tcbjoe

This Is Elvis

Personal Stories

Elvis was always giving his rings away. Sammy Davis Jr. was a wonderful audience for Elvis, always jumping up and down in his chair, applauding wildly and shouting encouragement. They were great friends. During a 1970 show in Las Vegas, Elvis took off the fifty-two-carat black star sapphire he wore on his middle finger and slipped it onto Sammy’s finger. That same year, we were flying back first class from a vacation in Hawaii. The stewardess told us that a singing group called the Young Americans was on board and that they were entertaining their fellow passengers in coach class. Elvis wanted to meet them. One of the group, a young African-American man, admired Elvis’s ring with the three big diamonds. “One of these days I’ll be able to afford a ring like that,” he told Elvis. That was all Elvis needed to hear; it was the perfect setup for a great shock treatment. “You don’t have to wait any longer,” he said. He took off the ring and gave it to the astounded man. A week later, I received a call from the Beverly Hills police department. The young man had gone to a jeweler to have the ring appraised and, because he was black, the police were called. “This boy said Elvis Presley gave him the ring,” the police said. I told the police to let the man go because it was true, and they let him go. * After February 1970, we began preparing to tour. Elvis held rehearsals for the musicians and singers in RCA’s recording studio on Sunset Boulevard in Hollywood. When they had been hired, they’d each received a complete set of Elvis’s recordings so they could learn all the songs. Another set was kept at the rehearsal studio for reference, along with recordings by other artists Elvis liked. One of my jobs was to make a list of all the songs they rehearsed during those sessions. Elvis never came with a list ready; he suggested whatever song came to mind, and they all ran through it until he was satisfied with the results. Elvis was in total control, telling the singers and the musicians where to come in with what type of sound. I particularly remember his instructions to the drummer, Ronnie Tutt, “Ronnie, you have to keep an eye on me at all times,” he said. “I want you to accent every move I make.” Elvis was always open to suggestions then decided whether or not to follow it. During breaks, the group discussed the song lineup. “I want the introduction number to be like something from another world,” Elvis said. “I love ‘Also sprach Zarathustra’ from 2001: A Space Odyssey.” Everyone liked that idea. Then Elvis wanted to segue into a tune that really rocked. He decided on “See See Rider,” followed by some of his own records, such as “I Got a Woman” and “That’s All Right.” “We’ll have a basic lineup,” he said, “but I may change it anytime I feel like doing another song, so you guys have to be on your toes at all times.” When we began playing live concerts, he’d occasionally call a change in a song, but except for the first few months, Elvis rarely altered the established lineup. Instead, he periodically removed a song in order to insert a new one in it’s place. “When do you want to introduce the band?” Charlie asked. “After ‘Suspicious Minds,’” Elvis decided. “I’ll need a breather after that one.” Following the introductions, Elvis performed his latest record release. “The show will always end with ‘Can’t Help Falling in Love,’” he announced. “That’s my signature song.” The atmosphere for those initial touring rehearsals was relaxed, and, typically, as the night wore on, Elvis began changing the lyrics and clowning around. But everyone worked hard, and after a few nights, I had compiled a list of more than fifty songs. Elvis planned the basic lineup he established in those few days of rehearsals—one he basically followed throughout his years on the road—-on the basis of his feelings and on what he somehow knew the audience wanted to hear. After the dramatic introduction that would have been overwrought had it preceded anyone but Elvis, he came on fast and hard, toned down for a few ballads, surged back with strong vocals, and kept the energy going with a medley of his greatest hits: “Heart Break Hotel,” “Teddy Bear,” “Don’t Be Cruel,” “Blue Sued Shoes,” “Hound Dog.” He confided to me that he was tired of singing them, but he knew the fans had to hear those songs. He preferred the next phase of his show, NEXT