ELVIS PRESLEY Hound Dog Don't Be Cruel 1956 UK 1st Press PURPLE GOLD HMV
£
102
$
135
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Description
ELVIS PRESLEY
Hound Dog ~ Don't Be Cruel
UK 1st press
1956 HMV 45-POP-249
Vinyl: Has jet black mirror like surfaces that have that just pressed look!!! in as near as MINT!!! condition,. Has the odd very tiny faint lines visible whatsoever,only when held under a strong lamp!!
Labels: MINT!!! condition with only 1 very minor spindle line visible whatsoever!!!
HMV Company Sleeve: in as near as MINT!!! condition, although slightly yellowing due to age
Hound Dog" is a twelve-bar blues written by Jerry Leiber and Mike Stoller and originally recorded by Willie Mae "Big Mama" Thornton in 1952. Other early versions illustrate the differences among blues, country, and rock and roll in the mid-1950s. The 1956 remake by Elvis Presley is the best-known version; it is his version that is No. 19 on Rolling Stone's list of The 500 Greatest Songs of All Time.[3] "Hound Dog" was also recorded by five country singers in 1953 alone, and over 26 times through 1964.[4] From the 1970s onward, the song has appeared, or is heard, as a part of the soundtrack in numerous films, most notably in blockbusters such as American Graffiti, Grease, Forrest Gump, Lilo & Stitch, A Few Good Men, and Indiana Jones and the Kingdom of the Crystal Skull
The blues singer Big Mama Thornton's biggest hit was Jerry Leiber and Mike Stoller's "Hound Dog," which she recorded at Radio Recorders in Los Angeles on August 13, 1952. Thornton’s "Hound Dog" was the first record Leiber and Stoller produced themselves. They took over the session because their work had sometimes been misrepresented, and on this one they knew how they wanted the drums to sound; Johnny Otis produced the record and played drums on the recording. This 1953 Peacock Records release (#1612) was number one on the Billboard rhythm and blues charts for seven weeks.[5] Otis received a writing credit on all 6 of the 1953 pressings. However, in 1957 Otis' claim to have co-written the song with Leiber and Stoller was dismissed in the New York Federal Court.[6][7]
Thornton gave this account of how the original was created to Ralph J. Gleason. “They were just a couple of kids, and they had this song written on the back of a paper bag.” She added a few interjections of her own, played around with the rhythm (some of the choruses have thirteen rather than twelve bars), and had the band bark and howl like hound dogs at the end of the song. In fact, she interacts constantly in a call and response fashion during a one minute long guitar "solo" by Pete Lewis. Her vocals include lines such as: "Aw, listen to that ole hound dog howl...OOOOoooow," "Now wag your tail," and "Aw, get it, get it, get it."
Thornton's delivery has flexible phrasing making use of micro-inflections and syncopations. Over a steady backbeat, she starts out singing each line as one long upbeat. When the words change from "You ain't nothin' but a HOUND Dog," she begins to shift the downbeat around: "You TOLD me you was high-class / but I can SEE through that, You ain't NOTHIN' but a hound dog." Each has a focal accent which is never repeated.
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