North Carolina newspaper one of first to review Elvis in 1956
One of the earliest local newspaper reviews of a 1956 Presley concert appeared in the Winston-Salem Journal on Friday, February 17. The day before Elvis had played three shows at the Carolina Theater in Winston-Salem, N.C. Staff reporter Roy Thompson's review appeared on page 2 of the Journal.
As to be expected, Elvis's performance completely blind-sided Thompson. Later in the year, after Elvis had appeared on the Milton Bearle, Steve Allen, and Ed Sullivan shows, local reviewers had an idea of what to expect when Elvis came to town. But in mid-February, Thompson was clearly dumbfounded by what he saw. His review began as follows:
"A most remarkable young man named Elvis Presley came to town yesterday and rocked the staid old Carolina Theater to its very dignified roots. Mr. Presley must be seen if he is to be believed—and even then he seems somewhat unbelievable. He plays ('beats' would be a better word) the guitar. He sings (almost any other word would be better there). But, somehow, he wows 'em."
Reviewer refers to Elvis's "monumental conceit"
Thompson then attempted to describe in greater detail exactly what he saw and heard.
"Mr. Presley is a part of the new musical phenomenon called 'Rock 'n Roll.' He slouches; he mugs; he bumps and grinds. He brings to the stage one of the most monumental conceits seen in these parts in many a day. But he produces, which makes the conceit all right."
(Note: Thompson here is using the term "conceit" in a theatrical sense. It refers to an "artistic device or effect … designed to achieve a particular effect." In other words, Thompson found Elvis's manner of exciting his audience "monumental" in its originality.)
Thompson continued, "Singing such Twentieth Century classics as 'Blue Suede Shoes' and 'Tutti Frutti,' he sent a matinee houseful of teen-agers and other music-lovers into an orgy of hand-clapping, foot-stamping and tonsil-straining screaming. It is extremely doubtful that the Carolina Theater has ever seen a more enthusiastic audience."
After leaving the theater, Thompson noticed another element of the growing Presley phenomenon. "And when the show was over," he wrote, "the long-lonely stage door on North Marshall Street had a cluster of excited youngsters waiting, hoping, praying for a closer look and, perhaps, an autograph from the handsome young man."
Nothing could rival the excitement generated by Elvis"
In his review, Thompson also noted that the other performers in Elvis's troupe—Justin Tubb, the Louvin Brothers, the Carter Sisters, Benny Martin—"all got applause and whistles enough to satisfy most performers in the spotlight."
But, Thompson concluded, nothing could rival the excitement generated by Elvis.
"The frenzy, the hysteria, the wild and wonderful shrieks of sheer joy … These were reserved for the remarkable young man with the long hair, the pearly teeth, the stylish slouch, the incredible conceit: Elvis Presley."
As to be expected, Elvis's performance completely blind-sided Thompson. Later in the year, after Elvis had appeared on the Milton Bearle, Steve Allen, and Ed Sullivan shows, local reviewers had an idea of what to expect when Elvis came to town. But in mid-February, Thompson was clearly dumbfounded by what he saw. His review began as follows:"A most remarkable young man named Elvis Presley came to town yesterday and rocked the staid old Carolina Theater to its very dignified roots. Mr. Presley must be seen if he is to be believed—and even then he seems somewhat unbelievable. He plays ('beats' would be a better word) the guitar. He sings (almost any other word would be better there). But, somehow, he wows 'em."
Reviewer refers to Elvis's "monumental conceit"
Thompson then attempted to describe in greater detail exactly what he saw and heard.
"Mr. Presley is a part of the new musical phenomenon called 'Rock 'n Roll.' He slouches; he mugs; he bumps and grinds. He brings to the stage one of the most monumental conceits seen in these parts in many a day. But he produces, which makes the conceit all right."
(Note: Thompson here is using the term "conceit" in a theatrical sense. It refers to an "artistic device or effect … designed to achieve a particular effect." In other words, Thompson found Elvis's manner of exciting his audience "monumental" in its originality.)
Thompson continued, "Singing such Twentieth Century classics as 'Blue Suede Shoes' and 'Tutti Frutti,' he sent a matinee houseful of teen-agers and other music-lovers into an orgy of hand-clapping, foot-stamping and tonsil-straining screaming. It is extremely doubtful that the Carolina Theater has ever seen a more enthusiastic audience."
After leaving the theater, Thompson noticed another element of the growing Presley phenomenon. "And when the show was over," he wrote, "the long-lonely stage door on North Marshall Street had a cluster of excited youngsters waiting, hoping, praying for a closer look and, perhaps, an autograph from the handsome young man."
Nothing could rival the excitement generated by Elvis"
In his review, Thompson also noted that the other performers in Elvis's troupe—Justin Tubb, the Louvin Brothers, the Carter Sisters, Benny Martin—"all got applause and whistles enough to satisfy most performers in the spotlight."
But, Thompson concluded, nothing could rival the excitement generated by Elvis.
"The frenzy, the hysteria, the wild and wonderful shrieks of sheer joy … These were reserved for the remarkable young man with the long hair, the pearly teeth, the stylish slouch, the incredible conceit: Elvis Presley."
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