18 February 2009

Elvis Presley (Part One)

Fun In Acapulco
Pan-American Elvis

Kiss Me Quick!
The Latin Soul of Elvis Presley
by Donny Jacobs
Elvis Presley, a Rhumba King? The very suggestion is enough to draw hoots of derisive laughter from most Rock historians. However, this concept is hardly as absurd as it sounds. Elvis starred in a Latin-themed movie musical in 1962, Fun In Acapulco, and critics agree that it produced one of his best soundtrack albums. That film wasn't the King's first foray into South American territory, either. He'd begun making Latin excursions as early as 1956. Some of the "Dixieland Rock" selections from his 1958 film King Creole have Cuban influence (particularly "Crawfish", his duet with Kitty White). Cha-cha beats are detectable in the rhythm tracks of some of his most popular '50s Rockabilly cuts: "I Beg Of You", "I Got Stung" and "Paralyzed", among others. Most notably, both sides of Elvis's biggest hit single of all-time, "Hound Dog" b/w "Don't Be Cruel", shake, rattle and roll to the undulating habanera. They're essentially tangos!

King Creole

So Elvis was giving his fans a taste of salsa early on, but only a taste. That changed after he was discharged from the US Army in 1960. Suddenly, he began placing heavy emphasis on Latin rhythms. Why did this occur? Well, while the King of Rock 'n' Roll was away serving his country, writer/producers Jerry Leiber and Mike Stoller had initiated a Habanera Rock craze via their work with The Drifters. Of course, Elvis had worked with Leiber and Stoller on material for Jailhouse Rock and King Creole, and "Hound Dog" had come from their songbook; however, a dispute over publishing rights had brought their collaborations with him to a premature end. There's no evidence that they had any direct influence on his newly Latinized repertoire.

RCA Victor's A & R men were certainly aware of current musical trends, so they probably had a lot to do with the change. The same goes for the Aberbach brothers of Hill and Range Music, which distributed Elvis's publishing concerns; they would've been the main ones bringing Latin-tinged songs to Elvis's attention. The tastes of his Nashville session crew (including guitarists Scotty Moore and Grady Martin, bassist Bob Moore, drummers DJ Fontana and Buddy Harman, keyboard master Floyd Cramer and sax wizard Boots Randolph) might have had an influence, too. Even his manager, Colonel Tom Parker, may have played a role.

We should also remember that Elvis was highly eclectic in his own listening habits. He didn't limit himself to Country music, Gospel and the Blues. Is it inconceivable that a man fond of spinning Dean Martin and Mario Lanza records might also have favored the occasional Xavier Cugat or Pérez Prado side? In any case, he made the final decision; his recording contract gave him creative control. When his recipe for Rock 'n' Roll began to increasingly include rhumba, samba, pachanga and tango rhythms, nobody but the King himself approved the choice of ingredients. If he hadn’t liked Habanera Rock, you can be sure that none would have been released under his name. Muchísimo Habanera Rock was released under his name.

A stream of Latin Soul runs through Elvis's music alongside the much celebrated Gospel and Blues currents. It's been almost completely ignored, but that situation is about to change! The Pop Culture Cantina invites you to listen to Elvis Presley's catalogue with an ear primed for Pan-American rhythms. Once you do, we promise that you'll start thinking of Elvis (and Rock 'n' Roll, for that matter) in a whole new way.

I Feel So Bad
 (Chuck Willis)
When a Blues song marries a rhumba, what an exciting marriage it is! Boots Randolph's gritty sax solo and Floyd Cramer's stuttering piano licks damn near upstage Elvis on this great revival of Chuck Willis's 1954 R & B smash.
Produced by Steve Sholes
recorded 12 March 12 1961


A Big Hunk O'Love

 (Aaron Schroeder, Sid Wyche)
This was Elvis's first rock-a-rhumba hit. Presley session historian Ernst Mikael Jorgensen describes "A Big Hunk O'Love" as "steamy", and the man sure ain't jivin' . . . the potent mix of screaming vocals, percolating piano and wailing guitars played at breakneck speed must've raised the temperature in RCA's Nashville studios at least ten degrees.
Produced by Steve Sholes
recorded 10 June 1958


No More/La Paloma

 (Hal Blair, Don Robertson, Sebastian Yradier)
"La Paloma", written circa 1865, was the first Latin song to catch on big in the United States. Don Robertson and Hal Blair, two of Elvis' regular song sources, adapted Sebastian Yradier's melody for inclusion in the movie Blue Hawaii. This hip-swaying ballad performance marked the first time the King of Rock 'n' Roll blended South Sea island music with a Latin sensibility. He evidently liked the result, because he subsequently made a habit of doing it.
Produced by Joseph Lilley and Elvis Presley
recorded 21 March 1961


Witchcraft
(Dave Bartholomew, Pearl King)
On the flipside of "Bossa Nova Baby", you'll find this whirling rock-a-tango number that abruptly shifts into double-time tempo. As he did on "I Feel So Bad", Elvis steps aside momentarily in order to showcase the frenzied sax blowing of Boots Randolph, who also plays percussion on this track. "Witchcraft" was originally released by The Spiders in 1955.
Produced by Steve Sholes
recorded 26 May 1963

 
Bossa Nova Baby
 Bossa Nova Baby
(Jerry Leiber, Mike Stoller)
This Leiber and Stoller composition inspired one of Elvis's coolest Latin-themed production numbers, featured in the movie Fun In Acapulco. While it purports to be a bossa nova, Elvis, his Hollywood session crew, and guest background vocal group The Amigos interpret it as a wild samba with strong mariachi flavorings. A Top Ten Pop entry, it all but obliterates the restrained original version cut the previous year by Tippie and The Clovers.
Produced by Joseph Lilley and Elvis Presley
recorded 22 January 1963


His Latest Flame

 (Doc Pomus, Mort Shuman)
First appearing as a Del Shannon album track, Pomus and Shuman's "His Latest Flame" is quite overt in its rhumba orientation: every instrument is heard playing the Cuban clave beat. Frankly, the song isn't such a great showcase for Elvis's voice, but he locks into the angst-ridden lyrics and manages to turn in a classic performance all the same.

Produced by Steve Sholes
recorded 25 June 1961


I Gotta Know
 (Paul Evans, Matt Williams)
"I Gotta Know" is a peppy rock-a-tango from the pen of singer/songwriter Paul Evans. The Jordanaires' doo-wop backing vocals are very prominent in the mix, and bass man Hugh Jarrett holds forth on harmony. His controlled thunder strikes a nice blend with Elvis' lead.
Produced by Steve Sholes and Chet Atkins
recorded 3 April 1960


Girl Of My Best Friend
 (Sam Bobrick, Beverly Ross)
Sam Bobrick is known today for his screenwriting and production work on TV series like “Get Smart”, “Gomer Pyle”, “Bewitched” and “Saved By The Bell.” Once upon a time, though, he was a freelance songwriter. Bobrick lucked out when Elvis cut his very first composition, "Girl Of My Best Friend". It’s the kind of gently-rocking tango that was guaranteed to have the King’s female fans swooning in ecstasy. A year after this original waxing appeared on the Elvis Is Back album, the tune was covered by Ral Donner, who scored his first chart single with it. Donner's take is very hushed and dramatic, while Elvis sings it in a more lighthearted style. Both versions are worth hearing.
Produced by Steve Sholes and Chet Atkins
recorded 3 April 1960


Blue River

 (Paul Evans, Fred Tobias)
Although this snippet of a rhumba speeds by in a flash, it leaves a lasting impression on you. It's another nifty number from the Paul Evans songbook, with Boots Randolph again handling percussion duties.

Produced by Steve Sholes
recorded 27 May 1963


Fun In Acapulco

 (Sid Wayne, Ben Weisman)
The title track of Elvis's 13th film swings to an old-fashioned habanera, the kind often heard in Latin-themed movie musicals from the 1930s. It gives you a good idea of how Mrs. Presley's baby boy would've sounded had he been one of Xavier Cugat's featured vocalists.
Produced by Joseph Lilley and Elvis Presley
recorded 23 January 1963


Little Sister

 (Doc Pomus, Mort Shuman)
The electric guitars on this track slash like switchblades, and Elvis's leering vocal cuts just as deep! When they discuss it at all, Pop music historians tend to characterize Habanera Rock as lightweight fare, best suited to Adult Contemporary sensibilities. "Little Sister" proves that such assessments aren't always accurate.

Produced by Steve Sholes
recorded 25 June 1961


Pocketful Of Rainbows

 (Ben Weisman, Fred Wise)
Terry Stafford's 1964 revival of this tune was almost excessively bouncy, a far cry from the King's laid-back original. Of course, this version from the soundtrack of GI Blues necessarily conformed to the low-key mood of the sequence it was written for. As fun as Stafford's cover is to hear, it must be said that Elvis gets more vocal mileage out of a slow tango treatment.
Produced by Hal Wallis, Joseph Lilley and Elvis Presley
recorded 28 April 1960


Rubberneckin'
(Dory Jones, Bunny Warren, Ben Weisman)
The Latin boogaloo was born on the East Coast, but its funky strut was tailor-made for '60 Rock and Soul artists. "Rubberneckin'" topped the UK charts when reissued in 2003, and its Northern Soul appeal is so strong, you don't wonder why. You do wonder why the reissue took 30 years! With suggestive gasps and sighs overdubbed at strategic points, this record anticipated Donna Summer's "Love To Love You, Baby" by five years. Darlene Love and The Blossoms sing background on the version heard in the film Change Of Habit.

Produced by Chips Moman and Felton Jarvis
recorded 21 January 1969


Fountain Of Love

 (Bill Giant, Jeff Lewis)
Some of Elvis's Latin/Rock fusions weren't fusions at all. "Fountain Of Love" is an example: It's a Latin music performance as authentic as anything you'd hear in a México City nightspot. Rather than what was going on in the contemporary salsa scene, these waxings tended to evoke the 1930s rhumba craze; but when Retro Latin is done as well as Elvis did it, who can complain?

Produced by Steve Sholes
recorded 18 March 1962


I'll Remember You

 (Kui Lee)
Here's another marriage of Latin and Polynesian music. Although "I'll Remember You" sounds like an outtake from the Blue Hawaii sessions, it was recorded seven years later. Later still, it surfaced on the Spinout soundtrack album. Elvis was recovering from a throat infection when he tracked the vocals, but that didn't stop him from laying one of his most beautiful readings ever on this warm slice of island melancholy. Subtle Spanish guitar accents and Spectorish backing voices frame his silken delivery like water lillies framing a pool of placid water.
Produced by Felton Jarvis
recorded 11-12 June 1966


Surrender/Torna A Surriento
(Ernesto DeCurtis, Doc Pomus, Mort Shuman)
You can't call this refugee from an overwrought silent movie score anything but campy! You might even call it corny. Just don't forget to call it an artistic and commercial triumph. A rhumba update of the Italian standard "Torna A Surriento" was going to be either a triumph or a disaster! Baring his operatic yearnings for all to see, Elvis wrings every last drop of drama out of this fiery seduction song. He does it in less than two minutes, too.

Produced by Steve Sholes
recorded 30 October 1960


Kiss Me Quick

Suspicion
(Doc Pomus, Mort Shuman)

Terry Stafford's cover of "Suspicion" is one of the classics of early '60s Rock 'n' Roll. Amazingly, it has managed to eclipse Elvis' original version, which you almost never hear on American oldies radio. The original waxing scored the bigger hit in foreign territories, though; its fidelity to the spirit of the tango might be one of the reasons why. As you'd expect, Elvis sings upstart Stafford under the table, too. While the latter's single may be more commercial from a strictly musical standpoint, his vocal performance sounds like a bad warm-up compared to the Memphis Marvel's effortlessly authoritative reading.
Produced by Steve Sholes
recorded 19 March 1962


Fun In Acapulco DVD

"Kiss Me Quick!" 

continues with Part Two.

Elvis Presley (Part Two)

Fun In Acapulco
Pan-American Elvis

 Kiss Me Quick!
The Latin Soul of Elvis Presley
by Donny Jacobs


For your listening and dancing pleasure, here are fifteen more pieces of vinyl evidence that Elvis could've sung anything Xavier Cugat might've thrown his way.  Not only that . . . dude would've sung the menudo out of it!

Flaming Star

Flaming Star

 (Sherman Edwards, Sid Wayne)
Hollywood never could get the sound of Native American music right. What their music directors came up with always sounded contrived, and there was usually some kind of inappropriate syncopation in the arrangements. It was hardly authentic, but it made for good production numbers. Wayne and Edwards' theme to Flaming Star isn't authentic Indian music either, but it's a wicked infectious dance number. Elvis and The Jordanaires get deep down in the groove of this reservation rhumba; no doubt lots of listeners got into it with them!
Produced by Urban Thielmann and Elvis Presley
recorded 7 October 1960

 
Indescribably Blue

 (Darrell Glenn)
This track was cut at the same session that produced "I'll Remember You". It's not as beautiful, but the wrenchingly sad interpretation that Elvis laid down tagged the song as a potential showstopper. You can easily imagine torrents of tears being unleashed as the King performed it live on stage. Too bad he never made this Rock 'n' Roll bolero part of his regular concert repertoire.
Produced by Felton Jarvis
recorded 10 June 1966


Do The Clam

Do The Clam
(Dolores Fuller, Sid Wayne, Ben Weisman)

If a poll were taken to determine which Elvis Presley movie song Rock critics hate most, "Do The Clam" might take top honors. "In The Ghetto" it definitely ain't!  The song is unabashedly frivolous, obviously written to justify a production number (in this case, for Girl Happy). But hey, who says the King of Rock 'n' Roll can't have fun with an occasional throwaway dance tune? Before you throw it away, be sure to open its clamshell and dig the smokin' sax and bongó break on this extended rhumba workout.
Produced by Georgie Stoll and Elvis Presley
recorded 12 June 1964


Rock-A-Hula Baby
(Dolores Fuller, Sid Wayne, Ben Weisman)

What does an actress do after starring in '50s cult films like Bride Of The Monster and Glen Or Glenda? Dolores Fuller moved to New York, signed to Hill and Range Music, and began churning out movie songs like "Do The Clam". She also co-wrote this unforgettable number. Equal parts Hawaiian ceremonial music and Spanish Harlem pachanga, "Rock-A-Hula Baby" was Elvis' gift to twist-crazed teenagers during the Christmas season of 1962. The Surfers, fronted by the late Alan Kalani, join The Jordanaires in frenzied background shouts and chants.
Produced by Joseph Lilley and Elvis Presley
recorded 23 March 1961

 
I'll Be There
(Bobby Darin)

The Habanera Rock craze had waned long before Elvis scheduled his historic first sessions at Memphis' American Studios. However, bonafide habaneras lay hidden beneath the melodies of some of the songs he cut there. Tupelo, Mississippi's pride and joy poured a honey-sweet, Gospel tinged vocal over "I'll Be There", making this Bobby Darin Country ballad a hidden treat for fans to discover. First, though, they had to get past formidable session mates the calibre of "In The Ghetto", "Don't Cry, Daddy", "Rubberneckin'" and a superb tango rocker called "Suspicious Minds".
Produced by Chips Moman and Felton Jarvis
recorded 23 January 1969


Devil In Disguise
(Bernie Baum, Billy Giant, Florence Kaye)

Like "Witchcraft", this song is afflicted with Itchy Tempo Disease! It can't decide whether to be a staid tango or a wild samba, so it tries to be a little bit of both. Such musical schizophrenia didn't intimidate Elvis fans in the least; they bought "Devil In Disguise" in huge numbers and made it a solid smash on both sides of the Atlantic.
Produced by Steve Sholes
recorded 26 May 1963


Kissin' Cousins

Kissin' Cousins
(Randy Starr, Fred Wise)

Kissin' Cousins is a truly execrable musical comedy, but it's almost redeemed by this boss theme song. Singing dentist Randy Starr disregarded the movie's rural theme and wrote an itchy twitchy pachanga to play under the opening credits. Hooks come at you from every which way; "Cousins" puts the dancin' in your feet like no other Elvis waxing before or since. Hands down, this is the most discotheque-ready number he ever committed to tape; just sitting still and listening to it is freakin' impossible! Some part of your body's gonna start movin' when you hear DJ Fontana and Buddy Harmon hammer out that insistent beat.
Produced by Gene Nelson, Fred Karger and Elvis Presley
recorded 31 September 1963


Let Yourself Go!
 (Joy Johnston)
A fabulous '60s-style production number accompanies this selection from Speedway, the Memphis Marvel's 1967 co-starring vehicle with Nancy Sinatra. "Let Yourself Go" is a sleazy boogaloo, not so different in attitude from Nancy's own hits; it might've made an ideal duet for her to sing with Elvis. Not that the King needed any help getting the job done here; he sharpened his cue, took cocksure aim, and put this eight ball of a tune squarely in the pocket.

Produced by Jeff Alexander and Elvis Presley
recorded 21 June 1967


Never-Ending
(Buddy Kaye, Phil Springer)

Country musician Gary Kirkland brought our staff's attention to this lilting faux-Mexican ballad. Fans found it on the flipside of Elvis's remake of The Drifters' 1954 stomper "Such A Night". Apparently, "Never-Ending" has become a cult favorite among acoustic guitar players; despite its Brill Building pedigree, it could easily pass for a folk song.
Produced by Steve Sholes
recorded 26 May 1963


Kiss Me Quick!
(Doc Pomus, Mort Shuman)

It's no accident that nearly all of Elvis' finest Latin Pop records bear a Pomus and Shuman credit. Mort Shuman was an avowed Cuban music addict who incorporated habaneras into new compositions every chance he got. For that reason, Jerry Leiber and Mike Stoller came to favor Pomus/Shuman material for their Drifters sessions. Nashville's studio cats had one Devil of a time mastering the sometimes driving, sometimes skipping tempo of "Kiss Me Quick!", but the King was 100% sold on its south-of-the-border swing. He insisted on take after take, and after twelve tries, they finally nailed it. Three years after the fact, RCA Victor slapped "Kiss Me Quick!" on the back of a Gold Standard pressing of "Suspicion"; deejays flipped the single over, and it scored a surprise Top Forty hit. This happy occurrence prompted Terry Stafford to cut an equally tasty version for his Suspicion album.
Produced by Steve Sholes
recorded 25 June 1961


Gonna Get Back Home Somehow
(Doc Pomus, Mort Shuman)

This moody rhumba would've made an ideal follow-up to "Heartbreak Hotel". It sizzles over an intense flame lit by Grady Martin's angry fuzz guitar and the relentless tandem drumming of Fontana and Harmon. ¡Picante!
Produced by Steve Sholes
recorded 18 March 1962


It's Now Or Never/O Sole Mio

 (Eduardo DiCapua, Giovanni Capurro, Wally Gold, Aaron Schroeder)
Was Elvis an opera fan? His willingness to record rewrites of "Torna A Surriento" and "O Sole Mio" certainly raises that possibility, not to mention his Mario Lanza-inspired singing on "Surrender" and "It's Now Or Never". The Old World flavor you'd expect from such recordings was wisely downplayed in favor of delicious new Habanera Rock arrangements. Prior to the release of this worldwide million-seller, an inferior English translation of "O Sole Mio" called "There's No Tomorrow" was in circulation. Tony Martin scaled the charts with his 1949 version, and there were '50s recordings by Dean Martin, Jim Nabors and Connie Francis, among others. After the overwhelming success of "It's Now Or Never", though, it all but vanished from public memory. No big loss!
Produced by Steve Sholes and Chet Atkins
recorded 3 April 1960


Slowly But Surely
(Sid Wayne, Ben Weisman)

Here's yet another Elvis track that was covered by sound-alike act Terry Stafford (who later abandoned his career as a Presley imitator to pursue a successful Country music career). "Slowly But Surely" features a pronounced habanera rhythm wrapped in several layers of fuzz guitar adornment. A bonus track on the Fun In Acapulco soundtrack album, it's one of those early '60s records that anticipate the Latin boogaloo; others include The Everly Brothers' "Cathy's Clown", Bob and Earl's "Harlem Shuffle" and "School Is Out" by Gary US Bonds.
Produced by Steve Sholes
recorded 27 May 1963


You'll Be Gone
(Charlie Hodge, Elvis Presley, Red West)
Anybody who still doubts the Memphis Marvel's affinity for Latin material should hear this track from his 1962 album Pot Luck. It's the only song that carries a legitimate Elvis Presley co-writing credit, and it's not a Blues or a Country tune. It's an unambiguous rhumba sung with unbridled passion. Like it or not, Latin music was an essential part of Elvis's artistry, much like it was an essential ingredient in the creation of Rock 'n' Roll.

Produced by Steve Sholes
recorded 18 March 1962


Viva Las Vegas

Viva Las Vegas
(Doc Pomus, Mort Shuman)

What's so special about this movie theme? It's only the most famous Rock 'n' Roll samba ever recorded! Pomus and Shuman outdid themselves with an unforgettably evocative ode to the flashiness, the sexuality, the excitement and the danger of Nevada's Sin City. "Viva Las Vegas" also captures the reckless adventurousness of the American spirit, and no artist was more qualified to sing it than Elvis. Who could've been more reckless and adventurous than the man whose eyebrow-raising mix of Black, White and Latino influences turned the music world upside-down?
Produced by Georgie Stoll and Elvis Presley
recorded 10 July 1963


These 32 sides hardly represent the full extent of Elvis's Latin-oriented work. Even if you include the aforementioned singles "Hound Dog" b/w "Don't Be Cruel" and “Suspicious Minds”, selections from the King Creole and Fun In Acapulco soundtracks, home recordings of Latin standards like "Allá En El Rancho Grande", live performances, and assorted movie songs, LP tracks and flipsides such as “Spanish Eyes”, "All That I Am", "Singin' Tree" and "For The Millionth And Last Time", you still won’t have found them all! Finding examples totally devoid of Latin influence would probably be more of a challenge. These fusion sides are as much a part of Elvis Presley’s Rock n' Roll legacy as any of his covers of Blues and Country classics.

El Vez Boxing

Unbeknownst to him, the King also left behind a Latin legacy, which we find in the colorful, cutting-edge person of El Vez! Performance artist and cultural historian Bobby López created the Mexican Elvis in tribute to the authentically Latin expression he found in both Elvis Presley's music and visual image. As my staff prepared to mount this special show, I asked El Vez what platters like "Fun In Acapulco", "Bossa Nova Baby" and "Viva Las Vegas" mean to him. His answer was nothing if not provocative. He told me he considers them examples of "a White man trying to add the Brown element . . . (those songs were) handed to (Elvis) by the Pop Machine. Even a machine knows it needs to make something swing from time to time! But this time, it was time for Elvis. Luckily, he could (bring) those tunes alive with his powers that be."

He firmly believes that the King's feeling for Latin music was inborn and not acquired. "You know, his mother used to say she was one-sixteenth Indian. (An) Indian from the south of Texas, (formerly) the north of México. Mexicans! Need I say more?" El Vez concludes: "You cannot (make) something from the machine (come) alive unless you have an element of the 'real', even in the fake." The Mexican Elvis speaks from personal knowledge! He and his lovely El-Vettes specialize in making what's fake real. They do it every time they take the stage and prove they're a legitimate Rock 'n' Roll revue instead of an Elvis impersonator novelty act.

It may be true that Pop songwriters of the 1960s were trying to inject a "Brown element" into Rock 'n' Roll. If so, then their efforts were redundant: That element was already there! Tin Pan Alley didn't need to artificially impose an Hispanic sensibility. Latin rhythms throb throughout the early Rock canon, regardless of whether you're listening to a record by Ritchie Valens ("La Bamba"), Bo Diddley ("Bo Diddley"), The Everly Brothers ("Cathy's Clown"), Roy Orbison ("Only The Lonely"), Robin Luke ("Susie, Darlin'"), Johnny Otis ("Willie And The Hand Jive"), Ray Charles ("What'd I Say?") or Elvis. Habanera Rock isn't some quaint offshoot of the real thing. It is the real thing! That's no doubt why attendees of the 1969 Woodstock Music Festival responded to Santana's music with so much enthusiasm: They recognized the real thing when they heard it!

With so much Habanera Rock to be found in Elvis's catalog, it's hard to understand why Rock critics continue to deny its importance. Could it be that the high quality of these recordings is a factor in their denial? As session men at the "Kiss Me Quick!" recording date discovered, it takes hard work to play this music right. Skilled musicianship is anathema to some people, though; they believe Rock 'n' Roll ought to sound amateurish and unrehearsed. If they decide it isn’t “Punk” enough, they’ll cop a contemptuous attitude.

Such people are babosos! Elvis Presley didn't build his stellar reputation off of records that made him sound like an amateur. He built it on well-crafted releases: Damn good singing! Damn good playing! And as often as possible, memorable songs like the Latin-tinged selections showcased here. Millions of devoted fans appreciated him all the more for doing so. We still do. One thing you can count on: Long after the pitiful efforts of today’s Punk Rock poseurs have faded from memory, future generations will be groovin’ to Elvis’s Dixieland tangos, rhumbas and pachangas. ¡Vaya!

Viva Las Vegas DVD

Extra special thanks to Bobby López,
the Mexican Elvis.

Enjoy Elvis Presley's Latin-flavored Rock 'n' Roll on these releases:
From Nashville To Memphis: The Essential '60s Masters
(RCA/BMG Music, 1993)
Command Performances: The Essential '60s Masters II
(RCA/BMG Music, 1995)
Elvis Latino!
(RCA/BMG Music Argentina, 1997)
Fun In Acapulco
(Follow That Dream Records/BMG Music UK, 2004)