"Heartbreak Hotel" is a song recorded by American singer Elvis Presley. It was released as a single on January 27, 1956, Presley's first on his new record label RCA Victor, it was written by Mae Boren Axton. A newspaper article about the suicide of a lonely man who jumped from a hotel window inspired the lyrics. Axton presented the song to Presley in November 1955 at a country music convention in Nashville. Presley agreed to record it, did so on January 10, 1956, in a session with his band, The Blue Moon Boys, the guitarist Chet Atkins, the pianist Floyd Cramer. "Heartbreak Hotel" comprises an eight-bar blues progression, with heavy reverberation throughout the track, to imitate the character of Presley's Sun recordings. The single topped Billboard's Top 100 chart for seven weeks, Cashbox's pop singles chart for six weeks, was No. 1 on the Country and Western chart for seventeen weeks and reached No. 3 on the R&B chart, becoming Presley's first million-seller, one of the best-selling singles of 1956.
"Heartbreak Hotel" achieved unheard feats as it reached the top 5 of Country and Western and Rhythm'n' Blues charts simultaneously. It would be certified double platinum by the Recording Industry Association of America. Presley had first performed "Heartbreak Hotel" during a live show in December 1955 during a tour of the Louisiana Hayride, but the song gained strong popularity after his appearance on Stage Show in March 1956, it became a staple of Presley's repertoire in live appearances, last performed by him on May 29, 1977, at the Civic Center in Baltimore, Maryland. In 1995 "Heartbreak Hotel" was inducted into the Grammy Hall of Fame, in 2004 Rolling Stone magazine named it one of the "500 Greatest Songs of All Time"; that year it was included in the Rock and Roll Hall of Fame's "500 Songs that Shaped Rock and Roll". A rock and roll standard, since its original release "Heartbreak Hotel" has been covered by several rock and pop acts, including Willie Nelson and Leon Russell, who recorded a duet version that topped the Country charts in 1979.
The song was written in 1955, by Mae Boren Axton, a high school teacher with a background in musical promotion, Jacksonville based singer–songwriter Tommy Durden. The lyrics were based on a report in The Miami Herald about a man who had destroyed all his identity papers and jumped to his death from a hotel window, leaving a suicide note with the single line, "I walk a lonely street". In 2016, an article in Rolling Stone magazine suggested that the story in reality originated from a report about a painter and petty criminal, Alvin Krolik, whose marriage had failed and who wrote a partial autobiography including the line "This is the story of a person who walked a lonely street." Krolik's story was published in news media, received further publicity after he was shot and killed in an attempted robbery in El Paso, Texas. On August 25, 1955, the El Paso Times reported Krolik's death under the headline "Story Of Person Who Walked Lonely Street". Axton and Durden give different accounts of. Durden's account is that he had written the song and performed it with his band the Swing Billys before he presented it to Axton.
Axton's account is that Durden had written only a few lines of the song and asked her to help him finish it. She says that the report of the suicide "stunned" her, she told Durden, "Everybody in the world has someone who cares. Let's put a Heartbreak Hotel at the end of this lonely street", they were interrupted by the arrival of Glenn Reeves, a local performer who had worked with Axton. The duo asked Reeves to help with the song, but after hearing the title he remarked that it was "the silliest thing I've heard", left them to finish it themselves; the song was written within an hour, Durden recorded it onto Axton's tape recorder. Reeves returned, after hearing the song he was asked to provide a voice demo for Axton in the style of Elvis Presley. Reeves obliged. Axton approached the popular singing duo the Wilburn Brothers, offered them the chance to record "Heartbreak Hotel"; however and Teddy Wilburn declined, describing the song as "strange and morbid". Axton, agreed to a publishing deal with Buddy Killen, a young Nashville bass player, who had set up his own publishing company called Tree Publishing.
With a publishing deal in place, Axton arranged through Presley's manager Colonel Tom Parker to present the song to Presley at the annual Country Music Disc Jockey Convention in Nashville, where he was to be named the most promising male country star of 1955. Axton had been hired earlier in the year to publicise the Hank Snow Jamboree concerts at the Gator Bowl Stadium in Jacksonville, which included Presley in the line up. During one concert Axton observed the reaction of the audience to Presley's performance, in which a crowd of screaming fans chased him back to his dressing room and ripped his clothes off to take as souvenirs. Axton followed Presley's career after this incident, met him at a July 28 concert in Jacksonville, this time interviewing him for the local media. According to author Albert Goldman, Axton made writing Presley's first big hit one of her ambitions. Rumors had been circulating in the press for several weeks that Presley, who had begun his career at Sun Records, was ready to move to RCA Victor to help launch him nationally.
Axton played the demo to him in his room at the Andrew Jackson Hotel on November 10, 1955. Upon hearing the demo, Presley exclaimed "Hot dog, play that again!", listened to it ten times, memorizing the song. After signing with RCA on November 21, 1955, Presley accepted Axton's offer of a third of the royalties if he
Elvis' Christmas Album
Elvis' Christmas Album is the third studio album and first Christmas album by American singer and musician Elvis Presley on RCA Victor, LOC -1035, a deluxe limited edition, released in October 1957, recorded at Radio Recorders in Hollywood. It has been reissued in numerous different formats since its first release, it spent four weeks at number one on the Billboard Top Pop Albums chart, was the first of two Christmas-themed albums Presley would record, the other being Elvis Sings the Wonderful World of Christmas, released in 1971. The publication Music Vendor listed Elvis' Christmas Album on their singles charts for two weeks in December 1957 – January 1958, with a peak position of #49. According to the Recording Industry Association of America, Elvis' Christmas Album along with its reissues has shipped at least 17 million copies in the United States, it is the first Presley title to attain Diamond certification by the RIAA, is the best-selling Christmas album of all time in the United States.
With total sales of more 20 million copies worldwide, it remains the world's best-selling Christmas album and one of the best-selling albums of all time. The original 1957 LP consisted of six popular Christmas songs, two traditional Christmas carols and four gospel songs, released on the EP Peace in the Valley, catalogue EPA 4054, issued March 1957, peaking at number three on the Pop albums chart and at number 39 on the singles chart; the two album sides divided into a program of secular Christmas songs on side one, with two traditional Christmas carols and the gospel numbers on side two. Those included two spirituals by innovator Thomas A. Dorsey, "Peace in the Valley" and "Take My Hand, Precious Lord." Coincidentally, A Jolly Christmas from Frank Sinatra. Released the previous month by that other 1950s singing icon, was divided into a secular and a traditional side. While most of the songs selected were traditional Christmas fare, such as "White Christmas" and "Silent Night," two new songs by regular suppliers of material for Presley were commissioned.
One was "Santa Bring My Baby Back" and the other, was a blues-based rock and roll number, "Santa Claus Is Back in Town," written by Jerry Leiber and Mike Stoller. This writer/producer team was responsible for some of 1950s rhythm and blues and rock and roll's most finely-honed satire in their work with the Coasters, as well as penning "Hound Dog" for Willie Mae Thornton and providing Elvis with some of his biggest hits, including "Jailhouse Rock" and "Don't." Elvis had asked the pair to come up with another Christmas song during sessions for the album. Titled "Christmas Blues", this slyly risqué number is given a full-throated treatment by Elvis who, aided by the gritty ensemble playing from his band, was determined to ensure that this Christmas album would not be ignored. Much of the remaining program was performed in a more traditional manner appropriate to the solemnity of Christmas, although Elvis's innate sense of occasion shone through on his left-of-centre reading of Ernest Tubb's 1949 hit, "Blue Christmas."
"Silent Night" and "O Little Town of Bethlehem" were arranged by Elvis Presley. The Bing Crosby holiday perennial "White Christmas," which appeared every year on the Billboard charts from 1942 to 1962, became the center of controversy upon the album's release, with calls by the song's composer Irving Berlin to have the song, the entire album, banned from radio airplay. After hearing Presley's version of his song, which Berlin saw as a "profane parody of his cherished yuletide standard", he ordered his staff in New York to telephone radio stations across the United States, demanding the song be discontinued from radio play. While most US radio stations ignored Berlin's request, at least one disc jockey was fired for playing a song from the album, most Canadian stations refused to play the album; the controversy was fueled by Elvis's performance of the song in a style mirroring the version by Clyde McPhatter's group, The Drifters, a Top 10 hit on the R&B singles chart in 1954 and 1955. Unlike Elvis's recording, their version attracted no adverse reaction, no reported opposition from Irving Berlin.
Part of the reason that The Drifters' version of "White Christmas" was less controversial was because that version was played only on black radio stations. Elvis Presley's version brought greater attention to The Drifters' version which gained prominence with its inclusion in the 1990 movie Home Alone. Original 1957 copies of Elvis' Christmas Album were issued with a red booklet-like album cover featuring promotional photos from Elvis's third movie Jailhouse Rock. Rarer than the cover and record itself is a gold foil price tag-shaped "gift giving" sticker attached to the shrink wrap, reading "TO __________, FROM _____________, ELVIS SINGS", followed by a list of the tracks. Original copies with the gold sticker intact on the shrink wrap have proven to be among the most valuable of Elvis's albums. Adding to its high value are limited red vinyl albums and album covers with gold print down the spine. Record labels for all original 1957 pressings are black with all-silver print, the famous RCA Victor "His Master's Voice" dog logo at the top of label, "LONG 331⁄3 PLAY" at the bottom.
The other new composition on the album, "Santa, Bring My Baby Back to Me" was paired with "Santa Claus Is Back In Town", issued as a UK single concurrently with the album's release. The single reached number seven on the UK Singles Chart in November 1957. No United States singles were issued from the album until 1964, when "B
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Frankie and Johnny (soundtrack)
Frankie and Johnny is the twelfth soundtrack album by American singer and musician Elvis Presley, released on RCA Victor Records in mono and stereo, LPM/LSP 3553, on March 1, 1966. It is the soundtrack to the 1966 film of the same name starring Presley. Recording sessions took place at Radio Recorders in Hollywood, California, on May 12, 13, 14, 1965, it peaked at number 20 on the Top LP's chart. It was certified Gold and Platinum on January 6, 2004 by the Recording Industry Association of America. To coincide with the 19th century setting of the film, some traditional song material was utilized for the soundtrack. "When the Saints Go Marching In" is an old gospel hymn that has become a jazz standard associated with the traditional hot jazz of New Orleans. It is paired in a medley with "Down by the Riverside", another traditional gospel song dating back to the relevant time period. Both are in the public domain, the team of Giant and Kaye captured the publishing for Freddy Bienstock and Presley's manager, Colonel Tom Parker.
The title song, "Frankie and Johnny," is a variant on the American popular song first published in 1904 and credited to Hughie Cannon. With changed lyrics, another publishing royalty was secured for Gladys Music. Twelve songs were recorded at the sessions for Frankie and Johnny, all were used and issued on the soundtrack; the title song was issued as a single. Released either just before or with the album, depending if the disputed release dates are correct, "Frankie and Johnny" peaked at number 25 on the Billboard Hot 100, with the b-side charting at number 45. During the 1970s, Pickwick Records had leased several of Presley's recordings from RCA Records and reissued the soundtrack album in 1976 with a new cover showing a 1970s-era image of Presley and the title amended to Frankie & Johnny; the running order of the tracks was altered and three songs from the original album were omitted —"Chesay", "Look Out Broadway", "Everybody Come Aboard". The front cover does not indicate that this is a reissued soundtrack album, it was Elvis' only soundtrack to be reissued in this way.
It did not chart on the Billboard 200. This oddity remained in print for several years and when, following Presley's death in August 1977, RCA began reissuing all of his albums, the agreement between RCA and Pickwick prohibited RCA from reissuing the original, complete soundtrack album in the US for several years due to the existence of this version; the original Frankie and Johnny soundtrack album was reissued in elsewhere however. Not until 2010 would the complete original Frankie and Johnny soundtrack be available in the United States again. In 2003 Frankie and Johnny was reissued on the Follow That Dream label in a special edition that contained the original album tracks along with numerous alternate takes. Note "Frankie and Johnny" was released as a single in March 1966 and appeared on Billboard's Hot 100 list for eight weeks, its highest position was number 25. The single's B-side, "Please Don't Stop Loving Me" charted for eight weeks and reached number 45. Note "Chesay", "Look Out, Broadway", "Everybody Come Aboard" were not included in the reissue.
Elvis Presley – vocals The Jordanaires – backing vocals Eileen Wilson – vocals George Worth – trumpet Richard Noel – trombone John Johnson – tuba Gus Bivona – saxophone Scotty Moore – electric guitar Tiny Timbrell – acoustic guitar Charlie McCoy – harmonica Larry Muhoberac – piano Bob Moore – double bass D. J. Fontana – drums Buddy Harman – drums Frankie and Johnny at Discogs
Elvis (1956 album)
Elvis is the second studio album by American rock and roll singer Elvis Presley, released by RCA Victor in October 1956 in mono. Recording sessions took place on September 1, September 2, September 3 at Radio Recorders in Hollywood, with one track left over from the sessions for Presley's debut album at the RCA Victor recording studios on January 30 in New York, it spent four weeks at #1 on the Billboard Top Pop Albums chart that year, making Presley the first recording artist to have both albums go straight to number one in the same year. It was certified Gold on February 17, 1960, Platinum on August 10, 2011, by the Recording Industry Association of America, it was released in UK in 1957 as Elvis Presley No. 2 with a different front cover. It was cataloged as Rock'n' Roll No. 2. RCA Victor producer Steve Sholes had commissioned two new songs for this batch of sessions, "Paralyzed" from Otis Blackwell and "Love Me" from Jerry Leiber and Mike Stoller, the authors of both sides of Presley's summer hit of 1956, "Don't Be Cruel" backed with "Hound Dog," the first record to top all three of the Billboard singles charts in existence: pop, R&B, C&W. Presley decided upon three Little Richard covers, selected three new country ballads from regular Everly Brothers writer Boudleaux Bryant and guitarist Chet Atkins, Sun staff musician and engineer Stan Kesler, Aaron Schroeder and Ben Weisman.
The latter two, contracted to Hill and Range, the publishing company of Presley's manager, Colonel Tom Parker, would write dozens of songs for Presley through the 1960s. Included was the song with which Presley won second prize at a fair in Tupelo when he was ten years old, Red Foley's 1941 country song, "Old Shep." With all but one track on the album recorded at a single set of sessions over three days in September and his touring band of Scotty Moore, Bill Black, D. J. Fontana, along with The Jordanaires, managed to recreate the loose feel from Sun Studio days, mixing rhythm and blues and country and western repertoire items as they had on all of his Sun singles, they reinforced this effect by including material echoing his first Sun record: a blues by Arthur Crudup, author of "That's All Right. The sessions were attended by a few outsiders, namely his current girlfriend at the time, actress Natalie Wood and actor Nick Adams, both of whom had starred in Rebel Without a Cause, Presley's favorite James Dean film.
Steve Sholes was the RCA man at the session, handled the paper work and such, but Elvis himself chose the songs, led the session, made all the decisions concerning which take would be the master and so forth. Thus it would be fair to say that for most practical purposes, Elvis himself at this session and throughout his career would continue to do most of the things that a regular record producer would do; the piano player on this album is not registered in the official RCA Victor archives, except for the song "So Glad You're Mine", cut at a previous session in New York. In a 1984 interview conducted by Jan-Erik Kjeseth, Gordon Stoker of the Jordanaires stated that he was the piano player on most of the songs on the album. In an article written by Kjeseth for the Flaming Star magazine, it was argued that the piano player on "Love Me", "Old Shep" and "How's the World Treating You" was Elvis himself. Ernst Jørgensen, writer of Elvis Presley - A Study in Music, seems to be of the same opinion. Kjeseth claims that Elvis played the piano on the single from this session, "Playing for Keeps".
Again, Jørgensen seems to be of the same opinion. Gordon Stoker played the piano on "Rip it Up" and "Anyplace is Paradise". RCA first reissued the original 12 track album on compact disc in 1984; this issue, in reprocessed stereo sound, was withdrawn and the disc was reissued in original monophonic. RCA reissued an expanded edition of the album in 1999, again in 2005. For the 1999 reissue, six bonus tracks were added that were both sides of three singles, altering the running order. Four of the tracks were chart-toppers: "Love Me Tender", "Too Much", the double-sided classic "Hound Dog" and "Don't Be Cruel". Bonus tracks recorded on July 2 at RCA Studios in New York City, in September at Radio Recorders, "Love Me Tender" at 20th Century Fox Stage One during the sessions for Love Me Tender; the 2005 reissue was remastered using DSD technology with the six bonus tracks appended in standard fashion, in the following order: "Playing for Keeps", "Too Much", "Don't Be Cruel", "Hound Dog", "Any Way You Want Me", "Love Me Tender".
This acclaimed latest remaster was the handiwork of audio restorer Kevan Budd, who drew praise for his 2005 remasters of Presley's first and third albums as well as the 2004 upgrade known as Elvis at Sun. These rock-n'roll tapes may have been among those dumped into the Delaware River near RCA Victor's Camden, New Jersey plant in the late 1950s. Elvis Presley – vocals, acoustic guitar, piano on "Old Shep", "Playing For Keeps", "Paralyzed", First In Line, "How's The World Treating You". Scotty Moore – electric guitar Shorty Long – piano on January 30 Gordon Stoker - piano on September 1–3 Bill Black – double bass D. J. Fontana – drums The Jordanaires - backing vocals Notes Chart positions for LPM 1382 from Billboard Top Pop Albums chart. Jorgenson, Ernst. Elvis Presley: A Life In Music - The Complete Recording Sessions, 1998. New York: St. Martin's Press. ISBN 0-312-18572-3Miller, Jim, ed; the Rolling Stone Illustrated History of Rock & Roll, re
Claude Demetrius was an African American songwriter. He was known for his Rockabilly songs, some of which were made famous by singers such as Elvis Presley, his name was written Claude DeMetrius. Demetrius was born in Bath, United States. By his early twenties he was in New York City writing music for and/or with Louis Armstrong. Demetrius wrote the 1945 musical comedy short film Open Richard. During the 1940s, he was associated with Louis Jordan, he wrote songs with Jordan that included material for the 1946 Black musical film Beware in which Jordan had the starring role. Some of Demetrius' best-known compositions from that era were co-written with Jordan's wife, Fleecie Moore, including the song "Ain't That Just Like a Woman." For two decades, Claude Demetrius made a reasonably good living but in 1956 his income would change after he began writing for Gladys Music, Inc.. Newly formed by Jean and Julian Aberbach, the company owned the exclusive publishing rights to the music of Elvis Presley. Working for Gladys Music, Demetrius co-wrote a song called "I Was The One", the B-side to Presley's first RCA single, "Heartbreak Hotel."
In 1957 he composed "Mean Woman Blues" for Presley's 1957 motion picture soundtrack, Loving You, released on the record album of the same name as well as on Side 2 of a four-song EP record. The song was the B-side of the European release of Jerry Lee Lewis' hit "Great Balls of Fire" on London Records. Demetrius topped off a successful year when he co-wrote with Aaron Schroeder the song "Santa, Bring My Baby Back" which appeared on the 1957 Elvis' Christmas Album. In 1958, Demetrius scored his biggest success of all with his composition of "Hard Headed Woman." The song roll single to earn the RIAA designation, gold record. Demetrius wrote it alone for Presley's 1958 film King Creole. Both songs were part of the record album but "Hard Headed Woman" was released as a 45rpm single that went to No. 1 on the Billboard charts. In 1963, "Mean Woman Blues" was recorded again, this time by Roy Orbison on a 45rpm single that went to No. 5 on the Billboard Hot 100 chart and was part of Orbison's 1964 album, More of Roy Orbison's Greatest Hits.
The timeless rock song was sung by him on the 1989 HBO television special called Roy Orbison and Friends, A Black and White Night. Claude Demetrius died in 1988 in New York City
Jimmie Dale Gilmore
Jimmie Dale Gilmore is an American country singer, actor, recording artist and producer living in Austin, Texas. Gilmore is a native of the Texas Panhandle, having been born in Amarillo and raised in Lubbock, Texas, his earliest musical influence was Hank Williams and the honky tonk brand of country music that his father played. In the 1950s, he was exposed to the emerging rock and roll of other Texans such as Roy Orbison and Lubbock native Buddy Holly, as well as to Johnny Cash and Elvis Presley, the latter two being in the line up at a concert he attended on October 15, 1955, at Lubbock's Fair Park Coliseum, he was profoundly influenced in the 1960s by The Beatles and Bob Dylan and the folk music and blues revival in that decade. With Joe Ely and Butch Hancock, Gilmore founded The Flatlanders; the group has been performing on and off since 1972. The band's first recording project, from the early 1970s, was distributed, it has since been acknowledged, through Rounder's 1991 reissue, as a milestone of progressive, alternative country.
The three friends continued to reunite for occasional Flatlanders performances, in May 2002, released a long-awaited follow-up album, Now Again, on New West Records. After attending Texas Tech University, Gilmore spent much of the 1970s in an ashram in Denver, studying metaphysics with teenaged Indian guru Prem Rawat known as Maharaji. In the 1980s, he moved to Austin, where his first solo album and Square, was released in 1988. Gilmore's fans admire his tenor voice, which delivers expressive, country-inflected singing. In 1994, Gilmore teamed up with Willie Nelson to contribute "Crazy" to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization. Gilmore appeared as himself in Peter Bogdanovich's 1993 film The Thing Called Love, a love story about young songwriters in Nashville, he had a small but memorable acting role in the 1998 movie The Big Lebowski. He portrayed a bowler named Smokey, an aging "fragile" pacifist threatened with a pistol by Jeffrey "The Dude" Lebowski's sidekick, Walter Sobchak.
He has been a guest on The Tonight Show, with host Jay Leno, the Late Show with David Letterman, Garrison Keillor's A Prairie Home Companion on NPR, the Fresh Air radio program with Terry Gross. Gilmore's son, Colin Gilmore, is a singer–songwriter based in Austin. Gilmore's song "Braver Newer World" is featured in the 1995 Noah Baumbach film Kicking and Screaming. In 2005, Gilmore released Come on an album of songs his father loved. Gilmore said of the album, "This new album is a compilation of recordings of some old songs that my dad loved. I love them too, it is a project dear to me." His version of "Mack the Knife" from the album One Endless Night is on the soundtrack of Jacques Audiard's 2009 film A Prophet. Gilmore has been nominated for 3 Grammys, Best Contemporary Folk Album "Spinning Around The Sun" in 1993, Best Contemporary Folk Album "Braver Newer World" in 1996, Best Traditional Folk Album "Come On Back" in 2005. Music of Austin Outlaw country In the Country of Country: A Journey to the Roots of American Music, Nicholas Dawidoff, Vintage Books, 1998.
ISBN 0-679-41567-X. Fire in the Water, Earth in the Air: Legends of West Texas Music, Chris Oglesby, University of Texas Press, 2007. ISBN 978-0-292-71419-9. Jimmie Dale Gilmore's home page "This I Believe" Essay by Jimmie Dale Gilmore Jimmie Dale Gilmore on IMDb Jimmie Dale Gilmore at AllMusic Jimmie Dale Gilmore discography at Discogs