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Rock and Roll Globe

Real writing about real music.

Storm and Grace: Remembering Lisa Marie Presley

A revealing interview from 2012 illustrates a rock princess finding herself

Many of us had seen the Golden Globes this week and noticed that Lisa Marie Presley looked off. Not quite right.

We later saw the pre-show interview with Billy Bush on “Access Hollywood. She wasn’t inarticulate, but she wasn’t making eye contact – again she seemed off and unsteady. Then, we learned the next day she’d been taken to the hospital in “cardiac arrest.” And around 9 pm Eastern time Thursday, the news broke: Elvis’s only child, the mother of Benjamin, a son who committed suicide in 2020, and three daughters, the ex-wife of Danny Keough (the bassist in her band), Michael Jackson, Nicholas Cage and Michael Lockwood (the guitarist and music director in her band) was dead. She had sole control of the Elvis Presley estate – Graceland and the myriad merchandising revenue streams that kept Elvis alive. 

I spoke with her about 10 years ago as she was making some changes. 

Lisa Marie Presley has got a brand new bag. And it’s one fans of adult rock / progressive country / roots rock / Americana might feel very comfortable with. Which is to say Elvis’ daughter – the mother of four children, including now teenage twins – has shed the pop-glam skin of yore, and on Storm and Grace, sounds like she’s wrestling with the kind of problems and emotions many of us have who’ve been around a block or two. It’s a sultry, smoky effort, suffused with a roots-rock sound ably aided by producer T Bone Burnett.

Presley didn’t make her first album until her mid-30s (in 2003) and then it seemed she was trying to cut through the Britneys of the world and get into some nebulous pop star position. Same with her second disc in 2005. Of course, her personal life has been tabloid fodder – her marriage to Michael Jackson, another to Nicolas Cage.

The following interview, however, focused on the music.  

Storm and Grace is perhaps not the record people expected from you. You’ve sort of re-invented yourself here with this one. Do you see it that way?

I think at some point I felt really uninspired so I kind of got rid of everything that was around me and decided to start new and go as far away as possible to see what happened creatively. So, I was put into a wide arena of freedom to write with anyone and everyone of all different walks. And this just kind of came from that, of 8 months of living there [in England]. I fell in love with England and we came back [to the States] to basically sell my house and move and then – people had heard the demos by then – and I got the call that they wanted to do it.

Let me backtrack a bit. Were previous editions of you more manufactured – what somebody else wanted to project upon you? Or were those your decisions?

It was definitely a …. big potpourri of decisions at the time. I don’t think anyone knew of a target audience for me. Previous labels were always trying to go for the quickest gratification possible. Look this way, go to this hit writer, do that – and I was trying to stay authentic throughout it. So there’s a huge difference in all of that. I wouldn’t say I had no say-so in all of that, because I’m not like that. But it was confusing. Where are you headed? What are you doing? They were thinking something I definitely wasn’t. They were thinking, “How do I get to the biggest market the quickest?” That was not at all the case.

I saw you at the Paradise, the Boston club, maybe five years ago. I got the feeling there was somebody else in there waiting to bust out, not exactly the person I saw on stage.

The music now, it’s rootsy, soulful, sometimes sad. Where did it come from? Was it digging back to your roots or just something in the air? In other words, how did you come around to this sound?

My inspiration for writing it is my life and my experiences, and processing different things I’ve been through or seen. That’s my writing. I wasn’t listening to any music at the time and I wasn’t trying to write rootsy. This is just kind of what ended up happening.

Not a calculated genre shift?

I had written a lot of songs like my previous material. When I started the process it was safe and easy and I knew how to go there. Then, when I just kept going things started changing and evolving and it just sort of naturally arose out of everything. 

You’re 44 and the mother of four. I’m a bit older, and I’m somebody who grew up with rock ‘n’ roll and still enjoys it a lot, but also realizes you have different concerns as a fan or an artist at 44 than you do at 34 or 24, whenever. Is this, then, a more mature you that’s out there now?

I think so. Or just as you live, things change and shift. I think maybe when you hit your 40s you start reevaluating everything.  That happened with me. 

I don’t how this played into it, but in terms of your name and how celebrity played into how you were sold: Have you always encouraged it or has it been something you’ve discouraged?

Which part of it?

Well, let’s just say being the daughter of Elvis and its effect.

No, it’s just something that I’ve embraced. I’ve always been proud of that. At the same time, you get caught up in that thing – you have to over-prove yourself or you feel like you don’t want to be compared. The first couple times around I didn’t want that. I was trying to avoid anything like that. It can go either way. You sound just like him and you’re stuck right there, you don’t have your own individuality. Or you fight it, which is kind of what I did. I’m not knocking the songs. I’m just saying I was trying to prove something, somewhere, to myself, someone, I don’t know.  But that’s not there anymore. That was kind of like shadowboxing. I wasn’t sure what I was up against. 

You have that line in “Un-Break”: “I’ve got run over by my own parade … What am I not doing right//But shit it keeps on coming/Maybe I should change my plumbing.”

Right. (laughs). It’s very descriptive and almost repulsive, but it rung true.

This is kind of a naked record. We’re really hearing what you’re going through and we’re not hearing just as you, but how it applies in a larger sense, to the rest of us. Taking something personal and making it more universal.

Thank you. That is really what I aim for, ultimately, in spite of me and all that comes with me. I look at that as my job and I take it seriously, to take whatever I’ve gone through and try and translate it universally so anyone could hear it and be moved by it somehow. It’s also super naked and it’s really naked live to be honest. It’s really different from what we were doing before. It’s really quieter. My earlier stuff was very loud and we were all going full-throttle and you never could hear. It was good to hide behind. This is very different. The record is very different. A quieter stage, more intimate settings. A different experience now.

Are you more comfortable on stage with this then?

I am. I feel more comfortable with it in general and so, yes, I feel a little more vulnerable. I’m getting used to that still.

The older version of you – trying to take you to the top and what your audience might be – what do you see your audience is now? Do you get a sense for who’s coming to see you and who’s buying the record?

I haven’t yet, because I haven’t been out … It’s always been such a mixture. There are so many types of people that come it’s unbelievable. Like every type of walk of life. It’s always been that way.

I remember covering Sean Lennon’s band live. It was a great show, terrific progressive rock and the audience was mostly kids his age, people. In their 20s. But there were the lurking older Beatles fans in back of the club. You must get that too with older Elvis fans.

Definitely, but not as much as you think. I think I’ve weeded that out. Not that I don’t want them. When I say it, I don’t mean I don’t ever want those kind of fans. I mean they were coming with a very specific agenda to see some replication. They left very quickly. I probably wanted [them there} on the first one or two tours. I was in the deep, deep South and an elderly crowd that probably got a free ticket to see God knows what and they saw it … and it was not what they thought, and there we have it.

They said, “Dammit we’re going to stick with the Elvis impersonators!”

Those Elvi we have out there is part of our landscape.  Is this weird to you, seeing these various incarnations of your dad or is it just what you accept as part of your life?

I’m so used to it I’m almost numbed to it. It doesn’t even faze me anymore. It’s so ingrained in my DNA and in my perception of life. It doesn’t faze me unless I come in the near vicinity of one accidentally and then I’ll quickly move away. Then, it involves taking a picture with me and that’s weird.

Some years ago, the Monkees Peter Tork did a heavy metal version of Monkees songs at bars. I saw him at the now-closed Bunrattys. I talked to him after a show and said, “What’s it like to be considered an ex-Monkee all your life?” and he answered, “Compared to what?” It was the perfect answer. He had no other reference point. It was normal to him.

Exactly. Right.

I have read a few things about your kids and you’re very much into being a good mom. Are you able to balance the rockin’ you and the mom you?

As much as possible. I was a little late talking to you today because I was giving the babies a bath before I had the interview. I’m doing a show tonight. It is definitely challenging. There is that element of getting them ready so I can go off and not worry while I’m working. I didn’t have that before because my children were older. Definitely it’s a new challenge.

I saw this online. It may be wrong, but I know you’re a pretty prominent Scientologist and I saw something that said you had left Scientology. True?

Well, I don’t discuss religion or politics. It’s really personal. Much as I understand the question, I avoid …. It’s a no-win. There’s something out there every week.

Of course. You’ve lived an alternate life in the supermarket tabloids. Which I gather, that just runs off your shoulders …. But does any of it stick?

It does, because the Enquirer continues to ankle-bite no matter what I’m doing. If something’s happening, I know we’re gonna get a call every four to six weeks from some insane story they want to come out with. I always get an email from the Enquirer. Oh my god, here we go. It’s usually, here we’re about to run this incredible, insane thing they come up with and usually if it’s serious we’ll get a lawyer on it and if not, we’ll say are you joking? Here we go again. It’s like clockwork. Every four to six weeks. There’s gotta be a crazy cover story, usually something really awful especially if I’m doing well. They want to eff it up.

There’s probably someone who’s job is specifically that, you.

You know what, I have an enemy without question. There’s someone there that routinely watches every single thing and wants to take a really bad twist on it and run some horror story every four to six weeks. I tell people that and they’re like ha-ha and then literally it will happen. I’m expecting it in the next week or two. They did it a few weeks ago, so now it’s time.

What did they nail you on most recently?

Oh, I don’t know. They had four different topics. They said she’s either this or that or this or that. What is she? I don’t get it. Literally, there is definitely someone working on me there, particularly.

Any of these stories amuse you or do they all piss you off?

Most of it, I don’t really care, but that one, the Enquirer, is particularly vengeful.  The rumors from my little enemy over there is consistent, ruthless and it’s not funny. That goes beyond entertaining. There’s a vendetta. Actually, I have sued the Enquirer and we’ve settled in my favor, as well. I have somebody watching me. They will step over the line. They love it. That’s really the only one I have trouble with to be honest.

VIDEO: Lisa Marie Presley “You Ain’t Seen Nothin’ Yet”

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Jim Sullivan

Jim Sullivan is the author of Backstage & Beyond: 45 Years of Classic Rock Chats and Rants, which came out in July, and the upcoming Backstage & Beyond: 45 Years of Modern Rock Chats and Rants, which will be published October 19 by Trouser Press Books. Based in Boston, he's written for the Boston Globe, Herald and Phoenix, and currently for WBUR's arts site, the ARTery. Past magazine credits include The Record, Trouser Press, Creem, Music-Sound Output. He's at jimullivanink on Facebook and the rarely used @jimsullivanink on X.

One thought on “ Storm and Grace: Remembering Lisa Marie Presley ”

Lisa Marie never was really happy. She hardly ever smiled. and I’m sure she didn’t feel right knowing something with her health wasn’t good. now she’s with her father ,son, grandparents.may she rest in peace.

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Lisa Marie Presley’s Tour Diary

By Rolling Stone

Rolling Stone

While prepping for her show at Los Angeles' Roxy Theatre, Presley preps in her dressing room and admits, "New York and L.A. are always the more exciting, but dreaded, stops."

Halls of the Roxy

"L.A. has always been a great audience," says Presley.

Lisa Marie Presley gets her makeup and hair done before taking the Roxy stage. "This record is kind of like starting all over again for me," says the singer.

One With the Crowd

"It’s just a much more intimate relationship with the audience now," says Presley.

Mirror Image

"It’s easier to play for a room full of people you don’t know," notes Presley, who admits she clams up when playing for her hometown L.A. crowd.

"This is not a Top 40 pop record," says Presley of her new LP, Storm & Grace . "This is everything but, and it’s gonna take a lot of work."

Signing Autographs

After the show, Presley signs a tambourine for a fan. "You can feel people really feeling and listening to me now, finally," she says of the response to Storm & Grace .

With the Band

Lisa Marie Presley hangs in her dressing room with her bandmates, Damon Fox and Michael Lockwood.

Musical Marriage

Michael Lockwood – Presley's musical director, guitarist and husband – onstage at the Roxy.

Onstage at the Roxy

On winning over audiences every night, Presley says, "I'm comfortable with that; I do prefer that."

Three Generations

Lisa Marie Presley talks with grandmother Ann Beaulieu and mother Priscilla Presley in Los Angeles. "P laying for my family and people I know, I can feel what they’re thinking," she says.

LIsa and Jerry

Lisa Marie Presley gives a hug to her dad's friend Jerry Schilling, a music industry veteran.

Lisa Marie Presley and her band pose backstage at her tour's final stop at the Belly Up in Solana Beach, California.

Lisa Marie Presley onstage during her tour's last gig. "I’m really excited about it," she says of getting back out on the road later this year for Storm & Grace .

Carpet Ride

"The one song that got a lot of reaction I wasn't expecting was 'Unbreak,'" Presley says of the crowd's response to her new tunes.

Backup Support

Bassist and background vocalist Al Berry performs with Lisa Marie Presley at the Belly Up.

On With the Show

"There’s a rapport with the audience," Presley says. "By the end of it we come together, and it’s a great feeling."

Outside the Venue

Band members Damon Fox, Al Berry and Sebastian Aymanns hang outside the Belly Up.

Meet and Greet

Lisa Marie Presley meets her fans after the show. "People are really respectful, really listening and really into the music, which is nice and refreshing," she says.

Saying Goodnight

"By the end of the show I can see there’s a definite relationship, and I’ve usually done what I’ve set out to do," says Presley. "That feels really good afterwards."

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I can say enough. Her style, her presentation... wish she would tour more. I would see her again and again.

Excellent Concert!

Lisa Marie did an excellent job and I must say that I would go to see her again should she come back to my area. The only criticism I have is that there were times that I couldn't understand the words to her songs. Maybe it was the sound system and/or the microphone. But overall, I'm glad I went to see her and would go to another concert should she return to my area. Thank You--Lisa Marie for coming to see us here in NJ!

Tight Set from Lisa Marie Presley

Lisa Marie Presley performed well for an hour and a half. It was delightful! Her band was tight, her vocals were stellar, and she performed her heart out. Some members of the audience were yelling up at her -- heckling almost -- but she was great and shot right back at 'em! Her opening band was The Alternate Routes. They wrote a song and performed it for the innocent victims of the Newtown, CT shootings. This band is great. On this night, it was a duo playing acoustically but anyone who uses a toolbox as a musical instrument is clearly thinking outside of the box and a true rock & roller! They're nice guys too! I had the pleasure of chatting with them after the show. In any case, this was a great night out, and it was so nice to Lisa on top of her game! This venue was nice too, unlike some of the holes she played in last November.

Lisa Marie Presley

Lisa Marie Presley's concert was fantastic!!! She put on a great show! I would definitely see her in concert again! It was so much better then I expected.

Saw her in Manhattan years ago and like her energy, the music and the show. This was nothing like that at all. Band didn't start until an hour after showtime with a warm up band consisting of two guys I've never heard of and didn't care for. Lisa came out and was lethargic and even sat down during part of the performance. I was in the seventh row and when I had finally had enough and went to leave, more than half of the audience behind me had already done so. She's done. I have no desire to see her in concert again.

I have seen Lisa Marie a total of 6 times and each time is different. Her voice has gotten much stronger. She takes her music seriously and has what I have called a very soulful and swampy album in Storm and Grace. I call it swampy because it has a lot of southern roots in it. Each of her albums expresses what's inside her and there is no denying that. If she comes around, go see her. I will again.

Lisa Marie was absolutely amazing! She never disappoints!

Lisa Rocks!

It was a pleasure to meet other fans of Lisa and her father. At the sound check and question and answer session, I learned a few things about Lisa . During the photo shoot, she and I enjoyed a very nice conversation. The concert itself was dynamic. As tired as I was from a busy work day, Lisa galvanized her audience. I look forward to doing it all over again!

I was pleasantly surprised by Lisa Marie's unique vocals, raw lyrics & truly unforgettable performance. She did not disappoint. Her entire band added the elements to raise her already excellent performance to a higher level. I would definitely recommend ( and I have) seeing her on tour.

Amazing show by talented Singer-Songwriter LMP

Lisa Marie Presley killed it a the El Rey Theatre. She is an extremely talented singer-songwriter who gives a very compelling, edgy performance. Her band members, including musical director/husband Michael Lockwood are all excellent. Her latest album, Storm and Grace is her best yet - very well-produced by T-Bone Burnett.

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Lisa marie presley gets intimate in nyc: concert review.

The singer unveiled her new stripped-down musical style in a club show touting 2012 album "Storm and Grace."

By THR Staff

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It’s fitting that Lisa Marie Presley filmed the video for her song “Weary” at Memphis’ Sun Studios, where her legendary father recorded his early singles six decades earlier. That track, along with the rest of her new album Storm and Grace , features her performing in a roots-rock mode that stands in marked contrast to her earlier pop-rock efforts. The style well befits the husky-voiced singer, who delivered a good portion of its songs during her intimate show Sunday night at NYC’s City Winery.

by a first-rate five-piece band that included her husband Michael Lockwood (sporting a bizarre feathered top hat) on guitar, Presley delivered a strong 90-minute set that well showcased the strengths of her new material. Despite her heritage, she’s not a natural stage performer, displaying little sign of Elvis’ aggressive charisma. But she revealed an endearing warmth and vulnerability, especially when she phoned her son from the stage so he could her hear rendition of the album’s title track. “He better answer the phone,” she warned.

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Not that she’s shy and retiring, either. Her rendition of “You Ain’t Seen Nothin’ Yet” featured an impressive swagger, as did “Idiot,” a self-described “mean” kiss-off song to a former lover that features less-than-subtle lyrics like “I hate your guts.”

“This person is still very much running around and still an idiot,” she said by way of introduction.

Although her vocals occasionally were drowned out in the mix, Presley did unveil impressive pipes on songs like “Sticks and Stones,” the opening chorus of which she belted out unaccompanied.

STORY: Lisa Marie Presley to Debut Collaboration With Father During Elvis Week in Memphis

Her new sound features country, blues and folk influences, no surprise considering that the album was produced by T Bone Burnett . The stripped-down style was emphasized by the generous doses of fiddle, mandolin and steel and pedal guitar featured prominently in the arrangements.

Showmanship largely was absent, save for her dramatically pounding a drum during final numbers like “Un-Break.” She also took the opportunity to urgently tout her charity partner for the tour, World Vision, an organization addressing worldwide childhood poverty.

While such ballads as “Weary” and the plaintive “Just Like a Dream” featured her performing in a quiet mode, the show’s encore of “I’ll Figure It Out” and a cover of Tom Petty ’s “Need to Know” allowed her and the band to unveil their harder-rocking side.    

So Long Over Me Storm of Nails Weary You Ain’t Seen Nothin’ Yet Just Like a Dream Storm and Grace People Idiot Lights Out S.O.B. Soften the Blows Un-Break Sticks and Stones I’ll Figure It Out Need to Know    

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Interview with Lisa Marie Presley + Watch Lisa perform ...

Watch Lisa perform original songs 'Over Me ', ' Weary ', and ' Sticks And Stones ' from her album ' Storm & Grace ' (released in May 2012) for 'Ram Country' on Yahoo Music. The performance takes place in Graceland's legendary and historic 'Jungle Room', where Elvis Presley recorded albums ' From Elvis Presley Boulevard, Memphis, Tennessee ' and ' Moody Blue ' in February and October of 1976.

Recollecting her experience, Lisa mentions, 'It was a very comfortable and surreal experience to finally perform for the first time in my childhood home and experience the acoustics of the Jungle Room, which my father also recorded in'. In her 'Weary' performance, Lisa's husband and Musical Director, Michael Lockwood, plays Elvis' 1956 J200 Gibson guitar - the earliest and oldest guitar in Elvis Presley Enterprises' collection - which was used in several films including ' Loving You ', ' King Creole ' and ' Jailhouse Rock '.

You can pick up a copy of 'Storm & Grace' from our online shop .

Lisa Marie Presley offers 'Grace' after the 'Storm'

November 13. 2013 By Alan K. Stout Weekender Correspondent

Lisa Marie Presley carries with her the most famous last name in pop music history. She has been world famous since the day she was born. And though one might assume that with her personal history and her DNA she'd have all the makings of an extrovert, that's not really the case when discussing her life. With some topics, she remains guarded, while with others, she speaks freely. Her latest critically-acclaimed album, 'Storm & Grace', falls into the category of the latter. And it's worth talking about.

In a recent interview with The Weekender, Presley talked about 'Storm & Grace', its accompanying tour, and some of her other recent musical endeavors in her native hometown of Memphis, where she not only recorded at the legendary Sun Studios, but also performed live on the same stage where a young and upcoming artist named Elvis Presley performed in 1954. She also recently did a home recording, so to speak. But in her case, 'home' just happened to be the Jungle Room in a place called Graceland.

Presley's debut album, 'To Whom It May Concern', was released in 2003 and was followed by 2005's 'Now What'. Seven years passed before she reemerged with 'Storm & Grace', but with it, she presented some of her most inspired work. She says the songs began to take shape in 2010, not long after relocating to England. Her muse was her own life.

'It always just comes from what's going on in my life', says Presley, 45. 'Every one of my records is the same - whatever's happening. It's just a way for me to sort of purge whatever experience I've gone through'.

For the songs on 'Storm and Grace', Presley says quite a bit of purging was necessary. And though she offers no specifics when it comes to discussing their inspiration, she is very open about the fact that it was a frustrating time in her life.

'When I did this record, I was just writing to get myself through a certain period', she says. 'I didn't have a deal, or a label, or anything in mind. I was just writing for myself as I was processing a lot of things. I had to completely get rid of everything I once knew in my life - it was like an awakening. I was realizing that things around me weren't as they seemed and people around me weren't what I thought'.

Because, from the outside, it appeared everything was stable in her personal life; some speculated some of Presley's 'awakening' may have been reflective of changes in her religious views. Like many artists, however, she prefers to leave her music open to interpretation.

'Things were kind of falling apart, and I wasn't sure what was going on, and it started a whole domino effect', she says. 'I sort of deconstructed everything and went from ground zero. I got rid of everyone and everything that I knew and started over again. I left the country'.

The songs Presley penned caught the attention of T-Bone Burnett, the accomplished Grammy-winning and Academy Award-winning producer whose work includes projects with Bob Dylan, Roy Orbison, John Mellencamp, Counting Crows, Elton John, Elvis Costello, Natalie Merchant, The Wallflowers, and Alison Krauss and Robert Plant. Burnett loved the material and easily agreed to produce the songs.

'It meant everything to me at the time', says Presley. 'After going through what I went through, I didn't come out with a whole lot of confidence about anything. Everything that I had known, or felt was true or good - aside from my children and your normal stuff - wasn't. I didn't have a whole lot of confidence at that time. I didn't have any kind of fire. My furnace was very dimly lit. So when he believed in me and wanted to do the project, it really breathed some life into me and gave me some confidence that I desperately needed at the time. It was welcomed'.

The result is widely regarded as her best work. Rolling Stone called it 'the album she was born to make - a raw, powerful country, folk, and blues collection that finds her embracing her Southern roots and family name'. Spinner.com wrote that 'Presley has made the strongest album of her career. It's a moody masterpiece, exploring the demons and angels of her life to the tune of country-spiced downbeat pop'. Presley says she was greatly flattered by the praise, but adds that if it didn't happen, it wouldn't have mattered.

'It's not that I'm not appreciative - everyone likes acknowledgment', she says. 'But it was so raw and so honest and so real that I didn't honestly care, because it was so much from my soul. There's no bells. There's no whistles. There's no smoke screens. It's all very authentic. The people that I care about, I knew it would reach. It was more of a labor of love, and if somebody didn't like it, I was too raw to even care. It was coming right from my soul'.

Interview with Lisa Marie Presley (02:27)

Though Presley's writing is inspired by her own life, she says one of the reasons she chooses to channel her emotions into music is so that listeners may also see themselves in the songs.

'I try to formulate songs for myself, but also for other people, so that they can relate, and it can help other people', she says. 'I try to transform whatever I've gone through into a song so that it can help others. That's what I care about. If it reaches other people and helps somebody else get through something - even if it's dark, even if it's not always lollipops - that's what I care about'.

Despite a life that has included two celebrity marriages (Michael Jackson and Nicolas Cage ) and being the only child of the King of Rock and Roll, Presley has done a remarkable job of forging her own identity as an artist. She rarely treads into the world of Elvis in her songs, and her music is distinct from that of her father. And perhaps that's why, over the past 18 months, she seems to have become more comfortable in walking in some of his footsteps. In May of 2012, she and her band - which includes her husband, guitarist Michael Lockwood - recorded at Sun Studio in Memphis in the same room where her father, in 1954, recorded a little number called 'That's All Right' that helped launch a musical revolution. The performance was later aired on PBS television.

'I loved it', says Presley. 'It was very exciting for all of us. We spent the whole day there at a CD signing and a recording. Everybody had a big smile on their face. It was great'.

Another historical moment came just two months ago, when Presley performed at the Levitt Shell in Memphis. The outdoor pavilion, formerly known as the Overton Park Bandshell, is the same place where a young Elvis Presley - while building a regional following but still two years away from national fame - performed in 1954.

'That was emotional', she says. 'I was really nervous. It was a free concert, and we had no idea what was going to happen, and it ended up that 6,500 people came. It felt like a homecoming for me. My family was there. My kids were there. My mom flew in. It was a big deal. It was pressure, but fun. I had to really kind of focus on what I was doing. It was very emotional and very intense, but I had to focus on the technicalities of what I normally think about when I'm doing a show. Otherwise, it would just be overwhelming'.

Lisa Marie Presley sings 'Over Me' in the Jungle Room, Graceland (04:04)

Other videos.

The very next day, she performed several songs at Graceland in the famous Jungle Room. In 1976, her father recorded there and much of the material was featured on his final two albums: ' From Elvis Presley Boulevard, Memphis, Tennessee ' and ' Moody Blue '. Presley recalls watching those sessions as a child. For her sessions, she says she found herself in two roles: recording artist and concerned housekeeper.

'It was very strange, because I'm very protective of it', says Presley. 'All of these people ended up being there that day. It was closed session, and we waited until the tours stopped, and all of a sudden everybody had invited their entire families to come. I was like, 'It was supposed to be really low key. Where are all of these people coming from?' And then furniture was getting moved and things were getting moved around, and I was getting upset and sort of antsy. I am very protective of it, so on that front, it was kind of stressful for me. Otherwise, I was very comfortable. It was my home. That's where I grew up. I was more worried about the carpet'.

Prior to such recent musical projects, Presley's most notable work, which had such a direct link to her father, came from several duets on his songs, which through the magic of audio production, were done à la Natlie Cole/Nat King Cole. In 1997, to coincide with the 20th anniversary of his passing, she recorded ' Don't Cry Daddy ', and in 2007, to note the 30th anniversary, she recorded ' In the Ghetto '. In 2012, for the 35th anniversary, she recorded ' I Love You Because '. She says the duets are mostly done as a gesture of appreciation to his fans and that when it comes to picking the songs, she simply goes with what feels right.

'It's whatever seems appropriate at the time', she says. 'Don't Cry Daddy' seemed appropriate for the first one. I loved 'In the Ghetto', which raised money for housing projects, so that seemed appropriate. And T-Bone actually picked 'I Love You Because', but I loved it and thought it was appropriate. Each one kind of has a different vibe and a different energy'.

A different vibe and a different energy is also how Presley describes the nightly stops on her current 'Storm & Grace' tour. And that is something she enjoys. Touring, she says, comes naturally to her.

'I love being on the road', she says. 'It's my favorite thing in the world. We're in the middle of a 46-show tour and we have 19 left, and I'm getting sad that we have only have 19 left. I just love it. I love the energy of it. It's different every day. The audience is different every night. We were in Chicago, and the people were so enthusiastic they were on their chairs. Every night is different. I don't know what I'm going to walk into. I don't know how they're going to be. I don't know how I'm going to be. There are no tracks running here. There's no bells or whistles. There's not a big production. It's just the record. It's a very intimate record, so it's a very intimate show. And I love doing it. It's my favorite part of all of this'.

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Friday , March 21 , 2014

Lisa marie presley kicks off australian "storm and grace" tour.

Lisa Marie Presley is currently making headlines across Australia as she kicks off another leg of her "Storm and Grace" tour. According to the Daily Telegraph , Lisa Marie, eager fans waited for hours to meet and greet with the singer who signed copies of her latest album.

Lisa Marie will continue to tour through out Australia until the end of April and then will make her way to Japan and back to the United States. See a complete tour schedule by visiting LisaMariePresley.com .

Lisa Marie Sits Down with "The Morning Show"

Behind the scenes look at lisa marie's australian tour.

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Lisa Marie Presley brings Storm and Grace tour to Bay City's State Theatre

• Updated: Oct. 15, 2013, 6:06 p.m. |
• Published: Oct. 15, 2013, 5:06 p.m.

Lisa Marie Presley

• Pati LaLonde | For Mlive.com

 BAY CITY, MI —  When Lisa Marie Presley heads to Bay City, she will do something she loves: performing live music for her fans.

On tour with her latest album, " Storm and Grace ," Presley takes the stage Oct. 24 at the State Theatre.

Released in 2012, Presley says the album is a little different from her debut “To Whom It May Concern,” released in 2003, and gold-certified, and “Now What,” which debuted in the Top 10 on Billboards Top 200 chart in 2005.

The new album, produced by T Bone Burnett, a 12-time Grammy award winner, Presley says while it's different, it's still her music.

“It's just more stripped down and more organic,” she said. “It's still the same me.”

That same me still knows how to rock, as proof on the cut " Over Me ," a story about lost love.

But, says the singer-songwriter, that's not all the audience will hear when she takes the stage.

“I have favorites I like to perform live,” she said. “I'm attached to them in their own way. We'll be doing some old stuff from my earlier albums. My husband (Michael Lockwood) is musical director and that brings something to the flavor we have going on.”

Bringing music and lyrics together is something the 45-year-old knows about. Being the only child of Elvis Presley, she says she had a pretty good idea where her life was heading.

Today, her songs come from her experiences.

“I sit with somebody playing an instrument and we start grooving,” she said. “Then I figure out the lyrics. I work from five to seven hours to get a song written.”

While she is enjoying the tour and meeting fans, there is a little bit more to this tour than music.

“We're linking up to World Vision,” she said. “We're raising money for children in Third World countries. I've always been an advocate for children. I'm always doing whatever I can to help.”

World Vision is a group that helps children and their communities in nearly 100 countries through sponsorships.

But this tour is one for her fans.

“I did it for them,” she says. “I love to see them.”

Mike Bacigalupo, director of the theater, says tickets are selling fast.

Who: Lisa Marie Presley

When: 7 p.m. Oct. 24

Where: State Theatre, 913 Washington Ave

Tickets: $32 and $22, $17 for students

Info: 989-892-2660, State Theatre

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Lisa Marie Presley to tour Australia

Lisa marie presley is bringing her storm and grace world tour to australia, her first shows in the country for eight years..

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Lisa Marie Presely: Storm and Grace

The most notable aspect of the latest Lisa Marie Presley record is just how languid it sounds. The music suggests the storms in her life are over, and that that she has found grace. Hah! That’s a laugh. The lyrics reveal a different woman who still has animosity towards those who have done her wrong. Presley’s the aural equivalent of David Banner in the new Avengers flick. When asked how he remains calm and doesn’t always transform into the Hulk, Banner responds with something like, “The secret is that I am always angry.” That’s Presley’s furtive strategy as well.

Well, that and the help of producer T Bone Burnett. His production includes sweeping sonic soundscapes with sparse instrumentation, like John Ford’s panorama’s of the Old West. Except here it’s the twang of a guitar rather than a mesa, the pounding of a snare drum instead of tom toms, and the lonesome wail of Presley instead of John Wayne’s stoic stare. The big picture Burnett provides intentionally makes Presley seem small and human.

This allows Presley to complain without seeming spoiled. Her persona on this disc is that of a smart and sensitive woman. This is both a blessing and a curse to her. She is smart enough to know that some people have used her in ways that were not in her benefit, but soft enough to forgive them. That doesn’t mean she’s not angry anymore. Or that she’s trusting. Consider the recitation that begins “So Long”.

This here is the city without lights Those are all the people without eyes Judges they don’t have soul Soup for sale without a bowl Religion so corrupt and wrong it lies Farewell, fair-weather friends I can’t say I miss you in the end So Long. It seems that I was so wrong

Presley has been transformed. She admits she erred in judgment about the her place in the world, her faith in god, her friends, and even herself. She wants to start over. This is the grace she sings about later in the title song. She can accept her mistakes and wants to move on. Burnett’s Americana style production grounds her vision of the future in her personal past.

So she boldly sings on “You Ain’t Seen Nothin’ Yet”, “I’m a bit transgressive and subversive as well”. Some people may see her as evil for the things she is doing (the song is allegedly about her break with Scientology), but she’s literally marching to her own drummer here. Sure she can forgive. There’s a touchingly wistful tune called “Forgiving” that purposely sounds unconvincing.

Yeah, and she’s not angry anymore, except that she is. Presley may be a bit confused about the new life that awaits her and openly admits that she is somewhat directionless. But she also assures the listener that she’s okay now. She may not turn into The Hulk, but as the only daughter of one king and the former bride of another — not to mention as a one-time tabloid queen during her turbulent marriage to Hollywood’s Nicholas Cage — Presley has been larger than life. That’s all right. Everything is under control now.

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<em>Storm & Grace</em>: A Conversation With Lisa Marie Presley, Plus A.J. Croce Heads East in May

Trafficbeat Entertainment, Music Biz Vet

A Conversation with Lisa Marie Presley

Mike Ragogna : Lisa, you have a new album, Storm & Grace , and you approached this one very differently than your others, especially by working on it with T-Bone Burnett. Can you tell us the history of how the project came together?

Lisa Marie Presley : It came together very organically. Nothing was contrived. A few years ago, Simon Fuller, he kind of just set up for me to go to England and write with various writers. The plan was to go for about a month and see what happened and get with different types of people to write with. I kind of half expected to write and then be done with it in a month, but I ended up staying for eight months and fell in love with England. I wrote thirty-two songs and came back to Los Angeles and sold everything and was about to move. Right before I left, I got the call that T-Bone had heard the demos and that he wanted me to meet him, so I went over to his home, and he said he really liked what he heard, and he wanted to do the record. I was beside myself! So that's kind of how it unfolded. MR : Nice, and T-Bone is apparently a fan of yours. He's been quoted, "Listening beyond the media static, Lisa Marie Presley is a Southern American folk music artist of great value." LMP : You know, it's funny, when I read these things he says, I'm usually blown away. I read about it in an article, but he hasn't said it to me personally, necessarily. But I would love to hear what he has to say. MR : I've also interviewed T-Bone and he's definitely as organic, personality-wise, as you can get. LMP : He is, he is, definitely. It's really a simple thing. A song is about telling a story, so he was very adamant about, "Don't try and overdo it. Don't try and prove anything. You're telling a story in a song. That's what you're doing." MR : While you were in the studio together, what was the experience like? Does he guide you at all? LMP : You know, he doesn't. He really grants a lot of freedom. Basically, we'd come in, everyone was sitting around listening to the demo, and then the musicians and I would go out and just go for it live. He gave everyone so much freedom to kind of do their own take on what they heard. The only time he gave me any guidance is when he was really adamant, like, "I don't want you trying to oversing or try to sound like a white girl trying to sing like a black girl." He was really not into any of that stuff, which I liked. MR : You had thirty-two songs to choose from, how did you whittle it down to the twelve? LMP : I think we did sixteen songs in twelve days, so it was basically whatever vibe we were all feeling that day. He's play it on his computer, and then he would skip or fast forward or go backward and go, "Okay, let's go after this one. I like this one." It just kind of happened like that. MR : Now, I'd say the majority of these songs -- this is just from my perspective, and I could be thoroughly wrong -- are about relationships. LMP : You mean like romantic relationships? MR : No, no. not necessarily. What I mean is like "people" relationships. Can you tell me, when you look at this body of work, does it feel like it has a theme to it? LMP : No. Honestly, when I sit and write, I'm channeling in a really weird way, so whatever comes in my mind while that's happening are the words, and it's just about ordering them to put them down on paper. When I write, it's like first person, second person, third person -- something I've thought, something I've heard... It could be anything. I kind of write metaphorically as well, and it's strange because when I sit and write, I'll be channeling something or processing some demon or emotion or something that I'm going through or seen, and then when I'm done with it, I'm done. I kind of just want to leave it as a canvas for anyone to take. When I write a song, I love to make it so that not just I experience it, but other people can relate to it. As a songwriter, it's important to me to make it kind of universal in how I put it, so I like it to be a canvas for anybody to make it whatever they want. MR : Right. Now for you, when you listen back to your songs in the end, do you ever go, "Ah, yeah, I get what I did there"? LMP : Yeah, definitely. Having been deconstructed and reconstructed myself, it was definitely being written during that process, I would say. For sure. You can kind of see this evolution and the journey of that. MR : The everything truly is organic about this project, including the experience. LMP : Everything. We didn't even have a label when we recorded this. There was no plan, and no plan to make it sound a certain way. There was no plan to do anything with the songs. I was just kind of holding on to those songs and didn't particularly have any plan with them before T-Bone heard them. Everything just kind of unfolded in its own time and its own way. MR : You co-wrote some of the material with Richard Hawley from Pulp and Fran Healy from Travis. What was collaborating like? LMP : It's funny because my husband actually was a big fan and knew Richard. He worked in Sheffield, which is a part of England where Richard is from, and he's the one who suggested to me working with him. Richard hadn't really written with anyone else, and it was a really fun collaboration. It was just really different. No one was like, "Here, get with this hit writer." None of that. It was just to get with these really kind of obscure, cool, left of center artists, and Richard definitely falls into that category. Ed Harcourt was another one. He's kind of a cross between Tom Waits and Jeff Buckley. He's a really cool combo of those people, and he's so talented, it's unbelievable. Fran was again just kind of an obscure idea of who to write with and get with who had never really written with anyone aside from his own band members either. I think it was called "Heartless," the one we wrote, and I think that was the only lyrical collaboration I did with anyone. MR : It seems like you're examining yourself in a lot of the songs on Storm & Grace . I would love to know if there's a song on that you could go into in depth and give an example of what you were going through at the time and how you got out at the other end. LMP : Gosh! Well, the whole record is kind of like that, to be honest with you. I went through so much during that, and I think it's all captured. I don't want to be rude or anything, and respectfully I say this. I'm really old fashioned, and I hate to say what my songs specifically are about because I feel like it ruins it for other people to have for themselves. MR : That's cool, no worries. LMP : I went through a lot, and you could probably tell that in the lyrics. MR : And that's why I wanted to ask that question because I wanted to get your perspective, not mine. But I do appreciate the fact that you want me to figure it out for myself, too. LMP : Yeah, you know, I'm such a fan of songs and I love songs, especially if they're not too literal and I can make them my own. And then the artist comes out and says who or what they're writing about and I get so upset. I have to think about that every time I hear it, you know? MR : Yeah, true. Lisa Marie, with Storm & Grace , did you have any idea or thoughts about how you might be approaching this body of work? LMP : I did not. I absolutely did not. When I first went over there, I was put with so many different great writers, songwriters and artists, and I kind of started off the writing process doing what I used to do, which was sort of rock and lots of stuff going on. My first few songs that I wrote in England were a little bit like what I used to do, so I just went right into the usual format because it was comfortable for me. I even got into electronic writers and wrote some interesting stuff with them, and then, I don't know. I got with Richard and I got with Sacha Skarbek, who I wrote a lot of songs with, and this started evolving -- the sound that happened naturally with Richard, Sacha and Ed and Fran. I went immediately to what was familiar, and I started writing really similar songs that were on my first two records, and then there was a breakthrough at some point, and this just really simple, raw, and organic vibe just started to come out. It became that, no matter who I was with, it was coming out. It was just there. MR : Lisa, what is your creative process when you're writing? LMP : I sit in a room with the writer, who's usually got either a piano or a guitar. We sit and we hum and we lock into a melody that we agree on for the verse and the chorus and the bridge. They leave me for anywhere from two to seven hours in the room looping and going insane with myself, torturing over exactly the phrasing of the words and lyrics. That can take anywhere from two to six to seven hours, but I'd never walk out without it done. I'll stay all day. And then they come back in, and they have no idea what's going to come out of me and I just sing it. MR : Nice. And what's great about the organic-ness of this project is that you're not thinking about anything as far as what a finished product will be. You're just writing the song. LMP : Right. Every day, I'd go in with whatever was on my mind. The melody normally inspired me to go somewhere as far as the idea of the song, and then that was it. It was really just like by day or by hour. MR : Lisa, what advice might you have for new artists? LMP : I think that learning this stuff and listening to early music and understanding where music came from. Everything has it's place, and all music is important, but it's really important to know where it came from, how it started. Get in there and learn all of it. The process of how it works. Even though there are machines that can sing for you, don't go there. Try to just keep it as organic as possible. Keep your integrity -- your artistic integrity. As hard as that may be, it's the most important thing. MR : Project to project, are you able to keep what you're really feeling as the vision of your projects over the years? LMP : I think that with the first two, I was struggling with my own, "What am I going to do," and "How am I going to not be compared to my father," or "How am I going to get through this," basically. I want to be a singer/songwriter. I feel that music is important. How do I accomplish this? It was a bit of a struggle, and I kind of came out kicking and screaming. Then I had to sort of figure my way out, and I did finally, but it took a process. I think everything always does. MR : Yeah. Can I throw something out there? You mentioned your father. Because of the organic-ness and the honesty and the Lisa Marie Presley presence on the recordings, do you feel like this might be the closest to the vibe -- not necessarily the recordings -- of what your dad, Elvis, was trying to do? LMP : I do because it's just so stripped down. It wasn't intentional. I will say that, first off. If it's there, it's there, and I'm not afraid of that, and it is there. There are textures and tones that I can hear that are similar for sure. I think it basically because for the first two records, I really was pushing too hard and overproducing and yelling and screaming and making everything as loud as possible and hiding as much as possible. So this is the first really stripped down thing, and you can really hear me, and it is about the voice and the song, which is what it used to be like way back when music started. So yes, being that it is more along those lines, I can definitely hear it. I can hear tones and textures. However, I would never ever claim to sing as well as he did! (laughs) MR : But you've also had other influences. Who were some of them? LMP : Always singer/songwriters. Joan Baez, Linda Ronstadt, Heart. God, there are so many. Tracy Chapman... I love women who sing, and they mean what they're saying, and they reach in and grab you. It moves you. You can feel the singer, and it's for real. It's a story. It's kind of '70s singer/songwriters. I like all that stuff. MR : Yeah, me too. I grew up on that stuff. Two of my favorites from that school are Paul Simon and Joni Mitchell. LMP : Yeah, I love Neil Young. I've just recently discovered him on my own. I know everybody else knew him, but I just found him. I love all that stuff. MR : Is there anybody you're listening to right now that's more contemporary? LMP : I love the Gotye song "Somebody That I Used To Know." I was pretty excited that that was heard and brought up to the front. MR : What does the future hold for Lisa Marie Presley, like touring and all that? LMP : They're trying to secure a little promo tour here soon, just a quick one. And then, preferably and hopefully, I will have a proper tour. I also have to go overseas. Everything's flying around. Every week it changes. (laughs) At some point, there'll be a tour, and there'll be me going overseas to promote over there and all that stuff. So I'm just riding this wave right now. MR : Nice. All right, I want to wish you all the best with Storm & Grace , Lisa Marie. Thanks for your time and, well, grace. LMP : Thank you so much, really, thank you.

Tracks : 1. Over Me 2. You Ain't Seen Nothin' Yet 3. Weary 4. Close To The Edge 5. So Long 6. Un-Break 7. Soften The Blows 8. Storm Of Nails 9. How Do You Fly This Plane? 10. Forgiving 11. Storm & Grace 12. Heartless 13. Sticks And Stones 14. I Was Wrong 15. Just A Dream

Transcribed by Kyle Pongan

A.J. CROCE TOURS THE EAST COAST IN MAY

A.J. Croce will be bringing his unique amalgam of roots, jazz, bluesy singer/songwriter material to three shows on the East Coast the last week of May. The performances will be at The Infinity Music Hall in Unionville, Connecticut, on May 27th, B.B. King's in NYC on the 29th, and The Katherine Hepburn Theater (The Kate) in Old Saybrook, Connecticut, on the 31st. These are intimate duo concerts timing up with the release of his late father Jim Croce's ABC/Dunhill album You Don't Mess Around With Jim 40 years ago. Though he'll be playing songs from his own catalog, A.J. -- accompanied by guitarist Michael Bizar--also will play a couple of songs from the album, which is very rare for A.J. since he has based his music career on his own material and merits.

Check out A.J. and Michael performing Jim Croce's song "Operator (That's Not The Way It Feels)" in this video:

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Taken as a whole, Storm and Grace is a unflinchingly honest piece of work from this songwriter, who, though known for her tough frankness, has managed to create a tender, consoling thread that runs throughout the album. Weary; may concern a relationship that didn't work out, but it is suffused with a genuine warmth, as Presley sings: I will always love you/you can move on, dear. For Presley, the album s conciliatory theme grew out of wanting to have peace in her life after a period of turmoil and letting go of what no longer suited her. There were a few years there where everything around me had fallen apart, she says. All the things that had become my foundation were gone and I had to shed a lot of skin. I found myself really vulnerable afterward and that's what birthed the album s vibe. It s me without any attitude or anger at a time of rediscovery.

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Storm and Grace

• Lisa Marie Presley

Lyrics submitted by mistylynn

Storm & Grace Lyrics as written by Richard Willis Hawley Lisa Marie Presley

Lyrics © Universal Music Publishing Group

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She has confirmed on tour that this song is about her son Benjamin Storm Keough.

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Lisa Marie Presley was an incredible singer and songwriter. As the only daughter of her icons father, and the fact that she would always be overshadowed by his huge presence in modern music...she managed to carve out a completely unique place for herself. This song is just beautiful, as many of the tracks from this album are.

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