Part 1: The Early Years (2012) Otis used the pseudonym "Kansas City Bill" (after his drummer "Kansas City" Bell) on this record. Therefore, Otis, Louisiana blues guitarist Pete "Guitar" Lewis, and Puerto Rican bass player Mario Delagarde (some sources say erroneously it was Albert Winston) are listed as "Kansas City Bill & Orchestra" on the Peacock record labels.Johnny Otis, Upside Your Head! (Wesleyan University Press, 1993):xxi. During the rehearsal, Leiber objected to Thornton's vocal approach, as she was crooning the lyrics rather than belting them out. Although intimidated by her size and facial scarring, Leiber protested, to which Thornton responded with an icy glare and told him, White boy, don't you be tellin' me how to sing the blues. After this exchange, Leiber sang the song himself to demonstrate how they wanted it done. After that, according to Stoller's later recollection, Thornton understood the bawdy style they were looking for. Speaking to music writer Ralph J. Gleason, Thornton recalled that she added a few interjections of her own, played around with the rhythm (some of the choruses have thirteen rather than twelve bars), and had the band bark and howl like hound dogs at the end of the song: "I started to sing the words and join in some of my own. All that talkin' and hollerin'—that's my own." Thornton interacts constantly in a call and response fashion during a one-minute long guitar "solo" by Lewis. These verbal interjections, sometimes called "blues talk," are common in blues music.Antoine Hennion, contrib., in 1789–1989: musique, histoire, démocratie, Vibrations, musiques, médias et sociétés, Vol. 3 (Editions de la Maison des sciences de l'homme, 1992) p. 773. Years later Thornton helped launch a controversy over "Hound Dog", claiming to have written it. When questioned further on the matter, Thornton explained that, while the song had been composed by Leiber and Stoller, she had transformed it: "They gave me the words, but I changed it around and did it my way". In his book Race, Rock, and Elvis, Michael T. Bertrand says that Thornton's explanation "ingenuously stresses artist interpretation as the sole yardstick with which to measure authenticity". Thornton recorded two takes of the song, and the second take was released.Robert Fink, "Elvis Everywhere: Musicology and Popular Music Studies at the Twilight of the Canon". American Music 16:2 (University of Illinois Press, Summer 1998) p. 175. Habanera and mambo elements can be found in this