Honestly, if you walk into a theater expecting a standard Elvis Presley tribute act, you’re going to be very confused. The all shook up musical songs aren't just a Greatest Hits concert. They’re woven into a plot that feels like William Shakespeare crashed a 1950s sock hop.
Joe DiPietro, the guy who wrote the book for the show, basically took the plot of Twelfth Night and marinated it in rock and roll. You've got a leather-jacketed roustabout named Chad who rolls into a "square" town on a motorcycle, and suddenly, everyone is falling in love with the wrong person. It's chaotic. It's loud. And it works because the music isn't just background noise; it's the actual engine of the story.
The Weird Genius of the Song Selection
Most jukebox musicals pick twenty hits and try to force them into a narrative. This show did something a bit different. While you definitely get the heavy hitters like "Jailhouse Rock" and "Heartbreak Hotel," the production digs into some deep cuts that most casual fans might not even recognize.
Have you ever heard "Follow That Dream" or "The Power of My Love"?
These aren't the tracks that usually play on oldies radio every hour. But in the context of the show, they feel vital. For instance, "Follow That Dream" becomes this anthem for Natalie, the female lead who is a mechanic—which was a pretty big deal for a woman in 1955. She’s stuck in a town where the Mayor has literally outlawed "loud music and public necking."
The songs act as a rebellion.
When Chad sings "C’mon Everybody," he’s not just performing; he’s inciting a riot against the Mamie Eisenhower Decency Act. It’s sort of like Footloose but with more hip-swiveling and better hair.
The Full Setlist Breakdown
If you're looking for the specific order of the all shook up musical songs, here is how the madness unfolds on stage.
The First Act
The show kicks off with "Jailhouse Rock," which introduces us to Chad as he's getting released from the slammer. From there, we transition into "Heartbreak Hotel," which establishes the boring, lonely atmosphere of the town before the "Roustabout" (that’s another deep cut title) arrives.
Natalie’s instant crush on Chad is punctuated by "One Night With You"—a recurring gag where the music literally stops every time someone falls in love at first sight. It happens a lot. You also get:
- "Follow That Dream"
- "Teddy Bear/Hound Dog" (a clever mashup)
- "That’s All Right"
- "Blue Suede Shoes"
- "Don't Be Cruel"
The Act One finale is a massive, choral version of "Can't Help Falling in Love." It's not a ballad here. It’s a soaring, gospel-tinged anthem that involves the entire town realizing they are hopelessly attracted to people they probably shouldn't be.
The Second Act
Things get even messier after the intermission. Natalie is now disguised as a guy named "Ed" so she can hang out with Chad. Chad starts feeling things for Ed. Sandra starts falling for Ed. It's a mess.
Songs in this half include:
- "All Shook Up" (the title track, obviously)
- "It Hurts Me"
- "A Little Less Conversation"
- "Devil in Disguise"
- "Burning Love"
Why "Can't Help Falling in Love" Changes Everything
In the original Elvis recordings, "Can't Help Falling in Love" is intimate. It’s a crooner’s song. In the musical, it serves a totally different purpose.
The arrangement by Stephen Oremus (who also worked on Wicked and The Book of Mormon) transforms it. By the time the full company joins in, it feels less like a love song and more like a force of nature. It represents the "magic" that Chad brings to the town—this idea that music and attraction are things you can't actually control, no matter how many laws the Mayor passes.
The Shakespeare Connection You Might Have Missed
You’ve got the cross-dressing (Natalie becoming Ed), the misplaced love letters, and the forest setting in Act Two. If you've read Twelfth Night or As You Like It, the structure of the all shook up musical songs starts to make a lot more sense.
The song "Teddy Bear/Hound Dog" is a perfect example of this "mismatch." It’s used as a literal argument between characters who have completely different ideas of what romance should look like. Chad is the "Hound Dog," and the intellectual Miss Sandra wants something a bit more refined.
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Actionable Tips for Performance and Study
If you are a performer or a student looking into this score, there are a few things you should keep in mind about the vocal style.
- Avoid the Elvis Impersonation: This is the biggest mistake people make. If you try to sound exactly like The King, you lose the character of Chad. He’s an archetype, not a tribute act. Sing the notes, don't just do the "uh-huh" growls.
- Listen to the 1950s R&B roots: Elvis was heavily influenced by Otis Blackwell and Big Mama Thornton. When you’re practicing "Don't Be Cruel" or "Jailhouse Rock," listen to those original R&B versions to find the "swing" that’s often lost in modern musical theater versions.
- Pay attention to the "One Night With You" motif: It’s the shortest song in the show, but it’s the most important for the comedy. The timing has to be perfect.
The real power of these songs is that they aren't stuck in a museum. They feel alive because the story gives them a reason to exist beyond just being "oldies." Whether it's the gospel energy of "There’s Always Me" or the pure rock chaos of "C’mon Everybody," the music remains the star.
To truly understand the vocal demands of the score, your next step should be to listen to the 2005 Original Broadway Cast recording specifically for the harmonies in "Can't Help Falling in Love." Compare those harmonies to the original 1961 Blue Hawaii version to see exactly how the theatrical arrangement adds layers of tension that weren't in the original pop song.