MARIANNE DREAMS PDF, EPUB, EBOOK Catherine Storr | 192 pages | 05 Oct 2006 | FABER & FABER | 9780571231454 | English | London, United Kingdom Love and Dreams | Allure This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. You may be able to find more information about this and similar content at piano. Advertisement - Continue Reading Below. More From Room Ideas. Light It Right These small, wall-mounted lamps allow you to focus the beam exactly where you want it, making it possible to read without disturbing your bedfellow. Also consider installing dimmers so that you can control the amount of wattage used throughout the day. Breathe Easy Fresh air fosters a good night's sleep. Police found only the note in one of his pockets. In Gainesville , songwriter-musician Tommy Durden thought the line in the note resonated the blues and would make a great lyric in a song. He sought the opinion of his friend Mae Boren Axton, who was a local songwriter, TV personality, and publicist. Axton had once done some work for Colonel Tom Parker, and she suggested that they write the song for Elvis Presley. As the story goes, she had once told Elvis that she was going to write his first million seller. After Mae decided that "down at the end of Lonely Street " one would naturally find a "Heartbreak Hotel," the rest of the song was composed by the team within the hour. Glen Reeves, a local singer, recorded a demo record of the song in a style that suggested Elvis Presley. Axton flew to Nashville in November to introduce the song to Elvis, who was in Music City to attend a convention for country music disc jockeys. Elvis loved the song, supposedly exclaiming, "Hot dog, Mae! Axton had asked Reeves to emulate Elvis' style on the demo, and Elvis copied the vocal intonations of Reeves for his recording. This story shows that Elvis' style was familiar enough to be recognized as his at the time. It also illustrates Elvis' pattern when recording a demo. He copied the interpretation of the demo singer whenever he recorded his version of a song. Later a drummer was added -- a position eventually filled by D. Fontana on a permanent basis. The effect is eerie, downright ghostly, particularly during the opening lines to each verse when Elvis sings without accompaniment. His voice is penetrating, and the sound is despondent, perfectly capturing the alienation of disaffected youth. The song was released as a single on January 27, , backed by "I Was the One. The television exposure undoubtedly helped propel the song to the number- one slot on Billboard's best-seller and juke box charts, where it stayed for eight weeks. It became Elvis' first million seller, just as Axton had predicted. Mae, Ken, and Mrs. Ed Wood. Elvis recorded hundreds of songs written by a variety of composers during his career, so it is not surprising that some of those songwriters might fall under the heading "peculiar. Early in his career, Darby made a unique contribution to American movie culture when he fulfilled an unusual assignment for the film The Wizard of Oz. She appeared in his film Jail Bait. Yet, he was not the first to record a hit version of it, nor did he sing the original lyrics. Otis invited the team to watch Thornton rehearse in his garage-turned-studio. After watching the mighty singer belt out a few numbers, Leiber and Stoller composed "Hound Dog" -- a song about a gigolo -- in about ten minutes. Bell enlivened the tempo and tampered with the lyrics in a humorous way, adding the line, "You ain't never caught a rabbit, and you ain't no friend of mine. Though Elvis and his combo flopped in Vegas, he brought back a little souvenir in the form of Bell 's comedic version of "Hound Dog. Elvis introduced the song to a national audience on The Milton Berle Show on June 5, , and the attention generated by that controversial performance resulted in a booking on The Steve Allen Show , where Elvis gamely sang the song to a basset hound. Elvis teased Sullivan's studio audience, who were primed for fireworks from the young singer, by starting and then stopping the song after the first note. Detractors suggest that he appropriated the blues tune without realizing its roots. It seems likely, however, that Elvis did know of Thornton's record. Though Elvis' recorded version was a rock 'n' roll interpretation patterned after Bell 's, his rendition on the Berle show owes something to the growling, bump-and-grind vernacular of Thornton's bluesy "Hound Dog. Backed by "Don't Be Cruel," the record became the biggest two-sided hit single in history. Although "Hound Dog" was originally sung by "Big Mama" Thornton, Elvis Presley's famous television performances subsequently linked his name to the tune. Elvis Presley's "Hound Dog" and "Don't Be Cruel" became a double-sided hit that climbed to number one and retained that position for 11 weeks -- longer than any other single release of the rock 'n' roll era. It also reached number one on the country-western and rhythm-and-blues charts. Elvis' parent publisher, Hill and Range, had acquired the song, and the demo was one from a stack that the hot new singer listened to during an RCA recording session in July When Elvis wanted to record the song, Blackwell was told that he would have to cut a deal and share the writer's credit with him, though Elvis did not contribute anything to writing the song. Blackwell was uneasy about the deal, but he realized he stood to make a great deal of money from royalties -- even at half-interest -- if Elvis recorded the song. This would not be the last time that Elvis received a writing credit on a song he did not originally compose. During the recording session, Elvis rehearsed the song a couple of times with his regular backup musicians, a piano player hired by RCA, and the Jordanaires. Then, the group worked on the song, finessing it as they went through almost 30 takes. All the musicians contributed something in their own way. Fontana used Elvis' leather-covered guitar as a makeshift drum to capture a snare effect by laying it across his lap and hitting the back with a mallet. Their efforts resulted in one of Elvis' most beloved songs and one of his personal favorites. The song remained at the top of Billboard's pop chart for nine weeks, and it stayed on the chart for 30 weeks -- the longest of any Elvis single. At year's end, "All Shook Up" was named the number-one single for Elvis also had the number-one single for , "Heartbreak Hotel," making him the first singer of the rock era to top the year-end charts for two consecutive years. Blackwell's inspiration for the title "All Shook Up" came from a mundane incident straight out of everyday life, though the story has undoubtedly been enhanced through repeated tellings. While working for Shalimar Music as a songwriter, Blackwell was sitting in the office trying to come up with a new powerhouse tune. Contrary to some reports, Blackwell did not compose the tune specifically for Elvis as a follow-up to "Don't Be Cruel. Elvis recorded the tune in Hollywood at Radio Recorders in January In his version, Elvis overdubbed himself slapping the back of his guitar, which is a pleasant reminder of his Sun Studio sound. Again, Blackwell reluctantly agreed to share a writing credit with Elvis, or else Elvis' management including Colonel Parker and music publishers Hill and Range would not have allowed him to record the tune. Legend has it that the inspiration for Elvis' "All Shook Up" came from a foaming soda bottle. It entered the British charts at number one, making it the first single ever to do so. The rock 'n' roll songwriting duo was commissioned to write most of the songs for the movie Jailhouse Rock , though they were less than enthusiastic about the assignment. The two songwriters were not impressed with Elvis' interpretation of their material. Elvis, on the other hand, performed most of his material straight, as when he recorded the duo's "Love Me," which they had originally intended as a lampoon of country-western music. The three met during the April recording session for "Jailhouse Rock," and Leiber and Stoller quickly changed their minds about Elvis once they realized he knew his music and that he was a workhorse in the studio. Their collaboration with Elvis and his musicians on "Jailhouse Rock" resulted in the singer's hardest-rocking movie song. Fontana once noted about his drum playing on the record, "I tried to think of someone on a chain gang smashing rocks. The short period of time that Leiber and Stoller worked with Elvis proved beneficial to both sides. The irony and ambiguity in the lyrics of "Jailhouse Rock" gave Elvis one of his most clever rockers while the singer's sincere and energetic delivery prevented the song from becoming too much of a burlesque -- a tendency with some of Leiber and Stoller's songs written for the Coasters. The songwriters hung with Elvis long enough to contribute to the King Creole soundtrack, among other projects, but eventually they ran afoul of Elvis' management for trying to introduce him to new challenges. Who could have guessed that "It's Now or Never," a reworked version of the Italian opera-style classic "O Sole Mio" with a cha-cha arrangement would become Elvis Presley's biggest-selling single? But then, in , when Elvis was skewered by most newspapers in the country for thrusting his hips to the bluesy beat of "Hound Dog," no one would have guessed that he would become a press favorite in just four short years.