Word: singings
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...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...
...anachronism he wanted to be. In the 1956 Charleston interview, he'd been asked what he would do after the rock 'n roll fad faded, as many adults thought or hoped it would. "When it's gone," Elvis said, "I'll switch to something else. I like to sing ballads the way Eddie Fisher does and the way Perry Como does. But the way I'm singing now is what makes the money. Would you change...
...Eventually, he did change. He did what Crosby, Como, Sinatra and Fisher had done before him: sing strong, sing pretty. Toward the end, he couldn't hack the rock material (his vocals on "Burning Love" and "Way Down" are thin, ragged, spindly), but he still had it as a balladeer. His spectacularly intense rendition of "I Believe," excerpted on the recent NBC special "Elvis Lives," proves that his inside the bloated body was the soul of a gospel-tinged Caruso. The under-the-balcony tenorizing of "It's Now or Never," the final detonation of pain and taunt...
...directed Annie on television--came up with a new concept. The show would be reshaped so that all the musical numbers would take place as elaborate vaudeville routines in the dreamy imagination of Roxie. "The hardest part about musicals is that scary moment when characters start to sing," says Marshall, who recruited screenwriter Bill Condon (Oscar winner for 1998's Gods and Monsters) to write the script. As the prison matron (Queen Latifah) speaks, Roxie's eyes begin to dance; suddenly, Latifah metamorphoses into a full-bodied chanteuse whose rendition of When You're Good to Mama brings down...
...something vaguely moving. Both have succeeded with covers before--Houston famously with Dolly Parton's I Will Always Love You, Carey with Journey's Open Arms and her near-cover of Tom Tom Club's Genius of Love. Perhaps when your own life is unbelievable, it's easier to sing as someone else...