Taupin - His Blog - The Latest: Elvis Was Not Great

This is an archived entry from the former site berniejtaupin.com, dated June 20, 2016. It is presented here as a historical record of the blog as it then appeared. Nothing in this text should be read as a current statement, and no present availability, ownership, or continuity is implied.

The Argument

In the archived post, Bernie Taupin revisits a position he had taken on his then radio program, American Roots Radio. He acknowledges that listeners, and even his co-host Paca, may have found it puzzling that he questioned whether Elvis Presley belonged among the all-time greats. He notes that he once left Presley out of his picks for the five most influential American entertainers of the twentieth century, and he sets out to explain why.

Early Praise

Taupin does not deny Presley's early impact. He describes him as a lightning bolt and a meteoric figure, and credits the Sun Records recordings with Sam Phillips as some of the rawest and most uncompromising music of the era. He also credits Presley with elevating rock and roll and selling it to a young white audience, while noting that the music's roots lay with earlier figures such as Louis Jordan, Wynonie Harris, and Roy Brown.

The Turning Point

The archived essay identifies Presley's move to RCA and Colonel Tom Parker's management as the start of a decline. Taupin praises singles such as "Heartbreak Hotel," "Jailhouse Rock," and "All Shook Up," but argues that Big Mama Thornton's original "Hound Dog" was more menacing than Presley's version. He also singles out the film King Creole as a credible performance that could have launched a serious movie career, and he quotes John Lennon's remark that Elvis died when he went into the army.

Criticism of the Later Career

Taupin is harsh about the post-army years. He calls songs such as "Are You Lonesome Tonight" and "It's Now Or Never" overwrought, and he describes G.I. Blues as tepid. He argues that the films that followed were increasingly poor, with Viva Las Vegas offered as a possible exception. He also criticizes Presley's later image, the jump suits and capes, and the isolation surrounding him. He raises a contractual complaint about publishing rights and cites Dolly Parton's refusal when Presley sought to cover "I Will Always Love You."

Conclusion

Taupin concedes that Presley inspired a generation and that some readers may still rank him among the greats. His own conclusion, however, is that Presley squandered his gifts and allowed his career to slide into mediocrity. He closes by saying that, for himself, he will pass.