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Oldies Musics

Elvis Presley – Little Egypt

Introduction

Elvis Presley’s “Little Egypt” is a musical gem that transcends time, capturing the essence of the King’s unparalleled charisma and musical prowess. Released in 1964, this iconic track is a testament to Elvis’s ability to infuse rock ‘n’ roll with an irresistible blend of energy and charm.

Did You Know?

1. The Song’s Origin:

“Little Egypt” is not an original Elvis composition but rather a cover of a 1961 hit by The Coasters. Elvis Presley, known for his ability to put a unique spin on existing tunes, injected his distinctive style into this catchy track, making it a standout in his repertoire.

2. Chart Success:

Upon its release, “Little Egypt” climbed the charts, cementing Elvis’s status as the King of Rock ‘n’ Roll. Its infectious rhythm and Elvis’s charismatic delivery captivated audiences worldwide, earning the song a special place in music history.

3. Movie Connection:

The song is prominently featured in the film “Roustabout,” released in 1964. Elvis’s on-screen charisma and the electrifying energy of “Little Egypt” make for a memorable cinematic experience.

4. Dance Fever:

The song’s title refers to a famous burlesque dancer named “Little Egypt” from the 1893 Chicago World’s Fair. Elvis’s electrifying performance of the song often left audiences swaying and dancing, adding to its allure.

5. Evergreen Appeal:

Decades after its release, “Little Egypt” continues to captivate music enthusiasts and serves as a testament to the enduring legacy of Elvis Presley. Its timeless appeal makes it a must-listen for both longtime fans and those discovering the magic of the King for the first time.

Video

Lyrics: Little Egypt

I went and bought myself a ticket
And I sat down in the very first row
They pulled the curtain
But then when they turned the spotlight way down low
Little Egypt came out a-struttin’
Wearin’ nothin’ but a button and a bowSinging, ying-ying, ying-ying
Ying-ying, ying-ying

She had a ruby on her tummy
And a diamond big as Texas on her toe
She let her hair down
And she did the hoochie-coochie real slow
When she did her special number on the zebra skin
I thought she’d stop the show

Singing, ying-ying, ying-ying
Ying-ying, ying-ying

She did her triple somersault and when she hit the ground
She winked at the audience and then she turned around
She had a picture of a cowboy tattooed on her spine
Said, Phoenix, Arizona 1949

Yeah, but let me tell you people
Little Egypt doesn’t dance there anymore
She’s too busy mopping
And a-takin’ care of shopping at the store
‘Cause we’ve got seven kids
And all day long they crawl around the floor

Singing ying-ying, ying-ying
Ying-ying, ying-ying

 

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STONEWALL JACKSON ASKED TOM T. HALL TO WRITE A PRISON SONG, BUT HALL COULD NOT DO IT BECAUSE HE HAD NEVER ACTUALLY BEEN TO PRISON. Tom T. Hall spent his early career turning out the kind of polished, commercial hits that Nashville publishers lived for. He could write what people expected, but he always felt like a fraud. When Stonewall Jackson approached him requesting a prison song—hoping to capture that rugged, authentic aura Johnny Cash was building—Hall hit a wall. He stared at his notepad, realized he had no genuine experience with a cell, and flatly refused to fake it. He was a songwriter, not an actor, and his pride kept him from writing about a world he didn’t know. His wife, Dixie, cut through the tension with a simple reminder: he had indeed spent a week in a county jail in Kentucky after a traffic violation. That memory was not cinematic or heroic. It was just mundane, quiet, and uncomfortable. It involved bad food, the sound of iron bars, and the slow, agonizing crawl of days where the jailer’s wife suddenly started looking like the most beautiful woman on earth. He stopped writing songs that invented generic situations and started reporting the people and places he actually encountered. The result was his first number one hit, written like a man telling a story across a kitchen table. Stonewall Jackson never got his song, but Hall finally found his own voice in the silence of that jail cell.

Elvis Presley did not go to Hollywood simply because he wanted to be a movie star. He wanted to act. He admired performers such as James Dean and Marlon Brando and hoped that, given the right material, audiences might eventually see him as more than the singer whose voice and movements had turned popular culture upside down.

Long before the private planes, expensive cars and Graceland, Elvis Presley knew what it meant to live with very little. His childhood in Tupelo stayed with him even after fame transformed his life. Money changed what Elvis could afford, but it never completely erased the memory of struggling.

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