Suicidal Tendencies and future Metallica bassist Robert Trujillo joined on drums and bass respectively. A greatest hits package, The Ozzman Cometh, was issued in 1997.

Ozzfest

Osbourne’s biggest financial success of the 1990s was a venture named Ozzfest, created and managed by his wife/manager Sharon and a*sisted by his son Jack. The first Ozzfest was held in Phoenix, Arizona on 25 October 1996 and in Devore, California on 26 October. Ozzfest was an instant hit with metal fans, helping many up-and-coming groups who were featured there to broad exposure and commercial success. Some acts shared the bill with a reformed Black Sabbath during the 1997 Ozzfest tour, beginning in West Palm Beach, Florida. Osbourne reunited with the original members of Sabbath in 1997 and has performed periodically with them since.

Since its beginning, five million people have attended Ozzfest which has grossed over US$100 million. The festival helped promote many new hard rock and heavy metal acts of the late 1990s and early 2000s. Ozzfest helped Osbourne to become the first hard rock and heavy metal star to hit $50 million in merchandise sales. In 2005, Osbourne and his wife Sharon starred in an MTV competition reality show entitled “Battle for Ozzfest”. A number of yet unsigned bands send one member to compete in a challenge to win a spot on the 2005 Ozzfest and a possible recording contract. Shortly after Ozzfest 2005, Osbourne announced that he will no longer headline Ozzfest. Although he announced his retirement from Ozzfest, Osbourne came back headlining the tour. In 2006 Osbourne closed the event for just over half the concerts, leaving the others to be closed by System of a Down. He also played the closing act for the second stage at Shoreline Amphitheatre in Mountain View, California on 1 July as well as Randalls Island, New York on 29 July. After the concert in Bristol, Virginia, Osbourne announced he would return for another year of Ozzfest in 2007.

Tickets for the 2007 tour were offered to fans free of charge, which led to some controversy. In 2008, Ozzfest was reduced to a one-day event in Dallas, where Osbourne played, along with Metallica and King Diamond. In 2010, Osbourne appeared as the headliner closing the show after opening acts Halford and Mötley Crüe. The tour, though small (only six US venues and one UK venue were played), generated rave reviews.

2000s

Down to Earth, Osbourne’s first album of new studio material in six years, was released on 16 October 2001. A live album, Live at Budokan, followed in 2002. Down to Earth, which achieved platinum status in 2003, featured the single “Dreamer”, a song which peaked at number 10 on Billboard’s Mainstream Rock Tracks. In June 2002, Osbourne was invited to participate in the Golden Jubilee of Queen Elizabeth II, performing the Black Sabbath anthem “Paranoid” at the Party at the Palace concert in the grounds of Buckingham Palace. In 2003, Osbourne recruited former Metallica bassist Jason Newsted, though his time with Osbourne would be short. Interestingly, Osbourne’s former bassist Robert Trujillo replaced Newsted in Metallica during this same period.

On 8 December 2003, Osbourne was rushed into emergency surgery at Wexham Park Hospital in Slough, England when he had an accident with his quad bike on his estate in Jordans, Buckinghamshire. Osbourne broke his collar bone, eight ribs, and a neck vertebra.  An operation was performed to lift the collarbone, which was believed to be resting on a major artery and interrupting blood flow to the arm. Sharon later revealed that Osbourne had stopped breathing following the crash and was resuscitated by Osbourne’s then personal bodyguard, Sam Ruston. While in hospital, Osbourne achieved his first ever UK number one single, a duet of the Black Sabbath ballad, “Changes” with daughter Kelly. In doing so, he broke the record of the longest period between an artist’s first UK chart appearance (with Black Sabbath’s “Paranoid”, number four in August 1970) and their first number one hit: a gap of 33 years. Since the quad accident, apart from some short-term memory problems, he fully recovered and headlined the 2004 Ozzfest, in the reunited Black Sabbath.

In March 2005, Osbourne released a box set called Prince of Darkness. The first and second discs are collections of live performances, B-sides, demos and singles. The third disc contained duets and other odd tracks with other artists, including “Born to Be Wild” with Miss Piggy. The fourth disc, is entirely new material where Osbourne covers his favourite songs by his biggest influences and favourite bands, including the Beatles, John Lennon, David Bowie and others. In November 2005, Osbourne released the covers album Under Cover, featuring 10 songs from the fourth disc of Prince of Darkness and 3 more songs. Osbourne’s band for this album included Alice in Chains guitarist Jerry Cantrell, bassist Chris Wyse and Faith No More drummer Mike Bordin.

Osbourne also helped judge the 2005 UK series of the X-Factor where his wife Sharon was one of the main judges. In March 2006, he said that he hoped to release a new studio album soon with longtime on-off guitarist, Zakk Wylde of Black Label Society. In October 2006, it was announced that Tony Iommi, Ronnie James Dio, Vinny Appice, and Geezer Butler would be touring together again, though not as Black Sabbath, but under the moniker Heaven and Hell (the title of Dio’s first Black Sabbath album). The response to the news on Osbourne’s website was that Osbourne wished Tony and Ronnie well and that there is only one Sabbath. Osbourne’s album, titled Black Rain, was released on 22 May 2007. Osbourne’s first new studio album in almost six years, it featured a more serious tone than previous albums. “I thought I’d never write again without any stimulation… But you know what? Instead of picking up the bottle I just got honest and said, ‘I don’t want life to go [to pieces]'”, Osbourne stated to Billboard magazine.

Osbourne revealed in July 2009 that he was currently seeking a new guitar player. While he states that he has not fallen out with Zakk Wylde, he said he felt his songs were beginning to sound like Black Label Society and fancied a change. In August 2009, Osbourne performed at the gaming festival BlizzCon with a new guitarist in his line-up Gus G. Osbourne also provided his voice and likeness to the video game Brütal Legend character The Guardian of Metal. In November, Slash featured Osbourne on vocals in his single “Crucify The Dead”, and Osbourne with wife Sharon were guest hosts on WWE Raw. In December, Osbourne announced he would be releasing a new album titled Soul Sucka with Gus G, Tommy Clufetos on drums, and Blasko on bass.[80] Negative fan feedback was brought to Osbourne’s attention regarding the album title. In respect of fan opinion, on 29 March Osbourne announced his album would be renamed Scream.

2010s

On 13 April 2010, Osbourne announced the release date for Scream would be 15 June 2010. The release date was later changed to a week later. A single from the album, “Let Me Hear You Scream”, debuted on 14 April 2010 episode of CSI: NY. The song spent eight weeks on the Billboard Rock Songs chart, peaking at No. 7.

On 9 August 2010, Osbourne announced that the second single from the album would be “Life Won’t Wait” and the video for the song would be directed by his son Jack. When asked of his opinions on Scream in an interview, Osbourne announced that he is “already thinking about the next album”. Osbourne’s current drummer, Tommy Clufetos, has reflected this sentiment, saying that “We are already coming up with new ideas backstage, in the hotel rooms and at soundcheck and have a bunch of ideas recorded”.[84] In October 2014, Osbourne released Memoirs of a Madman, a collection celebrating his entire solo career. A CD version contained 17 singles from across his career, never before compiled together. The DVD version contained music videos, live performances, and interviews.

In August 2015, Epic Records president Sylvia Rhone confirmed with Billboard that Osbourne was working on another studio album;  in September 2019, Osbourne announced he had finished the album in four weeks following his collaboration with Post Malone. In April 2017, it was announced that guitarist Zakk Wylde would reunite with Osbourne for a summer tour to mark the 30th anniversary of their first collaboration on 1988’s No Rest for the Wicked. The first show of the tour took place on 14 July at the Rock USA Festival in Oshkosh, Wisconsin.

On 6 November 2017, Ozzy was announced as the headline act for the Sunday of the 2018 Download Festival held annually at Donington Park in Leicestershire, England. Having previously graced the main stage in previous years fronting Black Sabbath, this will be his first ever Download headline solo appearance. The Download Festival set comes as part of Osbourne’s final world tour announcement that morning.

On 6 February 2018, Osbourne announced that he would embark on his final world tour dubbed No More Tours II, a reference to his 1992 tour of the same name, with support from Stone Sour on the North American portion of the tour. He later insisted that he would not retire, “It’s ‘No More Tours’, so I’m just not doing world tours anymore. I’m still going to be doing gigs, but I’m not going on tour for six months at a time anymore. I’d like to spend some time at home.”

On 6 September 2019, Osbourne featured on the song “Take What You Want” by Post Malone. The song would peak on the Billboard Hot 100 charts at number 8, making it Osbourne’s first US Top 10 single in 30 years since he was featured on Lita Ford’s “Close My Eyes Forever”.

2020s

On 21 February 2020, Osbourne released his first solo album in almost ten years, Ordinary Man, which received positive reviews from music critics and debuted at number three on the UK Albums Chart. A few days after the release, Osbourne told IHeartRadio that he wanted to make another album with Andrew Watt, the main producer of Ordinary Man. One week after the release of the album, an 8-bit video game dedicated to Osbourne was released, called Legend of Ozzy. Osbourne has started working on his follow up album, once again with Andrew Watt.

Black Sabbath reunion

It was announced on 11 November 2011 during a news conference at the Whisky a Go Go club on West Hollywood’s Sunset Strip that the original Black Sabbath line up of Ozzy, Tony Iommi, Geezer Butler, and Bill Ward would reunite for a world tour and new album, to be produced by Rick Rubin. Bill Ward dropped out for contractual reasons, but the project continued with Rage Against the Machine’s Brad Wilk stepping in for Ward on drums. On 21 May 2012, Black Sabbath played at the O2 Academy in their hometown Birmingham, their first concert since their reunion. The album, entitled 13, was released 11 June 2013, and topped both the UK Albums Chart and the US Billboard 200.

In January 2016, the band began a farewell tour, titled “The End”, signifying the final performances of Black Sabbath. The final shows of The End tour took place at the Genting Arena in their home city of Birmingham, England on 2 and 4 February 2017, with Tommy Clufetos replacing Bill Ward as the drummer for the final show.

Other production work

Osbourne achieved greater celebrity status via his own brand of reality television. The Osbournes, a series featuring the domestic life of Osbourne and his family (wife Sharon, children Jack and Kelly, occasional appearances from his son Louis, but eldest daughter Aimee did not participate). The program became one of MTV’s greatest hits. It premiered on 5 March 2002, and the final episode aired 21 March 2005.

The success of The Osbournes led Osbourne and the rest of his family to host the 30th Annual American Music Awards in January 2003. The night was marked with constant “bleeping” due to some of the lewd and raunchy remarks made by Ozzy and Sharon Osbourne. Presenter Patricia Heaton walked out midway in disgust. On 20 February 2008, Ozzy, Sharon, Kelly and Jack Osbourne hosted the 2008 BRIT Awards held at Earls Court, London. Ozzy appeared in a TV commercial for I Can’t Believe It’s Not Butter! which began airing in the UK in February 2006. Ozzy appears in a commercial for the online video game World of Warcraft. He was also featured in the music video game Guitar Hero World Tour as a playable character. He becomes unlocked upon completing “Mr. Crowley” and “Crazy Train” in the vocalist career.

Osbourne published an autobiography in October 2009, titled I Am Ozzy. Osbourne says ghost writer Chris Ayres told the singer he has enough material for a second book. A movie adaptation of I Am Ozzy is also in the works, and Osbourne says he hopes “an unknown guy from England” will get the role over an established actor, while Sharon stated she would choose established English actress Carey Mulligan to play her.

A documentary film about Osbourne’s life and career, entitled God Bless Ozzy Osbourne, premiered in April 2011 at the Tribeca Film Festival and was released on DVD in November 2011. The film was produced by Osbourne’s son Jack. On 15 May 2013 Osbourne, along with the current members of Black Sabbath, appeared in an episode of CSI: Crime Scene Investigation titled “Skin in the Game”. The History Channel premiered a comedy reality television series starring Ozzy Osbourne and his son Jack Osbourne on 24 July 2016 named Ozzy & Jack’s World Detour. During each episode Ozzy and Jack visit one or more sites to learn about history from experts, and explore unusual or quirky aspects of their background.

Osbourne appeared in a November 2017 episode of Gogglebox along with other UK celebrities such as Ed Sheeran, former Oasis frontman Liam Gallagher, and Labour Party leader Jeremy Corbyn as part of Channel 4 and Cancer Research UK’s Stand Up to Cancer fundraising campaign. In November 2017, Osbourne entered into a new realm of sponsorship as he signed on as an ambassador of a rock-themed online casino known as Metal Casino, which was founded by metal music fans in August 2017. In February 2019, Osbourne’s merchandising partner announced that Ozzy would have his own branded online slots game as part of the NetEnt Rocks music-themed portfolio.

Awards

Osbourne has received several awards for his contributions to the music community. In 1994, he was awarded a Grammy Award for the track “I Don’t Want to Change the World” from Live & Loud for Best Metal Performance of 1994.[ At the 2004 NME Awards in London, Osbourne received the award for Godlike Genius. In 2005 Osbourne was inducted into the UK Music Hall of Fame both as a solo artist and as a member of Black Sabbath. In 2006, he was inducted into the US Rock and Roll Hall of Fame with Black Sabbath bandmates Tony Iommi, Bill Ward, and Geezer Butler.

In 2007 Osbourne was honoured at the second annual VH1 Rock Honors, along with Genesis, Heart, and ZZ Top. In addition, that year a bronze star honouring Osbourne was placed on Broad Street in Birmingham, England while Osbourne watched. On 18 May Osbourne had received notice that he would be the first inductee into The Birmingham Walk of Stars. He was presented the award by the Lord Mayor of Birmingham. “I am really honoured”, he said, “All my family is here and I thank everyone for this reception—I’m absolutely knocked out”.

In 2008 Osbourne was crowned with the prestigious Living Legend award in the Classic Rock Roll of Honour Awards. Past recipients include Alice Cooper, Lemmy, Jimmy Page. Slash, the former Guns N’ Roses guitarist, presented the award. In 2010 Osbourne won the “Literary Achievement” honour for his memoir, I Am Ozzy, at the Guys Choice Awards at Sony Pictures Studio in Culver City, California. Osbourne was presented with the award by Sir Ben Kingsley. The book debuted at No. 2 on the New York Times’ hardcover non-fiction best-seller list. Osbourne was also a judge for the 6th, 10th and 11th  annual Independent Music Awards to support independent artists’ careers. In May 2015, Osbourne received the Ivor Novello Award for Lifetime Achievement from the British Academy of Songwriters, Composers and Authors at a ceremony held at the Grosvenor House Hotel, London. In 2016, Osbourne had a tram named after him in his home city of Birmingham.

Personal life

In 1971, Osbourne met his first wife Thelma (née Riley) at a nightclub in Birmingham called the Rum Runner, where she worked. They were married in 1971 and children Jessica and Louis were soon born while Osbourne adopted Thelma’s son Elliot. Osbourne later referred to his first marriage as “a terrible mistake”. His drug and alcohol abuse, coupled with his frequent absences while touring with Black Sabbath, took their toll on his family life, with his children later complaining that he was not a good father. In the 2011 documentary film God Bless Ozzy Osbourne, produced by his son Jack, Osbourne sheepishly admitted that he could not even remember when Louis and Jessica were born.

Osbourne married his manager Sharon Arden on 4 July 1982 and the couple would have three children together, Aimee (born 2 September 1983), Kelly (born 27 October 1984), and Jack (born 8 November 1985). He later confessed that the well known “Fourth of July” US Independence Day date was chosen so that he would never forget his anniversary. Guitarist Randy Rhoads predicted in 1981 that the couple would “probably get married someday” despite their constant bickering and the fact that Osbourne was still married to Thelma at the time. Osbourne has numerous grandchildren.

Osbourne wrote a song for his daughter Aimee, which appeared as a B-side on the album Ozzmosis. At the end of the song, his daughter can be heard saying “I’ll always be your angel”, referring to the song’s chorus lyrics. The song My Little Man, which appears on Ozzmosis, was written about his son Jack. The Osbourne family divide their time between their Buckinghamshire mansion and a home in Los Angeles, California.

Though Osbourne has long been accused of being a Satanist, it was reported by The New York Times in 1992 that he was a practicing member of the Church of England and prayed before each show. In 2002, Osbourne and wife Sharon were invited to the White House Correspondents’ Association dinner by Fox News Channel correspondent Greta Van Susteren for that year’s event. Then-President George W. Bush noted Osbourne’s presence by joking, “The thing about Ozzy is, he’s made a lot of big hit recordings – ‘Party with the Animals’, ‘Sabbath Bloody Sabbath’, ‘Facing Hell’, ‘Black Skies’ and ‘Bloodbath in Paradise’. Ozzy, Mom loves your stuff.”

Ozzy and his wife are one of the UK’s richest couples, according to the Sunday Times Rich List. They ranked at number 458 in 2005, with an estimated £100 million earned from recording, touring, and TV shows. Osbourne has over 15 tattoos, the most famous of which are the letters O-Z-Z-Y across the knuckles of his left hand. This was his first tattoo, created by himself as a teenager with a sewing needle and pencil lead. A longtime fan of the comedy troupe Monty Python, in a 2010 interview with Us Weekly Osbourne stated, “My favourite movie is Monty Python’s Life of Brian”. Osbourne suffered minor burns after a small house fire in January 2013. On his 65th birthday on 3 December 2013, he asked fans to celebrate his birthday by donating to the Royal Marsden cancer charity in London.

On 6 February 2019, Osbourne was hospitalized in an undisclosed location on his doctor’s advice due to flu complications, postponing the European leg of his “No More Tours 2” tour. The issue was described as a “severe upper-respiratory infection” following a bout with the flu which his doctor feared could develop into pneumonia, given the physicality of the live performances and an extensive travel schedule throughout Europe in harsh winter conditions. Pneumonia targets the airway and breathing and is typically fatal in elderly patients, necessitating the preventive measures. By 12 February 2019, Osbourne had been moved to intensive care. Tour promoters Live Nation said in a statement that they were hopeful that Osbourne would be “fit and healthy” and able to honor tour dates in Australia and New Zealand in March. Osbourne later cancelled the tour entirely, and ultimately all shows scheduled for 2019, after sustaining serious injuries from a fall in his Los Angeles home while still recovering from pneumonia. He was diagnosed with Parkinson’s disease in February 2019, which he publicly revealed in January 2020. In February 2020, Osbourne cancelled the 2020 North American tour, seeking treatment in Switzerland until April.

Drug and alcohol abuse

Osbourne has abused alcohol and other drugs for most of his adult life. He admitted to Sounds in 1978, “I get high, I get f*cked up … what the hell’s wrong with getting f*cked up? There must be something wrong with the system if so many people have to get f*cked up … I never take dope or anything before I go on stage. I’ll smoke a joint or whatever afterwards.” Black Sabbath bandmate Tony Iommi said that while all the band were involved with alcohol and other drugs to various degrees in the 1970s, Osbourne had the unhealthiest lifestyle of them all. Despite this, said Iommi, he was typically the only one left standing when the others were “out for the count”. Longtime guitarist Zakk Wylde has attributed Osbourne’s longevity in spite of decades of substance abuse to “a very special kind of fortitude that’s bigger than King Kong and Godzilla combined… seriously, he’s hard as nails, man!”[

Osbourne’s first experience with cocaine was in early 1971 at a hotel in Denver, Colorado, after a show Black Sabbath had done with Mountain. He states that Mountain’s guitarist, Leslie West, introduced him to the drug.[ Though West is reluctant to take credit for introducing Osbourne to cocaine, Osbourne remembers the experience quite clearly: “When you come from Aston and you fall in love with cocaine, you remember when you started. It’s like having your first f*ck!” Osbourne says that upon first trying the drug, “The world went a bit fuzzy after that.”

Osbourne’s drug and alcohol abuse have at times caused friction within his band. Don Airey, keyboardist for Osbourne during his early solo career, has said that the vocalist’s substance-abuse issues were what ultimately caused him to leave the band. In his memoir Off the Rails, former bassist Rudy Sarzo detailed the frustrations felt by him and his bandmates as they coped with life on the road with the vocalist, who was in a state of near-constant inebriation and was often so hungover that he would refuse to perform. When he was able to perform, his voice was often so damaged from cigarettes and alcohol that the performance suffered. Many shows on the American leg of the 1981-82 Diary of a Madman tour were simply canceled, and the members of his band quickly began to tire of the unpredictability, coupled with the often violent mood swings he was prone to when drunk.

Osbourne claims in his autobiography that he was invited in 1981 to a meeting with the head of CBS Europe in Germany. Intoxicated, he decided to lighten the mood by performing a striptease on the table and then kissing the record executive on the lips. According to his wife Sharon, he had actually performed a goose-step up and down the table and urinated in the executive’s wine, but was too drunk to remember.

On 18 February 1982, while wearing his future wife Sharon’s dress for a photoshoot near the Alamo, Osbourne drunkenly urinated on a cenotaph erected in honour of those who died at the famous battle in Texas, across the street from the actual building. A police officer arrested Osbourne, and he was subsequently banned from the city of San Antonio for a decade. Osbourne had been on a long drinking binge and earlier that same day had drunkenly fired his entire band, including Randy Rhoads, after they had informed him that they would not participate in a planned live album of Black Sabbath songs. He also physically attacked Rhoads and Rudy Sarzo in a hotel bar that morning, and Sharon informed the band that she feared he had “finally snapped”. Osbourne later had no memory of firing his band and the tour continued, though his relationship with Rhoads never fully recovered. In May 1984, Osbourne was arrested in Memphis, Tennessee, again for public intoxication. The most notorious incident came in August 1989, when Sharon claimed that Ozzy had tried to strangle her after returning home from the Moscow Music Peace Festival, in a haze of alcohol and drugs. The incident led Ozzy to six months in rehabilitation, after which time, Sharon regained her faith in her husband and did not press charges.

Though he has managed to remain clean and sober for extended periods in recent years, Osbourne has frequently commented on his former wild lifestyle, expressing bewilderment at his own survival through 40 years of drug and alcohol abuse. Upon being fired from Black Sabbath in 1979, Osbourne spent the next three months locked in his hotel room taking vast amounts of alcohol and other drugs all day, every day. He claims that he would certainly have died if his future wife Sharon had not offered to manage him as a solo artist.

In 2003, Osbourne told the Los Angeles Times how he was nearly incapacitated by medication prescribed by a Beverly Hills doctor. The doctor was alleged to have prescribed 13,000 doses of 32 drugs in one year. However, after a nine-year investigation by the Medical Board of California, the Beverly Hills physician was exonerated of all charges of excessive prescribing.

Osbourne experienced tremors for some years and linked them to his continuous drug abuse. In May 2005, he found out it was actually Parkin syndrome, a genetic condition, the symptoms of which are similar to Parkinson’s disease. Osbourne will have to take daily medication for the rest of his life to combat the involuntary shudders a*sociated with the condition. Osbourne has also shown symptoms of mild hearing loss, as depicted in the television show, The Osbournes, where he often asks his family to repeat what they say. At the TEDMED Conference in October 2010, scientists from Knome joined Osbourne on stage to discuss their analysis of Osbourne’s whole genome, which shed light on how the famously hard-living rocker has survived decades of drug abuse.

In April 2013, Osbourne revealed through Facebook that he had resumed drinking and taking drugs for the past year and a half, stating he “was in a very dark place” but said he had been sober again since early March. He also apologised to Sharon, his family, friends, bandmates and his fans for his “insane” behaviour during that period.

Controversy

Throughout his career, many religious groups have accused Osbourne of being a negative influence on teenagers, stating that his genre of rock music has been used to glorify Satanism. Scholar Christopher M. Moreman compared the controversy to those levelled against the occultist Aleister Crowley. Both were demonised by the media and some religious groups for their antics. Although Osbourne tempts the comparison with his song “Mr. Crowley“, he denies the charge of being a Satanist; conversely it has been alleged that Osbourne is a member of the Church of England and that he prays before taking the stage each night before every concert^.

In 1981, after signing his first solo career record deal, Osbourne bit the head off a dove during a meeting with CBS Records executives in Los Angeles. Apparently, he had planned to release doves into the air as a sign of peace, but due to being intoxicated at the time, he instead grabbed a dove and bit its head off. He then spat the head out, with blood still dripping from his lips. Despite its controversy, the head-biting act has been parodied and alluded to several times throughout his career and is part of what made Osbourne famous.

On 20 January 1982, Osbourne bit the head off a bat that he thought was rubber while performing at the Veterans Memorial Auditorium in Des Moines, Iowa. Rolling Stone magazine in 2004 ranked this incident number two on its list of “Rock’s Wildest Myths”. While the Rolling Stone article stated the bat was alive, 17-year-old Mark Neal who threw it onto the stage said it was brought to the show dead. According to Osbourne in the booklet to the 2002 edition of Diary of a Madman, the bat was not only alive but managed to bite him, resulting in Osbourne being treated for rabies. On 20 January 2019, Osbourne commemorated the 37th anniversary of the bat incident by offering an ‘Ozzy Plush Bat’ toy “with detachable head” for sale on his personal web-store. The site claimed the first batch of toys sold out within hours.

On New Year’s Eve 1983, Canadian youth James Jollimore killed a woman and her two sons in Halifax, Nova Scotia, after listening to the “Bark at the Moon” song. A friend of the murderer quoted: “Jimmy said that every time he listened to the song he felt strange inside … He said when he heard it on New Year’s Eve he went out and stabbed someone”.

In 1984, California teenager John McCollum committed suicide while listening to Osbourne’s “Suicide Solution”. The song deals with the dangers of alcohol abuse. McCollum’s suicide led to allegations that Osbourne promoted suicide in his songs. Despite knowing McCollum suffered clinical depression, his parents sued Osbourne (McCollum v. CBS for their son’s death, saying the lyrics in the song, “Where to hide, suicide is the only way out. Don’t you know what it’s really about?” convinced McCollum to commit suicide. The family’s lawyer suggested that Osbourne should be criminally charged for encouraging a young person to commit suicide, but the courts ruled in Osbourne’s favour, saying there was no connection between the song and McCollum’s suicide. Osbourne was sued for the same reason in 1991 (Waller v. Osbourne), by the parents of Michael Waller, for $9 million, but the courts once again ruled in Osbourne’s favour.

In lawsuits filed in 2000 and 2002 which were dismissed by the courts in 2003, former band members Bob Daisley, Lee Kerslake, and Phil Soussan stated that Osbourne was delinquent in paying them royalties and had denied them due credit on albums they played on. In November 2003, a Federal Appeals Court unanimously upheld the dismissal by the US District Court for the Central District of California of the lawsuit brought by Daisley and Kerslake. The US Court of Appeals for the Ninth Circuit ruled that Osbourne does not owe any royalties or credit to the former band members who were let go in 1981. To resolve further issues, management chose to replace Daisley and Kerslake’s contributions on the original masters, replacing them with Robert Trujillo on bass and Mike Bordin on drums. The albums were then reissued. The original tracks have since been restored in accordance with the 30th anniversary of those albums.

In July 2010, Osbourne and Tony Iommi decided to discontinue the court proceedings over ownership of the Black Sabbath trademark. As reported to Blabbermouth, “Both parties are glad to put this behind them and to cooperate for the future and would like it to be known that the issue was never personal, it was always business.”

 

Robert Von “Bobby” Hebb (July 26, 1938 – August 3, 2010) was an American R&B and soul singer, musician, songwriter, recording artist, and performer known for his 1966 hit entitled “Sunny“.

Biography

Hebb was born in Nashville, Tennessee. His parents, William and Ovalla Hebb, were both blind musicians. Hebb and older brother, Harold Hebb, performed as a song-and-dance team in Nashville beginning when Bobby was three and Harold was nine. Hebb performed on a TV show hosted by country music record producer Owen Bradley, which earned him a place with Grand Ole Opry star Roy Acuff.  Hebb played spoons and other instruments in Acuff’s band. Harold later became a member of Johnny Bragg and the Marigolds. Bobby Hebb sang backup on Bo Diddley’s “Diddley Daddy”. Hebb played “West-coast-style” trumpet in a United States Navy jazz band, and replaced Mickey Baker in Mickey and Sylvia.

On November 23, 1963, the day after John F. Kennedy’s a*sassination, Bobby Hebb’s brother, Harold, was killed in a knife fight outside a Nashville nightclub. Hebb was devastated by both events and sought comfort in songwriting. Though many claim that the song he wrote after both tragedies was the optimistic “Sunny”, Hebb himself stated otherwise. He immersed himself in the Gerald Wilson album, You Better Believe It!, for comfort.

All my intentions were just to think of happier times – basically looking for a brighter day – because times were at a low tide. After I wrote it, I thought “Sunny” just might be a different approach to what Johnny Bragg was talking about in “Just Walkin’ in the Rain“.

“Sunny” was recorded in New York City after demos were made with the record producer Jerry Ross. Released as a single in 1966, “Sunny” reached No. 3 on the R&B charts, No. 2 on the Billboard Hot 100, and No. 12 in the United Kingdom.[2][3][4] When Hebb toured with The Beatles in 1966 his “Sunny” was, at the time of the tour, ranked higher than any Beatles song then on the Billboard Hot 100 chart.[citation needed] BMI rated “Sunny” number 25 in its “Top 100 songs of the century”.

In 1976, Hebb released a newly recorded disco version entitled “Sunny ’76”. The single was a minor hit reaching No. 94 on the R&B chart.

Hebb also had lesser hits with his “A Satisfied Mind” in 1966 (No. 39 on the Billboard chart and No. 40 on the R&B chart) and “Love Me” in 1967 (No. 84), and wrote many other songs, including Lou Rawls’ 1971 hit “A Natural Man” (co-written with comedian Sandy Baron). Six years prior to “Sunny”, Hebb reached the New York City Top 50 with a remake of Roy Acuff’s “Night Train to Memphis”. In 1972, his single “Love Love Love” reached No. 32 on the UK charts.

After a recording gap of 35 years, Hebb recorded That’s All I Wanna Know, his first commercial release since Love Games for Epic Records in 1970. It was released in Europe in late 2005 by Tuition, a pop indie label. Two new duet versions of “Sunny” were issued, one with Astrid North and the other with Pat Appleton. In October 2008, he toured and played in Osaka and Tokyo in Japan.

Death

Hebb continued to live in his hometown of Nashville, Tennessee, until his death at age 72. On August 3, 2010, Hebb died from lung cancer while being treated at TriStar Centennial Medical Center, located in Nashville.[5] He is interred at Nashville’s Spring Hill Cemetery.

 

Danny Robert Worsnop (born 4 September 1990) is an English musician, singer, songwriter, vocal producer, and actor. Most prominently known as the lead vocalist of rock bands Asking Alexandria and We Are Harlot. He has worked with several artists including I See Stars, With One Last Breath, Breathe Carolina, Memphis May Fire, The Word Alive, All That Remains, and Testarossa, providing guest vocals on several songs.

Worsnop also maintains a solo music career. He released his debut solo full-length country-inspired studio album, The Long Road Home, in February 2017. Danny has since released his second studio album Shades of Blue on 10 May 2019 through Sumerian Records followed by two standalone singles “Another You” and “Happy”.

Early life

Danny Worsnop was born on 4 September 1990 in Beverley, England and grew up in the small village of Gilberdyke with his parents Philip and Sharon and his younger sister Kelly.  Worsnop himself has stated that his love for music started when he was a toddler when he would make “beats” using empty boxes and pots, but started playing instruments at the age of 8, his first being the violin and took lessons to play it, a year later learning the trumpet, and another year later he was playing at his local village school orchestra.  Eventually he would take up guitar and bass and became more influenced by rock and metal music, and was self-taught. He initially planned to join the military in hopes of becoming a sniper, however the success of Asking Alexandria’s debut album Stand Up and Scream convinced him to continue a music career.

Music career

2008–2015, 2016–present: Asking Alexandria

Although Ben Bruce originally formed the band in Dubai, United Arab Emirates in 2006, after he realized that he wouldn’t be able to achieve international success in Dubai, he moved to Nottingham in England in 2008 and reassembled the band with new members from the York area, including lead singer Danny Worsnop, Ben had moved in with Danny at his parents home Gilberdyke. He carried the name over due to not wanting to bother to come up with a brand new name, so he stuck with the old one. When asked why he chose that particular name, he explained that “‘Most bands have a pretty shit band name, so I just came up with something. I came up with Alexandria as a human name, because people relate to humans,” although the reason for using the word ‘asking’ is not explained.

The band released their first official debut album titled Stand Up and Scream in 2009 via Sumerian and Victory records, produced by Joey Sturgis.[12] Although it didn’t chart in the UK, it did chart in the US, peaking at 4 in the Top Heatseekers, 24 in the Top Hard Rock Albums and 29 in the Top Independent Albums. The band’s second album, titled Reckless and Relentless, was released in 2011 via Sumerian records, which again featured Joey Sturgis.[14] This time, the album did chart in the UK, peaking at 7 on the UK Rock Chart, and also charted in Australia at 30 on the Australian Albums Chart. They released their third album, titled From Death to Destiny in 2013 via Sumerian Records and peaked in the US at 5 and the Top Hard Rock Albums at 1,[13] and also charted in the UK at 28 and in Australia at 11, making it their most commercially successful album to date.

On 22 January 2015, Danny Worsnop announced on his departure from the band, stating that he wants what’s best for the band hence his departure, and also to focus on his new band We Are Harlot, despite this departure the band will be touring and also recording a new album, despite no further announcements being made about his replacement.  Fans reacted to news in distress as they believe he was essential to the band’s sound, while others were not surprised by his career move, some going as far to say he performs better with his new band We Are Harlot than he does with Asking Alexandria.

Worsnop himself has explained that he loved being a part of Asking Alexandria but he no longer wanted to create heavy music, stating that even if We Are Harlot didn’t exist, he would have left the band anyway.  He further commented that he also grew apart from the rest of the band musically and had reached a point where he wanted to do different things, hence the change from a metal band to a hard rock band. While Ben Bruce has admitted that the band is happier without Worsnop, he continued to show support for Asking Alexandria after they released their first single, “I Won’t Give In”, featuring Denis Stoff as the main vocalist with a positive response on his social media. When Worsnop was asked if he would ever return to making metal music online he responded with “Not opposed to it, but nothing planned at this point in time.”

On 21 October 2016, guitarist Ben Bruce confirmed that Worsnop had officially reunited with Asking Alexandria after parting ways with Stoff around 18 months.

2011–present: We Are Harlot

In multiple interviews Danny Worsnop mentioned this band and referred to it as ‘Harlot’, which he has explained that after touring with Asking Alexandria in 2013, he would be touring with this band and release an album, along with his solo album in the near future. The band was formed 3 years prior to the events of 2014 after Worsnop and Jeff George formerly of Sebastian Bach, who shared the same lawyer Eric German, had met in Los Angeles on New Year’s Eve, and within two days the pair bonded and moved in together as roommates at Worsnop’s Beverley Hills home.

After discussing their musical endeavours, Worsnop invited Bruno Agra, formerly of Revolution Renaissance, and the three started to make demos based on Agra’s former band. This was initially going to be used as material for Worsnop’s solo album, but once they met Brian Weaver from Silvertide, who became part of the band after they advertised the role for a full-time bassist, it grew into the band. The band released their debut album on 30 March 2015. When asked if he preferred to perform with We Are Harlot or Asking Alexandria, Worsnop said that he disliked that question and that they are two opposites, with the statement “It’s like comparing Aerosmith and Metallica.”

The band’s debut self-titled album was successfully released on 30 March and peaked in the US at 165 and in the UK at 58, it sold 5,000 copies in the US alone within its debut week and was well received by critics. The band recently stated that they will be releasing a second album in February, 2017, and despite Worsnop’s return to Asking Alexandria, they will not be sidelined in any way.

2011–present: Solo project

Worsnop is to be releasing a solo album, however since announcement in 2011 he had only released a 50-second clip of the song Photograph via YouTube.[ In an interview with Artisan News Service Danny has said that he is expecting to release the album by Easter of 2014. In a Facebook post on 20 December 2013, he also stated that he is working with producer Jay Ruston, and that the album would be released through Sumerian Records, however this is not the case after his announcements in 2016.

In September 2015 in an interview with Altpress he stated that he was in the middle of recording his album, and that was doing so with country and blues music in mind, stating that he was a country boy when he grew up in England. He has also worked with songwriters Hillary Lindsey and John Paul White, and is also working with producer Jim Kaufman. He also stated that his solo project will include music videos and hopes it will be a success, however admitted that there are no plans to tour per se. In early December Worsnop officially announced that his debut solo album will in fact be released in 2016, and gave insight on the album’s lyrical and musical influences, such as the fact that the album will include his past dealings with drugs, alcoholism, and his rehabilitation along with his other “dark demons”.

He goes on to say that he wrote the album intensely in a week and recorded the whole album live and raw in his Kaufman’s living room, he also funded the project himself and oversaw every single aspect of the album’s making, including its artwork of which he created and the music videos which he had written and directed himself, the album’s recording officially ended in early February. Later the same month he released an album cover and the album’s title, “The Prozac Sessions” and stated that he was in Nashville to find a label to release the album on. He also mentioned that there will be four variations of the album’s artwork and possibly variations of bonus tracks to accommodate them. In early March Worsnop unveiled a series of song teasers and all four album covers on his website, and stated on his social media that he will be announcing debut live performances soon.

The first single released off of the album was “I Got Bones” in early April 2016, and was accompanied by a music video. The song itself is considered to be mostly country with blues mixed in, with Worsnop’s vocals delivering some more powerful moments. Along with the single release the album itself became available for preorder.

On 26 September 2016, Worsnop announced through an Instagram post that the upcoming album will no longer be called The Prozac Sessions due to legal reasons. The name was changed to The Long Road Home.

On 10 May 2019, Danny released his second solo album Shades of Blue through Sumerian Records with more music in the works for an upcoming 2020 album release, including new singles “Another You” and “Happy”, which Danny says “a song I wrote about my never being content or satisfied. My constant need to do more and be better. The want to be able to slow down but the awareness that I never will.”

Other media

Worsnop has written an autobiography titled “Am I Insane?”,[1] which has not been released yet. An excerpt of it was released on 31 July 2013. In an interview with Wayde Flowerday of MusicReview.co.za, Danny stated that he had been working on the book for two years, and it should hopefully be ready by sometime in 2015.

In his biography on his website, he has stated that he is also a photographer and that he will be releasing some of his works on charity auctions at some point in the future. Danny has said in a Facebook post that he is organising an auction for 2014.

In February 2015 Worsnop made his first film acting debut as a guest star in a film created by Sumerian Records titled “What Now” written and directed by Ash Avildsen, owner of the record company. Later in the year it was also announced that he would have a role in the latest The Devil’s Carnival film, Alleluia! The Devil’s Carnival, stating that Darren Bousman, Terrance Zdunich and Sean DeMott invited him to the first film’s premiere in Los Angeles, after which he was invited to be in its sequel, while he was excited he had to cancel since it initially clashed with tour times, however, after the tour was cancelled he asked to be involved again and was written into the film to play the part of the blacksmith-type character called “the Smith”. After his involvement he went and got a manager and an agent and is looking for another project. He has also appeared in Average Joe, a comedy on YouTube, written and produced by Andy Biersack’s cousin, Joe Flanders.

Personal life

Worsnop has had a history of substance abuse and alcoholism, even appearing intoxicated during a 2011 performance by Asking Alexandria, which eventually led to Worsnop seeking help via drug rehabilitation.[1][53] Snippets from the audio of the incident were included on the intro part of the song “Don’t Pray for Me” from the band’s third studio album From Death to Destiny, released in 2013. In 2012, in between numerous sporadic recording sessions of the album, he suffered a near-death drug overdose, to which he dedicated the song “Room 138”, released as a closing track on the band’s self-titled fifth album in 2017. According to Ben Bruce, Worsnop re-joined the band in 2016 “completely sober”.

During his initial leaving of Asking Alexandria in January 2015, he fell into conflict with some of the other members, particularly Ben Bruce, who was said to be his “best friend”. Their friendship rekindled in 2016, leading to his rejoining of Asking Alexandria.

From 2016 to 2017 Worsnop was in a relationship with a Nashville-based country singer Sarah Ross. He performs guest vocals on the song “All I Want To Know” from her Nervous Breakdown EP released in 2018.

On 12 January 2018, during a VIP meet and greet session before the show in Kansas City, Missouri, Worsnop met Victoria Potter, an active member of the United States Navy personnel at the time; the two began dating later that month.[59] On 5 August 2018, during a show in Columbus, Ohio, Worsnop proposed to Potter.

Having moved to the United States in 2009, Worsnop currently resides in Jacksonville, Florida with his wife, Victoria, and three golden retriever dogs.  As a legal gun owner, he supports the Second Amendment.

 

Neil Percival Young OC OM[4][5] (born November 12, 1945) is a Canadian-American singer-songwriter, musician, and activist. After embarking on a music career in the 1960s, he moved to Los Angeles, joining Buffalo Springfield with Stephen Stills, Richie Furay and others. Since his early solo albums and those with his backing band Crazy Horse, Young has been prolific, recording a steady stream of studio and live albums.

Young has received several Grammy and Juno Awards. The Rock and Roll Hall of Fame inducted him twice: in 1995 as a solo artist and in 1997 as a member of Buffalo Springfield.[6] In 2000, Rolling Stone named Young the 34th greatest rock ‘n roll artist. His guitar work, deeply personal lyrics[7][8][9] and signature tenor singing voice[10][11] define his long career. He also plays piano and harmonica on many albums, which frequently combine folk, rock, country and other musical styles. His often distorted electric guitar playing, especially with Crazy Horse, earned him the nickname “Godfather of Grunge”[12] and led to his 1995 album Mirror Ball with Pearl Jam. More recently he has been backed by Promise of the Real.[13] His 21 albums and singles have been certified Gold and Platinum in U.S by RIAA certification.[14]

Young directed (or co-directed) films using the pseudonym Bernard Shakey, including Journey Through the Past (1973), Rust Never Sleeps (1979), Human Highway (1982), Greendale (2003), and CSNY/Déjà Vu (2008). He also contributed to the soundtracks of the films Philadelphia (1993) and Dead Man (1995).

Young has lived in California since the 1960s but retains Canadian citizenship.[15] He was awarded the Order of Manitoba on July 14, 2006,[5] and was made an Officer of the Order of Canada on December 30, 2009.[4] He became a United States citizen, taking dual citizenship, on January 22, 2020.

Early life (1945–1963)

Neil Young[19] was born on November 12, 1945, in Toronto, Ontario.[20][21] His father, Scott Alexander Young (1918–2005), was a journalist and sportswriter who also wrote fiction.[22] His mother, Edna Blow Ragland “Rassy” Young (1918–1990) was a member of the Daughters of the American Revolution.[23] Although Canadian, his mother had American and French ancestry.[24] Young’s parents married in 1940 in Winnipeg, Manitoba, and their first son, Robert “Bob” Young, was born in 1942. Shortly after Young’s birth in 1945, his family moved to rural Omemee, Ontario, which Young later described fondly as a “sleepy little place”.[25] Young suffered from polio in 1952 during the last major outbreak of the disease in Ontario[26] (the Canadian singer-songwriter Joni Mitchell, then aged nine, also contracted the virus during this epidemic).[27] After his recovery, the Young family vacationed in Florida. During that period, Young briefly attended Faulkner Elementary School in New Smyrna Beach, Florida. In 1952, upon returning to Canada, Young moved from Omemee to Winnipeg for a year, before relocating to Toronto (1957–1960) and Pickering (1956). Young became interested in popular music he heard on the radio.[28] When Young was twelve, his father, who had had several extramarital affairs, left his mother. His mother asked for a divorce, which was granted in 1960.[29] Young went to live with his mother, who moved back to Winnipeg, while his brother Bob stayed with his father in Toronto.

During the mid-1950s, Young listened to rock ‘n roll, rockabilly, doo-wop, R&B, country, and western pop. He idolized Elvis Presley and later referred to him in a number of his songs.[32] Other early musical influences included Link Wray,[33] Jimmy Gilmer and the Fireballs, The Ventures, Cliff Richard and the Shadows,[34] Chuck Berry, Hank Marvin, Little Richard, Fats Domino, The Chantels, The Monotones, Ronnie Self, the Fleetwoods, Jerry Lee Lewis, Johnny Cash, Roy Orbison and Gogi Grant.[35] Young first began to play music himself on a plastic ukulele, before, as he would later relate, going on to “a better ukulele to a banjo ukulele to a baritone ukulele – everything but a guitar.”

Career

Early career (1963–1966)

Young and his mother settled into the working-class area of Fort Rouge, Winnipeg, where the shy, dry-humoured youth enrolled at Earl Grey Junior High School. It was there that he formed his first band, the Jades, and met Ken Koblun. While attending Kelvin High School in Winnipeg, he played in several instrumental rock bands, eventually dropping out of school in favour of a musical career.[37] Young’s first stable band was The Squires, with Ken Koblun, Jeff Wuckert and Bill Edmondson on drums, who had a local hit called “The Sultan”. The band played in Fort William (now part of the city of Thunder Bay, Ontario), where they recorded a series of demos produced by a local producer, Ray Dee, who Young called “the original Briggs”.[38] While playing at The Flamingo, Young met Stephen Stills, whose band the Company was playing the same venue, and they became friends.[39] The Squires played in several dance halls and clubs in Winnipeg and Ontario.[40]

After leaving the Squires, Young worked folk clubs in Winnipeg, where he first met Joni Mitchell.[41] Mitchell recalls Young as having been highly influenced by Bob Dylan at the time.[42] Here he wrote some of his earliest and most enduring folk songs such as “Sugar Mountain”, about lost youth. Mitchell wrote “The Circle Game” in response.[43] The Winnipeg band The Guess Who (with Randy Bachman as lead guitarist) had a Canadian Top 40 hit with Young’s “Flying on the Ground is Wrong”, which was Young’s first major success as a songwriter.[44]

In 1965, Young toured Canada as a solo artist. In 1966, while in Toronto, he joined the Rick James-fronted Mynah Birds. The band managed to secure a record deal with the Motown label, but as their first album was being recorded, James was arrested for being AWOL from the Navy Reserve.[45] After the Mynah Birds disbanded, Young and the bass player Bruce Palmer decided to pawn the group’s musical equipment and buy a Pontiac hearse, which they used to relocate to Los Angeles.[46] Young admitted in a 2009 interview that he was in the United States illegally until he received a “green card” (permanent residency permit) in 1970.

Buffalo Springfield (1966–1968)

Once they reached Los Angeles, Young and Palmer met up with Stephen Stills and Richie Furay after a chance encounter in traffic on Sunset Boulevard.[46] Along with Dewey Martin, they formed Buffalo Springfield. A mixture of folk, country, psychedelia, and rock, lent a hard edge by the twin lead guitars of Stills and Young, made Buffalo Springfield a critical success, and their first record Buffalo Springfield (1966) sold well after Stills’ topical song “For What It’s Worth” became a hit, aided by Young’s melodic harmonics played on electric guitar. According to Rolling Stone, the Rock and Roll Hall of Fame and other sources, Buffalo Springfield helped create the genres of folk rock and country rock.[48]

Distrust of their management, as well as the arrest and deportation of Palmer, worsened the already strained relations among the group members and led to Buffalo Springfield’s demise. A second album, Buffalo Springfield Again, was released in late 1967, but two of Young’s three contributions were solo tracks recorded apart from the rest of the group.

From that album, “Mr. Soul” was the only Young song of the three that all five members of the group performed together. “Broken Arrow” features snippets of sound from other sources, including opening the song with a soundbite of Dewey Martin singing “Mr. Soul” and closing it with the thumping of a heartbeat. “Expecting to Fly” featured a string arrangement that Young’s co-producer for the track, Jack Nitzsche, dubbed “symphonic pop”.[citation needed]

In May 1968, the band split up for good, but to fulfill a contractual obligation, a final studio album, Last Time Around, was released. The album was primarily composed of recordings made earlier that year. Young contributed the songs “On the Way Home” and “I Am a Child”, singing lead on the latter. In 1997, the band was inducted into the Rock and Roll Hall of Fame; Young did not appear at the ceremony. The three surviving members, Furay, Stills, and Young, appeared together as Buffalo Springfield at Young’s annual Bridge School Benefit on October 23–24, 2010, and at Bonnaroo in the summer of 2011. Young also played as a studio session guitarist for some 1968 recordings by The Monkees which appeared on the Head and Instant Replay albums.

Going solo, Crazy Horse (1968–1969)

After the break-up of Buffalo Springfield, Young signed a solo deal with Reprise Records, home of his colleague and friend Joni Mitchell, with whom he shared a manager, Elliot Roberts, who managed Young until his death in 2019. Young and Roberts immediately began work on Young’s first solo record, Neil Young (January 22, 1969),[50] which received mixed reviews. In a 1970 interview,[51] Young deprecated the album as being “overdubbed rather than played.” The album contains songs that remain a staple of his live shows including “The Loner.”

For his next album, Young recruited three musicians from a band called The Rockets: Danny Whitten on guitar, Billy Talbot on bass guitar, and Ralph Molina on drums. These three took the name Crazy Horse (after the historical figure of the same name), and Everybody Knows This Is Nowhere (May 1969), is credited to “Neil Young with Crazy Horse.” Recorded in just two weeks, the album includes “Cinnamon Girl”, “Cowgirl in the Sand”, and “Down by the River.” Young reportedly wrote all three songs in bed on the same day while nursing a high fever of 103 °F (39 °C).

Crosby, Stills, Nash, and Young (1969–1970)

Shortly after the release of Everybody Knows This Is Nowhere, Young reunited with Stephen Stills by joining Crosby, Stills & Nash, who had already released one album Crosby, Stills & Nash as a trio in May 1969. Young was originally offered a position as a sideman, but agreed to join only if he received full membership, and the group – winners of the 1969 “Best New Artist” Grammy Award – was renamed Crosby, Stills, Nash & Young.[53] The quartet debuted in Chicago on August 16, 1969, and later performed at the famous Woodstock Festival, during which Young skipped the majority of the acoustic set and refused to be filmed during the electric set, even telling the cameramen: “One of you f*ckin’ guys comes near me and I’m gonna f*ckin’ hit you with my guitar”.[54] During the making of their first album, Déjà Vu (March 11, 1970), the musicians frequently argued, particularly Young and Stills, who both fought for control. Stills continued throughout their lifelong relationship to criticize Young, saying that he “wanted to play folk music in a rock band.”[55] Despite the tension, Young’s tenure with CSN&Y coincided with the band’s most creative and successful period, and greatly contributed to his subsequent success as a solo artist.

Young wrote “Ohio” following the Kent State massacre on May 4, 1970. The song was quickly recorded by CSN&Y and immediately released as a single, even though CSN&Y’s “Teach Your Children” was still climbing the singles charts.

After the Gold Rush, acoustic tour and Harvest (1970–1972)

Later in the year, Young released his third solo album, After the Gold Rush (August 31, 1970), which featured, among others, Nils Lofgren, Stephen Stills, and CSNY bassist Greg Reeves. Young also recorded some tracks with Crazy Horse, but dismissed them early in the sessions. The eventual recording was less amplified than Everybody Knows This is Nowhere, with a wider range of sounds. Young’s newfound fame with CSNY made the album his commercial breakthrough as a solo artist, and it contains some of his best known work, including “Tell Me Why” and “Don’t Let It Bring You Down”, the country-influenced singles “Only Love Can Break Your Heart” and “When You Dance I Can Really Love”, and the title track, “After the Gold Rush”, played on piano, with dream-like lyrics that ran a gamut of subjects from drugs and interpersonal relationships to environmental concerns. Young’s bitter condemnation of racism in the heavy blues-rock song “Southern Man” (along with a later song entitled “Alabama”) was also controversial with southerners in an era of desegregation, prompting Lynyrd Skynyrd to decry Young by name in the lyrics to their hit “Sweet Home Alabama.” However, Young said he was a fan of Skynyrd’s music, and the band’s front man Ronnie Van Zant was later photographed wearing a Tonight’s the Night T-shirt on the cover of an album.

In the autumn of 1970, Young began a solo acoustic tour of North America, during which he played a variety of his Buffalo Springfield and CSNY songs on guitar and piano, along with material from his solo albums and a number of new songs. Some songs premiered by Young on the tour, like “Journey through the Past”, would never find a home on a studio album, while other songs, like “See the Sky About to Rain”, would only be released in coming years. With CSNY splitting up and Crazy Horse having signed their own record deal, Young’s tour, now entitled “Journey Through the Past”, continued into early 1971, and its focus shifted more to newer songs he had been writing; he famously remarked that having written so many, he could not think of anything to do but play them. Many gigs were sold out, including concerts at Carnegie Hall and a pair of acclaimed hometown shows at Toronto’s Massey Hall, which were taped for a planned live album. The shows became legendary among Young fans, and the recordings were officially released nearly 40 years later as an official bootleg in Young’s Archive series.

Near the end of his tour, Young performed one of the new acoustic songs on the Johnny Cash TV show. “The Needle and the Damage Done”, a somber lament on the pain caused by heroin addiction, had been inspired in part by Crazy Horse member Danny Whitten, who eventually died while battling his drug problems.[56][57] While in Nashville for the Cash taping, Young accepted the invitation of Quadrafonic Sound Studios owner Elliot Mazer to record tracks there with a group of country-music session musicians who were pulled together at the last minute. Making a connection with them, he christened them The Stray Gators, and began playing with them. Befitting the immediacy of the project, Linda Ronstadt and James Taylor were brought in from the Cash taping to do background vocals. Against the advice of his producer David Briggs, he scrapped plans for the imminent release[58] of the live acoustic recording in favour of a studio album consisting of the Nashville sessions, electric-guitar oriented sessions recorded later in his barn, and two recordings made with the London Symphony Orchestra at Barking (credited as Barking Town Hall and now the Broadway Theatre) during March 1971.[59] The result was Young’s fourth album, Harvest (February 14, 1972). The only remnant left of the original live concept was the album’s live acoustic performance of “Needle and the Damage Done.”

After his success with CSNY, Young purchased a ranch in the rural hills above Woodside and Redwood City in Northern California (“Broken Arrow Ranch”, where he lived until his divorce in 2014.[60]). He wrote the song “Old Man” in honor of the land’s longtime caretaker, Louis Avila. The song “A Man Needs a Maid” was inspired by his relationship with actress Carrie Snodgress. “Heart of Gold” was released as the first single from Harvest, the only No. 1 hit in his career. “Old Man” was also popular.

The album’s recording had been almost accidental. Its mainstream success caught Young off guard, and his first instinct was to back away from stardom. In the Decade (1977) compilation, Young chose to include his greatest hits from the period, but his handwritten liner notes famously described “Heart of Gold” as the song that “put me in the middle of the road. Traveling there soon became a bore, so I headed for the ditch. A rougher ride but I saw more interesting people there.”

The “Ditch” Trilogy and personal struggles (1972–1974)

Although a new tour with The Stray Gators (now augmented by Danny Whitten) had been planned to follow up on the success of Harvest, it became apparent during rehearsals that Whitten could not function due to drug abuse. On November 18, 1972, shortly after he was fired from the tour preparations, Whitten was found dead of an apparent alcohol/diazepam overdose. Young described the incident to Rolling Stone’s Cameron Crowe in 1975:[61] “[We] were rehearsing with him and he just couldn’t cut it. He couldn’t remember anything. He was too out of it. Too far gone. I had to tell him to go back to L.A. ‘It’s not happening, man. You’re not together enough.’ He just said, ‘I’ve got nowhere else to go, man. How am I gonna tell my friends?’ And he split. That night the coroner called me from L.A. and told me he’d OD’d. That blew my mind. I loved Danny. I felt responsible. And from there, I had to go right out on this huge tour of huge arenas. I was very nervous and … insecure.”

On the tour, Young struggled with his voice and the performance of drummer Kenny Buttrey, a noted Nashville session musician who was unaccustomed to performing in the hard rock milieu; Buttrey was eventually replaced by former CSNY drummer Johnny Barbata, while David Crosby and Graham Nash contributed rhythm guitar and backing vocals to the final dates of the tour. The album a*sembled in the aftermath of this incident, Time Fades Away (October 15, 1973), has often been described by Young as “[his] least favorite record”, and was not officially released on CD until 2017 (as part of Young’s Official Release Series). Nevertheless, Young and his band tried several new musical approaches in this period. Time Fades Away, for instance, was recorded live, although it was an album of new material, an approach Young would repeat with more success later on. Time was the first of three consecutive commercial failures which would later become known collectively to fans as the “Ditch Trilogy”, as contrasted with the more middle-of-the-road pop of Harvest (1972).[62] These subsequent albums were seen as more challenging expressions of Young’s inner conflicts on achieving success, expressing both the specific struggles of his friends and himself, and the decaying idealism of his generation in America at the time.

In the second half of 1973, Young formed The Santa Monica Flyers, with Crazy Horse’s rhythm section augmented by Nils Lofgren on guitar and piano and Harvest/Time Fades Away veteran Ben Keith on pedal steel guitar. Deeply affected by the drug-induced deaths of Whitten and roadie Bruce Berry, Young recorded an album specifically inspired by the incidents, Tonight’s the Night (June 20, 1975). The album’s dark tone and rawness led Reprise to delay its release and Young had to pressure them for two years before they would do so.[63] While his record company was stalling, Young recorded another album, On the Beach (July 16, 1974), which presented a more melodic, acoustic sound at times, including a recording of the older song “See the Sky About to Rain”, but dealt with similarly dark themes such as the collapse of 1960s folk ideals, the downside of success and the underbelly of the Californian lifestyle. Like Time Fades Away, it sold poorly but eventually became a critical favorite, presenting some of Young’s most original work. A review of the 2003 re-release on CD of On the Beach described the music as “mesmerizing, harrowing, lucid, and bleary”.[64]

After completing On the Beach, Young reunited with Harvest producer Elliot Mazer to record another acoustic album, Homegrown. Most of the songs were written after Young’s break-up with Carrie Snodgress, and thus the tone of the album was somewhat dark. Though Homegrown was reportedly entirely complete, Young decided, not for the first or last time in his career, to drop it and release something else instead, in this case, Tonight’s the Night, at the suggestion of Band bassist Rick Danko.[65] Young further explained his move by saying: “It was a little too personal … it scared me”.[65] Most of the songs from Homegrown were later incorporated into other Young albums while the original album was not released until 2020. Tonight’s the Night, when finally released in 1975, sold poorly, as had the previous albums of the “ditch” trilogy, and received mixed reviews at the time, but is now regarded as a landmark album. In Young’s own opinion, it was the closest he ever came to art.

Reunions, retrospectives and Rust Never Sleeps (1974–1979)

Young reunited with Crosby, Stills, and Nash after a four-year hiatus in the summer of 1974 for a concert tour which was recorded and released in 2014 as CSNY 1974. It was one of the first ever stadium tours, and the largest tour in which Young has participated to date.[67]

In 1975, Young reformed Crazy Horse with Frank Sampedro on guitar as his backup band for his eighth album, Zuma (November 10, 1975). Many of the songs dealt with the theme of failed relationships; “Cortez the Killer”, a retelling of the Spanish conquest of Mexico from the viewpoint of the Aztecs, may also be heard as an allegory of love lost. Zuma’s closing track, “Through My Sails”, was the only released fragment from aborted sessions with Crosby, Stills and Nash for another group album.

In 1976, Young reunited with Stephen Stills for the album Long May You Run (September 20, 1976), credited to The Stills-Young Band; the follow-up tour was ended midway through by Young, who sent Stills a telegram that read: “Funny how some things that start spontaneously end that way. Eat a peach, Neil.”

In 1976, Young performed with Bob Dylan, Joni Mitchell, and numerous other rock musicians in the high-profile all-star concert The Last Waltz, the final performance by The Band. The release of Martin Scorsese’s movie of the concert was delayed while Scorsese unwillingly re-edited it to obscure the lump of cocaine that was clearly visible hanging from Young’s nose during his performance of “Helpless”.[69] American Stars ‘n Bars (June 13, 1977) contained two songs originally recorded for the Homegrown album, “Homegrown” and “Star of Bethlehem”, as well as newer material, including the future concert staple “Like a Hurricane”. Performers on the record included Linda Ronstadt, Emmylou Harris and Young protégé Nicolette Larson along with Crazy Horse. In 1977, Young also released the compilation Decade, a personally selected set of songs spanning every aspect of his work, including a handful of previously unreleased songs. The record included less commercial album tracks alongside radio hits.

Comes a Time (October 2, 1978), Young’s first entirely new solo recording since the mid-1970s, also featured Larson and Crazy Horse. The album became Young’s most commercially accessible album in quite some time and marked a return to his folk roots, including a cover of Ian Tyson’s “Four Strong Winds”, a song Young a*sociated with his childhood in Canada. Another of the album’s songs, “Lotta Love”, was also recorded by Larson, with her version reaching number 8 on the Billboard Hot 100 in February 1979. In 1978, much of the filming was done for Young’s film Human Highway, which took its name from a song featured on Comes a Time. Over four years, Young would spend $3,000,000 of his own money on production (US$11,759,694 in 2019 dollars[70]). This also marked the beginning of his brief collaboration with the post-punk band Devo, whose members appeared in the film.[71]

Young set out in 1978 on the lengthy “Rust Never Sleeps” tour, in which he played a wealth of new material. Each concert was divided into a solo acoustic set and an electric set with Crazy Horse. The electric sets, featuring an abrasive style of playing, were influenced by the punk rock zeitgeist of the late 1970s and, provided a stark contrast from Young’s previous, folk-inspired album Comes a Time.[72] Two new songs, the acoustic “My My, Hey Hey (Out of the Blue)” and electric “Hey Hey, My My (Into the Black)” were the centerpiece of the new material. Young had collaborated with the art punk band Devo on a cacophonous version of Hey Hey, My My at the Different Fur studio in San Francisco and, would later introduce the song to Crazy Horse.[73] The lyrics, “It’s better to burn out than to fade away.” were widely quoted by his peers and by critics.[73] The album has also widely been considered a precursor of grunge music and many grunge artists have said they were inspired by Young’s distorted guitars on the B side to this album. Young also compared the rise of Johnny Rotten with that of the recently deceased “King” Elvis Presley, who himself had once been disparaged as a dangerous influence only to later become an icon. Rotten returned the favour by playing one of Young’s songs, “Revolution Blues” from On the Beach, on a London radio show, an early sign of Young’s eventual embrace by a number of punk-influenced alternative musicians.[74]

Young’s two accompanying albums Rust Never Sleeps (July 2, 1979; new material, culled from live recordings, but featuring studio overdubs) and Live Rust (November 19, 1979) (a mixture of old and new, and a genuine concert recording) captured the two sides of the concerts, with solo acoustic songs on side A, and fierce, uptempo, electric songs on side B. A movie version of the concerts, also called Rust Never Sleeps (1979), was directed by Young under the pseudonym “Bernard Shakey”. Young worked with rock artist Jim Evans to create the poster art for the film, using the Star Wars Jawas as a theme. Young’s work since Harvest (1972) had alternated between being rejected by mass audiences and being seen as backward-looking by critics, sometimes both at once, and now he was suddenly viewed as relevant by a new generation, who began to discover his earlier work. Readers and critics of Rolling Stone voted him Artist of the Year for 1979 (along with The Who), selected Rust Never Sleeps as Album of the Year, and voted him Male Vocalist of the Year as well.[75] The Village Voice named Rust Never Sleeps as the year’s winner in the Pazz & Jop Poll, a survey of nationwide critics, and honored Young as the Artist of the Decade. The Warner Music Vision release on VHS of Rust Never Sleeps in 1987 had a running time of 116 minutes, and although fully manufactured in Germany, was initially imported from there by the markets throughout Europe.

Experimental years (1980–1988)

At the start of the decade, distracted by medical concerns relating to the cerebral palsy of his son, Ben, Young had little time to spend on writing and recording.[76] After providing the incidental music to a 1980 biographical film of Hunter S. Thompson entitled Where the Buffalo Roam, Young released Hawks & Doves (November 3, 1980), a short record pieced together from sessions going back to 1974.[76]

1981’s Re·ac·tor, an electric album recorded with Crazy Horse, also included material from the 1970s.[77] Young did not tour in support of either album; in total, he played only one show, a set at the 1980 Bread and Roses Festival in Berkeley,[78] between the end of his 1978 tour with Crazy Horse and the start of his tour with the Trans Band in mid-1982.[citation needed]

The 1982 album Trans, which incorporated vocoders, synthesizers, and electronic beats, was Young’s first for the new label Geffen Records (distributed at the time by Warner Bros. Records, whose parent Warner Music Group owns most of Young’s solo and band catalogue) and represented a distinct stylistic departure. Young later revealed that an inspiration for the album was the theme of technology and communication with his son Ben, who has severe cerebral palsy and cannot speak.[80] An extensive tour preceded the release of the album, and was documented by the video Neil Young in Berlin, which saw release in 1986. MTV played the video for “Sample and Hold” in light rotation. The entire song contained “robot vocals” by Young and Nils Lofgren.[citation needed] The song “After Berlin” as seen in that video, was the only time Neil Young has ever performed the song.

Young’s next album, 1983’s Everybody’s Rockin’, included several rockabilly covers and clocked in at less than twenty-five minutes in length. Young was backed by the Shocking Pinks for the supporting US tour. Trans (1982) had already drawn the ire of label head David Geffen for its lack of commercial appeal, and with Everybody’s Rockin’ following only seven months later, Geffen Records sued Young for making music “unrepresentative” of himself.[81] The album was also notable as the first for which Young made commercial music videos – Tim Pope directed the videos for “Wonderin'” and “Cry, Cry, Cry”. Also premiered in 1983, though little seen, was Human Highway. Co-directed and co-written by Young, the long-gestating eclectic comedy starred Young, Dean Stockwell, Russ Tamblyn, Dennis Hopper, David Blue, Sally Kirkland, Charlotte Stewart and members of Devo.[citation needed]

The first year without a Neil Young album since the start of Young’s musical career with Buffalo Springfield in 1966 was in 1984. Young’s lack of productivity was largely due to the ongoing legal battle with Geffen, although he was also frustrated that the label had rejected his 1982 country album Old Ways.[82] It was also the year when Young’s third child was born, a girl named Amber Jean. Later diagnosed with inherited epilepsy, Amber Jean was Neil and Pegi’s second child together.[citation needed]

Young spent most of 1984 and all of 1985 touring for Old Ways (August 12, 1985) with his country band, the International Harvesters. The album was finally released in an altered form midway through 1985. Young also appeared at that year’s Live Aid concert in Philadelphia, collaborating with Crosby, Stills and Nash for the quartet’s first performance for a paying audience in over ten years.[citation needed]

Young’s last two albums for Geffen were more conventional in the genre, although they incorporated production techniques like synthesizers and echoing drums that were previously uncommon in Young’s music. Young recorded 1986’s Landing on Water without Crazy Horse but reunited with the band for the subsequent year-long tour and final Geffen album, Life, which emerged in 1987. Young’s album sales dwindled steadily throughout the eighties; today Life remains his all-time-least successful studio album, with an estimated four hundred thousand sales worldwide.[83]

Switching back to his old label Reprise Records, Young continued to tour relentlessly, a*sembling a new blues band called The Bluenotes in mid-1987 (a legal dispute with musician Harold Melvin forced the eventual rechristening of the band as Ten Men Working midway through the tour). The addition of a brass section provided a new jazzier sound, and the title track of 1988’s This Note’s For You became Young’s first hit single of the decade. Accompanied by a video that parodied corporate rock, the pretensions of advertising, and Michael Jackson, the song was initially unofficially banned by MTV for mentioning the brand names of some of their sponsors. Young wrote an open letter, “What does the M in MTV stand for: music or money?” Despite this, the video was eventually named best video of the year by the network in 1989.[84] By comparison, the major music cable network of Young’s home nation, Muchmusic, ran the video immediately.[citation needed]

Young reunited with Crosby, Stills, and Nash to record the 1988 album American Dream and play two benefit concerts late in the year, but the group did not embark upon a full tour. The album was only the second-ever studio record for the quartet.

Return to prominence (1989–1999)

Young’s 1989 single “Rockin’ in the Free World”, which hit No. 2 on the US mainstream-rock charts, and accompanying the album, Freedom, rocketed him back into the popular consciousness after a decade of sometimes-difficult genre experiments. The album’s lyrics were often overtly political; “Rockin’ in the Free World” deals with homelessness, terrorism, and environmental degradation, implicitly criticizing the government policies of President George H.W. Bush.[85]

The use of heavy feedback and distortion on several Freedom tracks was reminiscent of the Rust Never Sleeps (1979) album and foreshadowed the imminent rise of grunge. The rising stars of the genre, including Nirvana’s Kurt Cobain and Pearl Jam’s Eddie Vedder, frequently cited Young as a major influence, contributing to his popular revival. A tribute album called The Bridge: A Tribute to Neil Young was released in 1989, featuring covers by alternative and grunge acts including Sonic Youth, Nick Cave, Soul Asylum, Dinosaur Jr, and the Pixies.

Young’s 1990 album Ragged Glory, recorded with Crazy Horse in a barn on his Northern California ranch, continued this distortion-heavy esthetic. Young toured for the album with Orange County, California country-punk band Social Distortion and alternative rock pioneers Sonic Youth as support, much to the consternation of many of his old fans.[86] Weld, a two-disc live album documenting the tour, was released in 1991.[86] Sonic Youth’s influence was most evident on Arc, a 35-minute collage of feedback and distortion spliced together at the suggestion of Sonic Youth’s Thurston Moore and originally packaged with some versions of Weld.[86]

1992’s Harvest Moon marked an abrupt return to the country and folk-rock stylings of Harvest (1972) and reunited him with some of the musicians from that album, including singers Linda Ronstadt and James Taylor. The title track was a minor hit, and the record was well received by critics, winning the Juno Award for Album of the Year in 1994. Young also contributed to Randy Bachman’s nostalgic 1992 tune “Prairie Town”, and garnered a 1993 Academy Award nomination for his song “Philadelphia”, from the soundtrack of the Jonathan Demme movie of the same name. An MTV Unplugged performance and album emerged in 1993. Later that year, Young collaborated with Booker T. and the M.G.s for a summer tour of Europe and North America, with Blues Traveler, Soundgarden, and Pearl Jam also on the bill. Some European shows ended with a rendition of “Rockin’ in the Free World” played with Pearl Jam, foreshadowing their eventual full-scale collaboration two years later.

In 1994 Young again collaborated with Crazy Horse for Sleeps with Angels, a record whose dark, somber mood was influenced by Kurt Cobain’s death earlier that year: the title track in particular dealt with Cobain’s life and death, without mentioning him by name. Cobain had quoted Young’s lyric “It’s better to burn out than fade away” (a line from “My My, Hey Hey”) in his suicide note. Young had reportedly made repeated attempts to contact Cobain prior to his death.[87] Young and Pearl Jam performed “Act of Love” at an abortion rights benefit along with Crazy Horse, and were present at a Rock and Roll Hall of Fame dinner, sparking interest in a collaboration between the two.[88] Still enamored with the grunge scene, Young reconnected with Pearl Jam in 1995 for the live-in-the-studio album Mirror Ball and a tour of Europe with the band and producer Brendan O’Brien backing Young. 1995 also marked Young’s induction into the Rock and Roll Hall of Fame, where he was inducted by Eddie Vedder.

 

Young has consistently demonstrated the unbridled passion of an artist who understands that self-renewal is the only way to avoid burning out. For this reason, he has remained one of the most significant artists of the rock and roll era.

— Rock and Roll Hall of Fame website.

Elvis Aaron Presley (January 8, 1935 – August 16, 1977), also known simply as Elvis, was an American singer, musician and actor. He is regarded as one of the most significant cultural icons of the 20th century and is often referred to as the “King of Rock and Roll” or simply “the King”. His energized interpretations of songs and sexually provocative performance style, combined with a singularly potent mix of influences across color lines during a transformative era in race relations, led him to great success—and initial controversy.

Presley was born in Tupelo, Mississippi, and relocated to Memphis, Tennessee, with his family when he was 13 years old. His music career began there in 1954, recording at Sun Records with producer Sam Phillips, who wanted to bring the sound of African-American music to a wider audience. Presley, on rhythm acoustic guitar, and accompanied by lead guitarist Scotty Moore and bassist Bill Black, was a pioneer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues. In 1955, drummer D. J. Fontana joined to complete the lineup of Presley’s classic quartet and RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who would manage him for more than two decades. Presley’s first RCA single, “Heartbreak Hotel”, was released in January 1956 and became a number-one hit in the United States. With a series of successful network television appearances and chart-topping records, he became the leading figure of the newly popular sound of rock and roll.

In November 1956, Presley made his film debut in Love Me Tender. Drafted into military service in 1958, Presley relaunched his recording career two years later with some of his most commercially successful work. He held few concerts, however, and guided by Parker, proceeded to devote much of the 1960s to making Hollywood films and soundtrack albums, most of them critically derided. In 1968, following a seven-year break from live performances, he returned to the stage in the acclaimed television comeback special Elvis, which led to an extended Las Vegas concert residency and a string of highly profitable tours. In 1973, Presley gave the first concert by a solo artist to be broadcast around the world, Aloha from Hawaii. Years of prescription drug abuse severely compromised his health, and he died suddenly in 1977 at his Graceland estate at the age of 42.

With his rise from poverty to significant fame, Presley’s success seemed to epitomize the American Dream. He is the best-selling solo music artist of all time, and was commercially successful in many genres, including pop, country, R&B, adult contemporary, and gospel. He won three Grammy Awards, received the Grammy Lifetime Achievement Award at age 36, and has been inducted into multiple music halls of fame. Presley holds several records; the most RIAA certified gold and platinum albums, the most albums charted on the Billboard 200, and the most number-one albums by a solo artist on the UK Albums Chart and the most number-one singles by any act on the UK Singles Chart. In 2018, Presley was posthumously awarded the Presidential Medal of Freedom.

Life and career

1935–1953: Early years

Childhood in Tupelo

Elvis Aaron Presley was born on January 8, 1935, in Tupelo, Mississippi to Vernon Elvis (April 10, 1916 – June 26, 1979) and Gladys Love (née Smith; April 25, 1912 – August 14, 1958) Presley in a two-room shotgun house that his father built for the occasion. Elvis’s identical twin brother, Jesse Garon Presley, was delivered 35 minutes before him, stillborn. Presley became close to both parents and formed an especially close bond with his mother. The family attended an Assembly of God church, where he found his initial musical inspiration.

Presley’s father, Vernon, was of German[8] or Scottish origin.[9] Through his mother, Presley was Scots-Irish, with some French Norman.[10] His mother, Gladys, and the rest of the family, apparently believed that her great-great-grandmother, Morning Dove White, was Cherokee; this was confirmed by Elvis’s granddaughter Riley Keough in 2017. Elaine Dundy, in her biography, supports the belief – although one genealogy researcher has contested it on multiple grounds. Gladys was regarded by relatives and friends as the dominant member of the small family.

Vernon moved from one odd job to the next, evincing little ambition. The family often relied on help from neighbors and government food a*sistance. In 1938, they lost their home after Vernon was found guilty of altering a check written by his landowner and sometime-employer. He was jailed for eight months, while Gladys and Elvis moved in with relatives.

In September 1941, Presley entered first grade at East Tupelo Consolidated, where his teachers 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, was his first public performance. The ten-year-old Presley was dressed as a cowboy; he 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.”

In September 1946, Presley entered a new school, Milam, for sixth grade; he was regarded as a loner. The following year, he began bringing his guitar to school on a daily basis. He played and sang during lunchtime, and was often teased as a “trashy” kid who played hillbilly music. By then, the family was living in a largely black neighborhood. Presley was a devotee of Mississippi Slim’s show on the Tupelo radio station WELO. He was described as “crazy about music” by Slim’s younger brother, who was one of Presley’s classmates and often took him into the station. Slim supplemented Presley’s guitar instruction by demonstrating chord techniques. When his protégé was twelve 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.
Teenage life in Memphis

In November 1948, the family moved to Memphis, Tennessee. After residing for nearly a year in rooming houses, they were granted a two-bedroom apartment in the public housing complex known as the Lauderdale Courts. Enrolled at L. C. Humes High School, Presley received only a C in music in eighth grade. When his music teacher told him that he had no aptitude for singing, he brought in his guitar the next day and sang a recent hit, “Keep Them Cold Icy Fingers Off Me”, to prove otherwise. A classmate later recalled that the teacher “agreed that Elvis was right when he said that she didn’t appreciate his kind of singing”. He was usually too shy to perform openly, and was occasionally bullied by classmates who viewed him as a “mama’s boy”. In 1950, he began practicing guitar regularly under the tutelage of Lee Denson, a neighbor two and a half years his senior. They and three other boys—including two future rockabilly pioneers, brothers Dorsey and Johnny Burnette—formed a loose musical collective that played frequently around the Courts. That September, he began working as an usher at Loew’s State Theater. Other jobs followed: Precision Tool, Loew’s again, and MARL Metal Products.

During his junior year, Presley began to stand out more among his classmates, largely because of his appearance: he grew his sideburns and styled his hair with rose oil and Vaseline. In his free 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 those clothes. Overcoming his reticence about performing outside the Lauderdale Courts, he competed in Humes’ 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 in school after that.”

Presley, who received no formal music training and could not read music, studied and played by ear. He also frequented record stores that provided jukeboxes and listening booths to customers. 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.[38] 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.[38] 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, such as WDIA-AM, 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 had known Presley before he was popular when they both used to frequent Beale Street. By the time he graduated from high school in June 1953, Presley had already singled out music as his future.

1953–1956: First recordings

Sam Phillips and Sun Records

In August 1953, Presley checked into the offices of Sun Records. He aimed to pay for a few minutes of studio time to record a two-sided acetate disc: “My Happiness” and “That’s When Your Heartaches Begin”. He later claimed that he intended the record as a birthday gift for his mother, or that he was merely interested in what he “sounded like”, although there was a much cheaper, amateur record-making service at a nearby general store. Biographer Peter Guralnick argued that he chose Sun in the hope of being discovered. Asked by receptionist Marion Keisker what kind of singer he was, Presley responded, “I sing all kinds.” When she pressed him on who he sounded like, he repeatedly answered, “I don’t sound like nobody.” After he recorded, Sun boss Sam Phillips asked Keisker to note down the young man’s name, which she did along with her own commentary: “Good ballad singer. Hold.”

In January 1954, Presley cut a second acetate at Sun Records—”I’ll Never Stand in Your Way” and “It Wouldn’t Be the Same Without You”—but again nothing came of it. 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 to a broader audience the sound of the black musicians on whom Sun focused. 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 by Jimmy Sweeney of a ballad, “Without You”, that he thought might suit the teenage 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 abort 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 remaining two hours of his show. Interviewing Presley on-air, Phillips asked him what high school he attended to clarify his color for the many callers who had a*sumed that 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.

 

Early live performances and RCA Victor contract

The trio played publicly for the first time on July 17 at the Bon Air club—Presley still sporting his child-size guitar. At the end of the month, they appeared at the Overton Park Shell, with Slim Whitman headlining. A combination of his strong response to rhythm and nervousness at playing before a large crowd led Presley to shake his legs as he performed: his wide-cut pants emphasized his movements, causing young women in the audience to start screaming.[63] Moore recalled, “During the instrumental parts, he would back off from the mike and be playing and shaking, and the crowd would just go wild”. Black, a natural showman, whooped and rode his bass, hitting double licks that Presley would later remember as “really a wild sound, like a jungle drum or something”. Soon after, Moore and Black left their old band, the Starlite Wranglers, to play with Presley regularly, and DJ/promoter Bob Neal became the trio’s manager. From August through October, they played frequently at the Eagle’s Nest club and returned to Sun Studio for more recording sessions, and Presley quickly grew more confident on stage. According to Moore, “His movement was a natural thing, but he was also very conscious of what got a reaction. He’d do something one time and then he would expand on it real quick.” Presley made what would be his only appearance on Nashville’s Grand Ole Opry stage on October 2; after a polite audience response, Opry manager Jim Denny told Phillips that his singer was “not bad” but did not suit the program.

Louisiana Hayride, radio commercial, and first television performances

In November 1954, Presley performed on Louisiana Hayride—the Opry’s chief, and more adventurous, rival. The Shreveport-based show was broadcast to 198 radio stations in 28 states. Presley had another attack of nerves during the first set, which drew a muted reaction. A more composed and energetic second set inspired an enthusiastic response. House drummer D. J. Fontana brought a new element, complementing Presley’s movements with accented beats that he had mastered playing in strip clubs. Soon after the show, the Hayride engaged Presley for a year’s worth of Saturday-night appearances. Trading in his old guitar for $8 (and seeing it promptly dispatched to the garbage), he purchased a Martin instrument for $175, and his trio began playing in new locales, including Houston, Texas and Texarkana, Arkansas.

Many fledgling performers, like Minnie Pearl, Johnny Horton, and Johnny Cash, sang the praises of Louisiana Hayride sponsor, The Southern Maid Donut Flour Company (Texas), including Elvis Presley, who developed a lifelong love of doughnuts. Presley made his singular product endorsement commercial for the doughnut company, which was never released, recording a radio jingle, “in exchange for a box of hot glazed doughnuts.”

Elvis made his first television appearance on the KSLA-TV television broadcast of Louisiana Hayride. Soon after, he failed an audition for Arthur Godfrey’s Talent Scouts on the CBS television network. By early 1955, Presley’s regular Hayride appearances, constant touring, and well-received record releases had made him a regional star, from Tennessee to West Texas. In January, Neal signed a formal management contract with Presley and brought him to the attention of Colonel Tom Parker, whom he considered the best promoter in the music business. Parker—who claimed to be from West Virginia (he was actually Dutch)—had acquired an honorary colonel’s commission from country singer turned Louisiana governor Jimmie Davis. Having successfully managed top country star Eddy Arnold, Parker was 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.” 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” track 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.[86] Parker arranged with the owners of Hill & Range Publishing, Jean and Julian Aberbach, to create two entities, Elvis Presley Music and Gladys Music, to handle all the new material recorded by Presley. Songwriters were obliged to forgo 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.

1956–1958: Commercial breakout and controversy

First national TV appearances and debut album

On January 10, 1956, Presley made his first recordings for RCA in Nashville. Extending Presley’s by-now customary backup of Moore, Black, Fontana, and Hayride pianist Floyd Cramer—who had been performing at live club dates with Presley—RCA enlisted guitarist Chet Atkins and three background singers, including Gordon Stoker of the popular Jordanaires quartet, to fill in the sound.[94] The session produced the moody, unusual “Heartbreak Hotel”, released as a single on January 27. Parker finally brought Presley to national television, booking him on CBS’s Stage Show for six appearances over two months. The program, produced in New York, was hosted on alternate weeks by big band leaders and brothers Tommy and Jimmy Dorsey. After his first appearance, on January 28, Presley stayed in town to record at RCA’s New York studio. The sessions yielded eight songs, including a cover of Carl Perkins’ rockabilly anthem “Blue Suede Shoes”. In February, Presley’s “I Forgot to Remember to Forget”, a Sun recording initially released the previous August, reached the top of the Billboard country chart. Neal’s contract was terminated, and, on March 2, Parker became Presley’s manager.

RCA released Presley’s self-titled debut album on March 23. Joined by five previously unreleased Sun recordings, its seven recently recorded tracks were of a broad variety. There were two country songs and a bouncy pop tune. The others would centrally define the evolving sound of rock and roll: “Blue Suede Shoes”—”an improvement over Perkins’ in almost every way”, according to critic Robert Hilburn—and three R&B numbers that had been part of Presley’s stage repertoire for some time, covers of Little Richard, Ray Charles, and The Drifters. As described by Hilburn, these “were the most revealing of all. Unlike many white artists … who watered down the gritty edges of the original R&B versions of songs in the ’50s, Presley reshaped them. He not only injected the tunes with his own vocal character but also made guitar, not piano, the lead instrument in all three cases.” It became the first rock and roll album to top the Billboard chart, a position it held for 10 weeks. While Presley was not an innovative guitarist like Moore or contemporary African-American rockers Bo Diddley and Chuck Berry, cultural historian Gilbert B. Rodman argued that the album’s cover image, “of Elvis having the time of his life on stage with a guitar in his hands played a crucial role in positioning the guitar … as the instrument that best captured the style and spirit of this new music.

Milton Berle Show and “Hound Dog”

On April 3, Presley made the first of two appearances on NBC’s Milton Berle Show. His performance, on the deck of the USS Hancock in San Diego, California, prompted cheers and screams from an audience of sailors and their dates. A few days later, a flight taking Presley and his band to Nashville for a recording session left all three badly shaken when an engine died and the plane almost went down over Arkansas. Twelve weeks after its original release, “Heartbreak Hotel” became Presley’s first number-one pop hit. In late April, Presley began a two-week residency at the New Frontier Hotel and Casino on the Las Vegas Strip. The shows were poorly received by the conservative, middle-aged hotel guests—”like a jug of corn liquor at a champagne party”, wrote a critic for Newsweek. Amid his Vegas tenure, Presley, who had serious acting ambitions, signed a seven-year contract with Paramount Pictures. He began a tour of the Midwest in mid-May, taking in 15 cities in as many days. He had attended several shows by Freddie Bell and the Bellboys in Vegas and was struck by their cover of “Hound Dog”, a hit in 1953 for blues singer Big Mama Thornton by songwriters Jerry Leiber and Mike Stoller. It became the new closing number of his act. After a show in La Crosse, Wisconsin, an urgent message on the letterhead of the local Catholic diocese’s newspaper was sent to FBI director J. Edgar Hoover. It warned that “Presley is a definite danger to the security of the United States. … [His] actions and motions were such as to rouse the sexual passions of teenaged youth. … After the show, more than 1,000 teenagers tried to gang into Presley’s room at the auditorium. … Indications of the harm Presley did just in La Crosse were the two high school girls … whose abdomen and thigh had Presley’s autograph.”

The second Milton Berle Show appearance came on June 5 at NBC’s Hollywood studio, amid another hectic tour. Berle persuaded Presley 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.”

Steve Allen Show and first Sullivan appearance

The Berle shows drew such high ratings that Presley was booked for a July 1 appearance on NBC’s Steve Allen Show in New York. Allen, no fan of rock and roll, introduced a “new Elvis” in a white bow tie and black tails. Presley sang “Hound Dog” for less than a minute to a basset hound wearing a top hat and bow tie. As described by television historian Jake Austen, “Allen thought Presley was talentless and absurd … [he] set things up so that Presley would show his contrition”. Allen later wrote that he found Presley’s “strange, gangly, country-boy charisma, his hard-to-define cuteness, and his charming eccentricity intriguing” and simply worked him into the customary “comedy fabric” of his program.[113] Just before the final rehearsal for the show, Presley told a reporter, “I’m holding down on this show. I don’t want to do anything to make people dislike me. I think TV is important so I’m going to go along, but I won’t be able to give the kind of show I do in a personal appearance.” Presley would refer back to the Allen show as the most ridiculous performance of his career. Later that night, he appeared on Hy Gardner Calling, a popular local TV show. Pressed on whether he had learned anything from the criticism to which he was being subjected, Presley responded, “No, I haven’t, I don’t feel like I’m doing anything wrong. … I don’t see how any type of music would have any bad influence on people when it’s only music. … I mean, how would rock ‘n’ roll music make anyone rebel against their parents?”

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, Presley 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.”[116] 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.[117] 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 Presley 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 was recovering 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.”

Crazed crowds and film debut

The audience response at Presley’s live shows became increasingly fevered. Moore recalled, “He’d start out, ‘You ain’t nothin’ but a Hound Dog,’ and they’d just go to pieces. They’d always react the same way. There’d be a riot every time.” At the two concerts he performed in September at the Mississippi–Alabama Fair and Dairy Show, 50 National Guardsmen were added to the police security to ensure that the crowd would not cause a ruckus. Elvis, Presley’s second album, was released in October and quickly rose to number one on the billboard. The album includes “Old Shep”, which he sang at the talent show in 1945, and which now marked the first time he played piano on an RCA session. According to Guralnick, one can hear “in the halting chords and the somewhat stumbling rhythm both the unmistakable emotion and the equally unmistakable valuing of emotion over technique.” Assessing the musical and cultural impact of Presley’s recordings from “That’s All Right” through Elvis, rock critic Dave Marsh wrote that “these records, more than any others, contain the seeds of what rock & roll was, has been and most likely what it may foreseeably become.”

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 film 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 had an impromptu jam session, along with Johnny Cash. Though Phillips no longer had the right to release any Presley material, he made sure that the session was captured on tape. The results, none officially released for 25 years, became known as the “Million Dollar Quartet” recordings. 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.[134] In his first full year at RCA, one of the music industry’s largest companies, Presley had accounted for over 50 percent of the label’s singles sales.

Leiber and Stoller collaboration and draft notice

Presley made his third and final Ed Sullivan Show appearance on January 6, 1957—on this occasion indeed shot only down to the waist. Some commentators have claimed that Parker orchestrated an appearance of censorship to generate publicity. In any event, as critic Greil Marcus describes, Presley “did not tie himself down. Leaving behind the bland clothes he had worn on the first two shows, he stepped out in the outlandish costume of a pasha, if not a harem girl. From the make-up over his eyes, the hair falling in his face, the overwhelmingly sexual cast of his mouth, he was playing Rudolph Valentino in The Sheik, with all stops out.” To close, displaying his range and defying Sullivan’s wishes, Presley sang a gentle black spiritual, “Peace in the Valley”. At the end of the show, Sullivan declared Presley “a real decent, fine boy”.[136] Two days later, the Memphis draft board announced that Presley would be classified 1-A and would probably be drafted sometime that year.

Each of the three Presley singles released in the first half of 1957 went to number one: “Too Much”, “All Shook Up”, and “(Let Me Be Your) Teddy Bear”. Already an international star, he was attracting fans even where his music was not officially released. Under the headline “Presley Records a Craze in Soviet”, The New York Times reported that pressings of his music on discarded X-ray plates were commanding high prices in Leningrad. Between film shoots and recording sessions, Presley also found time to purchase an 18-room mansion eight miles (13 km) south of downtown Memphis for himself and his parents: Graceland. Loving You—the soundtrack to his second film, released in July—was Presley’s third straight number-one album. The title track was written by Leiber and Stoller, who were then retained to write four of the six songs recorded at the sessions for Jailhouse Rock, Presley’s next film. The songwriting team effectively produced the Jailhouse sessions and developed a close working relationship with Presley, who came to regard them as his “good-luck charm”. “He was fast,” said Leiber. “Any demo you gave him he knew by heart in ten minutes.” The title track was yet another number-one hit, as was the Jailhouse Rock EP.

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,[143] and in Vancouver the crowd rioted after the end of the show, destroying the stage. Frank Sinatra, who had inspired the swooning of teenage 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 become the best-selling Christmas album ever in the United States, with eventual sales of over 20 million worldwide. 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 in mid-January 1958. Leiber and Stoller provided three songs and were again on hand, but it would be the last time they and Presley worked closely together. As Stoller recalled, Presley’s manager and entourage sought to wall him off: “He was removed. … They kept him separate.” A brief soundtrack session on February 11 marked another ending—it was the final occasion on which Black was to perform with Presley. He died in 1965.

1958–1960: Military service and mother’s death

On March 24, 1958, Presley was drafted into the U.S. Army as a private at Fort Chaffee, near Fort Smith, Arkansas. His arrival was a major media event. Hundreds of people descended on Presley as he stepped from the bus; photographers then accompanied him into the fort. Presley announced that he was looking forward to his military stint, saying that he did not want to be treated any differently from anyone else: “The Army can do anything it wants with me.”

Presley commenced basic training at Fort Hood, Texas. During a two-week leave in early June, he recorded five songs in Nashville. In early August, his mother was diagnosed with hepatitis, and her condition rapidly worsened. Presley was granted emergency leave to visit her and arrived in Memphis on August 12. Two days later, she died of heart failure at the age of 46. Presley was devastated and never the same; 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.[161] While on maneuvers, Presley was introduced to amphetamines by a sergeant. 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, training with Jürgen Seydel. It became a lifelong interest, which he later included 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 said that Presley was concerned that his 24-month spell as a GI would ruin his career. In Special Services, he would have been able to give musical performances and remain in touch with the public, but Parker had convinced him that to gain popular respect, he should serve his country as a regular soldier. 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.

1960–1968: Focus on films

Elvis Is Back

Presley returned to the United States on March 2, 1960, and was honorably discharged three days later with the rank of sergeant. The train that carried him from New Jersey to Tennessee was mobbed all the way, and Presley was called upon to appear at scheduled stops to please his fans. On the night of March 20, he entered RCA’s Nashville studio to cut tracks for a new album along with a single, “Stuck on You”, which was rushed into release and swiftly became a number-one hit. Another Nashville session two weeks later yielded a pair of his best-selling singles, the ballads “It’s Now or Never” and “Are You Lonesome Tonight?”, along with the rest of Elvis Is Back! The album features several songs described by Greil Marcus as full of Chicago blues “menace, driven by Presley’s own super-miked acoustic guitar, brilliant playing by Scotty Moore, and demonic sax work from Boots Randolph. Elvis’ singing wasn’t sexy, it was pornographic.” As a whole, the record “conjured up the vision of a performer who could be all things”, according to music historian John Robertson: “a flirtatious teenage idol with a heart of gold; a tempestuous, dangerous lover; a gutbucket blues singer; a sophisticated nightclub entertainer;  raucous rocker”. Released only days after recording was complete, it reached number two on the album chart.

Presley returned to television on May 12 as a guest on The Frank Sinatra Timex Special—ironic for both stars, given Sinatra’s earlier 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 the UK, 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.[181] 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’ birthright”. It would be his sixt

h 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.

Lost in Hollywood

Parker had by now pushed Presley into a heavy film making schedule, focused on formulaic, modestly budgeted musical comedies. Presley, at first, insisted on pursuing higher roles, but when two films in a more dramatic vein—Flaming Star (1960) and Wild in the Country (1961)—were less commercially successful, he reverted to the formula. Among the 27 films he made during the 1960s, there were a few further exceptions. His films were almost universally panned; critic Andrew Caine dismissed them as a “pantheon of bad taste”. Nonetheless, they were virtually all profitable. Hal Wallis, who produced nine of them, declared, “A Presley picture is the only sure thing in Hollywood.”[

Of Presley’s films in the 1960s, 15 were accompanied by soundtrack albums and another 5 by soundtrack EPs. The films’ 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”.[189] Julie Parrish, who appeared in Paradise, Hawaiian Style (1966), says that he disliked 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 film 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 were ranked 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-film 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 films and a*sembly-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.

1968–1973: Comeback

Elvis: the ’68 Comeback Special

Presley’s only child, Lisa Marie, was born on February 1, 1968, during a period when he had grown deeply unhappy with his career. Of the eight Presley singles released between January 1967 and May 1968, only two charted in the top 40, and none higher than number 28. His forthcoming soundtrack album, Speedway, would rank at number 82 on the Billboard chart. Parker had already shifted his plans to television, where Presley had not appeared since the Sinatra Timex show in 1960. He maneuvered a deal with NBC that committed the network to both finance a theatrical feature and broadcast a Christmas special.

Recorded in late June in Burbank, California, the special, simply called 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 dressed in tight black leather, singing and playing guitar in an uninhibited style reminiscent of his early rock and roll days. Director and co-producer Steve Binder had worked hard 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 rose 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.'”

From Elvis in Memphis and the International

Buoyed by the experience of the Comeback Special, Presley engaged in a prolific series of recording sessions at American Sound Studio, which led to the acclaimed From Elvis in Memphis. Released in June 1969, it was his first secular, non-soundtrack album from a dedicated period in the studio in eight years. As described by Dave Marsh, it is “a masterpiece in which Presley immediately catches up with pop music trends that had seemed to pass him by during the movie years. He sings country songs, soul songs and rockers with real conviction, a stunning achievement.” The album featured the hit single “In the Ghetto”, issued in April, which reached number three on the pop chart—Presley’s first non-gospel top ten hit since “Bossa Nova Baby” in 1963. Further hit singles were culled from the American Sound sessions: “Suspicious Minds”, “Don’t Cry Daddy”, and “Kentucky Rain”.[208]

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 a*sembled new, top-notch accompaniment, led by guitarist James Burton and including two gospel groups, The Imperials and Sweet Inspirations. Costume designer Bill Belew, responsible for the intense leather styling of the Comeback Special, created a new stage look for Presley, inspired by Presley’s passion for karate. 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 film, 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 a showgirl. She recalled 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.

Back on tour and meeting Nixon

Presley returned to the International early in 1970 for the first of the year’s two-month-long engagements, performing two shows a night. Recordings from these shows were issued on the album On Stage. In late February, Presley performed six attendance-record–breaking shows at the Houston Astrodome. In April, the single “The Wonder of You” was issued—a number one hit in the UK, it topped the U.S. adult contemporary chart, as well. MGM filmed rehearsal and concert footage at the International during August for the documentary Elvis: That’s the Way It Is. Presley was performing in a jumpsuit, which would become a trademark of his live act. During this engagement, he was threatened with murder unless $50,000 was paid. Presley had been the target of many threats since the 1950s, often without his knowledge. The FBI took the threat seriously and security was stepped up for the next two shows. Presley went onstage with a Derringer in his right boot and a .45 pistol in his waistband, but the concerts succeeded without any incidents.

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 noted, “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 explained how he believed he could reach out to the hippies to help combat the drug culture he and the president abhorred. 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 that 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. Presley and his friends previously had a four-hour get-together with The Beatles at his home in Bel Air, California in August 1965. 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 early death, linked to 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-film 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”.

Marriage breakdown and Aloha from Hawaii

MGM again filmed Presley in April 1972, this time for Elvis on Tour, which went on to win the Golden Globe Award for Best Documentary Film that year. His gospel album He Touched Me, released that month, would earn him his second competitive Grammy Award, for Best Inspirational Performance. A 14-date tour commenced with an unprecedented four consecutive sold-out shows at New York’s Madison Square Garden. The evening concert on July 10 was recorded and issued in an LP form a week later. Elvis: As Recorded at Madison Square Garden became one of Presley’s biggest-selling albums. After the tour, the single “Burning Love” was released—Presley’s last top ten hit on the U.S. pop chart. “The most exciting single Elvis has made since ‘All Shook Up’,” wrote rock critic Robert Christgau. “Who else could make ‘It’s coming closer, the flames are now licking my body’ sound like an a*signation with James Brown’s backup band?”
High-collared white jumpsuit resplendent with red, blue, and gold eagle motif in sequins
Presley came up with his outfit’s eagle motif, as “something that would say ‘America’ to the world”.

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 into 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 related 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.” She later stated in an interview that she regretted her choice of words in describing the incident, and said it had been an overstatement. 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.” At a rare press conference that June, a reporter had asked Presley whether he was satisfied with his image. Presley replied, “Well, the image is one thing and the human being another … it’s very hard to live up to an image.”

In January 1973, Presley performed two benefit concerts for the Kui Lee Cancer Fund in connection with a groundbreaking TV special, Aloha from Hawaii, which would be the first concert by a solo artist to be aired globally. The first show served as a practice run and backup should technical problems affect the live broadcast two days later. On January 14, Aloha from Hawaii aired live via satellite to prime-time audiences in Japan, South Korea, Thailand, the Philippines, Australia, and New Zealand, as well as to U.S. servicemen based across Southeast Asia. In Japan, where it capped a nationwide Elvis Presley Week, it smashed viewing records. The next night, it was simulcast to 28 European countries, and in April an extended version finally aired in the U.S., where it won a 57 percent share of the TV audience.[248] Over time, Parker’s claim that it was seen by one billion or more people would be broadly accepted, but that figure appeared to have been sheer invention. Presley’s stage costume became the most recognized example of the elaborate concert garb with which his latter-day persona became closely a*sociated. 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.”[254] 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 came to Presley’s defense, and 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.”

1973–1977: Health deterioration and death

Medical crises and last studio sessions

Presley’s divorce was finalized on October 9, 1973. By then, his health was in major and serious decline. Twice during the year, he overdosed on barbiturates, spending three days in a coma in his hotel suite after the first incident. Towards the end of 1973, he was hospitalized, semi-comatose from the effects of a pethidine addiction. According to his primary care physician, Dr. George C. Nichopoulos, Presley “felt that by getting drugs from a doctor, he wasn’t the common everyday junkie getting something off the street”. Since his comeback, he had staged more live shows with each passing year, and 1973 saw 168 concerts, his busiest schedule ever. Despite his failing health, in 1974, he undertook another intensive touring schedule.

Presley’s condition declined precipitously in September. Keyboardist Tony Brown remembered Presley’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 mic 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 f*cked 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. Cultural critic Marjorie Garber wrote that 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 suggested that he was too cowardly to face the three himself. Another a*sociate of Presley’s, John O’Grady, argued that the bodyguards were dropped because their rough treatment of fans had prompted too many lawsuits.[268] However, Presley’s stepbrother, David Stanley, claimed that the bodyguards were fired because they were becoming more outspoken about Presley’s drug dependency.

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 yet another concert record, Elvis 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 became a struggle for him.

Despite concerns from his label and manager, 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).[278] Similarly, his singles in this era did not prove to be major pop hits, but Presley remained a significant force in the country and adult contemporary markets. 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 adult contemporary hit in 1975, and “Moody Blue” topped the country chart and reached the second spot on the adult contemporary chart 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.”

Final months and death

Presley and Linda Thompson split in November 1976, and he took up with a new girlfriend, Ginger Alden.[282] 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. Journalist Tony Scherman wrote that by early 1977, “Presley had become a grotesque caricature of his sleek, energetic former self. Hugely overweight, his mind dulled by the pharmacopia he daily ingested, he was barely able to pull himself through his abbreviated concerts.”[284] In Alexandria, Louisiana, he was on stage for less than an hour, and “was impossible to understand”.[ On March 31, Presley failed to perform in Baton Rouge, unable to get out of his hotel bed; a total of four shows had to be canceled and rescheduled. Despite the accelerating deterioration of his health, he stuck to most touring commitments. According to Guralnick, fans “were becoming increasingly voluble about their disappointment, but it all seemed to go right past Presley, whose world was now confined almost entirely to his room and his spiritualism books.” A cousin, Billy Smith, recalled how Presley would sit in his room and chat for hours, sometimes recounting favorite Monty Python sketches and his own past escapades, but more often gripped by paranoid obsessions that reminded Smith of Howard Hughes.

“Way Down”, Presley’s last single issued during his career, was released on June 6. That month, CBS filmed two concerts for a TV special, Elvis in Concert, to be aired in October. In the first, shot in Omaha on June 19, Presley’s voice, Guralnick writes, “is almost unrecognizable, a small, childlike instrument in which he talks more than sings most of the songs, casts about uncertainly for the melody in others, and is virtually unable to articulate or project”. Two days later, in Rapid City, South Dakota, “he looked healthier, seemed to have lost a little weight, and sounded better, too”, though, by the conclusion of the performance, his face was “framed in a helmet of blue-black hair from which sweat sheets down over pale, swollen cheeks”. His final concert was held in Indianapolis at Market Square Arena, on June 26.

he book Elvis: What Happened?, co-written 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 magnified—and possibly caused—by drug abuse.

On the evening of Tuesday, August 16, 1977, Presley was scheduled to fly out of Memphis to begin another tour. That afternoon, Ginger Alden discovered him in an unresponsive state on a bathroom floor. According to her eyewitness account, “Elvis looked as if his entire body had completely frozen in a seated position while using the commode and then had fallen forward, in that fixed position, directly in front of it. … It was clear that, from the time whatever hit him to the moment he had landed on the floor, Elvis hadn’t moved.” Attempts to revive him failed, and his death was officially pronounced the next day at 3:30 p.m. at the 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. About 80,000 people lined the processional route to Forest Hill Cemetery, where Presley was buried next to his mother. Within a few weeks, “Way Down” topped the country and UK pop charts. Following an attempt to steal Presley’s body in late August, the remains of both Presley and his mother were reburied in Graceland’s Meditation Garden on October 2.

Cause of death

While an autopsy, undertaken the same day Presley died, was still in progress, Memphis medical examiner Dr. Jerry Francisco announced that the immediate cause of death was cardiac arrest. Asked if drugs were involved, he declared that “drugs played no role in Presley’s death”.[301] In fact, “drug use was heavily implicated” in Presley’s death, writes Guralnick. The pathologists conducting the autopsy thought it possible, for instance, that he had suffered “anaphylactic shock brought on by the codeine pills he had gotten from his dentist, to which he was known to have had a mild allergy”. A pair of lab reports filed two months later strongly suggested that polypharmacy was the primary cause of death; one reported “fourteen drugs in Elvis’ system, ten in significant quantity”. In 1979, forensic pathologist Cyril Wecht conducted a review of the reports and concluded that a combination of central nervous system depressants had resulted in Presley’s accidental death.[301] Forensic historian and pathologist Michael Baden viewed the situation as complicated: “Elvis had had an enlarged heart for a long time. That, together with his drug habit, caused his death. But he was difficult to diagnose; it was a judgment call.”

The competence and ethics of two of the centrally involved medical professionals were seriously questioned. Dr. Francisco had offered a cause of death before the autopsy was complete; claimed the underlying ailment was cardiac arrhythmia, a condition that can be determined only in someone who is still alive; and denied drugs played any part in Presley’s death before the toxicology results were known. Allegations of a cover-up were widespread.[303] While a 1981 trial of Presley’s main physician, Dr. George Nichopoulos, exonerated him of criminal liability for his 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’ 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 report was reopened. Dr. Joseph Davis, who had conducted thousands of autopsies as Miami-Dade County coroner, declared at its completion, “There is nothing in any of the data that supports a death from drugs. In fact, everything points to a sudden, violent heart attack.” More recent research has revealed that Dr. Francisco did not speak for the entire pathology team. Other staff “could say nothing with confidence until they got the results back from the laboratories, if then. That would be a matter of weeks.” One of the examiners, Dr. E. Eric Muirhead “could not believe his ears. Francisco had not only presumed to speak for the hospital’s team of pathologists, he had announced a conclusion that they had not reached. … Early on, a meticulous dissection of the body … confirmed [that] Elvis was chronically ill with diabetes, glaucoma, and constipation. As they proceeded, the doctors saw evidence that his body had been wracked over a span of years by a large and constant stream of drugs. They had also studied his hospital records, which included two admissions for drug detoxification and methadone treatments.” Writer Frank Coffey thought Elvis’s death was due to “a phenomenon called the Valsalva maneuver (essentially straining on the toilet leading to heart stoppage—plausible because Elvis suffered constipation, a common reaction to drug use)”. In similar terms, Dr. Dan Warlick, who was present at the autopsy, “believes Presley’s chronic constipation—the result of years of prescription drug abuse and high-fat, high-cholesterol gorging—brought on what’s known as Valsalva’s maneuver. Put simply, the strain of attempting to defecate compressed the singer’s abdominal aorta, shutting down his heart.”

However, in 2013, Dr. Forest Tennant, who had testified as a defense witness in Nichopoulos’ trial, described his own analysis of Presley’s available medical records. He concluded that Presley’s “drug abuse had led to falls, head trauma, and overdoses that damaged his brain”, and that his death was due in part to a toxic reaction to codeine—exacerbated by an undetected liver enzyme defect—which can cause sudden cardiac arrhythmia. DNA analysis in 2014 of a hair sample purported to be Presley’s found evidence of genetic variants that can lead to glaucoma, migraines, and obesity; a crucial variant a*sociated with the heart-muscle disease hypertrophic cardiomyopathy was also identified.

Later developments

Between 1977 and 1981, six of Presley’s posthumously released singles were top-ten country hits.

Graceland was opened to the public in 1982. Attracting over half a million visitors annually, it became the second most-visited home in the United States, after the White House.[310] It was declared a National Historic Landmark in 2006.

Presley has been inducted into five 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), the Rockabilly Hall of Fame (2007), and the Memphis Music Hall of Fame (2012). 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, which was also an international success. The album returned Presley to the Billboard summit for the first time in almost three decades.

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 Britain, debuting at number three on the pop chart; it also made the top ten in Canada. In 2005, another three reissued singles, “Jailhouse Rock”, “One Night”/”I Got Stung”, and “It’s Now or Never”, went to number one in the United Kingdom. They were part of a campaign that saw the re-release of all 18 of Presley’s previous chart-topping UK singles. The first, “All Shook Up”, came with a collectors’ box that made it ineligible to chart again; each of the other 17 reissues hit the British top five.

In 2005, Forbes named Presley the top-earning deceased celebrity for the fifth straight year, with a gross income of $45 million. He was 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, and he was again the second-highest-earning deceased celebrity. Six years later, he ranked fourth with earnings of $35 million, up $8 million from 2016 due in part to the opening of a new entertainment complex, Elvis Presley’s Memphis, and hotel, The Guest House at Graceland.

For much of his adult life, Presley, with his rise from poverty to riches and massive fame, had seemed to epitomize the American Dream. In his final years and even more so after his death, and the revelations about its circumstances, he became a symbol of excess and gluttony. Increasing attention, for instance, was paid to his appetite for the rich, heavy Southern cooking of his upbringing, foods such as chicken-fried steak and biscuits and gravy. In particular, his love of calorie-laden fried peanut butter, banana, and (sometimes) bacon sandwiches, now known as “Elvis sandwiches”, came to stand for this aspect of his persona. But the Elvis sandwich represents more than just unhealthy overindulgence—as media and culture scholar Robert Thompson describes, the unsophisticated treat also signifies Presley’s enduring all-American appeal: “He wasn’t only the king, he was one of us.”

Since 1977, there have been numerous alleged sightings of Presley. A long-standing conspiracy theory among some fans is that he faked his death. Adherents cite alleged discrepancies in the death certificate, reports of a wax dummy in his original coffin, and accounts of Presley planning a diversion so he could retire in peace.An unusually large number of fans have domestic shrines devoted to Presley and journey to sites with which he is connected, however faintly. Every August 16, the anniversary of his death, thousands of people gather outside Graceland and celebrate his memory with a candlelight ritual. “With Elvis, it is not just his music that has survived death”, writes Ted Harrison. “He himself has been raised, like a medieval saint, to a figure of cultic status. It is as if he has been canonized by acclamation.”

Artistry

Influences

Presley’s earliest musical influence came from gospel. His mother recalled that from the age of two, at the Assembly of God church in Tupelo attended by the family, “he would slide down off my lap, run into the aisle and scramble up to the platform. There he would stand looking at the choir and trying to sing with them.” In Memphis, Presley frequently attended all-night gospel singings at the Ellis Auditorium, where groups such as the Statesmen Quartet led the music in a style that, Guralnick suggests, sowed the seeds of Presley’s future stage act:

 

The Statesmen were an electric combination … featuring some of the most thrillingly emotive singing and daringly unconventional showmanship in the entertainment world … dressed in suits that might have come out of the window of Lansky’s. … Bass singer Jim Wetherington, known universally as the Big Chief, maintained a steady bottom, ceaselessly jiggling first his left leg, then his right, with the material of the pants leg ballooning out and shimmering. “He went about as far as you could go in gospel music,” said Jake Hess. “The women would jump up, just like they do for the pop shows.” Preachers frequently objected to the lewd movements … but audiences reacted with screams and swoons.

As a teenager, Presley’s musical interests were wide-ranging, and he was deeply informed about both white and African-American musical idioms. Though he never had any formal training, he had a remarkable memory, and his musical knowledge was already considerable by the time he made his first professional recordings aged 19 in 1954. When Jerry Leiber and Mike Stoller met him two years later, they were astonished at his encyclopedic understanding of the blues, and, as Stoller put it, “He certainly knew a lot more than we did about country music and gospel music.” At a press conference the following year, he proudly declared, “I know practically every religious song that’s ever been written.”

Musicianship

Presley received his first guitar when he was 11 years old. He learned to play and sing; he gained no formal musical training but had an innate natural talent and could easily pick up music. Presley played guitar, bass, and piano. While he couldn’t read or write music and had no formal lessons, he was a natural musician and played everything by ear. Presley often played an instrument on his recordings and produced his own music. Presley played rhythm acoustic guitar on most of his Sun recordings and his 1950s RCA albums. He played electric bass guitar on “(You’re So Square) Baby I Don’t Care” after his bassist Bill Black had trouble with the instrument.[348] Presley played the bass line including the intro. Presley played piano on songs such as “Old Shep” and “First in Line” from his 1956 album Elvis.[349] He is credited with playing piano on later albums such as From Elvis in Memphis and Moody Blue, and on “Unchained Melody” which was one of the last songs that he recorded.[350] Presley played lead guitar on one of his successful singles called “One Night”. Presley also played guitar on one of his successful singles called “Are You Lonesome Tonight”. In the 68 Comeback Special, Elvis took over on lead electric guitar, the first time he had ever been seen with the instrument in public, playing it on songs such as “Baby What You Want Me to Do” and “Lawdy Miss Clawdy”. Elvis played the back of his guitar on some of his hits such as “All Shook Up”, “Don’t Be Cruel”, and “(Let Me Be Your) Teddy Bear”, providing percussion by slapping the instrument to create a beat. The album Elvis is Back! features Presley playing a lot of acoustic guitar on songs such as “I Will Be Home Again” and “Like a Baby”.

Musical styles and genres

Presley was a central figure in the development of rockabilly, according to music historians. “Rockabilly crystallized into a recognizable style in 1954 with Elvis Presley’s first release, on the Sun label”, writes Craig Morrison. Paul Friedlander describes the defining elements of rockabilly, which he similarly characterizes as “essentially … an Elvis Presley construction”: “the raw, emotive, and slurred vocal style and emphasis on rhythmic feeling [of] the blues with the string band and strummed rhythm guitar [of] country”. In “That’s All Right”, the Presley trio’s first record, Scotty Moore’s guitar solo, “a combination of Merle Travis–style country finger-picking, double-stop slides from acoustic boogie, and blues-based bent-note, single-string work, is a microcosm of this fusion.” While Katherine Charlton likewise calls Presley “rockabilly’s originator”, Carl Perkins has explicitly stated that “[Sam] Phillips, Elvis, and I didn’t create rockabilly” and, according to Michael Campbell, “Bill Haley recorded the first big rockabilly hit.” In Moore’s view, too, “It had been there for quite a while, really. Carl Perkins was doing basically the same sort of thing up around Jackson, and I know for a fact Jerry Lee Lewis had been playing that kind of music ever since he was ten years old.”

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 number five “She’s Not You” (1962) “integrates the Jordanaires so completely, it’s practically doo-wop”. The modern blues/R&B sound captured with success on Elvis Is Back! was essentially abandoned for six years until such 1966–67 recordings as “Down in the Alley” and “Hi-Heel Sneakers”. Presley’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. “It’s Now or Never”, which also topped the chart that year, was a classically influenced variation of pop based on the Neapolitan “‘O sole mio” and concluding with a “full-voiced operatic cadence”. These were both dramatic numbers, but most of what Presley recorded for his many film 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.

Vocal style and range

The developmental arc of Presley’s singing voice, as described by critic Dave Marsh, goes from “high and thrilled in the early days, [to] lower and perplexed in the final months.” Marsh credits Presley with the introduction of the “vocal stutter” on 1955’s “Baby Let’s Play House”. When on “Don’t Be Cruel”, Presley “slides into a ‘mmmmm’ that marks the transition between the first two verses,” he shows “how masterful his relaxed style really is.” Marsh describes the vocal performance on “Can’t Help Falling in Love” as one of “gentle insistence and delicacy of phrasing”, with the line “‘Shall I stay’ pronounced as if the words are fragile as crystal”.

Jorgensen calls the 1966 recording of “How Great Thou Art” “an extraordinary fulfillment of his vocal ambitions”, as Presley “crafted for himself an ad-hoc arrangement in which he took every part of the four-part vocal, from [the] bass intro to the soaring heights of the song’s operatic climax”, becoming “a kind of one-man quartet”. Guralnick finds “Stand By Me” from the same gospel sessions “a beautifully articulated, almost nakedly yearning performance,” but, by contrast, feels that Presley reaches beyond his powers on “Where No One Stands Alone”, resorting “to a kind of inelegant bellowing to push out a sound” that Jake Hess of the Statesmen Quartet had in his command. Hess himself thought that while others might have voices the equal of Presley’s, “he had that certain something that everyone searches for all during their lifetime.” Guralnick attempts to pinpoint that something: “The warmth of his voice, his controlled use of both vibrato technique and natural falsetto range, the subtlety and deeply felt conviction of his singing were all qualities recognizably belonging to his talent but just as recognizably not to be achieved without sustained dedication and effort.”

Marsh praises his 1968 reading of “U.S. Male”, “bearing down on the hard guy lyrics, not sending them up or overplaying them but tossing them around with that astonishingly tough yet gentle a*surance that he brought to his Sun records.” The performance on “In the Ghetto” is, according to Jorgensen, “devoid of any of his characteristic vocal tricks or mannerisms”, instead relying on the exceptional “clarity and sensitivity of his voice”. Guralnick describes the song’s delivery as of “almost translucent eloquence … so quietly confident in its simplicity”. On “Suspicious Minds”, Guralnick hears essentially the same “remarkable mixture of tenderness and poise”, but supplemented with “an expressive quality somewhere between stoicism (at suspected infidelity) and anguish (over impending loss)”.

Music critic Henry Pleasants observes that “Presley has been described variously as a baritone and a tenor. An extraordinary compass … and a very wide range of vocal color have something to do with this divergence of opinion.” He identifies Presley as a high baritone, calculating his range as two octaves and a third, “from the baritone low G to the tenor high B, with an upward extension in falsetto to at least a D-flat. Presley’s best octave is in the middle, D-flat to D-flat, granting an extra full step up or down.” In Pleasants’ view, his voice was “variable and unpredictable” at the bottom, “often brilliant” at the top, with the capacity for “full-voiced high Gs and As that an opera baritone might envy”. Scholar Lindsay Waters, who figures Presley’s range as two-and-a-quarter octaves, emphasizes that “his voice had an emotional range from tender whispers to sighs down to shouts, grunts, grumbles, and sheer gruffness that could move the listener from calmness and surrender, to fear. His voice can not be measured in octaves, but in decibels; even that misses the problem of how to measure delicate whispers that are hardly audible at all.” Presley was always “able to duplicate the open, hoarse, ecstatic, screaming, shouting, wailing, reckless sound of the black rhythm-and-blues and gospel singers”, writes Pleasants, and also demonstrated a remarkable ability to a*similate many other vocal styles.

6 -7 7 6 -7 7
My Ma-ma done tol’ me,
6 -7 7 6 -7 7
When I was in knee pants,
6 -7 7 6 -7 7 5
My Ma-ma done tol’ me, “Son,
4 6 -5 4 6 -5
A wo-man-‘ll sweet talk,
4 6 -5 4 6 -5
And give ya the big eye
7 -6 -6 6 -6 4 5
But when the sweet talk-in’s done,
6 -8 7 -8 7 -8
A wo-man’s a two-face,
7 -8 7 -8 7 7 -6 6 -6 6
A wor-ri-some thing, who’ll leave you to sing,
6 7 -6 6 4
The blues in the night,
6 7 -6 6 4
The blues in the night,
6 7 -6 6 4
The blues in the night.

From Natchez to Mobile,
From Memphis to St.Joe,
Wherever the four winds blow,
I been in some big towns,
An’ heard me some big talk,
But there is one thing I know,
A woman’s a two-face,
A worrisome thing, who’ll leave ya to sing,
The blues in the night.

Verse:
-6 -6 6 5 5 5 -4 5 6
Miss’ -ip- pi Mid-dle of a dry spell

-6 -6 6 5 -4 5 6 5 -4 -3
Jim-my Rog-ers on Vic-trol-a up high

-6 -6 6 5 5 5 -4 5 6
Ma’s Danc-in’ Ba-by on her shoul-der

-6 -6 6 5
The Sun’s set-tin’

-4 5 6 5 -4 -3
Mol- as-sis in the sky

-3 5 -3 -4 -3 -4 -3 5
The boy could sing, knew how to move.

6 5 5 -4 -3
Ev-er-y thing

6 5 6 5 6
Al-ways want-ing more.

-6 -6 6 -6 6 -6
He’d leave you long-ing for

Chorus:
7 7 -7
Black vel-vet

-7 -6 -7 -6 -6 -6
and that lit-tle boy smile

7 7 -7
Black vel-vet

-6 -6 -6 -6 6 5
with that slow South-ern style

7 7 7 7 -7
A new re-li-gion

-7 -7 -7 -6 -6 6 -6 -7
that’ll bring you to your knees

5 6 5 5 -4 5
Black vel-vet if you please

Verse:
Up Memphis, music’s like a heat wave
White lightning’ bound to drive you wild
Ma’s baby’s in the heart of every schoolgirl
“Love me tender” leaves ’em cryin’ in the aisle
The way he moved, it was a sin, so sweet and true
Always wanting more, he’d leave you longing for

Chorus:

Bridge:
-6 6 -6 -6 6 -6
Ev’-ry word ev’-ry song

-6 6 -6 -7 6 5 6
That he sang was for you

-6 6 -6 -6 6 -6
In a flash he was gone

-6 6 -6 -6 6 5
It hap-pened so soon

-3 5 -3 5 5
What could you do

Chorus 2X

3 4 5 -4
When I was young

-5 5 6 -5 -6 6
I spent my sum-mer days

6 6 6 5 -4
Play-in’ on the track

3 4 -4 5 -4
The sound of the wheels

5 5 -5 6 -5
Roll-in’ on the steel

5 5 6 -4 -4 5
Took me out,took me back

chorus-

7 7 -6 6 5
Big train from Mem-phis

7 7 -6 6 5
Big train from Mem-phis

4 4 -4 -5 5
Now it’s gone,gone,gone

-4 -4 4
Gone,gone,gone

verse2.
Like no one before
He let out a roar
And I just had to tag along
Each night I went to bed
With the sound in my head
And the dream was a song

chorus-

verse3.
Well I’ve rode ’em in
And back out again
You know what they say about trains
But I’m tellin’ you
When that Memphis train came through
This ol’ world
Was not the same
chorus-

By: Steve Goodman
Arlo Guthrie, Willie Nelson
Key: G

-5 -5 -5 -5 -5 -5 -5 5 5 -4
Rid-in’ on the Cit-y Of New Or-leans
-4 -4 -4 -4 3 6 6 6 -5 -5 -5
Il-li-nois Cen-tral, Mon-day morn-in’ rail
-5 -5 -5 -5 -5 -5 -5 5 5 -4
Fif-teen cars and fif-teen rest-less rid-ers
-4 -4 -4 3
Three con-duc-tors;
-4 -5 -5 -5 -5 -2* 3
and twen-ty-five sacks of mail

-4 -4 -4 -4 -4 -4 -4 -4 -4
All a-long the south-bound od-ys-sey
-4 -4 -4 -4 -4 -4 -4 -4
the train pulls out of Kan-ka-kee
-4 -5 -5 -5 -5 -5 -5 -5 -5 6 5*
And rolls a-long the hous-es, farms, and fields
-4 -4 -4 -4 -4 -4 -4
Pass-in’ towns that have no name,
-4 -4 -4 -4 -4 -4 -4 -4
and freight yards full of old black men
-5 -5 -5 -5 -3 -4
And the grave-yards of the
4 4 4 -4 -3 3
rust-ed au-to-mo-biles

7 7 -6* -6*-6*-6*-6* 6 -5 3
Good morn-ing, A-mer-i-ca, how are you?
-3 -4 -4 -4 3 6 6 6 -5 -5
Say, don’t you know me? I’m your na-tive son
-5 5 -4 -4 -4
I’m the train they call
-4 -5 -5 -5 6 -4-3 3
the Cit-y Of New Or-leans
3 3 -6 -6 6 6 -5
I’ll be gone five hun-dred miles
-5 -5 -55 -4 3
when the day is done

Dealing card games with the old man in the Club Car
Penny a point – ain’t no one keeping score
Pass the paper bag that holds the bottle
Feel the wheels rumbling ‘neath the floor
And the sons of Pullman Porters, and the sons of Engineers
Ride their father’s magic carpets made of steel
And, mothers with their babes asleep rocking to the gentle beat
And the rhythm of the rails is all they feel

Good morning, America, how are you?
Say, don’t you know me? I’m your native son
I’m the train they call the City Of New Orleans
I’ll be gone five hundred miles when the day is done

Night time on the City Of New Orleans
Changing cars in Memphis Tennessee
Halfway home – we’ll be there by morning
Through the Mississippi darkness, rolling down to the sea
But, all the towns and people seem to fade into a bad dream
And the steel rail still ain’t heard the news
The conductor sings his songs again – the passengers will please
refrain
This train got the disappearing railroad blues

Good night, America, how are ya?
Said, don’t you know me? I’m your native son
I’m the train they call the City Of New Orleans
I’ll be gone five hundred miles when the day is done

By: Steve Goodman
Arlo Guthrie, Willie Nelson
Key: G
Harps: G, D, C

Harp: G

6 6 6 6 6 6 6 -5 -5 5
Rid-in’ on the Cit-y Of New Or-leans

5 5 5 5 4 -6 -6 -6 6 6 6
Il-li-nois Cen-tral, Mon-day morn-in’ rail

6 6 6 6 6 6 6 -5 -5 5
Fif-teen cars and fif-teen rest-less rid-ers

5 5 5 4
Three con-duc-tors;

5 6 6 6 6 -3 4
and twen-ty-five sacks of mail

Harp: D

-3”-3” -3” -3” -3” -3” -3”-3”-3”
-6 -6 -6 -6 -6 -6 -6 -6 -6
All a-long the south-bound od-ys-sey

-3” -3” -3” -3” -3”-3” -3”-3”
-6 -6 -6 -6 -6 -6 -6 -6
the train pulls out of Kan-ka-kee

-3” 4 4 4 4 4 4 4 4 -4 -3
-6 7 7 7 7 7 7 7 7 -8 -7
And rolls a-long the hous-es, farms, and fields

-3” -3” -3” -3” -3” -3” -3”
-6 -6 -6 -6 -6 -6 -6
Pass-in’ towns that have no name,

-3” -3” -3” -3” -3”-3” -3” -3”
-6 -6 -6 -6 -6 -6 -6 -6
and freight yards full of old black men

4 4 4 4 3 -3”
7 7 7 7 6 -6
And the grave-yards of the

Harp: G

-2” -2”-2” 2 -1 1
-5 -5 -5 5 -4 4
rust-ed au-to-mo-biles

4 4 -3 -3 -3 -3 -3 -3” 3 1
7 7 -7 -7 -7 -7 -7 -6 6 4
Good morn-ing, A-mer-i-ca, how are you?

-1 2 2 2 1 -3” -3” -3” 3 3
-4 5 5 5 4 -6 -6 -6 6 6
Say, don’t you know me? I’m your na-tive son

3 -2” 2 2 2
6 -5 5 5 5
I’m the train they call

2 3 3 3 -3” 2-1 1
5 6 6 6 -6 5-4 4
the Cit-y Of New Or-leans

Harp: C

3 3 -5 -5 5 5 -4
6 6 -9 -9 8 8 -8
I’ll be gone five hun-dred miles

-4 -4 -44 -3 3
-8 -8 -87 -7 6
when the day is done

Dealing card games with the old man in the Club Car
Penny a point – ain’t no one keeping score
Pass the paper bag that holds the bottle
Feel the wheels rumbling ‘neath the floor
And the sons of Pullman Porters, and the sons of Engineers
Ride their father’s magic carpets made of steel
And, mothers with their babes asleep rocking to the gentle beat
And the rhythm of the rails is all they feel

Good morning, America, how are you?
Say, don’t you know me? I’m your native son
I’m the train they call the City Of New Orleans
I’ll be gone five hundred miles when the day is done

Night time on the City Of New Orleans
Changing cars in Memphis Tennessee
Halfway home – we’ll be there by morning
Through the Mississippi darkness, rolling down to the sea
But, all the towns and people seem to fade into a bad dream
And the steel rail still ain’t heard the news
The conductor sings his songs again – the passengers will please
refrain
This train got the disappearing railroad blues

Good night, America, how are ya?
Said, don’t you know me? I’m your native son
I’m the train they call the City Of New Orleans
I’ll be gone five hundred miles when the day is done