The Elvis Spectacular set up residence at NYCB Theatre at Westbury on August 23rd, just like the old rock and roll shows that used to pull into town.  Ultimate Elvis Tribute Artist winners Cody Ray Slaughter and Shawn Klush resurrected early and Vegas Elvis closely enough to give a fan chills.  Long Island Native Steve Mitchell handled songs from Elvis’ films.  The Ultimate Tribute Artist award is so prestigious because it is chosen by Elvis Presley Enterprises, and they take seriously not damaging their reputaion.  They had no worries, as the ‘Elvi’ were stunning both in vocal and visual presentation.  Steve Mitchell’s also electrified the house in his short set, rousing the crowd and raising them to their feet.

 

DJ Fontana drummed for Elvis from his near inception, and he brought us back in time to the days when the King was holding court in Graceland.  DJ Handled the beat for Cody’s first set. The Fabulous Ambassadors handled the rest of the instrumentation, and Cody’s windmill dancing made you check for a high wind alert.  Cody opened with Shake, Rattle, and Roll, and that is what he led the audience doing from the start.  Highlights of his first set included Heartbreak Hotel, I Got A Woman, and Peace in The Valley. DJ Fontana was in the film Jailhouse Rock (1957) with Elvis, and as they played that number it struck crystal clear that rock history was alive and in person behind the drum kit.

 

Scott Mitchell came on to cover King Creole, Young and Beautiful, and Viva Las Vegas.  Mitchell wore a  recreation of the red jacket Elvis had specially made, and wore in his film Speedway (1968).  Mitchell ventured well out into the audinece, as if faux Elvis was bitten by Bono Vox of U2.  Elvis was not performing concerts during his movie years, so hardcore Elvis fans were treated to a concert that might have been at this point in the evening.  They rocked along, and one lady got lucky and danced with Mitchell in the aisle.  The man barely used the stage in front of the seating area that he made home.

Cody Ray Slaughter came out for his second set recreating parts of the ’68 Comeback Special, when Elvis turned back the British Invasion.  Slaughter wore an out fit similar to the classic biker leathers Elvis wore on the original program in an incredible visual display.  It seemed Westbury had become the NBC studio that was Elvis’ domain for filming back in ’68.  Numbers included Trouble, a second helping of Heartbreak Hotel, Hound Dog, Little Sister, and Kentucky Rain.  As the show broke for an intermission, the performers had already given the audience quite a show for their money. 

Also Sprach Zarathusta (the theme from 2001: A Space Odyssey) announced the end of the break, and Shawn Klush arrived as Vegas Elvis.  The concert years were recreated in spirit, minute detail, and excitement.  Klush broke into See See Rider, and fans clamored for scarves and kisses.  Klush had a great eye for nuance, making all wonder at times if H.G. Wells time machine just might have been more than imaginary.  Highlights included A Little Less Conversation, Suspicious Minds, An American Trilogy, I’ve Lost You, and Can’t Help Falling In Love.

The Sweet Inspirations could have been charged with robbery for stealing an incredible all around show, as their fingerprints were all over it. Estelle Brown and Portia Griffin sang their namesake tune, and produced stellar vocalization throughout Shawn’s set.  Klush recounted an anecdote of how Estelle would have to flee the Vegas stage after an Elvis show, or wind up in his suite 30 floors up singing Gospel songs all night long with band members.  The Sweet Inspirations and Klush then recreated what these singalongs sounded like.  It is not overstatement to say that Amazing Grace and How Great Thou Art were so good, they should have been put under glass and preserved for posterity.  If one were given three musical wishes, one would be a recorder to have been placed in the room when the afore mentioned sessions took place.  This was as rare a treat as caviar served from a down home southern soul kitchen.  If the show rolls around next year as planned, fans would be wise to remember not to forget attending.

    

L4LM’s Short Chat with DJ Fontana:

L4LM: How did you come to meet Elvis Presley?

D.J.: I hooked up with Scotty, Elvis and Bill on the Hayride. I was staff drummer around 1953 and 1954 

L4LM: Did you play with them then?

D.J.:Those guys were on the Hayride, but I didn’t work with them 

L4LM: You played with Sir Paul McCartney in 2002, was That’s Alright Mama the only track you did?

D.J.:  That’s Alright Mama was the only song we recorded with Sir Paul McCartney. Paul was a good musician, and we had a great time recording with him. 

L4LM: You fellows did stadiums down South and in Canada even before the Beatles were at Shea, correct?

 D.J.: What I really remember is that their stadium was larger than ours and it was jammed packed.

L4LM: How long did you play with Elvis, and how did you contribute to his sound?

D.J.:  I was with Elvis for fifteen years. I don’t think it would have made any difference who was playing with Elvis.  

L4LM: Can you tell a bit about the reunion for the 1968 Comeback Special?

D.J.: It wasn’t the original band for the 68′ Comeback . It was just Scotty and I from the original band. Scotty and I had other plans after the 68’Comeback.

L4LM: Can you tell us what it was that took Bill Black from us?

D.J.:  Bill had a brain tumor.

L4LM: What is your opinion of Shawn Klush, and Cody Ray Slaughter?

D.J.: They are both great singers.

L4LM: You have done some outstanding post-Elvis work. Where can fans find those recordings?

D.J.: I have 3 CD’s and they can be purchased off my website. www.djfontana.com

Words by Bob WIlson       Photos by Wayne Herrschaft

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