Heartbreak Hotel
Elvis's first RCA single, all cavernous echo and empty rooms, the loneliest number one ever cut.
Elvis's first RCA single, all cavernous echo and empty rooms, the loneliest number one ever cut.

Leiber and Stoller wrote it for Big Mama Thornton; Elvis took it, sped it up, and set it on fire.

Other directors have been stealing from this western for seventy years: Ford put John Wayne's racism on screen without excusing it, and framed his story in a much-copied doorway.

Cash slipped paper under his guitar strings for that snare tick, and hums to find each new key.

One chord, no changes, Sumlin's guitar circling, and Wolf's howl answering the trains whose sparks named the song.

Blackwell gave Presley half the writing credit; the Jordanaires hum behind a vocal so relaxed it barely seems to try.

Blackwell built the lyric to run too fast for Pat Boone, and Richard shouted it out at Cosimo Matassa's J&M.

Cash suggested the phrase, Phillips talked him into changing one word, and Sun got its first million seller.

His sister Lucy monopolized the family piano for classical, so Berry wrote his rebuttal, with Johnnie Johnson answering back.

Nobody in the room had the lyrics, so Bunny Robyn spliced three broken takes into Domino's biggest hit.

February 1956, a New Haven church basement, and a song Parris had written on Army guard duty.

Herman Santiago built it from a neighbor's love letters; Lymon, thirteen, took the lead and the credit fight ran decades.

Intended as a blues ballad until the producer brought wine; Hawkins said he never remembered recording it.

Cut in Nashville as a B-side, flipped by radio, and Cliff Gallup's guitar breaks took it to number seven.

Two rectangles with feathered edges, built from thin washes so the color seems lit from behind rather than laid on.

Scotty Moore and Bill Black behind him in New York, and Presley made RCA hold the single for Perkins.

Three sets of men run America, the sociologist Mills argued: corporate chiefs, politicians, and generals drawn from the same schools and clubs. The New Left took its name and its target from him.

Mizoguchi stammers, and the beauty of Kyoto's Golden Pavilion stands between him and every living thing. Mishima builds the 1950 arson by an acolyte into a case for destroying what you cannot possess.