Without a Song...
you will find quotes about Elvis's singing talent and voice. And it was the
soprano singer who worked with Elvis for 7 years,
Kathy Westmoreland, who called
our attention to the website where these quotes were, saying:
is just the beginning of the 'must reads' for those interested in perhaps
documenting Elvis' Vocal greatness, added to his musical genius, and how he
changed our lives socially and culturally the world over. I will be posting
more in the hopes that someone... one of you perhaps, will help to give him
the dignified proper place in our history books. Betty Albrecht sent us this
link. Any of you who are interested in Elvis' Vocal Genius
should read this. Quotes by Vocal experts who know
what they are talking about. These are a few by some of Elvis' Peers.
Others in the Music Industry. Enjoy." - Kathy Westmoreland.
(About his musical style,
and impact as a vocalist)
comments currently available either on the internet, in reference guides,
encyclopedias, or books, made by music editors, producers and songwriters;
record company CEO´s; theater critics; music professors, publishers and
commentators; recording sound engineers; musicians in the Classical, Pop,
Blues, Gospel, R&B, Soul, Rock, C&W and Latin-American music fields; voice
teachers and coaches; rock and popular music historians; and writers on the
Humanities, the Arts, as well as on Social, Racial, Literary, Copyright-Law
and other related studies.
"Elvis Presley has been described variously as a baritone and a
tenor. An extraordinary compass - the so-called register -, and
a very wide range of vocal color have something to do with this
divergence of opinion. The voice covers two octaves and a third,
from the baritone low-G to the tenor high B, with an upward
extension in falsetto to at least a D flat. Presley's best
octave is in the middle, D-flat to D-flat, granting an extra
full step up or down. Call him a high baritone. In
It's Now or Never, (1960), he ends
it in a full voice cadence (A, G, F), that has nothing to do
with the vocal devices of Rhythm and Blues and Country. That
A-note is hit right on the nose, and it is rendered less
astonishing only by the number of tracks where he lands easy and
accurate B-flats. Moreover, he has not been confined to one type
of vocal production. In ballads and country songs he belts out
full-voiced high G's and A's that an opera baritone might envy.
He is a naturally assimilative stylist with a multiplicity of
voices - in fact, Elvis' is an extraordinary voice, or many
- Henry Pleasants, in his book The Great American
Popular Singers (1974)
"I suppose you'd had to call him a lyric baritone, although with
exceptional high notes and unexpectedly rich low ones. But what
is more important about Elvis Presley is not his vocal range,
nor how high, or low it extends, but where its center of gravity
is. By that measure, Elvis was all at once a tenor, a baritone
and a bass, the most unusual voice I've ever heard."
- Gregory Sandows, Music Professor at Columbia
University, published in The Village Voice.
"I am reminded of a comment made shortly after the death of
Elvis Presley by a musician he had worked with. He pointed out
that despite an impressive vocal range of two and a half octaves
and something approaching perfect pitch, Elvis was perfectly
willing to sing off-key when he thought the song required it.
Those off-key notes were art."
- Patrick H. Adkins,
The Dream Vaults of Opar.
"He got even more maturity in his voice as he got older; I was
often amazed at his range, just as one singer listening to
another. He could sing anything. I've never seen such a
versality, and in fact I don't see it today. Usually a voice can
sing one way, but he had that ability about him, and he helped
me to learn the importance of communication with an audience. He
had such great soul. He had the ability to make everyone in the
audience think that he was singing directly to them. He just had
a way with communication that was totally unique."
- Gospel tenor Shawn Nielsen, who backed Presley’s
recordings both with the Imperials and with the group Voice, at
the studio and in concert, from the late sixties until Presley's
death in 1977.
"Presley brought an excitement to singing, in part because rock
and roll was greeted as his invention, but for other reasons not
so widely reflected on: Elvis Presley had the most beautiful
singing voice of any human being on earth."
- William F. Buckley, Jr., in his article The Crooner,
R.I.P.: Perry Como and the Casual Mode, published by the
National Review on June 11, 2001.
"He would probably be considered a baritone, but he could reach
notes that most baritone singers could not. Much of his
abilities emanated from a very intense desire to execute a song
as he wanted to do it, which meant that he really sang higher
than he would normally be able to. When the adrenaline is going,
and the song is really pumping, you can get into that mode where
you can actually do things, vocally, that you couldn’t normally
do. So he had a tremendous range because of his desire to excel
and be better, and that’s why he could do a lot of things that
most people couldn’t."
- Terry Blackwood, lead singer of the Gospel group, the
hopes for a music career involved singing in a gospel male
quartet. His favorite part was bass baritone, and he himself had
an almost 3-octave vocal range... Yet to posterity's surprise,
such a superlative and magnetic natural talent always remained
humble - perhaps too humble to keep performing forever."
- IMDb's review of his appearance in Frank Sinatra's
1960's Welcome Home Party for Elvis Presley TV special.
"The young Elvis Presley, without any doubt."
- Top New Zealand opera star and soprano Kiri Te Kanawa's
answer to UK show-host Michael Parkinson (who probably expected
her to name Luciano Pavarotti, or Maria Callas), when asked
whose was the greatest voice she had ever heard (as published in
Blabbermouth.net, 3 January 2007)
often say that opera singers sound too stiff and operatic when
singing contemporary music. This is because the vowels in an
operatic style tend to be more open, whereas in a rock style
singers tend to thin out the vowel. There is nothing wrong, and
everything right, in opening the vowel in the higher register so
that the higher notes can be sustained. Elvis Presley was very
open in his singing style even though he was 'the' rock and
- Brian Gilbertson, world-famous voice teacher
"Along with the
rest of Deep Purple, I once had the chance to meet Elvis. For a
young singer like me, he was an absolute inspiration. I soaked
up what he did like blotting paper. It's the same as being in
school — you learn by copying the maestro. His personality was
also extremely endearing, his interviews were very self-effacing
(and) he came over as gentle and was generous in his praise of
others. He had a natural, technical ability, but there was
something in the humanity of his voice, and his delivery. Those
early records at the Sun Records label are still incredible and
the reason is simple: he was the greatest singer that ever
- Deep Purple's lead singer and front man, Ian Gillan,
interviewed by Classic Rock magazine, explaining why
Presley belongs in the list of rock icons (as published in
blabbermouth.net, on 3rd January, 2007).
"But it was on
the gospel numbers, such as the stunning
How Great Thou Art, (1977) that
Presley showed the awesome power of his voice. The fact that he
has one of the greatest voices in popular music has been
obscured by the mystique that has surrounded him."
- Steve Millburgh, writing for the Omaha World Herald,
on one of Presley’s last concerts, on 19 June 1977.
"He was the most commercially successful singer of rock and
roll, but he also had success with ballads, country, gospel,
blues, pop, folk and even semi-operatic and jazz standards. His
voice, which developed into many voices as his career
progressed, had always a unique tonality and an extraordinarily
unusual center of gravity, leading to his ability to tackle a
range of songs and melodies which would be nearly impossible for
most other popular singers to achieve."
- The Wikipedia’s all-too-brief, yet concise reference on
Presley’s voice, and musical background.
"There was no
model for Elvis Presley's success; what Sun Records head Sam
Phillips sensed was something in the wind, an inevitable
outgrowth of all the country and blues he was recording at his
Union Avenue studio; enter Presley in 1954, bringing with him a
musical vocabulary rich in country, country blues, gospel,
inspirational music, bluegrass, traditional country, and popular
music - as well as a host of emotional needs that found their
most eloquent expression in song; his timing was impeccable, not
only as a vocalist, but with regard to the cultural zeitgeist:
emerging in the first blush of America's postwar ebullience,
Presley captured the spirit of a country flexing its industrial
muscle, of a generation unburdened by the concerns of war,
younger, more mobile, more affluent, and better educated than
any that had come before; (as such), the Sun recordings were the
first salvos in an undeclared war on segregated radio stations
- Rolling Stone Magazine, focusing on the
importance of Elvis' Sun Records label recordings.
"In 1956, even the youngest of his fans knew that the
21-year-old Elvis Presley was unquestionably the whole package;
and, obviously, his great three octave tenor voice, with a lower
register close to bass, seemed to vibrate on the inner scale of
every teenager in America; they loved the high tenor, but when
he "got down" with that lower register, fans exploded; Elvis
translated this into his moves on stage, so it was a 10.0
assault on the senses."
- Sugarpi Productions´ essay on Elvis Presley, as
published in Clay´s.Daily.Double.com
"I am indebted to Scott W. Johnson, my fellow at the Claremont
Institute, for many things over the years, but not many rate
higher than his "introducing" me to Elvis Presley. I came of age
(i.e., reached the 9th grade), just in time for the "British
Invasion" and, despite my childhood memories, soon came to think
of him as the ultimate in passe; so, I was astonished when Scott
told me, a year or two ago, that in his opinion Elvis Presley
was the greatest male vocalist of the 20th Century; I had never
thought of him in that light, to put it mildly, but that
conversation caused me to realize that I had never actually
'listened'; starting then, I did - with the aid of Scott's
encyclopedic music collection -, so if you have never gotten
past a cartoon image of Elvis, do yourself a favor and
- John H. Hinderaker, of the Claremont Institute,
a Harvard Law School Graduate and expert on public policy
issues, including income and race, as published in Power.Line,
on January 09, 2007.
"In Elvis, you had the whole lot; it's all there in that elastic
voice and body. As he changed shape, so did the world. His last
performances showcase a voice even bigger than his gut, where
you cry real tears as the music messiah sings his tired heart
out, turning casino into temple. I think the Vegas period is
underrated. I find it the most emotional. By that point Elvis
was clearly not in control of his own life, and there is this
incredible pathos. The big opera voice of the later years -
that's the one that really hurts me."
- Lead singer Bono, of U2, for Rolling Stone
Magazine, as published in their April 15, 2004 edition.
"Elvis Presley’s talent as a musical artist was
double barreled and more; his voice, on the one hand, was
extraordinary for its quality, range and power, as well as being
a unique stage performer with instinctive natural abilities in
both areas; he was the master of a wide and diverse range of
vocal stylings and ventriloquist effects, from the clear tenor
of his C&W heroes, to the vibrato of the Gospel singers he
loved, his voice invariably possessing an aching sincerity and
an indefinable quality of yearning virtually impossible to
- From the U.S Department of the Interior’s paper
on criteria for greatness as a vocalist, which, together with
all aspects of his life and legacy, led to the inclusion of his
home, Graceland, in the National Register of Historic Places, in
"Blues, country, pop, rock and roll, gospel, and beyond, this
man could sing anything. From the rockabilly of the Sun
Sessions, to the MOR of Wooden Heart,
to the later day Burning Love,
Elvis proved that he had the skills as a vocalist that few have,
or will ever have."
- Rob Jones, Canadian musicologist, writing in Helium:
Where Knowledge Rules.
"Elvis loved gospel music, he was raised on it, and he really
did know what he was talking about. We would jam with him for an
hour, and he had a feel for it and was 'tickled' to have four
`church sisters' backing him up; he was singing Gospel all the
time, (in fact), almost anything he did had that flavor. You
can’t get away from what your roots are."
- Gospel singer Cissy Houston, mother of Whitney
Houston, and a founding member of the Sweet Inspirations, one of
the Gospel Groups who backed Presley in his live performances,
from 1969 until his death, as told to Jerry Helligar in an
interview published in True Believer, at
classicwhitney.com, on Aug 10, 1998.
"The greatest voice of all time".
- Q Magazine Judging panel´s laud of Elvis
Presley, from a poll published on their March 4, 2007 issue.
"I taught him some lyrics in Spanish and he learned them. I
wrote it for him the way it was sung (phonetically). He was very
talented. It was very difficult Mexican music."
- Manny Lopez, RCA vibraphone recording artist known as
the King of the Cha Cha Cha, explaining how, under his tutelage,
Elvis sang the Mexican standard,
Guadalajara, (1963) in Spanish, like an authentic Mariachi,
as published in Las Vegas' The Desert Sun, on March 16,
actually did was take 'black' and 'white' music and transform
them into this third thing; (in the final analysis), no one sang
so many different kinds of music - rock, gospel, country,
standards -, as well as Presley sang them, at such a high level,
and for such a long time."
- Greg Drew, world famous voice coach whose clients
include Lenny Kravitz, Avril Lavigne, and Corey Glover, as
quoted in Mike Brewster’s The Great Innovators: Birth of a
Rock Star, published by Business Week in its
September 24, 2004 issue.
"Had Presley never sung a note he might have still caused a
stir, but sing he did. Watershed hits such as
All Shook Up (1957) or, for
instance, Are You Lonesome
Tonight, (1960), were imminently Presley's from the moment
he put his stamp on them. His jagged, bubbly highs, and Southern
baritone jump from those recordings like spirits from a
cauldron. Elvis crooned romantically, then screeched
relentlessly, always pouring his heart into the lyric and
melody. After Elvis, the male vocalist could no longer just sing
a song, especially in the new world of rock-n-roll. The 'feel'
of a performance far out-weighed the perfection of the take."
- James Campion, in his book The 25 Most Influential
Americans of the 20th Century, published in 1996.
"In the collective memory of his fans, he reigns as the sleek
musical genius who soaked up the multiple influences of
America's vernacular music -gospel, country swing, rhythm 'n'
blues—, and made them his own; Bob Dylan, one of pop's favorite
poets, put it best: Elvis, he said, was "the incendiary atomic
musical firebrand loner who conquered the western world."
- Gwen Gibson, in his article The Top 10 Pop Stars,
Ever, published in the AARP's May 2003 edition.
"The voice is
so melodious, and - of course, by accident, this glorious voice
and musical sensibility was combined with this beautiful, sexual
man and this very unconscious - or unselfconscious stage
movements. Presley's registration, the breadth of his tone,
listening to some of his records, you'd think you were listening
to an opera singer. But…it's an opera singer with a deep
connection to the blues."
- Jerry Wexler, co-founder of Atlantic Records.
"When healthy and serious, he was flat-out the world's greatest
singer. In his voice, he possessed the most beautiful musical
instrument, and the genius to play that instrument perfectly; he
could jump from octave to countless other octaves with such
agility without voice crack, simultaneously sing a duet with his
own overtones, rein in an always-lurking atomic explosion to so
effortlessly fondle, and release, the most delicate chimes of
pathos. Yet, those who haven't been open (or had the chance) to
explore some of Presley's most brilliant work - the almost
esoteric ballads and semi-classical recordings -, have cheated
themselves out of one of the most beautiful gifts to fall out of
the sky in a lifetime. Fortunately, this magnificent musical
instrument reached its perfection around 1960, the same time the
recording industry finally achieved sound reproduction rivaling
that of today. So, it's never too late to explore and cherish a
well-preserved miracle, as a simple trip to the record store
will truly produce unparalleled chills and thrills, for the rest
of your life; and then you'll finally understand the best reason
this guy never goes away".
- Mike Handley, narrator and TV/radio spokesman,
in the The Jim Bohannon Show, airing on 600+ radio
stations on the Westwood One Network.
"He treats the song as a private meditation, full of pain and
the yearning to believe. Though the lyrics speak of hope, Elvis
turns them into a cry, as if reaching for one last sliver of
light in engulfing darkness. 'I am alone', he seems to be
saying. But maybe, just maybe, we can find someone or something
to cling to. In his case, it's God. But each of us, hearing him,
reaches for our own salvation; if great art needs nakedness
(then), those few minutes of Elvis alone at the piano amount to
the most naked performance I've ever witnessed."
- Nick Cohn, commenting on Elvis Presley's rendition,
alone at the piano, of You'll
Never Walk Alone, at the Nassau Coliseum, Uniondale, NY,
(1975) and published on the Guardian's Sunday edition, on
January 21, 2007, in an article entitled The 25 Best Gigs of
"We are startled, on the amazing
Blue Moon, by his trick of shifting, in a heartbeat, from
saloon baritone to pants-too-tight wailing and by his near
Hawaiian avoiding of consonants ("Ya-hoo A-know Ah can be fou'/
Sittin' home all alo'"), from Don't Be
Cruel, a song that comes close to redefining the art of the
pop vocal; So, what's left? A terrific crooner who was closer,
in intonation, vocal virtuosity and care for a song's mood, to
Bing Crosby, than to any top singer of the rock era. Toward the
end, he still had it as a Gospel balladeer, the choir-soloist
power of the hymn He Touched Me
— his voice breaking poignantly at the end of the hymn, as if he
had just seen Jesus — still thrills and haunts. So does his
desire to please an audience of kids and grandmas, instead of
comfortably occupying a niche, as almost every pop star has done
- Richard Corliss, TIME magazine’s Music
Editor, reviewing the Platinum, box-set, as published in
the magazine’s January 8, 2003 edition.
"He had a
musically textured rhythmic voice that had emotional
intelligence; concentrate on his voice: sweet, remorseful,
- Eileen Battersby, literary correspondent, citing the
reasons for her being hooked on Elvis after "discovering" him
inadvertently as she changed the dial looking for her favorite
classical music radio station, as published in the Irish
Times in August of 2002.
“During the early going at the Charlotte Coliseum, there were
scattered notes here and there that made you wonder if finally
he was gonna do it but, always, he would pull up short, rely on
the grins, the charisma and the legend, until finally a little
before 10:45, he came to the gospel classic,
How Great Thou Art. And that was
it. As he came to the part where he belts out the title, he
sounded like Mario Lanza with soul, cutting loose a series of
high notes that would tingle the spine of even the diehard
skeptic; but crescendo came on a song called
Hurt; it's an old song that Elvis
didn't record until a couple of years ago, and the key
ingredient is its range, an awesome collection of notes that
could leave a normal set of vocal chords in shreds; he finished
in what seemed his most potent style, but wasn't satisfied, and
mumbled to the band, "Let's do that last part again."; he did,
and if there was anyone among the packed-house crowd who had
thought Elvis was a fluke, they no doubt came away converted.
- Frye Gaillard, reviewing his February 20, 1977 show at
the Coliseum, for the The Charlotte Observer.
"The point of Elvis Presley was that, after a dismal eight years
on the screen, he returned to the stage where he always belonged
and to the grinding treadmill of being on the road, which has
killed so many of America's artists; he may not have pushed the
boundaries of music farther but when he opened his mouth to
release that baritone - the only white voice that could ever
match the blues-, all you could feel was his longing. and your
- Adrian Hamilton, writing for The Independent,
on August 14, 2002.
"He had an incredible, attractive instrument that
worked in many registers; he could falsetto like Little Richard,
his equipment was outstanding, his ear uncanny, and his sense of
timing second to none; (in short) he could sing..."
- Jerry Leiber, who with Mike Stoller, co-wrote some of
the greatest R&R and Pop hits of the 50's, and early 60's.
"Presley's voice was remarkable in the sense that, through it,
he touched people in a way only great artists can do. (In fact),
the people he touched are as diverse as humanity itself and,
because of that his popularity has transcended race, class,
national boundaries, and culture. There is no simple answer
about why that is so, all I can say is he had that magic. When
Elvis Presley was first popular, many people said that he did
not have a good voice. Almost everyone, today, knows that he
did, but more people today should see him not simply as a
performer, but as an artist with a great soul."
- John Bakke, professor emeritus of the University of
Memphis, in an interview with the US State Department,
transcripted by UNUSINFO on July 18, 2006 on the legacy of Elvis
"There comes a point when the voice starts to wash over you. You
get inside of it, start to really hear what he's doing, and you
realize his singing has this extraordinary, effortless quality
to it. Sometimes it's like listening to a stream of honey. It's
a very smooth ride, the voice of Elvis Presley. I don't think
you focus on the words when he's singing. I think he's doing
what belcanto singers do - you don't listen to the words, "just"
to the beauty of his voice-. When I say "just", that makes it
sound as if he's denying you something else but, actually,
that's quite enough".
- Barb Jungr, reviewing the album Love, for The
Scotsman, as published in its 25 June, 2005 edition.
"Even in his laziest moments, Presley was a master of intonation
and phrasing, delivering his rich baritone with a disarming
naturalness. And when he caught a spark from his great T.C.B.
Band, Presley could still out-sing anyone in American pop. You
can hear it here on inspired versions of Muddy Waters'
Got My Mojo Working, Wayne Carson's
Always on My Mind, Chuck Berry's
Promised Land, McCartney's
Lady Madonna, Percy Mayfield's
Stranger in My Own Hometown,
and Joe South's Walk a Mile in My Shoes..."
- Geoffrey Himes, reviewing The Essential 70's Masters
box-set, for amazon.com.
"Even as a young man, that's what Presley sounded, like a man. I
wasn't of a culture nor a region that found Presley appealing,
and I've never seen a Presley movie through but, a few years ago
when in a tribute to him various modern singers covered some of
his originals, followed, or enclosed by, his versions of the
same songs, I was struck by how much fuller, deeper, and richer
- Al Spike, explaining to North Africans why Presley's
manly baritone rang true, in the web’s Chicago Boyz.
"Take a track like One Sided Love
Affair and really examine every nuance of his voice, every
caress, every tease and every growl that he lets loose for the
song's duration, and you’ll you come to understand that the
reason Presley's voice has been so often imitated is because it
was unique and, furthermore, damm great; no phony piano intro,
not even a puerile lyric could have ever stopped him from
turning this song into a real classic; imagine, then, how great
it is when Elvis gets to sing material that is up to his
standards — like on the Sun Records label song
Tryin’ To Get You -, probably the
bluesiest song on this record, where Presley shows a sense of
determination, not just a combination of nobleness and sex, but
an expression of guts as well; quite simply, this is a guy who
knows what he wants, and knows he's gonna get it, and his
confidence - never arrogance -, is so contagious that by the end
of the song, you believe it too."
- Daniel Reifferscheid, reviewing Elvis' first album, for
"Then, in mid 1968 he taped a television special in a black
leather suit, in front of a select live audience, opening with
Guitar Man and closing with a mild
social-conscience song, If I Can Dream.
But it wasn't until Greil Marcus brought out the recording of
that performance for me, almost three years later, that I
realized how significant it had been. Marcus has spent as much
time listening as anyone who is liable to be objective, and he
believes Elvis may have made the best music of his life that
crucial comeback night. It's so easy to forget that Elvis was,
or is, a great singer. Any account of his impact that omits that
fundamental fact amounts to a dismissal."
- Robert Christgau, Dean of American Rock critics, in his
Any Old Way You
"With the way he was marketed, he didn't even need to be able to
sing the way he could. But Elvis had talent, plain and simple.
The guy had a thousandth-octave range, and a variety in his
vocal styles and approach, he could make more vocal tones, with
just his voice, than a guitar player with 50 pedals and gadgets.
If you never even saw the guy, you could plain feel, not just
hear, the emotion and passion in his voice, and you are
immediately taken in, one hundred percent. On the merit of
vocals alone, he had more talent in the barbecue stuck in his
teeth than the singers who sell millions of records do today."
- Country singer Roger Wallace, in the web’s Soapbox.
"Elvis' range was about two and a quarter octaves, as measured
by musical notation, but his voice had an emotional range from
tender whispers to sighs down to shouts, grunts, grumbles and
sheer gruffness that could move the listener from calmness and
surrender, to fear. His voice can not be measured in octaves,
but in decibels; even that misses the problem of how to measure
delicate whispers that are hardly audible at all."
- Lindsay Waters, Executive Editor for the Humanities at
Harvard University Press, in his essay Come Softly, Darling,
Hear What I Say.
"During his rendition of Hurt,
(1976), he was in even better voice, singing in a register that
gave more impact to his phrasing, and even hitting notes that
could cause a mild hernia. And, after they drew a good crowd
reaction, he offered them in a reprise that was tantamount to
- Mike Kalina, reviewing Elvis' 1976 New Year's concert
for the Pittsburgh Post Gazette, January 1, 1977.
"We can even hazard a little analysis as to what made his voice
so appealing. "That curious baritone," one critic called it.
Actually, that is inexact. The voice had mixed propensities,
hovering between tenor and bass and everything in between. Even
a convincing falsetto lay within his range. One thing he was
not, ever, was "Steve-'n-Edie", the polished, professionally
accomplished Vegas artistes who once pronounced on an afternoon
interview show (Mr. Lawrence enunciating the sentiment for
himself and his partner/wife, Ms. Gorme), "We don't really think
of Elvis as a singer. But he was a star." It is only when, years
later, one gets past the indignation of hearing such apparent
ignorance, that the sense of the observation becomes clear. A
singer is someone like Steve Lawrence rolling effortlessly (and
meaninglessly) through a shlock-standard like What Now, My Love.
More or less like doing the scales. A star is the persona in
whom one invests one's vicarious longings, a being who is
constantly hazarding — and intermittently succeeding at — the
impossible stretches that every soul wishes to attempt but lacks
the means or the will to. It's not a matter of virtuosity."
- Jackson Baker, in Memphis Magazine, July
"I don't really think Elvis' voice was significantly lower than
those of any other baritones. The color of the voice and the
sense of warmth and richness of tone gave the sense that the
voice was much deeper. Elvis, in fact, did not force his lower
register, comfortable as he was with it, which in turn gave the
impression that it was lower than those of other baritones."
- Brian Gilbertson, world famous voice teacher,
explaining the deepness of Elvis' lower registry.
"Elvis was a (Gospel) singer par excellence. On
Milky White Way, (1960), he' got
the strength of a bassman and the sweetness of a tenor. The
heritage we have in Elvis' gospel music is a gift to the
- Paul Poulton, as published in Cross Rhythms
"In Hawaiian Wedding Song,
(1960), Elvis takes particular advantage of his voice's strong
lower middle and higher note registers, made particularly
difficult because of the need to sing in cascading notes. Elvis
meets the challenge on every occasion, his performance being
absolutely meticulous, with not a hint of vocal strain."
- BMG's review of his album Blue Hawaii.