INTRODUCTION
In late 1958, radio stations across North America began playing a dramatic rock ballad titled “It’s Only Make Believe.” The soaring vocal delivery, dripping with deep romantic angst and a signature vocal growl, sent shockwaves through the music industry. Thousands of listeners phoned switchboards convinced that Elvis Presley had secretly recorded a new track under a pseudonym. In reality, the captivating voice belonged to Harold Jenkins, who had re-emerged under the moniker Conway Twitty. Backed by Elvis’s own vocal group, The Jordanaires, Twitty achieved global stardom when the single reached No. 1 on Billboard on 11/10/1958. Beyond the initial confusion lay an intricate professional dynamic between two magnetic performers—one established as the King, and the other quietly carving out an enduring artistic path. How did this subtle clash of titans reshape mid-century popular music?
THE DETAILED STORY
The narrative connection between Conway Twitty and Elvis Presley originated in the mid-1950s within the modest walls of Sun Studio in Memphis, Tennessee. Having served in the U.S. Army, Harold Jenkins had been profoundly inspired after hearing Presley’s seminal rockabilly tracks. He traveled to Memphis to record under legendary producer Sam Phillips, walking the same hallway where Presley had catalyzed a musical revolution. Though his early Sun sessions remained unreleased at the time, Jenkins absorbed the electric atmosphere of the Memphis sound, later adopting his famous stage name in 1957.
When MGM Records released “It’s Only Make Believe” in late 1958, the record achieved immediate commercial dominance, as it surpassed eight million sales worldwide. Recorded with premier session musicians and backed by the rich vocal harmonies of The Jordanaires, the song showcased Twitty’s astonishing vocal depth. Because Presley was serving in the U.S. military abroad, rumors quickly spread that the hit was an anonymous release by the King. Pop culture embraced this comparison so intensely that writers later crafted the famous Broadway character Conrad Birdie as a play on both artists.
Yet far from a hostile feud, the dynamic between the two stars was rooted in quiet, mutual professional respect. Presley recognized Twitty’s extraordinary vocal power, while Twitty harbored immense admiration for Presley’s cultural impact. Recognizing that remaining in the rockabilly sphere might permanently invite comparison, Twitty made a decisive strategic transition in 1965. Returning to his roots in country music, he built a legendary career, eventually securing 40 chart-topping country hits on the Billboard charts.
By forging his own distinct path rather than competing directly for the rock crown, Twitty earned lasting prestige as a titan of American music. On 11/10/1958, when “It’s Only Make Believe” reached the top, it marked more than a commercial triumph; it announced an undeniable force. Ultimately, the subtle interplay between Conway Twitty and Elvis Presley stands as a masterclass in how artistic excellence can flourish beside royalty, enriching the tapestry of American sound.