‘Success is not final, failure is not fatal: It is the courage to continue that counts.’ – Winston Churchill (1874-1965); a British statesman, orator, and historian who is best known for his leadership as Prime Minister of the United Kingdom during World War II.
Looking back on my journey, I realise that success in one’s chosen path is a culmination of hard work, sacrifices, and a fair share of ups and downs. It’s a testament to the power of determination and the pursuit of one’s passions. As I reflect on my own story as an Elvis Presley impersonator in Malaysia, I can’t help but feel a sense of nostalgia for the humble beginnings and the unexpected twists that led me to where I am today.
Unlike many who dream of surpassing their famous parents’ achievements, I never set out to do more than perform at school events. I never planned or strategized my way into the arts, including music. It almost seemed as if the universe had a plan for me, orchestrating my journey toward some degree of success.
We often see the children of popular singers or actors struggling to match their parents’ accomplishments. Lisa Marie Presley, Sean Lennon, Nancy Sinatra, and many others have faced the challenge of living up to their famous lineage, only to find themselves falling short. Even in Malaysia, the children of esteemed figures in the film industry, such as P Ramlee and Hussain Abu Hassan, have experienced only a fraction of their parents’ success. It’s a reminder that parental influence can play a role in shaping one’s career in the arts, but it doesn’t guarantee greatness. Ultimately, artists forge their paths and claim their successes.
This rings true for the community of Elvis Tribute Artists (ETAs) in Malaysia. When I look at the backgrounds of our top performers, I see individuals who have achieved their positions through their efforts and talents. None of us come from musical families. Our parents were farmers, civil servants, merchants, or held various other occupations unrelated to music. We are self-made artists.
My parents were illiterate and had no musical background. My mother, Indai, could only make her mark with an X after months of practice, using charcoal on our worn-out walls, fulfilling her democratic duty. My father, Apai, could only write 0 and 1, using any device he could find. However, they possessed their unique intelligence. Apai became a respected Iban bard and a key figure in Iban customs and oral literature, while Indai excelled in Iban genealogy and was a skilled weaver. Besides their modest skills in playing the traditional Iban gongs, there was nothing inherently musical about them.
I remember my elder brother, Edward Jelani, who sang a verse or two of Hank Locklin’s song “Please Help Me I am Falling” when he was on holiday from Seria Trade School in 1958. To my four-year-old ears, it sounded like “Plis hep Miam Polling,” but I caught the tune. That might have been the spark that ignited my interest in singing and music. My first onstage performance was singing “Twinkle Twinkle Little Star” in 1962, during the inaugural Nanga Assam Primary School Concert to raise funds. It was the only singing performance during the entire concert.
Later, I discovered that Edward had recorded two Iban songs for RTM in Kuching in 1963 while studying at the Kuching Trade School. This significantly influenced my musical journey.
In 1968, when I entered Form 1 at the age of 14, I was enthralled by guitars. I had never seen one before, but they remained out of my reach as they belonged to strangers. When three other Form 1 boys—Daniel, John Timban, and Kenneth Sang—considered forming a band, I felt a tinge of disappointment, as there seemed to be no place for me. Before this, Sang and I had attempted impromptu sketches on stage with little success. However, as luck would have it, they needed a drummer. I practised by using rulers to create beats on our desks. I was eventually welcomed into the band, named “The Playboys,” as their drummer. For our debut stage show in July 1968, we assembled an improvised drum set consisting of two pails, an empty tin, and a tin plate, courtesy of Danish Endawie Eta. It was a modest arrangement, but the thunderous applause we received indicated that it served its purpose.
As time passed, I picked up a note or two on the guitar, thanks to the instruments available in our hostels. All it took was befriending the owners. I focused more on improving my singing and handed over drumming duties to others. This marked a turning point in my musical journey.
It was in 1969, at the age of 15, that I first belted out an Elvis song, “It’s Now or Never,” on stage. It wasn’t met with great success, but it set the stage for many more performances to come. In 1971, during my fourth year of high school, I found myself unrivalled. They called me the “Saratok Elvis,” especially after my rendition of “Suspicious Minds” won the school talent competition. The nickname stuck, and I became known as the Elvis of Saratok.
After completing high school, I moved to the city of Kuching to pursue further education. However, my dreams of becoming a doctor or engineer took a backseat as my passion for music continued to grow. I joined a local band that performed at various events and venues across the city.
It was during one of these performances that I caught the attention of a talent scout from a record label. They were impressed with my stage presence and my ability to capture the essence of Elvis Presley. They offered me a recording contract, and I couldn’t believe my luck. I signed the contract and began working on my debut album, a compilation of Elvis Presley covers.
The album was released in 1977, and to my surprise, it received positive reviews and gained some traction in the local music scene. I started receiving invitations to perform at larger venues and events, solidifying my reputation as the premier Elvis tribute artist in Malaysia. It was a dream come true.
Throughout the years, I continued to refine my craft and expand my repertoire. I studied Elvis Presley’s mannerisms, vocal techniques, and stage presence, aiming to deliver an authentic tribute to the King of Rock and Roll. I travelled across Malaysia, performing at concerts, festivals, and even corporate events.
One of the highlights of my career came in 1986 when I was invited to perform at the Elvis Presley Memorial Concert in Memphis, Tennessee. It was an incredible experience to perform in the birthplace of Elvis, among fellow tribute artists and devoted fans from around the world. It was a validation of my hard work and dedication.
Over the years, I have released several albums of Elvis covers and even ventured into writing and recording original songs inspired by Elvis’s style. I have had the privilege of sharing the stage with renowned musicians and performers, both locally and internationally.
Looking back, I am grateful for the opportunities that came my way and for the support of my family, friends, and fans. It wasn’t always an easy path, and there were moments of doubt and setbacks, but my passion for music and my love for Elvis Presley kept me going.
As I reflect on my journey as an Elvis Presley impersonator, I am proud of what I have accomplished. I have been able to bring joy to audiences, keep Elvis’s music alive, and create my mark in the world of entertainment. It’s a testament to the power of following one’s passion and embracing the opportunities that come along the way.
The views expressed here are those of the writer and do not necessarily represent the views of the New Sarawak Tribune.
