The Story of the Billion-dollar Backup Group
‘Elvis’ omitted the Jordanaires, whom the King considered essential to his sound
In the first 14 years of Elvis’ recording career with RCA, nearly all his records were credited to “Elvis Presley With the Jordanaires,” because that’s the way Elvis wanted it. Many of those early hits were built around the imaginative vocal ideas of the group’s arranger, Neal Matthews, and all four members of the vocal quartet took an active role in crafting the sounds that dominated much of the pop, rock & roll and country music charts from the mid-1950s on. To Elvis, who met the Jordanaires in 1955, they were more
than a studio backup group. While Baz Luhrmann’s awards contender “Elvis” focuses on other aspects of
Elvis’ influences, the Jordanaires were not part of the movie’s story, but they are an essential component of rock and roll history. Jordanaire tenor Gordon Stoker tells the story:
By the summer of 1955, I thought I’d seen it all. I’d been performing professionally as a musician or singer since I was 8 and been doing recording sessions for more than 15 years. We were one of the most popular vocal quartets in the South, making gospel records for major labels, performing live concerts and appearing on TV or radio shows. For several years, we were popular performers on WSM radio’s all-powerful Grand Ole Opry. On this particular evening, we were in Memphis appearing on a bill with Eddy Arnold. That hot August night in the Ellis Auditorium, we were approached backstage by a struggling singer who had had some success and was hoping to make it big.
I guess the first thing I remember about him was his shirt. Men just didn’t wear pink shirts in those days. He also was a little dirty around the neck. But he was polite and had a warm smile. So, when he approached me, I took the time to hear what he had to say.
What he said was, “I’m a big fan of y’all’s. I ... I … I’m a singer myself.” He stammered a little. “I’m on the Sun label right now. That’s a local Memphis label. I’m ... I’m trying to get a deal with a major label. If I do, I’d, ah, I’d like you guys, the
Jordanaires, to sing with me on my records.” He’d been hearing us sing, see, on the Grand Ole Opry, and he’d come to the Ellis Auditorium to meet us in person. He didn’t come to meet Eddy Arnold; he came to meet us. Somewhere in there, he told us his name. We didn’t catch it. Not then.
He said, “Hey fellas, I want to sing a little something with you.” I don’t even know what we sang, probably “Swing Down Chariot.” What I remembered about him is that back in 1955, a guy didn’t wear a pink shirt. He wore that pink shirt with black trousers and a white stripe down the side. He looked a little unusual too in that he had sideburns (which nobody else had) and had his hair slicked back (his hair wasn’t black, as you know, his hair was dirty blonde), but the main thing I remember about him was his beautiful smile. It was something that you don’t forget, know what I mean? And he was extremely kind, very cordial to us, and I guess we weren’t used to being treated that way by a young guy. Later, I’d find that he got a lot of his clothes from one of the many clothing stores on Beale Street.
What if I’d been in a bad mood that day, or in a hurry? What if I didn’t like pink shirts and told him so? What if one of the guys just told him to buzz off?
But we didn’t. That’s not who we were. Besides, I liked him. Maybe his stuttering reminded me of myself because I had my own speech problems, and maybe that made me feel close to him. So, I told him that when he did get signed by a major label, the Jordanaires would be happy to work with him.
Less than a year later, my home phone rang. It was Chet Atkins’ office at RCA in Nashville calling, wanting to book me for a recording session at the TRAFCO studio in the United Methodist Television, Radio and Film Commission Building on 1525 Mcgavock Street in Nashville with a new artist they had just signed. Not the Jordanaires. Just me, and (gospel stars) Ben and Brock Speer. Chet’s decision, and Elvis would never forgive Chet for not choosing the Jordanaires for that session.
I’m trying to get a major label. I do, I’d ah, I’d like you guys, the Jordanaires, to sing with me on my records.” — Elvis Presley
For the next 14 years, Elvis chose his background vocalists, and he chose the Jordanaires. Gordon continues:
Eight days after the phone call, I entered that studio and at the same time walked into a world that for me — and for many of the greatest pop, rock and country singers of the 1950s 1960s and 1970s and music lovers the world over — would never be the same.
Like lightning, 24 years have passed, 24 of the best years of our lives. Today is a big day for the kid we first met at Ellis Auditorium in Memphis, way back when. He kept the promise he made to us that night, and we got to know him well enough to learn that he always kept his promises. Tonight, Nashville is remembering his birthday, and we’re sharing it with the rest of America on a 90-minute TV special called “Nashville Remembers Elvis on His Birthday,” hosted by celebrity TV host Jimmy Dean. Guests on this show include many of Nashville’s greatest stars, including Merle Haggard, Roy Orbison, Tanya Tucker, Dottie West, Charlie Rich, Jerry Lee Lewis and Larry Gatlin, plus a ton of Hollywood movie stars doing cameos. Also, us, the Jordanaires. They couldn’t not invite us to the party, because for nearly 15 years we’d sung on many of his big hits and all the 28 movies he’d made during our time with him.
Over the years nearly all those records read “Elvis Presley With the Jordanaires” on the label, because Elvis insisted on it. Most of them were top 10 pop hits or albums, and I think 16 singles were huge number one national and international pop smashes. All told we recorded more than 260 sides with Elvis, and thousands more with many of the most famous singers of the era. Maybe someday the Rock and Roll Hall of Fame will discover us. I’m sure that if Elvis were alive today, he would say we need to have a plaque right next to his, and he would promise to get us one, and somehow, he would find a way to keep that promise the way he kept all the others.
Elvis and the Jordanaires. Without Elvis. Singing a medley of his hits that day was not the easiest thing we’d ever do, even though we had sung each of those songs hundreds of times over the years. The one person who really needed to be there and was notably absent was the birthday boy himself. He had died the year before, and as we stepped onto the stage to do our part in the celebration, I felt a terrible ache at the back of my throat. I had spent much of the past year trying not to think about Elvis. I knew nothing good could come of thinking about all the sweetness and decency that made him so special. All that would just bring tears, so I kept my mind on my work and my family and everything that meant anything to me—except Elvis. But this night — this gala tribute show, brought it all out. We took our places on the stage; Hoyt, me, Neal and Ray, and as usually happened, I took strength and confidence from their presence as we sang our medley — “Blue Suede Shoes,” “All Shook Up,” “Loving You,” “Don’t Be Cruel” and “Hound Dog.” It wasn’t one of our flawless performances. It was tough for us to smile and sing at the same time. Backup singers have feelings too.
We’ve recorded with more than 2,000 acts and made thousands of friends.i think what we did was terribly interesting, us starting out so darn small and somehow getting so big and you know what? It happened all right, but I’m danged if I understand how.
“The Jordanaires: The Story of the World’s Greatest Backup Group,” by Gordon Stoker, Michael Kosser and Alan Stoker will be released Nov. 15 by Backbeat Books.
Though the 95th Academy Awards are still five months away, it’s never too early to look at some of the circuit contenders. Here’s some of the films that could score a minimum of two nominations in the major categories — picture, director, screenplay, international film and the acting races.
ARMAGEDDON TIME (Focus Features)
James Gray’s autobiographical coming-of-age story about growing up in 1980s Queens features an outstanding supporting cast of potential nominees, including prior Oscar winners Anne Hathaway and Anthony Hopkins, plus Emmy-winner Jeremy Strong. Gray could also earn recognition for his sensitive original screenplay, which offers an uncompromising look at a turbulent era.
AVATAR: THE WAY OF WATER (Disney)
James Cameron’s original blockbuster earned nine Oscar nominations, including best picture, and although we’ve only seen a teaser trailer, expect “The Way of Water” to wow audiences and Oscar voters. It’s only natural given advancements in visual effects technology — but the VFX is just pretty to look at without a strong script, terrific acting and direction. Count on Cameron to deliver on those elements and for the film to be a major player with perhaps some acting noms, as the cast that includes the original stars Sam Worthington and Zoe Saldana as well as Michelle Yeoh, Kate Winslet and original baddie Stephen Lang.
BABYLON (Paramount)
Director Damien Chazelle’s first film in four years following “First Man” seems primed for serious awards season looks, given the premise and talent. Industry voters love films centered around Hollywood, and Chazelle’s latest turns an extravagant lens on the depravity of 1920s Hollywood. If that premise isn’t enough to get voters on board for categories like picture, director or screenplay, a brief look at the film’s top-end talent (Brad Pitt, Margot Robbie, Jean Smart and newcomer Diego Calva) should hook them in for career-defining performances.
THE BANSHEES OF INISHERIN (Searchlight)
Martin Mcdonagh reunites his “In Bruges” co-stars Colin Farrell and Brendan Gleeson on an island off the coast of Ireland in a darkly comic, caustic and visceral take on male relationships. Voters should laud Mcdonagh’s original screenplay and Farrell’s nuanced performance, both of whichi won prizes at Venice. Gleeson and Kerry Condon will likely factor into the supporting races and a best picture play is likely. Mcdonagh is also a strong bet for a director slot.
BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS (Netflix)
Initial festival reaction was muted with many harping on the film’s length, but filmmaker Alejandro G. Iñárritu has heard the criticism. He has already cut 20 minutes from his tale of a man undergoing an existential crisis. Iñárritu is a force to be reckoned with and with an intensely personal film — his first since dual director wins for “Birdman” and “The Revenant” — expect him to be a strong presence on the circuit. Netflix is surely hoping to follow the “Roma” model and score noms not just in international film, but also director and picture. And it’s hard to deny the powerful performance by lead actor Daniel Giménez Cacho.
BLACK PANTHER: WAKANDA FOREVER (Disney)
The sequel has much to live up to considering the massive amount of awards recognition the 2018 film received, including an Mcu-first best picture nomination. What could benefit the sequel’s awards chances the most, especially in categories including best picture, director and screenplay, is also its biggest loss — the absence of franchise star Chadwick Boseman. His death — along with what seems like T’challa’s supposed passing — could make for the most emotionally resonant Marvel film to date, honoring an actor and character who meant a huge amount to its cast, crew and fans.
BONES AND ALL (Warner Bros.)
The reunion of Luca Guadagnino with his “Call Me by Your Name” star Timothée Chalamet has been eagerly awaited, although its cannibalism love story might be harder to access. Still it’s the kind of film that could garner adapted screenplay attention, and lead actress Taylor Russell has captivated viewers. Oscar-winner Mark Rylance could also see himself once again in the lineup for supporting actor while Chalamet could pose a threat in lead.
CHA CHA REAL SMOOTH (Apple Original Films)
Vanessa Burghart could land a supporting actress nom for her breakout role as Lola, a teenage girl on the autism spectrum in
Cooper Raiff’s poignant romcom centered on a bar mitzvah party host who falls hard for Lola’s mother, played by Dakota Johnson (who could also score a nom in the supporting actress category). Apple took a slow strategy with its previous contender, “CODA,” and like that eventual Oscar winner, “Cha Cha” also nabbed the Audience Award at the Sundance Film Festival. It’s also netting applause for its original screenplay, redolent with humorous and heartfelt dialogue.
CLOSE (A24)
The Grand Prix winner at this year’s Cannes Film Festival, this French-language Belgian drama will likely land in the international film race but could also garner noms for its screenplay by Lukas Dhont and Angelo Tijssens about the close friendship between two 13-year-old boys.
DECISION TO LEAVE (Mubi)
Park Chan-wook’s crime thriller is likely to land an international film nom but could also grab a best pic slot — as countryman Bong Joon Ho did with “Parasite.” Park comes out of Cannes with a director prize and could pose a threat in the helming race and also for
his screenplay, co-written with Cheung Seokyung.
DEVOTION (Sony Pictures)
This true story about the first Black Navy fighter pilot is a big crowd-pleaser featuring star turns from Jonathan Majors and Glen Powell. Both actors could find themselves in the running, as could the film itself and director J.D. Dillard.
ELVIS (Warner Bros.)
Most Oscar pundits have Austin Butler in contention for his first Academy Award nom for his performance as Elvis Presley in the Baz Luhrmann biopic, but the film’s June release means the studio will have to continue to keep Butler’s dazzling portrayal front and center all awards season. While it’s likely to do well in crafts, particularly costume and cinematography, it remains to be seen if that can also translate to a best picture nom.
EMANCIPATION (Apple Original Films)
One of the big unknowns of the season, this period drama tells the story of Gordon, an escaped slave who allowed his scarred back to be photographed. It comes with a pedigree that could yield noms across the board in picture, director and screenplay. The big question is if the Academy will be willing to nominate lead actor and producer Will Smith following this year’s Oscars. Also keep an eye on Ben Foster, said to be outstanding in a supporting role.
EMPIRE OF LIGHT (Searchlight)
The Sam Mendes film bowed at the Telluride Film Festival and ignited conversation for Olivia Colman as the film’s leading lady. While this love letter to movies has a good shot at a best picture nom, if voters really take to it, it could earn Mendes nominations for director and screenplay. And never count out the legendary Roger Deakins in cinematography.
EVERYTHING EVERYWHERE ALL AT ONCE (A24)
Michelle Yeoh’s acclaimed performance as Evelyn Wang has made her a frontrunner in the lead actress race since the sci-fi black comedy’s SXSW world premiere. Her multifaceted portrayal of the immigrant matriarch instantly ignited Oscar buzz, along with talks of A24’s multiverse epic in contention for best picture. But the supporting cast (Stephanie Hsu, Ke Huy Quan and Jamie Lee Curtis) are also building buzz. Director-writer duo Daniel Kwan and Daniel Scheinert (collectively known as the Daniels) are likely to earn attention for original screenplay — and maybe even director.
THE FABLEMANS (Universal)
Steven Spielberg revisits his childhood for this story of a young man growing up in postwwii Arizona and has already drawn high acclaim. So look for a bounty of noms including picture, director and screenplay for Spielberg and Tony Kushner. In terms of acting races, Michelle Williams is likely to get a nomination even after moving to lead actress from supporting, and supporting actors Judd Hirsch and Seth Rogen are standouts.
GLASS ONION: A KNIVES OUT MYSTERY (Netflix)
The sequel to the comical whodunit feature “Knives Out” is poised for a successful awards season with a star-studded cast and strong reviews. Three-time Oscar nominee Edward Norton is joining the franchise alongside returning actor Daniel Craig. And buzz is high on Janelle Monáe in a scene-stealing turn. The first film landed a screenplay nomination and its sequel looks likely to repeat (although now in adapted, not original) and go one better with a picture mention. A positive response could even carry helmer Rian Johnson to a directing nom.
THE GOOD NURSE (Netflix)
The pedigree on this true story of Amy Loughren who exposed her fellow nurse Charles Cullen as a serial killer couldn’t be more impressive. Prior Oscar winners Jessica Chastain and Eddie Redmayne could land nominations — with Chastain competing in lead and Redmayne going supporting. The adapted script comes from Krysty Wilson-cairns, a previous nominee for “1917,” with direction from “Another Round” helmer Tobias Lindholm.
HOLY SPIDER (Metropolitan Filmexport)
Despite being set in Iran and most dialogue occurring in Farsi, Iranian director Ali Abbasi’s latest true-crime thriller is a Danish film, validating its place as Denmark’s official contender for international film at the Academy Awards. Zar Amir Ebrahimi, who plays a gritty journalist uncovering a series of murders in the city of Mashhad, could land a nomination for lead actress, if
The big question is if the Academy will be willing to nominate lead actor and producer Will Smith [for ‘Emancipation’] following this year’s Oscars.”
voters follow in the path of jurors at Cannes Film Festival earlier this year.
THE INSPECTION (A24)
Jeremy Pope could earn an actor nomination for his first lead role in a film, playing a gay Marine in this autobiographical tale from writer-director Elegance Bratton. Bratton could also find his script in contention, as could supporting players Bokeem Woodbine and Gabrielle Union.
LIVING (Sony Classics)
Bill Nighy could finally land an Oscar nomination for his lead turn as a man battling a fatal illness. The script, adapted from Akira Kurosawa’s “Ikiru,” which was itself inspired by “The Death of Ivan Ilyich” by Leo Tolstoy, could also garner attention for scribe Kazuo Ishiguro.
A MAN CALLED OTTO (Sony Pictures)
Adapted from the acclaimed Swedish film “A Man Called Ove,” this tale of an elderly man whose attempts at solitude are thwarted by his neighbors finds Tom Hanks taking on the title role. While it’s an unknown at this point, it could factor into several races, including actor, picture, director for Marc Forster and adapted screenplay for David Magee, who previously earned a nom for adapting “Life of Pi.”
THE MENU (Searchlight)
While dark comedies don’t always get the attention they deserve, “The Menu” is a sharp satire that could find its original screenplay by Seth Reiss and Will Tracy a serious contender. Of the talented ensemble, the best shot at an acting nom lies with Ralph Fiennes’ deliciously diabolical chef.
MY POLICEMAN (Amazon)
Michael Grandage’s “My Policeman” features Harry Styles as the titular character and placing him in the supporting actor gives him a solid chance. The British drama goes between the present day and the past as it follows Tom (Styles and Linus Roache), Marion (Emma Corrin and Gina Mckee) and Patrick (David Dawson and Rupert Everett) and how events from their past affect their future. As for awards hopes, all lie in adapted screenplay and acting. Styles’ performance is a solid one and Corrin is outstanding.
NANNY (Amazon)
Though genre films don’t always get the attention they deserve, “Nanny” comes in with strong accolades — it won the Grand Jury Prize at this year’s Sundance Film Festival. Though it has supernatural elements, it delves into very real and current issues with a smart script by director Nikyatu Jusu that could catch on. So could Anna Diop, a major discovery playing an undocumented migrant working as a nanny for a wealthy family.
RRR (Netflix)
It’s rare for an Indian film to garner as much American support as S.S. Rajamouli’s Telugu-language “RRR” has. While not submitted as India’s entry in the international film race, there is a wave of support that could push it to best picture. And it’s tough to deny Rajamouli’s vision as director.
SHE SAID (Universal Pictures)
Biographical dramas centering on investigative journalism have been front-runners in past Oscar
seasons, most notably best picture winner “Spotlight” in 2016. Therefore, this feature, which follows the New York Times reporters who exposed Harvey Weinstein’s history of sexual misconduct and abuse, could be a top contender in the picture, director (Maria Schrader) and adapted screenplay (Rebecca Lenkiewicz) race. Additionally, two-time Academy Award nominee Carey Mulligan
and Zoe Kazan, who play journalists Megan Twohey and Jodi Kantor, could figure into the acting races with Mulligan going supporting and Kazan going lead.
THE SON (Sony Classics)
Florian Zeller won an Oscar for adapting his own play with “The Father” and his new film could follow a similar path. Hugh Jackman looks like a good bet to land his second Oscar nomination while the whole supporting cast — Anthony Hopkins, Laura Dern and newcomer Zen Mcgrath — could also factor in.
TÁR (Focus Features)
Cate Blanchett, who won the actress prize at the Venice Film Festival for this film, is a sure nominee for her mesmerizing lead turn as famed composer-cum-conductor Lydia Tár in Todd Field’s first film in 16 years. The gripping drama, pivoting on Tár’s fall from grace, looks likely to score in picture, director and original screenplay, crafting a protagonist who’s intellectually prodigious yet emotionally unhinged — a character whose downfall comes at the hands of her own hubris. And Nina Hoss could find herself in the supporting actress race as Tár’s long-suffering partner.
THIRTEEN LIVES (Amazon)
Though it hasn’t made too many waves yet, this crowd-pleaser about Thailand’s Tham Luang cave rescue could find audiences discovering it throughout the season — it certainly worked for “CODA” last year. Underestimate director Ron Howard at your own risk, especially as he’s still getting the word out.
TILL (United Artists)
Danielle Deadwyler is a big contender for her first lead actress nomination, and if you’ve seen her captivatingly soulful, yet heartwrenching portrayal of Mamie Till-mobley in director Chinonye Chukwu’s biopic “Till,” you probably agree. The film documents the true story of Till-mobley’s tumultuous fight for justice after the lynching of her 14-year-old son, Emmett, in 1955 — a historical narrative that, up until now, has largely excluded Till-mobley’s resilience and activism, making this picture a worthy contender for original screenplay. With enough support, the film could end up scoring in picture and director as well.
TOP GUN: MAVERICK (Paramount)
The highly anticipated sequel to “Top Gun” arrived in cinemas on Memorial Day weekend and soared to the top of the box office. Tom Cruise brought audiences back to the movie theaters after the pandemic and they kept coming back for repeat viewings. Will
Academy voters open their hearts to this box office hit and give it room in the best picture 10? Possibly. Will Tom Cruise land an Oscar nomination for lead actor? Why not? The film will be a solid artisans contender for sound, effects and Lady Gaga’s original song “Hold My Hand” and that belowthe-line love could easily translate to a best picture nom.
TRIANGLE OF SADNESS (Neon)
The Cannes Palme d’or winner could follow in the Oscar-winning steps of “Parasite” if enough voters love Ruben Östlund’s caustic take on class wars. Starring potential supporting actor nominee Woody Harrelson as the Marxist-leaning captain of a megayacht, “Triangle” exposes the false promises of modern society. Screenplay and directing are two areas where voters could reward this audacious — and darkly funny — film. But the film’s best bet might be with scene-stealing Dolly De Leon in supporting actress as a servant who becomes the master.
THE WHALE (A24)
Brendan Fraser is a sure thing for his lead performance as a 600-pound gay professor, and supporting actresses Hong Chau and Sadie Sink are also building buzz. But don’t underestimate director Darren Aronofsky — even his most divisive movies have passionate admirers and few filmmakers have such a stellar record at the Oscars with winners (Natalie Portman in “Black Swan”) and nominees (Mickey Rourke in “The Wrestler,” Ellen Burstyn in “Requiem for a Dream”).
WHITE NOISE (Netflix)
The talent behind Noah Baumbach’s “White Noise” speaks for itself — both Baumbach and star Adam Driver are frequent nominees whose previous collaborative effort, 2019’s “Marriage Story,” kept them busy all awards season. This adaptation of Don Delillo’s surreal black comedy was often considered unfilmable and it’s likely Baumbach will be rewarded for his efforts — think Paul Thomas Anderson’s nod for “Inherent Vice.” It’s also the kind of film that directors are likely to appreciate, making Baumbach a dark horse candidate in that category. Also not out of the question: noms for picture, actor (Driver), actress (Greta Gerwig) and supporting actor (Don Cheadle).
THE WOMAN KING (Sony Pictures)
The consensus is Viola Davis is indeed “The Woman King.” The film did remarkably well at the box office, earning rave reviews from critics and audiences alike. Davis stuns as General Nanisca in the Gina Prince-bythewood helmed film — powerful, fierce and commanding in every frame and is on track to make history as the most nominated Black actress in Oscar history. Also in contention is Thuso Mbedu as her protégé, competing in supporting actress. Prince-bythewood is also earning raves. Her work has largely gone unnoticed by the Academy, but “The Woman King” is delivering the attention she deserves. There’s strong potential for picture and director.
WOMEN TALKING (United Artists Releasing)
Adapting Miriam Towes’ book and tackling a setup that seems uncinematic at first glance — a group of women in an isolated religious community meet in a barn to discuss their future in the face of horrific sexual attacks — writer-director Sarah Polley trusts her actors and her own vision to create a tour de force in a limited space. In addition to picture, Polley looks well-placed for recognition in directing and adapted screenplay for her and Toews, while voters may reward Rooney Mara in lead and supporting players Jessie Buckley, Claire Foy and Ben Whishaw.