Classic Pop Icons

An iconic red suede jacket worn by Elvis Presley in the 1950s is one of 578 items featured in an online Rock ‘N’ Roll auction from GOTTA HAVE IT® Collectibles .

The auction features original 45s, movie posters, rare photographs, handwritten lyric sheets, signed memorabilia, and jewellery and clothing worn by some of the greats of popular music, including Elvis Presley, Michael Jackson, The Beatles, Bob Dylan, James Brown and many more.

Here’s some of the most interesting items on offer.

Elvis Presley - red suede jacket

This jacket was purchased at the famous Lansky Brothers store in Memphis. There are numerous candid photos of him wearing it, and it was also worn for official RCA publicity shots. Elvis is seen wearing it on the covers of the single releases Playing for Keeps/Too Much, Jailhouse Rock/Treat Me Nice and I Got Stung/One Night.

The jacket comes with a letter of provenance from hairdresser Homer Gilleland.

Minimum Bid: $10,000
Estimate: $20,000-30,000

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Elvis Presley - black leather boots from “Loving You”

These boots were worn by Elvis in his second film “Loving You”, which was made by Paramount Pictures in 1957.The boots were worn throughout the movie and Elvis’ name is stamped in them, as well as the Paramount men’s wardrobe department stamp.Minimum Bid: $5,000.00 Estimate: $6,000-8,000

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Michael Jackson - stage worn shirt and pants

This light blue beaded shirt and white pants with rhinestones were worn by Michael Jackson on stage during the 1984 “Victory Tour,” which was the largest and final North American concert tour ever performed by The Jacksons.

The outfit was worn on opening night of the Dodger Stadium performances in Los Angeles, California on November 30, 1984.

This is just one of many Michael Jackson lots in the rock ‘n’ roll auction.

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Minimum Bid: $30,000
Estimate: $35,000-40,000

Michael Jackson - “Billie Jean” handwritten lyrics

“Billie Jean” is one of the greatest songs of the 1980s and certainly one of Michael Jackson’s finest performances. Here we have six pages of handwritten lyrics by Michael Jackson.

Minimum Bid: $30,000
Estimate: $35,000-40,000

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The Beatles - “Hard Days Night” signed album

“Hard Days Night” album covers signed by all four Beatles are hard to come by. This one is in good condition. The price does strike me as a little extreme though.

Minimum Bid: $30,000
Estimate: $40,000-50,000

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Bob Dylan - “My Back Page” handwritten lyrics

These are Bob Dylan’s handwritten working lyrics to “My Back Page” and “Ballad in Plain D.” Both songs appeared on Dylan’s 1964 album “Another Side of Bob Dylan.” The first three verses of “Ballad in Plain D” appear on the reverse of the sheet.

Minimum Bid: $50,000
Estimate: $50,000-75,000

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Guitar greats signed guitar

This is one of the coolest items in the auction, if not the most valuable. Ten guitar greats have signed this Epiphone guitar, including Chuck Berry, Jeff Beck, B.B. King, Buddy Guy, Bo Diddley, Les Paul, Otis Rush and Steve Winwood.

Minimum Bid: $2,000
Estimate: $2,100-2,300

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The online auction runs until Wednesday March 10, 9pm EST.

Click here to view the complete catalogue

On March 3rd, 1960, Elvis Presley visited UK soil for the first and only time. The 25-year-old King of Rock “N” Roll stopped off at Prestwick Airport in Scotland on the way back from his two-year military service in Germany. Now fans are celebrating the 50th anniversary with a charity ‘Elvis Extravaganza.’

Danny Anderson, director of Zisys Events, which is organising the golden anniversary day, told the Evening Times:

“Elvis is one of the most influential musicians to have lived. Prestwick Airport played a small yet significant part in his life. I felt it appropriate that Ayrshire formally celebrates this anniversary.”

The 16-hour celebration will kick off on Wednesday morning with ‘Elvis’ landing at the airport in full military uniform. There will be a number of performers paying tribute to Elvis throughout the day, including local Ayr boys, the MacDonald Brothers, students from Strathclyde University, and one of the UK’s top ‘young’ Elvis impersonators, Lee Jackson.

Elvis signing autographs for fans during his Prestwick Airport stopover

Prestwick Airport Managing Director, Iain Cochrane, said:

“It’s now or never! You’d have to have a wooden heart not to be hugely proud that Prestwick Airport is the only place in Britain where he ever set foot. Fifty years ago he flew in for an hour and this Wednesday we’re delighted to revive our links with the rock and roll legend.

“This is an excellent opportunity to mark a unique milestone as well as helping to promote Ayrshire and bring together the travelling public, local people and fan clubs worldwide. We certainly are all shook up!”

I’m sure the event is intended to be fun. Let’s hope it doesn’t unintentionally turn into an unflattering mockery of the man.

Parking will cost £1 on the day and all profits will go to the children’s charity Clic Sergent.

Elvis was returning to US soil feeling some trepidation after being in the army for two years. He needn’t have worried. Within a month, he had recorded the hit album “Elvis is Back” and the worldwide number one singles “It’s Now or Never” and “Are You Lonesome Tonight?”

Stopped into Barnes and Noble tonight and noticed Robert Hilburn, the famous rock critic, had written a memoir, “Corn Flakes With John Lennon: and Other Tales from a Rock n’ Roll Life.” Being that I know Hilburn has written often and very well of Elvis in the past, I figured there would be some Elvis content. I was very surprised to find though that Elvis in spirit and flesh is a major player in the book. Given the title of the book, I thought this would be the usual collection of essays, and it is told in vignette form, but this is personal and connected in a way that those books aren’t. This is a story of a life lived through and with the music. A lot of that life was with Elvis who helped Hilburn define himself and his purpose.

Reading the numerous passages devoted to Elvis, you feel Hilburn’s one to one connection with Elvis and his work. There’s that wonderful sense of mystery when Hilburn first stumbles upon “Baby Let’s Play House” on the radio in 1955 and he can’t figure out Elvis’ name. There’s that explosion of youthful passion, that we’ve all experienced when we discover an artist for the first time who speaks to us, when Hilburn is so revved up by Love Me Tender that he feels the need to write about it for his school paper. Then there’s the thrill of Hilburn actually meeting his idol in the early 1970s and finally Hilburn’s dismay at the dissolution of Elvis before his eyes later in that decade. Hilburn lets us in on how difficult and confusing a period that was for him. He notes that he often gave Elvis a pass because he’s a fan first, and because even at what Hilburn determines as 60 percent, Elvis was still better than anyone else on the strip. Then Hilburn mentions sitting at a show in 1974/1975 with an older audience member (in his late 50s) who doesn’t care much for Elvis. However, he’s heard all the stories about how great Elvis is and he wants to hear for himself. It’s one of Elvis’ worst shows and the man begins to disparage Elvis. Hilburn tries to defend him. He notes that this isn’t the “real Elvis.” The guy points out that the ticket says “Elvis Presley.” Inarguable logic. This is what led to Hilburn’s Elvis should retire piece in 1975. Separated from its context, it seemed heartless. Knowing what Hilburn went through to write it, it’s heartbreaking. I thought my capacity to be really moved by Elvis’ early death was gone for good. After all, Elvis today would be older than Bing Crosby was at his death and Bing was around forever. Yet, reading Hilburn describe how hard it was to write the phrase “Elvis is dead,” it all came back to me.

Hilburn also gives us a ringside into history. He was there when Elvis appeared on the U.S.S. Hancock in 1956 for the Milton Berle show. When he meets Elvis and the Colonel, though, is when we really get the inside dope. Hilburn’s little meeting with Parker has several nice little insights. He notices, and relatively few writers have commented upon this, that Parker himself employed an entourage similar in character to the one that surrounded Elvis. Intriguingly, Parker tries to curry favor with Hilburn by telling him that the meeting with Elvis was his idea, a reward for a favorable piece Hilburn had written. The truth is that Elvis had instigated the meeting, had insisted upon it in fact.

Elvis was very moved by a piece that Hilburn written about Elvis’ role as a cultural mover and shaker. Hilburn’s Elvis comes very quickly to life. He’s immediately cautious not to raise Hilburn’s expectations as an interview is out of the question due to Parker’s policy of limiting media exposure. He’s also a bit distant. Hilburn, four years younger than the King, is surprised to be called “Sir.” This kind of breaks his heart as Elvis is his idol and he’d like to be on a more intimate basis. Hilburn asks Elvis about the Sun sides and how he chose the songs he recorded. In perhaps a surprise to some folks, Elvis claims ownership. Then when Hilburn mentions how much he liked the gospel portion of Elvis’ show, the wall comes down and Elvis is chatting like a friend. Hilburn pitches the idea of a gospel tour or an exclusive interview focusing on gospel though neither happens. Then it’s time for Elvis to take the stage again and Hilburn’s back amongst the fans but with a memory for a lifetime.

As a critic, I don’t always agree with everything Hilburn writes (I’ve always liked the Top 40 much more than he) but he brings some real freshness to his appreciation of Elvis’ art. It’s quite a pleasant surprise to read Hilburn’s contrast of 1956 Elvis on stage and 1970 Elvis and see 1970 Elvis come out ahead. In comparing the body movements of each era, Hilburn finds the 1950s superstar’s moves exciting but awkward. By contrast, all the moves of the 1970 Elvis have a sense of purpose and place. It’s an appreciation of the sense of craft that Elvis gained over the years, but also of an appreciation of a level of artistic growth that slips past many analysts.

Hilburn interviewing John Lennon in 1980. (Bob Gruen)

Perhaps an even fresher insight comes from a meeting with John Lennon, the source of the book’s title. Lennon and Hilburn are listening to Donna Summer’s then contemporary hit “The Wanderer” and when Summer hits a part in the middle where she does a little stutter, Lennon proclaims “She’s doing Elvis.” Hilburn agrees and helps us find the connection. It’s a wonderful moment that captures ongoing cultural influence and helps us to appreciate the continuing spirit that links the best of pop culture. Hilburn does this throughout the book and throughout the work of his life. None of his work exists in a vacuum.

Elvis’ 75th has once again flooded us with books about the greatest pop star of the ‘20th century. While the diehard fan may prefer to read the books that deal with exclusively first, it’s hard to believe they’ll get as much insight into their idol and the world he helped create than than they would be from this book where Elvis is but one of many players. For many fans, this book will be essential not only for what it says about Elvis but for what it says about them. In many ways, although the details are inevitably different, this could be my story or the story or thousands, millions of other fans out there. Having someone articulate that living connection is an elevating thrill. In many ways that thrill repudiates every smear that was in the Goldman bio and have been piled on all these years. What happened with Elvis and his music was real, the well chosen impassioned words in this book and the chord of recognition they strike, prove it!

The following videos feature Hilburn’s recollections of some of his most important interviews.

Robert Hilburn on John Lennon

Robert Hilburn on Bruce Springsteen

Robert Hilburn on Bob Dylan

Robert Hilburn on Janis Joplin

Robert Hilburn on Michael Jackson

You can buy “Corn Flakes with John Lennon: And Other Tales from a Rock ‘n’ Roll Life” from Amazon

Happy Valentine’s Day from Classic Pop Icons. Today is a good excuse to look back at some of the classic love songs of the 50s and 60s. Enjoy these timeless performances from Jackie Wilson, Buddy Holly, Elvis Presley, The Shirelles and The Beatles.

“To Be Loved” - Jackie Wilson

Jackie Wilson was an outstanding performer with a brilliant voice and impressive stage presence. Elvis Presley and Michael Jackson were among his fans. “To Be Loved” was one of nine hit singles composed for Jackie Wilson by Berry Gordy, Jr., Gordy’s sister Gwen and Roquel Davis. Others included the fabulous “Reet Petite” and “Lonely Teardrops.” “To Be Loved” was a top 20 hit in the US and UK.

“True Love Ways” - Buddy Holly

Buddy Holly’s finest ballad was co-written with Norman Petty and recorded with the Ray Ellis orchestra in October 1958. “True Love Ways” was released posthumously on the album “The Buddy Holly Story, Vol. 2″ and was also a hit single in the UK (b/w “Moonbeams” and US (b/w “That Makes it Tough”.)

“Can’t Help Falling In Love” - Elvis Presley

This is one of Elvis Presley’s best loved ballads. “Can’t Help Falling In Love” was recorded for the Blue Hawaii soundtrack in 1961 and has since featured on countless compilations. Many artists have covered this song, including U2 and UB40, but Elvis’ remains the definitive performance. It was later used to close Elvis’ shows throughout the ’70s.

“Will You Love Me Tomorrow?” - The Shirelles

The Shirelles’ “Will You Love Me Tomorrow?” was one of the truly great pop songs of the early 1960s. It was recorded in 1960 and in 1961 became the first song by an all-girl group to hit number one on the Billboard Hot 100. The Shirelles were Shirley Owens, Doris Coley, Beverly Lee and Addie ‘Micki’ Harris.

“Will You Still Love Me Tomorrow?” was one of many classic songs written by Gerry Goffin and Carole King, including “Up On the Roof” (the Drifters), “One Fine Day” (the Chiffons), and “I’m Into Something Good” (Herman’s Hermits).

“And I Love Her” - The Beatles

We conclude with a 1964 classic from The Beatles. “And I Love Her” featured in the movie “A Hard Day’s Night” and the soundtrack album for that movie, and was also released as a single (b/w “If I Fell”). The song was written mainly by Paul McCartney, but John Lennon possibly had input on the middle eight. This is a stand out ballad from The Beatles in a period where they were churning out one classic song after another.