(Aug.-Sep.2003)
| http://LisaMarie.at.infoseek.co.jp/ |
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(Aug.-Sep.2003) |
| http://LisaMarie.at.infoseek.co.jp/ |
| LISA 2003 | ||
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| July 11 | Boston, MA | Fleet Boston Pavilion (with Chris Isaak) |
| July 12 | Hyannis, MA | Cape Cod Melody Tent (with Chris Isaak) |
| July 13 | Portland, ME | Merrill Auditorium (with Chris Isaak) |
| July 15 | Hampton, NH | Hampton Beach Casino Ballroom |
| July 16 | Westbury, NY | Westbury Music Fair (with Chris Isaak) |
| July 17 | Pittsburgh, PA | Amphitheater at Station Square (with Chris Isaak) |
| July 19 | Atlantic City, NJ | Trump Marina (with Chris Isaak) |
| July 20 | Asbury Park, NJ | The Stone Pony |
| July 21 | New York, NY | Beacon Theater (with Chris Isaak) |
| July 23 | Vienna, VA | Wolf Trap Filene Center (with Chris Isaak) |
| July 24 | Baltimore, MD | Pier Six Concert Pavilion (with Chris Isaak) |
| July 25 | Portsmouth, VA | NTELOS Pavilion Harbor Center (with Chris Isaak) |
| July 26 | Anderson, SC | Anderson Civic Center (with Chris Isaak) |
| July 28 | North Myrtle Beach, SC | House Of Blues (with Chris Isaak) |
| July 30 | Cary, NC | Amphitheatre At Regency Park (with Chris Isaak) |
| July 31 | Atlanta, GA | Chastain Park Amphitheater (with Chris Isaak) |
| Aug.1 | Memphis, TN | Botanic Garden (with Chris Isaak) |
| Aug.2 | Nashville, TN | Ryman Auditorium (with Chris Isaak) |
| Aug.4 | Jackson, MI | Jackson County Fair |
| Aug.5 | Detroit, MI | Meadow Brook Music Center (with Chris Isaak) |
| Aug.8 | Chicago, IL | House Of Blues (with Chris Isaak) |
| Aug.9 | Minneapolis, MN | Orpheum Theatre (with Chris Isaak) |
| Aug.11 | Des Moines, IA | Iowa State Fair (with the Goo Goo Dolls) |
| Aug.12 | Springfield, IL | Illinois State Fair (with the Goo Goo Dolls) |
| Aug.13 | Chicago, IL | Taping for PBS's Soundstage |
| Aug.13 | - - - - | TV "Live with Regis and Kelly" (Performance) |
| Aug.14 | Robinsonville, MS | Elvis FC Presidents' Reception at Grand Casino Tunica |
| Aug.16 | - - - - | CNN's "People In The News" |
| Sep.12 | Los Angeles, CA | "The Ellen DeGeneres Show" (Performance) |
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| Sep.13 | Las Vegas, NV | House Of Blues (with John Eddie) |
| Sep.15 | Anaheim, CA | House Of Blues (with John Eddie) |
| Sep.16 | Hollywood, CA | Avalon (formerly the Palace) (with John Eddie) |
| Sep.19 | Portland, OR | Roseland Theatre (with John Eddie) |
| Sep.20 | Tacoma, WA | Puyallup Fair (with the B-52's) |
| Sep.22 | Boise, ID | The Big Easy (with John Eddie) |
| Sep.23 | Park City, UT | Suede (with John Eddie) |
| Sep.25 | Denver, CO | Gothic Theatre (with John Eddie) |
| Sep.26 | Omaha, NE | Qwest Center Omaha (River City Roundup) |
| Sep.28 | Milwaukee, WI | Pabst Theatre (with John Eddie) |
| Sep.29 | Chicago, IL | House Of Blues (with John Eddie) |
| Oct.2 | Austin, TX | Stubbs BBQ (with John Eddie) |
| Oct.3 | Dallas, TX | The State Fair Of Texas |
| Oct.5 | Robinsonville, MS | Grand Casino Tunica |
| Oct.6 | New Orleans, LA | House Of Blues (with John Eddie) |
| Oct.11 | Hollywood, CA | Avalon (formerly the Palace) (with John Eddie) |
| Oct.14 | San Francisco, CA | Fillmore (with John Eddie) |
| Oct.18 | (Cancelled) | |
| Oct.19 | (Cancelled) | |
| Oct.26 | - - - - | E!-TV "Love Chain" |
| Compiled by Haruo Hirose | ||
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CD Album, "To Whom It May Concern"
(Lyrics)
Germany; Mar.24 (EMI-Electrola) Amazon.de Amazon.uk
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CD-Single, "Lights Out" / "Savior"
Germany; Mar.24 (EMI-Electrola) Amazon.de,
UK; DVD Video Single(PAL) (Amazon.uk)
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| http://LisaMarie.at.infoseek.co.jp |
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(Sept.29, 2003)
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Presley makes own way in world
Her music avoids famous father's touch By DAVE TIANEN, Milwaukee Journal Sentinel, Sept. 29, 2003 For her encore Sunday night at the Pabst Theater, Lisa Marie Presley finally got around to saluting a great deceased musical icon. She sang George Harrison's "While My Guitar Gently Weeps." After avoiding full blast rock 'n' roll for her entire set, she did close her regular set with one famous butt-kicker from the past: Pat Benatar's "Heartbreaker." It is tempting to see Lisa Marie Presley's young career through the prism of her father's legend, but that is a temptation best resisted. Liza Minnelli, Hank Williams Jr. and Frank Sinatra Jr. all built careers that were in part a continuation of their famous parent's. For better or worse, Lisa Marie is her own woman. There is no obvious echo of the many musical facets of Elvis in her work. He is, however, there in other ways. The 1,000 people who showed up for Sunday's gig constituted a very singular crowd. There were grandmas with walkers and little kids younger than 10. There were teenagers and couples in their 20s, 30s, 40s, 50s and beyond. There were one or two Elvis impersonators. People shouted, "We love you Lisa Marie!" from the balcony. It seems like a somewhat odd attachment given that the woman on stage was a new artist with just one album and not many hits. You suspect the older people were coming out of curiosity or respect for Dad. The kids surely were taking her on her own terms. So what exactly are those terms? She writes all her own stuff. The lyrics are sometimes oblique, but they also have a streak of almost painful honesty and candor. Every now and then she gets off an arresting image, as in "Lights Out" when she evokes the empty grave plot waiting for her outside the back door at Graceland. As a singer, she has a fairly limited range, but she also projects a fairly impressive power in the lower part of that range. Some people say they hear an echo of Sheryl Crow. I don't. But there were one or two moments when she cranked it up and Grace Slick of all people came to mind. Some of her early performances were undermined by stomach problems. If she didn't feel well Sunday, she disguised it very well. There's a sense of a woman who's learning to find her comfort zone on stage and gradually gaining confidence. She's hardly a great showman, but she's also not the boring stiff that some apparently saw last spring opening for Chris Isaak. Lisa Marie is what you would probably expect of any performer with just one album and very limited stage experience. She is a work in progress. There is at least something there. How much of something, we will have to wait and see. |
(Sept.16, 2003)
Lisa Sightings
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(Sept.15, 2003)
Monday, September 15, 2003
Lisa Marie Presley's father died when she was 9. She never got to be a teenage daddy's girl. She never got to rebel against him, to reconcile issues with him. Or to hear him counsel her through her drug phase, or her marriages, or through moments of self-doubt.
He, Elvis, the king of rock and roll, did not get to see his daughter sing as a headliner for the first time, at age 35, at the House of Blues on Saturday. He did not get to see how much of him there was in her.
Shaky leg. Curled lip. Sleepy eyes. Husky voice. Restless energy. He was not there to see her pace, a lion in a cage, a small universe for a woman with a world at her feet.
Her subjects cheered, 1,700 of them, a remarkably kempt sprout of women (and men) in their 30s and 40s. Many probably paid to hear her very personal lyrics, their peek at her overview of a life of Presley.
But the people Presley paid to engineer the sound system left her microphone muffled all night, stifling her words in a fuzz. They failed her debut, no matter how well her six band members played, no matter that a tour photographer captured the night from the stage, no matter that confetti exploded at the crowd at the end.
True believers sang along, anyway, to her song about her dad, "Nobody Noticed It":
"Well, I wish that I could have spent a little more time with you, yeah. Tears on my ceiling. Weren't you watching? ... You were lovely then. All that you had to endure -- nobody noticed it."
They sang along to "Lights Out," a song about her presumed legacy:
"Someone turned the lights out there in Memphis. That's where my family's buried and gone. Last time I was there, I noticed a space left next to them, there in Memphis, in the damn back yard."
They sang along to her ode to her son and daughter, "So Lovely":
"You came here to save me, didn't you? ... Sometimes, don't listen to your mamma, no. And don't do as
I do."
Her declarations were firm ("I'm no longer your erection, or your congregation"), as expressed by a punk who knows tethered luxury.
Her outfit and demeanor sure were punk. She wore gartered leggings that bagged like ancient stockings would. A black skirt bore a logo of her initials on the back, "LMFP." The "F" did not stand for "follow," but was a statement of frustrated independence.
Presley's vocals moved like a rocker's, distinctly, if not classically trained. She sang in three tones. Her verses were twang-rock gruff, like Sheryl Crow's were at age 35. Her choruses were open-throated, very Cher. And sometimes, she quacked like Macy Gray.
Presley alluded to her Gray shade with a laugh when she introduced her band, and then herself, as, "And I'm Macy Gray."
For her first album, "To Whom It May Concern," Presley hired top singer-songwriter musicians to help shape her songs: Alanis Morissette's producer Glen Ballard, and on and on and on.
But in concert, her melodies of sustained echoes, on guitars and keyboards, were hit and miss, as is the case with many debut artists with only one album to draw from.
"Lights Out" was best in show, strong start to finish. And an acoustic-guitar version of "Excuse Me" skated a cool, rough edge. She should have steered clear of high, flat notes in "To Whom It May Concern." But a fun cover of Pat Benatar's "Heartbreaker" rocked the house.
That gave hope to Presley's potential cover of George Harrison's "While My Guitar Gently Weeps," which was listed as the finale of her official set list. But she didn't perform it. Maybe the night grew too late for it. She didn't start until 10:20 p.m.
If the sound system had worked right, the show might have validated Presley as a pro, even if she could learn more in-the-moment presence from a Joan Osborne or a Nikka Costa.
As things stood, it was at least the marquee introduction of a gracious icon. She observed her station in life with a fan at midshow.
"You have a tattoo of me on your chest. Is that real?" she asked a man. He answered. She replied with surprise and respect, "O ... K."
Presley's pedigree was unavoidable. After she sang her first song, "Sinking In," she smiled big with relief, or joy, or both, while the crowd applauded at length.
This was one of many moments in which LMFP seemed not to be a logo, or a celebrity, or a billionaire punk who could afford confetti, but rather a brave little girl and a woman with a past and with no past, who at 35 was embarking on a career in a field that was forged by the man who wasn't there.
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(Sept.15, 2003)
Lisa Marie Presley performs at the House of Blues in Las Vegas, Nevada September 13, 2003. The concert was the kick-off for her month-long solo tour. |
(Sept.15, 2003)
| Making her own impression
For Las Vegas visit, Lisa Marie Presley puts father's legend in perspective By Spencer Patterson. LAS VEGAS SUN Lisa Marie Presley expects to run across a few Elvis impersonators whenever she visits Las Vegas. But she never counted on seeing them as she made her way across America on her recent tour with Chris Isaak. "They came to the show, probably three times on the tour, and I think that they think they're doing something that's honoring me," Presley said in a recent phone interview from her Los Angeles home. "But I'm trying to figure out what they're doing. Why are you completely dressed up in a gold suit in the front row with sideburns looking straight at me? I don't think they're mal-intended, so it doesn't exactly upset me. But at the same time I do have to wonder what the point is, exactly." Saturday night the 35-year-old Presley kicks off her first headlining tour with a 7 p.m. concert at House of Blues at Mandalay Bay. After her recent experience as Isaak's opening act, Presley is prepared for Elvis impersonators at Saturday's show. That won't make it any easier for her to stomach, however. "I'm being completely honest right now, and I might get my ass kicked, but would you honestly want someone dressed like your dead mother or father in front of you while you're working?" Presley said. "Yes, there's a tribute to be paid, and they have their place, definitely. But at the same time, it's kind of odd. It's the kind of thing where my friends get very protective (when they see it), and I have to remind them that in some way, in their head, it's an honoring of some sort." Though she has never attended an Elvis tribute show, Presley does have plenty of childhood memories from her father's days as a Vegas headliner. "I remember a lot from being there, because I was there a lot with him," she said. "I remember the top floor of the Hilton (then called the International). I lost my first tooth up there. There was a slot machine up there. And I had a birthday party up there, too. I think it was my seventh or sixth." Presley launched her own music career in April with the release of her debut album, "To Whom it May Concern," which debuted at No. 5 on Billboard's album charts and quickly earned gold certification. Prior to that, most of the world knew her simply as the King's only child, or through her short-lived marriages to Michael Jackson and Nicolas Cage. Presley said that after years of listening to others speculate about her life, she felt a growing desire to have her own voice heard. "Truthfully, anybody has several mishaps in their personal life, but mine's glorified," she said. "The tabloids have taken some sort of liking to me. I can't quite figure that one out yet." That bizarre public image has made it difficult for many to embrace Presley's music, she said. "That's a big pain in the ass, and it definitely worked against me on the record," Presley said. "It's like trying to overcome this weird tabloid phantom person who's actually trying to do an album and do something productive with her life. I have to combat all that, and I don't even think that battle's over." Presley is also quick to point out that her love of music, and no other concerns, led her to go public with her music this year. "It wasn't to get more attention or more money. I haven't been paid yet, and I've been working my ass off (laughs). That's the music business," she said. "Nobody told me about any of that. I didn't really care about it anyway. As long as I've got people out there that are moved by the music then it's well worth that for me." The 12 tracks on Presley's Capitol Records release -- all co-written by Presley -- are intensely personal, featuring lyrics about her father, Jackson and Cage, among others. The album, which leans more toward rock than pop, also features some decidedly dark themes. The chorus from first single "Lights Out" is one example: "Someone turned the lights out there in Memphis / That's where my family's buried and gone / Last time I was there I noticed a space left / Next to them there in Memphis / In the damn back lawn." But Presley said she hasn't found it difficult baring her soul, or reliving her past, night after night on the road. "Not at all, because they're really cathartic (songs) for me, and each one of those songs represents something," she said. "When I finish a song, magically the situation itself also disappears. I purge and then I'm done and the situation's done, so it really works like that." Presley admits she felt some stage fright when she initially began performing. But after warming up with her Isaak support dates, she said she's ready to tackle her upcoming 15-concert schedule. "I've gotten much more at ease with the idea of a crowd," she said. "I'm brand new at it, just starting, trying to do it like everybody else, but yet I get thrown into the frying pan a lot more than anybody else just trying to start. I definitely had a lot more critics and reviews there than your average opening act." Presley said she's not sure what type of reception to expect in Las Vegas. If it's anything like the one waiting for her on Aug. 1 in Memphis -- her birthplace and part-time home until her father's 1977 death -- it could be a truly wild scene. "It was an amazing turnout. I think the capacity was 4,000 and they overflowed to five or six (thousand)," she said. "It was a little nerve-racking. I went to do an interview at a radio station that day and there were helicopters (overhead). I didn't anticipate it being that big an ordeal, so it did sort of throw me a bit." Presley's live set includes songs from her CD, along with a couple of covers. Her last tour featured the Beatles' "While My Guitar Gently Weeps" and Pat Benatar's "Heartbreaker." Don't plan on hearing her tackle any of her father's classic material, however. That's strictly off-limits, for now anyway. "I don't plan on doing that, not right now. I just kind of want to make my own way," Presley said, though she added that she still finds her father's music "quite comforting." Presley said that during the holiday season she will begin writing songs for her sophomore effort. And listening to her talk, it sounds as if the next album could go in a number of directions. "I didn't do any kind of particular genre. It's kind of general, so I don't think I'm stuck anywhere," she said. "And I didn't sell out. It's not a pop record, and I didn't want it to be. And I didn't want to be huge off the bat, so big that I can't follow it up, you know?" |
(Sept.14, 2003. Thanks to Dora Malone)
| Prodigal Daughter
Lisa Marie Presley talks about her first solo tour, critics and, of course, Elvis By DOUG ELFMAN, REVIEW-JOURNAL At 35, Lisa Marie Presley begins her first solo concert tour in the city her dad helped build. But her first show was scheduled for Las Vegas on Saturday as just a scheduling convenience, she says. She's a little wary of how the media will bill the show. "I don't particularly want the pressure of Presley-playing-in-Vegas on me," Presley says and chuckles in her deep, straightforward tone. "I would just rather not have extra expectations on me. Because the bottom line on me is, I just started. It's the truth. This is my first headline" tour. Actually, Presley has played her adult-pop rock music in Vegas, in May when she joined Queen Latifah, Celine Dion and other singers at the MGM Grand Garden arena for "VH1 Divas Duets." Presley also just wrapped up a gig as the opening act for crooner Chris Isaak. Elfman: How did you like (touring with) with Chris Isaak? Presley: It was good for me, but it was a bit difficult because ... I had stomach problems, then acid reflux, and then this, and then that. And it was affecting my singing. ... Pretty much every show was a struggle. Elfman: How would you get through a show like that? Presley: I would usually stand there and hold the mike and pray that I was not going to vomit or pass out onstage. Elfman: Was he helpful at all? Presley: Yeah, he was great. ... He's such a professional, and I'm such a nightmare. ... It was kind of funny. The reviews were usually "Chris is perfect; Lisa's a nightmare." And I was thinking, "This is my initiation." Elfman: Well, you had to expect some sort of backlash from the critics. That's how critics are. Presley: I get 'em more than your average opening act, you know what I mean? So it was a little rough on that front. Because it was definitely affecting me a little. ... I've not been doing this my whole life. This is my first tour. Give me a ... break. Elfman: Well, at least you have nowhere to go but up, right? Presley: I guess. ... The music and the creating and the singing -- I love. But then sometimes, it's felt difficult for me to want, or feel like I can relish in, approval from an audience -- which I love; I'm not bagging on that at all. But you have to have some vanity in you to be a lead singer, which I don't really have. ... I don't want to whine, either. Elfman: It seems to me that all the interviews I've seen with you, you've seemed relaxed and fearless. Presley: That's kind of my personality, anyway. The only time I really got my feathers rattled was the circumstances of the last tour. Elfman: Is that because your creativity was on the line? Presley: No, it was that I'm out there in different cities (while ill). The one night Rolling Stone (magazine) came was the worst gig on the tour. (Fans) were eating. ... They eat their cheese and their wine, and they're sitting there, and nobody told me this. I walked out and looked at the band and said, "What is this?" And they knew Rolling Stone was there. And I'm dizzy and ill, and I knew it was the worst. Elfman: The thing that shocked me was when you played "VH1 Divas" here. I thought, "That must be such a nerve-wracking way to inaugurate your way to the stage." Presley: Exactly, especially since that was so last-minute. And we rehearsed it three times. I'm thinking: "Why am I up here with Chaka Khan and all these amazing people, and these singers? I'm the new kid on the block. I've never done this before." Elfman: I need to ask you this Vegas question, which is: Elvis is still Vegas is still Elvis. So I was curious, when you come here, do you feel an affinity or a presence? Presley: I do. I spent a lot of time there with him, actually. I do try to get out there as much as I can with friends. It's fun for a weekend. It's great. I go out there and take a bunch of girlfriends and have fun. I love the place. Elfman: When you were here with your dad, what did you do? Presley: It was the Hilton hotel. ... The top floor. I just remember spending a lot of time up there and going to the shows. He had the whole floor. I lost my first tooth up there. I remember that. I bit into a big apple. And he put a big giant thing of coins under my pillow. And there was a slot machine in the room, I know that. I remember it being fun. And my mom would put me in the youth motel. And I hated that. It was where a bunch of us kids went during the day in the hotel, like a baby-sitting group. Elfman: When you come here with your girlfriends, what do you do? Presley: I love to see Carlin when I'm in town, George Carlin. It's depending on what's happening there. We went to see the Blue Man Group. Every time, it's different, we'll see shows. ... There's a couple of roller coasters there I love. Elfman: Do you get around town without being bombarded by people? Presley: Yeah, pretty much. Elfman: You've got two kids, right? Danielle's 14 and Ben's 10? Are they musical at all? Presley: Very. I told my daughter yesterday -- I was driving her to school -- and I was, like, "You really have something in you." Rhythm. Harmonies. I hear her singing, and she just has something going on. So does my son. Elfman: Runs in the blood, I guess. Presley: Also, they've got their dad (musician Danny Keough) in the mix. Elfman: On Howard Stern, you said you'd gotten into music partly because you were tired of doing nothing. Presley: I don't know if I meant that like that. ... But I know I wanted to have my mark, something I did that affected people. That wasn't very comfortable, just getting attention for no apparent reason, just for existing and being in the tabloids all the time. Elfman: It's got to be strange to be a celebrity for celebrity's sake. Presley: Yeah, I don't think I really thought of it that way until I started working the record, and I'd go out, and I'd realize how much was out there along those lines. |
(Sept.11, 2003)
| Presley Feeling Better Physically, Musically
By Tamara Conniff LOS ANGELES (Hollywood Reporter) - Lisa Marie Presley has a sense of humor. She's able to laugh off the media frenzy that hounds her, make light of the serious jitters she has with headlining her first tour, and she can even look back at her summer trek with Chris Isaak and find comedy in the fact that she spent the entire tour wanting to throw up. "There was something really wrong with my stomach," Presley says. "I felt like I was going to throw up constantly. I was tired of people saying it was my nerves, because it wasn't. They found gastritis and a bacteria overgrowth and all these problems. ... I was trying to get through it every night, and it was just a bloody nightmare because singing aggravated it. And I couldn't cancel. It was my first tour; I knew there was no way to not do it." The singer-songwriter has high hopes for her monthlong solo tour, which kicks off Saturday at the House of Blues in Las Vegas. "I'm definitely rested and trying to get geared up," Presley says. "So I'm hoping this will be different. I just finished all the antibiotics." She says she was disheartened by the poor critical response to her first outing. "I was sick, and I'm not used to doing this at all, and (the critics) were ripping me open because I'm standing there (onstage) mostly hanging on for dear life to the mike trying to get through songs." Presley's musical career has been a long time coming. She says she knew she wanted to be a musician and write songs from the time she was 3 years old. Her debut album, "To Whom It May Concern," which bowed at No. 5 on the Billboard 200 album chart in April, took almost four years to make. Producer Glen Ballard had initially signed Presley to his Java Records (via Capitol Records) in the late 1990s and worked with her on a first version of the album. Presley went on to work with other producers during the next few years, continually tweaking the songs. "I needed to do it that way," she says. "I needed to do it under the radar. Just because I'd signed the record deal didn't mean I was anywhere near ready to put a record out. It just gave me the time to sort of find my way. I think the songs changed quite a bit. They all had face-lifts. That's all I did was sit around and listen to the ones that I'd written. I kept going back in and changing them." Capitol has already requested that Presley start working on her next album, and she says she plans to work with her guitar player on some new songs. "I usually write with someone who plays or with a producer," Presley says. "I have to hear a melody first, and then something shifts and it just starts flowing. I don't like spending more than a few hours (on a song). If I walk in (to the studio), I don't like walking out without a sketch or a demo or a completed song." She adds that the new album is likely to be as personal as "To Whom It May Concern." "That's the only kind of music I like, anyway," Presley says. "I was definitely in a more melancholic mood when I was writing (the first record), the new one could be more angry. I don't know, it's quite possible." While Presley admits that the media blitz around her album and the many questions about her famous father and her relationships with Michael Jackson and Nicolas Cage were difficult, being sick on tour was by far the hardest thing she had to endure. With more than 553,000 albums sold since April, Presley feels that she is definitely connecting with fans. "The songs have moved so many people," she says. "(The audience) sings them while I'm singing. ... That makes it worth it for me to stand there even when I'm going to vomit." |
(Sept.6-7, 2003)
 | New CD "Sessions @ AOL"
Release Date: Oct 14 2003 Label: ATLANTIC  
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(Sept.1, 2003)
|
New address:
http://LisaMarie.at.infoseek.co.jp/lisanews.htm |
Most of you don't know, but these animations were made by me in 1995. Elvis Presley Family Album |
(Aug.27, 2003)
|
Area restaurant hosted stars
By Jake Grove, Anderson Independent-Mail, August 25, 2003 It's not every day that Anderson finds celebrity in its midst. But when Lisa Marie Presley came to town July 26 for her concert with Chris Isaak at the Civic Center of Anderson, a few people in the Upstate got more than a simple brush with fame. Ms. Presley's portion of the concert ended around 8:45 p.m. on Friday, but that was not the last some residents would see of Elvis’s daughter. Her people put in a call to local restaurant Creekside Bar-Be-Que, where owner Kurt Wickhouser was asked to stay open after hours to accommodate Ms. Presley and her group of nearly 15. In a Hollywood twist, Ms. Presley was not the only well-known face that would show up. Nicholas Cage, Oscar-winning actor and ex-husband of Ms. Presley, showed up too as the former couple dined, laughed and had a general good time at the local rib joint. "They came by after we were closed and had an enjoyable time," Mr. Wickhouse said. "There was about 12 or 15 of them and they were real nice and seemed to have an enjoyable experience." After dinner, Mr. Wickhouser said the group hung out for a while and went to the parking lot and shot off a few fireworks. After that, they took off, leaving the owner and his staff with a new experience and some stories for friends. From there, Ms. Presley and company went back to the Holiday Inn Express on Interstate Boulevard and spent the night, according to hotel manager Susan Veer. "She was just in and out," Ms. Veer said. "She came in after the concert and left the next morning. She only spent a few actual hours here." It was not known if Mr. Cage remained in Anderson after dinner. Ms. Veer said the singer asked for very little and was seen by only "one or two" staff members. Like most celebrities, she explained, Ms. Presley was reclusive and stayed to herself. Ms. Presley is about to resume her "To Whom It May Concern" tour on Sept. 13 in Las Vegas, the site of one of her father’s most memorable concerts. She was married to Mr. Cage on Aug. 10, 2002. The couple divorced only 108 days later on Nov. 26. At the time of the divorce, Ms. Presley said, "We shouldn't have been married in the first place. It was a big mistake," but admitted that the two still spoke and remained friends. Her other high-profile marriage to Michael Jackson went kaput after 20 months. However, her first marriage to Danny Keough - father of her two children - lasted 5 1/2 years. She and Mr. Keough also are still close and he even co-wrote some songs for her debut album. |
(Aug.25, 2003)
Chris Isaak returns to Sacramento, but without Lisa Marie
Chris Isaak has spent the past six weeks staring down North Korean soldiers on the 38th Parallel and hanging out with Lisa Marie Presley.
That's after he finished filming a third season of his cable-TV show and during a national tour with what he calls "probably one of the best -- if not the best -- lineups" of his 18-year-old band, Silvertone.
"We've been having a lot of fun," said Isaak, the Stockton-born pop star who opens a six-show swing through Northern California on Thursday at Raley Field in West Sacramento. "I don't think we've had a gig we didn't have fun at. If you start not having fun when you're playing, they can't pay you enough to do it."
They didn't pay Isaak anything to play a July 5 USO gig in South Korea. His association with Presley? Priceless.
Isaak, the 47-year-old Stagg High School and University of the Pacific graduate who's a platinum-selling recording artist and TV and film actor, took time out from his tour to accompany Wayne Newton, the Dallas Cowboys Cheerleaders and Miss USA to Korea.
They visited and entertained American troops, carrying on a tradition begun by the late Bob Hope.
"It was really tense there," said Isaak, who also visited U.S. troops in Afghanistan in December 2001. "Here's how tense it was. You could see North Korean soldiers literally, like, a foot away from you. They come up and stare at you. They're right there in your face.
"They looked at everybody like the enemy. When a lonely soldier looks at a cheerleader with a grumpy look, you know things are really bad.
"Those (U.S.) soldiers over there, I'll tell ya. What a great attitude. What a great bunch of people. When we came back, I told the USO people I'm up to do anything whenever they want. I'm all for it. Any entertainer who goes is gonna come back feeling like it was the right thing to do."
Isaak has done a lot of other things correctly during his 18-year recording career, including choosing tasteful opening acts that have ranged from the pre-fame Wallflowers to Natalie Merchant.
This summer, it's been Presley, the 37-year-old daughter of Elvis Presley. A mother of two and a tabloid target for most of her life, she's on the road promoting her debut album, "To Whom It May Concern." She won't be part of Isaak's Northern California dates.
"It's not Elvis," said Isaak of Lisa Marie's pop-rock approach. "It's all her. All her style. She's not, like, trying to be a tribute to her dad. She's trying to be a tribute to being her own person. I respect the fact she's only doing music for music's sake. Probably she doesn't need the money. She doesn't need the fame.
"Imagine you were the world's most famous entertainer's only kid. Everywhere you go your whole life, you've got that. Then imagine the money. They're shoveling it in, literally. Most people in her position would be a lot worse off and have a lot more of an attitude.
"I give her tremendous credit. She's out there playing, riding the bus, getting up and going to soundcheck. Eating in a tent. Hanging out. She's been very nice. She could very well be sitting on her ass in Paris trying to find her thing. Her reason to be. Her finding it through music is a beautiful thing."
Isaak's twangy, lonely, retro-rock sound and vocal croon were influenced greatly by Elvis -- particularly the ill-fated King's raw, revolutionary early recordings for Sun Records. Isaak doesn't bug Presley's daughter about it, though.
"From the word go, I never have said anything about it," Isaak said during a telephone conversation from a tour stop in Rochester, Minn. "I don't bother her with Elvis stuff out of respect for her. I don't feel that's her burden.
"Look, you know her whole life everywhere she goes, it's, 'Hey, Elvis. Elvis pelvis.' It's got to be boring and irritating. I'm sure she doesn't need to hear that from me."
When the tour rolled into Memphis, Tenn. -- where Lisa Marie spent part of her childhood living at her dad's Graceland mansion -- nothing had to be said.
"It was, like, um, I don't know what it was like," Isaak said. "I saw every kind of Presley fan there could have been. It was amazing."
They also got to pay homage to another Memphis-based rock 'n' roll pioneer -- Sam Phillips, the Sun Studios owner who discovered Lisa Marie's dad, helped invent rock 'n' roll and inspired a young Isaak. Phillips, a charter member of the Rock and Roll Hall of Fame, died July 30.
"With Sam Phillips having just passed away, we took the bus and went by Sun Studios that day," Isaak said. "Just to pay our respects.
"I was reading this magazine article about him, and they asked him, 'Who do you like in modern music today?' He said, 'Chris Isaak.' I never met the guy, but it brought tears to my eyes. That was my entire validation right there. If he likes it, then that's OK."
Isaak's eight-album career hasn't been validated by Elvisonic sales, but he's developed a loyal following that's been expanded by "The Chris Isaak Show," his reality-based sitcom on Showtime, a cable network.
The third season's episodes have been completed, and the weekly one-hour series returns in December ("I think so," Isaak said. "They never tell me anything.")
"It came out really good," Isaak said. "As always, we'd just take something from real life and build from there. I think Stockton probably is mentioned in there, though the picture we had on the show wasn't as good as the real Stockton."
He said Silvertone, his band, still is very much the real deal. For this tour, veterans Kenney Dale Johnson (drums), Rowland Salley (bass) and Hershel Yatovitz (guitar) have been joined by Cuban percussionist Rafael Padilla and keyboard player Scott Plunkett.
"It's a really tight band," Isaak said. "We've played as a band just more than anybody else I know. In so many circumstances and with so many people. All the people on the TV show and years and years of touring. Everybody knows what the next move is gonna be. We can play two hours off the cuff."
Isaak, who will begin recording his ninth album in September and is considering three possible film roles, has been dropping a few old nuggets into his current shows.
"I try to do different songs," said Isaak, best known for heartbroken laments such as "Wicked Game," his only top-10 single back in 1991. "Maybe something that people haven't heard. I throw it in every night. I throw in stuff that keeps the guys awake."
Isaak -- playfully, of course -- promises that'll be no problem for Northern California audiences.
"I'd recommend people to this show," he said. "I would. They'll have a helluva good time. If they don't, they can come up to me after the show and complain personally."
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(Aug.22, 2003)
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Kup's column
BY IRV KUPCINET, August 21, 2003, CHICAGO SUN-TIMES Lisa Marie Presley was in town recently to perform as the opening act for Chris Isaak's one-nighter at the House of Blues, and she remained in the city for a few more days to shop and to tape a show at WTTW-Channel 11 for the award-winning "Soundstage" concert series. Unbeknownst to Lisa, Russell Crowe and his band (30 Odd Foot of Grunts) with guest vocalist Kris Kristofferson were also at the station, rehearsing in a private room for their "Soundstage" taping scheduled for the very next day. Lisa and Russell got a chance to sit down and shoot the breeze and had a blast. THE SCOOP: Lisa's segment was not on the original schedule of acts ... so the station was lucky to get her! She later left town on her private jet, the Lisa Marie II. So far, no air dates have been set. P.S.: Crowe will appear on WLS-Channel 7's "190 North" show with host Janet Davies onSept. 21. |
(Aug.13, 2003. Thanks to Stacy-Jayne)
 | Stacy-Jayne did scans and posted Lisa's Jane magazine interview HERE. |
(Aug.12, 2003)
 | A record of Lisa Marie's footprints as an infant is among the documents saved by Elvis Presley and included in the Graceland archives. |
Linda Good, Lisa's keyboard player, is good.
Linda Good links:
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(Aug.12, 2003)
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Presley holds her own opening for Isaak's joyous rockabilly
BY JEFF VRABEL, Chicago Sun Times, August 11, 2003 Friday night found the House of Blues packed pretty much from Dearborn to State, and though the evening's headliner was the airtight Chris Isaak, it was Lisa Marie Presley, playing what was likely the summer's most-anticipated opening set, who was its newsmaker. With a floor crowd that left little room for dancing and the boxes cluttered with VIPs, Presley's Chicago debut was a concert, sure, but it was also an event. The crowd turned out to see the Princess of Rock 'n' Roll answer the question: Can she pull this off live? Presley dropped her debut, "To Whom It May Concern," last fall to favorable but guarded reviews, all of which seemed to be hinging on her eventual stage show. And in her 50-minute performance--a strange mix of local debut, opening set and gossip-column potential--Presley provided the answer: While not blowing the roof off, she certainly held her own, was sometimes impressive, and left a fine impression en route to a September headlining gig at the same venue. True, Presley's songs tend to follow a similar blueprint, one grounded in mid-tempo radio rock arrangements, punctuated by occasional blasts of fuzz-guitar, that don't make too many demands on her sultry rumble of a voice. The main problem Friday was that her vocals were often stranded beneath the surface of her six-piece band. But when she revved up her most successful incarnation--a too-sultry singer at a biker-bar--and when she let her voice soar on "S.O.B." and the autobiographical "Lights Out," she smoldered. She doesn't have all the range in the world, but on a soaring coda to "Gone," she showed that she does have power. During her initial TV appearances, Presley seemed aloof and uncomfortable, but eight months of touring seem to have eased her into the stage setting nicely. Pathologi-cally watchable--thanks to celebrity, or genes, or both--she smiled often and performed what she has claimed is an unconscious Lip Curled Upward, still a thrillingly bizarre thing to comprehend even for those of us who weren't around for Dad. Still, as Presley herself assured her ample sampling of fans, she was "just the opening act!" And where Presley was rough around the edges, Isaak was a near-perfect headliner: smart, hilarious and wholly ingratiating. Decked out in an orange-and-blue jumpsuit, Isaak stomped and ambled through a two-hour set of joyous rockabilly ("Notice the Ring"), melancholy blues ("Somebody's Crying") and his trademark music for a lightning storm across the plains at 3 a.m. ("Blue Hotel"). With his easygoing swirl of styles, and pure command of the stage, Isaak deftly plays the original American boy. During what he called the "boogie-woogie part of the show," Isaak and his crack band tore into "Laughing People" and "Baby Did a Bad Bad Thing," the latter of which was punctuated by one of his many comedic detours. But they brought it down beautifully on his covers of Roy Orbison's "Only the Lonely" and "It Wouldn't Be the Same Without You," dedicated to Sam Phillips. In a way, the night was a perfect blend: Presley brought the headlines, and Isaak brought the goods. |
(Aug. 8, 2003)
FM100 in Memphis
(Large) |
(Aug. 6, 2003. Thanks to elvis4life)
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New York Post, August 5, 2003
LISA MARIE: SO LONELY SHE COULD CRY LISA Marie Presley literally oozes sex appeal in this pouty, pin-up shot heating up September's issue of Jane magazine. Lisa Marie bemoans that she's currently "nowhere" with her love life and reflects on her ill-fated marriages to Michael Jackson and Nicolas Cage. Elvis Presley's only offspring says she hates the fact that Jackson owns the rights to some of her late dad's songs, telling Jane: "I saw a Velveeta commercial, and it was playing, I think, 'Burning Love.' [Jackson] had approved it - that's something we can't control. He can do whatever he wants with the songs he owns to make money, and that got under my skin." The lovely Lisa Marie also bristles at the notion that Elvis aficionado Cage married her because she was the King's daughter. "[Nicolas] is so [bleeping] talented and he's got an Academy Award, but no, he's got to be downcast to be an Elvis fanatic, you know? It's demeaning and completely unfounded." | |
(Aug. 4, 2003)
Japanese Magazine, AERA issued today.
(Large) |
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(Aug. 2, 2003)
Presley presence, Isaak ease By DAVID MENCONI, Staff Writer (August 1, 2003) CARY--Some people come naturally to the stage, while others have it thrust upon them. Lisa Marie Presley definitely fits into the latter category. During her performance at Regency Park on Wednesday (the same day that her late father's original producer/mentor Sam Phillips died), Presley hung onto her microphone stand as if it were a mountain-climbing rope. She hardly moved, and kept lyric cheat sheets on a nearby music stand, "'cause I space out up here." She seemed about as relaxed as a teenage girl on a first date arranged by her father -- which she was, sort of, because curiosity accounts for much of the attention that Elvis Presley's daughter is getting nowadays. But anybody expecting Elvis covers came away disappointed, because Lisa Marie stuck with originals from her debut album "To Whom It May Concern" (Capitol Records). U2 seems like a bigger influence on Presley than her dad; her songs tend toward arena rock with lots of airy guitars and "big" choruses. It was difficult to tell how good a singer she was because the six-piece backup band drowned her out a good bit of the time. But Presley acquitted herself well enough, especially on "Nobody Noticed It" and the single "Lights Out." Vocal technique aside, the evening's real draw was just being in the presence of royalty. Lisa Marie might possess mere echoes of her father's star power, but that's still lots more than most of us lesser mortals rate. She walked onstage looking like a cross between Elvis and Elvira, with lots of dark eye shadow, which gave her radiant smile an almost endearing nervousness. One thing Presley has yet to master is that delicate balance between being grateful for an audience's adoration and expecting it. Earnest and awkward, she did a little too much thumbs-up and pointing at people -- and also engaged in far too much conversation with individuals in the audience. That said, the crowd response was highly positive. Lisa Marie could learn a thing or two about onstage ease from headliner Chris Isaak, whose 90-minute set was the essence of easygoing professionalism. If all you know of Isaak are his moody album covers and torchy 1989 hit single "Wicked Game," you might be surprised to learn that he missed his true calling: television talk-show host. Isaak livened things up with Letterman-esque sendups in which his bandmates served as the butt of many, many ribald jokes. Isaak turned 47 in June, but appeared to have stopped aging at age 28 or so. He looked sharp as ever in a blue sequined suit, and showed he can still hit and hold high notes amazingly well. Along with a generous assortment of originals ("Wicked Game," "Somebody's Cryin'" and "Blue Hotel" among them), his set offered an affectionate cover of the Roy Orbison classic "Only the Lonely." By the time the encore rolled around and Isaak held up his guitar to show "THANKS A LOT" printed on the back, the crowd was completely won over.
Right time for Lisa Marie
Until word went out that Lisa Marie Presley was making a
record, nobody gave much thought about whether Elvis Presley's
only child could sing. All anybody really knew was what the
tabloids printed, and those headlines screamed out about her
short-lived marriages to Michael Jackson and Nicolas Cage or
her devotion to Scientology.
But with a record in the works, people actually became curious
about what she might sound like. The answer came in April with the release of "To Whom It May Concern" (Capitol Records). "Not like Elvis" was the short answer, and it was echoed in her early live performances: on NBC's "Today" show, CBS' "Late Show with David Letterman" and at halftime of game one of the NBA finals.
The album, a solid pop-rock effort, won her grudging respect and
sales of more than a half-million copies. And after the maximum
exposure that comes with being Elvis' daughter, her career has
taken a more conventional turn. She's on a concert tour as the
opening act for singer-songwriter Chris Isaak, who has been
known to cop an Elvis pose.
In advance of Wednesday's concert at Cary's Amphitheatre at
Regency Park, Presley talked by phone about the music she
makes and the music she listens to.
Q - You're 35 years old and only now putting out your first
record. Why did it take so long?
A - I didn't have any desire, and there wasn't time. I just didn't
have much urge to let it go before that, or to get more attention
than I was already getting. But it finally got to the point where
it was the right time, and I could put the time and energy into it
so it wouldn't just be a flash-in-the-pan sort of thing.
Q - Whom besides your father do you remember hearing and
thinking, "Wow, I want to do that"?
A - Possibly Pat Benatar, back when I was a young teenager.
She was the first real strong female who broke out with an
operatic rock voice. Plus she had this kick-ass thing going on,
and I liked that.
Q - What's on your disc player lately?
A - Right now, Audioslave. I also like Beck's new album a lot.
Jeff Buckley is never very far away, and Pink Floyd.
Q - Do you play an instrument?
A - Not well enough. I used to play drums, and I can play a little
guitar and piano -- enough to write songs. I was self-taught on
drums and had piano lessons as a kid. Somebody was there to
coach one way or another. It was more avoidance of singing
than anything else. I wanted to learn so I could write myself.
Q - When you were married to Michael Jackson, did you ever
talk about music or try make music together?
A - Never. I wasn't interested then at all.
Q - What does your mother (Priscilla Presley) think of your
record? And how about the Graceland faithful?
A - I think she's very supportive, but also shocked. Didn't know
I had it in me, that type of thing. The big-time Elvis fans, some
of the religious ones are offended at my language. Other than
that, I've not heard much. A few are pissed off at me, but that
was inevitable. I mean, if cursing is gonna offend someone, then
they're really gonna be offended by me -- as if my father never
cursed. I don't know what that's about.
Q - What was it like playing on television for the first time?
A - It's a little unnerving. And of course, you get ridiculed and
judged because people say you look nervous. Yeah, no
[expletive]! Once I conquer something, I'll take it. But I'm not in
that position just yet. I keep getting thrown in these unnerving
high-pressure things.
Like the NBA thing -- that was lip-syncing. I'm not supposed to
say that, but you can't possibly get it together with a band and
make that work live with the commercial break, cutting the song
in half. Man, I screwed that one up so bad. I'm not a big fan of
lip-syncing. But TV is TV, and there were circumstances on
that one. It was not my choice to do that.
Q - You and David Letterman seemed to hit it off when you
were on his show.
A - I actually love Letterman. I've had the most fun so far with
him and [Howard] Stern. With Stern, you're in a lion's lair. But
I'm up for it. I'm good with banter and antagonism. I'd rather
have that than bulls. I'm comfortable with that sort of dialog.
Q - Will you play in Memphis during Elvis Week this year?
A - I won't be there for Elvis Week. But I'll be there at the
beginning of the month, early August. I think I'll be happy by the
time I finally get there. It will be one of the last gigs, my family
will be there.
Q - You would know better than most people what it's like to
grow up in the public eye. What advice would you give to, say,
Madonna's daughter Lourdes?
A - I think Madonna's got a pretty good grip on that and how to
keep the kids grounded, scheduled, routined and out of the crap
as much as possible. She must know all the downfalls and
uprises of celebrity kids.
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(Aug. 2, 2003, Thanks to John Lee)
Return of a Star Presley impresses hometown crowd By Bill Ellis, The Commercial appeal, August 2, 2003 She got an encore. Not bad for an opener, especially one named Lisa Marie Presley. Sure, roots rock great Chris Isaak was the headliner Friday at the Memphis Botanic Garden's Live at the Garden summer concert series. But the 6,500-attendance sell-out had as much to do with locals coming to see Elvis Presley's offspring return to Memphis a bona fide musical star. Too bad traffic was so congested getting into the park that some no doubt missed the singer's opening slot. Those who got there in time were treated to a fine debut. Almost a decade ago, Presley and Isaak could be spotted at the same concert. It was 1994's "Elvis Aaron Presley: The Tribute" at The Pyramid. Daughter Presley was there watching with then-husband Michael Jackson, while Isaak, who sang Blue Moon, was one of many guests on stage paying homage to the King of Rock and Roll. Fast forward. Now Presley is performing with Isaak on a series of tour dates to claim her stake in the recording arena with the gold-selling album "To Whom It May Concern." And what better city to see such a show than Presley's childhood hometown? Classical diva Kallen Esperian, for one, was impressed. "This is fantastic," she said. "For me, it's very sentimental. Her father would have been very proud." Proud too was a beaming Priscilla Presley. Said the delighted mom afterward, "I've been waiting years for this, especially in Memphis and to see so many Memphians come out." Dressed very L.A., in a glam/slacker/biker fashion pastiche, Presley came out sexy yet tough, with a borrowed sneer from pop and a voice that was stronger live than on record. Backed by a professional modern rock sextet, Presley still seems awkward in front of a microphone. Some self-deprecating humor aside ("This is the second gig I've played while people are eating and drinking - I feel like I'm distracting you"), Presley seems to need a few more outings before she'll fully warm up to being on stage. Yet her short set had a number of highlights, including the hit single Lights Out, which she dedicated to poststorm Memphis, and a self-penned encore that she did partly in honor of Sun records founder and Elvis producer Sam Phillips, who died this week. "I play this tonight for him, Jeff Buckley and June Carter Cash," she said of the three late musical giants. Dedicating his entire show to Phillips was Sun wor shiper Isaak, who noted, "We'd all be pumping gasoline were it not for Sam Phillips." Clearly stoked to be in the Bluff City, Isaak, with his falsetto voice, not only begged comparisons to that of onetime Sun artist Roy Orbison, he often matched it. With his seasoned band following his every turn, Isaak played a joyous, exuberant concert that rivaled any. His anecdotes and asides made it easy to see why he has his own television series - a soap-opera-like tale centered on infidelity and "knocking off expensive velvet Elvis paintings," all inside a trailer. His music stole the show, however. Isaak hasn't really improved on his rockabilly-indebted formula since emerging in the mid-80s, and he doesn't have to. From the classic hit Wicked Game, used so effectively in the David Lynch film Wild at Heart, to the new single Let Me Down Easy, Isaak has crafted a career as timeless as the city in which he was playing.
'They're pretty to the bone' - Lisa Marie talks music
Being the only child of Elvis Presley
would certainly have its perks,
foremost that all eyes would attend the
day you made a record.
Lisa Marie Presley, 35, took her time
making that record. Released earlier
this year, "To Whom It May Concern"
has gone gold for sales of a half-million,
thanks in part to its hit lead single
Lights Out and the media frenzy that
surrounded the event, in which Presley
showed a rare willingness to speak out
on her fascinating (to put it mildly) life.
Now she's out there promoting the
album the old-fashioned way, touring.
Part of her road
itinerary has been
opening dates for, fittingly enough,
roots star and Sun acolyte Chris Isaak,
which should make quite the pairing
tonight in Presley's childhood
hometown of Memphis.
Having already been pummeled in
interviews about everything from her
short-lived marriages to Michael
Jackson and Nicolas Cage to
Scientology to growing up the scion of
the King of Rock and Roll, the emerging performer - calling from
Los Angeles - enjoyed reflecting for a change on something less
sensational, her relationship with music.
How does it feel to have a gold record?
I'm happy about that. I had no expectations. I just wanted it out
there. I didn't think about all that stuff - that was more for the
record company (Capitol) to be worrying about. So I didn't go
there. But I'm kind of glad I didn't know about all of it, because as
it's happening, they tell me what it is, what it means, and then I
go, 'Okay, good.' But I don't know anything.
You are getting a lot of stuff out of your system on this record.
What would be the album's most revealing song?
Excuse Me would be. [Sample lyric: "Did you know I broke up my
family/And the guilt is never gone."]
They're all revealing. My God, they're pretty to the bone.
And Nobody Noticed It is about your dad.
It can be about my dad. It can be about the death or loss of a
loved one, period. I tried to make it an ode to that for anyone,
not just me personally. But, yeah, it was inspired by something
along those lines.
Lights Out was the first single. Was that the song you wanted
to lead with?
No, not in any way, shape or form. I thought it would be cheesy
to have something out first that was aiming at my lineage. That's
not my style. But they heard a single, and I couldn't argue.
What lyric that you've written on the record best describes
Lisa Marie Presley?
It's in Better Beware, I have to say. "I'm no longer (laughs) your
erection or your congregation, I'm your disease." There you go.
That's probably my favorite line. It's metaphorical and literal; so
many different angles on that one suit me on every level.
Talk about your influences, artists you respect most.
Pink Floyd, Radiohead, Mazzy Star, P.J. Harvey. Um, Lucinda
Williams. Tracy Chapman, Tori Amos. They just move me.
I'm not opposed to any particular style. I listen to Alice in Chains,
Rage Against the Machine.
Talk about a song you wish you had written.
The Last Goodbye by Jeff Buckley and also Comfortably Numb by
Pink Floyd. It just kills me that I didn't write them. I did think
about (covering) Comfortably Numb live, but then I thought I
don't want to do that thing injustice. It's got it's own life.
Did you ever run into Buck ley when he was living in Memphis?
I didn't. I wish I had. (His death) was just horrifying. That man
was so talented. I thought he was like an angel. I think I would
have stalked him. I would have been at every show.
What about your favorite Elvis song?
I don't have a favorite song particularly. There's too many of
them. I'm definitely prone to the '70s stuff. Love the early stuff
but more partial probably because I was around more for the
'70s things, recordings and live shows. There's so many of them. .
. . I can never answer that question properly.
What would be your favorite Michael Jackson song?
Uh, good God. I can't even answer that question.
Who is the singer people say you most sound like?
You know, I hear the Cher thing all the time. It's one of those
things where I have a low register, and therefore, it's gotta be
clocked somewhere. If you hear the whole record, I use different
(singing) ranges. The lower one obviously gets compared there,
and the rest of them, I don't know. I've heard Sheryl Crow. Who
else did I hear? Patti Smith. I've also heard Chrissie Hynde.
I don't have any response. People need to compare it with
something, I guess.
In the process of making this record, which took some time,
how do you feel your voice has grown?
I'm more comfortable with it. Finding my way with it was a
nightmare because you've got to use it as an instrument. It kind
of goes, my voice. I don't know what happens. It doesn't come
from anything technical, I'll tell you that. It's just simply coming
out of my gut.
So you're not doing vocal exercises, things like that?
I make very strange dying-cow noises just to open up my throat.
But I don't do scales or anything.
You've been singing for a long time.
Yeah, since I was 22. I never thought of ever having it go out. I
just did it for me. And then the idea that it would ever go out
made me neurotic, which made me wait another nine years.
What made you finally want to do it this time?
It came at the right time, where I was aimless and felt the need
to put my own thumbprint somewhere, where it was good or
bad, just sort of do it for myself, for my own sanity. For some
acknowledgment of my own existence, not whom I married, not
whom I was born.
Are you thinking about a second record?
I'm probably going to start it after the New Year's.
So we can look for a follow-up . . .
In about five years (laughs).
Just in time for your mid-life crisis.
Exactly. Oh yeah, that'll be a good one.
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