House of Blues Fetes the Elvis of the ‘50s

As a cultural icon, Elvis Presley is remarkably flexible. While some cling to the image of him as a sexually charged musical revolutionary, others have equal affection for the overweight Vegas-act persona. Which is what makes Art Fein and Ronnie Mack’s annual Elvis birthday bash such a fascinating event. With 47 local acts weighing in on Presley’s impossibly large repertoire, the show, which sold out the House of Blues on Thursday, became the musical equivalent of the fat Elvis/skinny Elvis stamp debate.

The verdict on this night came down overwhelmingly in favor of the ‘50s-era Elvis. For the most part, the acts--mostly rockabilly bands--faithfully clung to the raw, slap-back sound of Presley’s earliest recordings. Fortunately, virtually all the performers had the good sense to pluck choice obscurities from Presley’s catalog, rather than rely on the tired hits.

The quality of the bands varied wildly. Most of the younger acts stressed passion over finesse, which left it to L.A.’s seasoned roots-rock vets to show them how it should be done. James Intveld had the ladies swooning with his suave versions of “Kiss Me Quick” and “Guitar Man”; guitarist Deke Dickerson turned in a feisty “Money, Honey”; and Rip Master’s barrelhouse piano lit a fire under his version of “Got a Lot o’ Livin’ to Do!”

A few artists went the kitsch route. Singer Neil Mooney and a body stocking-clad Ann Magnuson smoldered on “You’re the Boss.” Mooney then trotted out a couple of fan dancers during “Bossa Nova Baby,” thereby providing the only real production value of the evening.

Some of the show’s most invigorating performances came from the handful of name acts that dropped in. Dwight Yoakam added a honky-tonk jolt to “Little Sister,” “Mystery Train” and “That’s All Right”; rockabilly legend Wanda Jackson regaled the audience with some amusing Elvis anecdotes, then belted her hit “Let’s Have a Party” with youthful brio.

Few artists attempted ballads, but one who did--singer-guitarist Rosie Flores--provided the evening’s emotional peak with her version of “Always on My Mind.” Her ringing soprano soaring over the melody, Flores managed to turn one of the most covered ballads in contemporary pop history into a genuinely moving experience.