EIn his early days Elvis unleashed hysteria in his fans. In his performances, the women screamed, moaned, kicked... Elvis loved hearing the screams and encouraged them to continue. On stage sometimes they would try to climb up to touch his idol and he would have to kick them out with his foot or with the help of others. If they got to him, they wanted to touch him, they ripped off his clothes... After the performance he had to run away to hide until the situation calmed down.

Although Elvis was not yet the main figure of the show, he was already known and drew so much attention for his performance that he went through the same thing.

An example of this behavior took place on May 13, 1955, at the end of a performance in Jacksonville, Florida. When Elvis said goodbye on stage he told the audience: "hey girls, I'll wait for you backstage ...." this would cause hysteria ... and subsequent reactions that would occur from then on. Elvis himself would say that when he went out the back door, he found a group of girls screaming. They surrounded him and pounced on him, ripping his clothes to shreds, his new jacket, his shirt, even his underwear... when the police arrived, he only had one shoe and one sock. They obviously wanted something else, so he was physically damaged and had to be put on iodine in the hospital. He would get a rash on his skin, because he was allergic. This example would be one of the worst... but they had to take action from then on. In other cases, when they left with the car shot after the performance, the girls surrounded the vehicle and some would sneak into it... Elvis had all the girls he wanted. He was young and also fame gave him the opportunity to do what he wanted without thinking about the consequences...

Mario Lanza an important figure in the musical training and entertainment of Elvis Presley Elvis said of Mario Lanza in 1972: "I had Mario Lanza records when I was 17, 18 years old. I would listen to the Metropolitan Opera. I love this music." In the early 1950s, Elvis continued to audition for the first few years at Sun Studios in Memphis, before releasing his first single in 1954 with "That's Alright, Mama" and remained his admirer thereafter. Lanza, named Alfredo Arnold Cocozza, 1921-1959. He was an operatic tenor and a very popular movie star. The first artist whose single recording sold 25 million copies of an album, Maria Callas called him the greatest tenor voice of the moment and Arturo Toscanini called him the greatest voice of the 20th century. Elvis is said to have met Lance in Los Angeles, in a meeting organized by Steve Sholes, his producer and later kept in touch by phone, but there is no photograph and there is no clear record of this. I
t is true that there was telephone contact between them, on some occasion Elvis he was able to talk to his idol. The two singers had a lot in common, they had an innate gift for singing, an unmistakable voice, both were musical virtuosos in their field, signed to RCA. They both started out as truck drivers and each later was drafted into the armed forces. Both were successful actors in exclusive movies in their own image. And curiously, both had a tendency to obesity, so they struggled to lose weight on many occasions. Sadly, both died prematurely. Mario Lanza died at only 38 years old and Elvis at 42. There was a mutual admiration between them since they also sang songs published ...Elvis recorded "Santa Lucía", it is also known that during the recordings at Rocca Place, Elvis recorded "be my love" a song that Mario Lanza had made popular but unfortunately there is no proof. Mario also sang two songs that he recorded Elvis, "Danny Boy" and "You'll Never Walk Alone" .

https://www.youtube.com/watch?v=8o8SZng55T0 But it's normal since none of them composed music and they could have common tastes. Elvis Presley evolved a lot over time as an artist, his way of singing would be the test of maturation and of trying to find other paths... The influence of the lyrical over time became more important in Elvis' voice, although he was never a lyrical singer , he liked to try a song, for example songs like 'O Sole Mio', the timeless Neapolitan classic. A song written by Giovanni Capurro and Eduardo Di Capua in 1898, was recorded for the first time by Giuseppe Aselmi in 1907 and popularized by Mario Lanza . The adaptation to the English language would result in the version with the title of "It's Now or Never". Mario's eldest daughter, Colleen, would tell on several occasions that Elvis had the habit of calling her father. In fact, she phoned and talked to Mario in Italy during the period from 1957 to 1959. She was a child and always liked to pick up the phone, she was about 11 years old at the time. She distinctly remembered hearing Elvis's unmistakable voice after saying hello and say how extremely courteous he was. She said that she had heard sometimes, how they passed the time talking. They talked about the cinema, the scene, how much they didn't like 'Hollywood' and the people who had caused them difficulty and pain... he said mostly about Mario. Since they were both RCA recording superstars, they also exchanged 'stories of war'of experiences,...about people they knew in common and about the business of making records in general. Elvis, during his time in the army in Germany, would have been well aware of Mario's European gigs and controversies.. .these were major entertainment news topics. And since soldiers are not prohibited from making phone calls during leave and time off, Elvis certainly could have easily obtained Mario's phone number from RCA. They say Colleen's anecdotes were sincere and believable-sounding, and didn't seem like just fancy embroidery designed to create interesting conversation.

"Following the path of the King..."


https://www.youtube.com/watch?v= aMBb3sWn1Co

We continue with a bit of history.The creators of what is called the Nashville sound. The initiative had to do with Producer Chet Atkins and executive assistant Bob Ferguson, who took the reins through also producer Owen Bradley. They decided to eliminate the violins and the steel guitar, to make the singers more attractive, to give them the effect of the voice. They called it the Nashville sound from then on and Chet Atkins said it was a media-created label attached to a recording style. He also used the Jordanaires and a rhythm section on such hits as Jim Reeves' "Four Walls" and Don Gibson's "He'll Have to Go" and "Oh Lonesome Me" and "Blue Blue Day."
The once rare phenomenon was different and began to have a big success in pop and from there it started rolling. The Producer was the one who guided the selection of material and the musical background of the artist. Atkins, who in addition to being a producer was a guitarist, came to make his own records, in a sophisticated home studio, which they normally visited, visiting the standards of pop and jazz. He often recorded the rhythm tracks on RCA but added his solo parts, refining the tracks until the results were just right.
Chet Atkins would be admired by all guitarists of all styles, for his albums, for his creativity, his ideas that were musically unique and also because he did all kinds of electronic experiments in order to create. He became known internationally as "Mister Guitar". In March 1959, Porter took over as chief engineer at RCA's B studio in Nashville. Porter helped Chet Atkins get a better reverb sound in the studio, a German effects device, an EMT reverb board.
They said of Porter that he had a golden ear, because he caught at all times the problems that they could have in the acoustics of the studio. For this reason this collaboration made the recordings significantly better and success was also achieved in the studio. Nashville's sound became more dynamic. The Porter Atkins collaboration would be of vital importance for this improvement, both got along well and collaborated to make the recordings more effective. Porter left RCA at the end of 1964, then Chet Atkins said "the sound was never the same, never this big". Chet Atkins was known for his playing, for the so-called "Atkins Style", the characteristic of the thumb and the first two, sometimes three, fingers of the right hand. He developed this style from listening to Merle Travis occasionally on the Radio, his playing caught his attention, he was sure no one could play that articulately with just the thumb and forefinger and he assumed he needed the thumb and forefinger. two fingers. That was the style that was pioneered and mastered. He collaborated on the music that Elvis Presey recorded and gave it a personal style, adding the Nashville sound and the particular performance also not only from his production but also from sound engineers such as Bill Porter. An example of this can be heard in the song "Are you lonely tonight".
"Following the Path of the King...".