Word: leiber
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...fell, he says he was accused by the tabloids of sympathizing with the enemy. "No one says anything about [designers such as] Michael Kors except 'Great skirt,'" Adrover says. "We have great skirts too. For us they say, 'Maybe there's a Taliban connection.'" To make matters worse, the Leiber Group, the luxury-apparel conglomerate that had acquired Adrover in April 2000, withdrew its backing in early October...
...next year would consolidate his growth as a vocalizer. For his first movies, he even got good songs, which would rarely be the case in the 60s. On Jerry Leiber and Mike Stoller's "(You're So Square) Baby, I Don't Care" for "Jailhouse Rock," he shows his eerie ease in shifting from high to low registers, and runs supple variations on the "Baby, I don't care," making it a promise of the naughtiest behavior. The uptempo "Got a Lot of Livin' to Do," written for "Loving You" by Aaron Schroeder and Ben Weisman, keeps him in tenor...
...facto producer of his own sessions. Steve Sholes was RCA's A&R representative, but, as Phillips insisted to Guralnick: "He was NOT a producer. Steve was just at every session, and he kept his fucking mouth shut." Sholes would propose songs, and Elvis would dispose. In 1957 Leiber and Stoller, the L.A.-based singer-songwriters whose "Hound Dog" and "Jailhouse Rock" would be prime Presley calling cards, took over as producers. Stoller: "We thought we were the only white kids who knew anything about the blues," Stoller told Guralnick, "but he knew all kinds of stuff." Leiber added...
...there to sing, of course, though he played a vigorous rhythm guitar, ceding the fancy solos to Scotty Moore. But on one 1957 session, when slap-bassist Bill Black walked out in frustration after being unable to master the rumbling electric-bass intro for the Leiber-Stoller "Baby, I Don't Care," Elvis picked up the instrument and played the line perfectly. He would also push for extra takes to get a song right. He insisted on 31 stabs at "Hound Dog," then listened pensively to the playbacks and said of the final take, "This...
...tough to remain in the vanguard. Consider the four overlapping phases of Elvis' music. Phase 1: At Sun Records, he borrowed blues from blacks and country songs from rednecks, passing them along to the huge middle-class. Phase 2: He got sharp material from top young songwriters (primarily Leiber-Stoller and Otis Blackwell) that he could make his own. But early rock didn't allow for much variety: 12-bar blues, 16-bar pop song. Phase 3 began in late 1957, when every songwriter was handing him drab variants on Blackwell's "Don't Be Cruel...