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I think it was probably much more likely his marriage or his mother – or a finer fracture from earlier on, like losing his twin brother, Jesse, at birth. The rock’n’roll world certainly didn’t like to see their King doing what he was told. Some commentators say it was the army, others say it was Hollywood or Las Vegas that broke his spirit. Elvis clearly didn’t believe God’s grace was amazing enough.
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Self-loathing was waiting back up at the house, where Elvis was seen shooting at his TV screens, the Bible open beside him at Saint Paul’s great ode to love, Corinthians 13. He was happiest when he was singing his way back to spiritual safety. With no-one else around, his choice would always be gospel, losing and finding himself in the old spirituals.
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He had a little room there, and he said that when Elvis was upset and feeling out of kilter, he would leave the big house and go down to his little gym, where there was a piano. Jerry Schilling, the only one of the Memphis Mafia not to sell him out, told me a story about when he used to live at Graceland, down by the squash courts. Elvis doesn’t know where the train will take him, and that’s why we want to be passengers. The King didn’t know he was The King yet. You can hear it in those Sun records, and they are the ones for me – leanness but not meanness. It was a small tunnel of a place, but there was a certain clarity to the sound. He found the old valve microphone The King had howled through the reverb was the same reverb: “Train I ride, 16 coaches long”. He reopened the studio so we could cut some tracks within the same four walls where Elvis recorded “Mystery Train”. We were working with Elvis’ engineer and music diviner, Cowboy Jack Clement. In the ’80s, U2 went to Memphis, to Sun Studio – the scene of rock’n’roll’s big bang. You don’t think of Elvis as political, but that is politics: changing the way people see the world. He was already doing what the civil rights movement was demanding: breaking down barriers. Revival were all introduced to the blues through Elvis. The Beatles, The Rolling Stones, Creedence Clearwater I think the hill they climbed would have been much steeper were it not for the racial inroads black music was making on white pop culture. I recently met with Coretta Scott King, John Lewis and some of the other leaders of the American civil rights movement, and they reminded me of the cultural apartheid rock’n’roll was up against.
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He was “Elvis the Pelvis”, with one hand on the blues terminal and the other on the gospel, which is the essence of rock’n’roll, a lightning flash running along his spine, electroshock therapy for a generation about to refuse numbness, both male and female, black and white. These were ideas bigger than the man who would break the ice for them, ideas that would later confound the man who took the Anglo-Saxon stiff upper lip and curled it forever. For an Irish boy, the voice might have explained the sexiness of the USA, but the dance explained the energy of this new world about to boil over and scald the rest of us with new ideas on race, religion, fashion, love and peace. But it’s that elastic spastic dance that is the most difficult to explain – hips that swivel from Europe to Africa, which is the whole point of America, I guess. Pretty much everything I want from guitar, bass and drums was present: a performer annoyed by the distance from his audience a persona that made a prism of fame’s wide-angle lens a sexuality matched only by a thirst for God’s instruction. I hadn’t the critical faculties to divide the different Elvises into different categories or sort through the contradictions. I was barely conscious when I saw the ’68 Comeback Special, at eight years old – which was probably an advantage. Changing the way people feel about the world.
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In Elvis, you have the blueprint for rock’n’roll: the highness – the gospel highs. 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. In the ’70s, he turned celebrity into a blood sport but, interestingly, the more he fell to Earth, the more godlike he became to his fans. As he changed shape, so did the world: he was a ’50s style icon who was what the ’60s were capable of, and then suddenly not. In Elvis, you had the whole lot it’s all there in that elastic voice and body. Elvis changed everything – musically, sexually, politically. This wasn’t New York or even New Orleans this was Memphis in the ’50s. Ut of Tupelo, Mississippi, out of Memphis, Tennessee, came this green, sharkskin-suited girl chaser, wearing eye-shadow – a trucker-dandy white boy who must have risked his hide to act so black and dress so gay.