While people have been arguing about ‘the first rock and roll record’ for probably as long as rock n roll has been a thing, there’s no denying that Elvis Presley’s first commercially released recording - cut 70 years ago today in Memphis - sounded like nothing else that came before it.
Yes, it’s a cover song. No, Elvis didn’t write it. What he did do - along with his amazing backing duo (Scotty Moore and Bill Black) and visionary Sun Records owner/ producer Sam Phillips- is channel an ethereal sound that still seems as though it was beamed in from another planet.
Elvis sang what he knew and felt; there was no ‘appropriation’ of anything, as he absorbed the sounds of his surroundings. He loved music, whether it be country western, bluegrass, gospel, rhythm and blues, or electric blues. Completely untrained, Elvis channeled all of those influences and delivered music through one of the most emotive, powerful voices in history. Matched with looks that are straight off of a statue of a Greek god, Elvis had all of the talent and an understanding of what made all of these styles of music great, to rise above his dirt poor upbringing.
The lore and legend says that during a frustrating session (which was intended to yield Elvis’ first single for Sun Records), none of the ballads that Elvis was presenting to Sam Phillips were capturing what Sam heard in this 19 year old trucker. Apparently Elvis started goofing off and playing a double speed version of Arthur ‘Big Boy’ Crudup’s song of nearly a decade previous, which stopped Sam in his tracks. THIS was the sound. The ferocious recording shows the excitement in the room; there was no drummer, but also no shortage of rhythm. I’ve proclaimed Elvis to be one of my favorite guitarists, which has been met with dismissal and questions; what he was able to do with rhythm guitar is a thing of wonder! His intense strumming on ‘Mama’ replicates a fast snare drum shuffle, while Bill Black’s thumping bass is the kick drum. Scotty Moore attacks his big Gibson jazz guitar for glorious stabs and fills that set the blueprint for rock and roll lead guitar.
Then there’s the vocal; I’ve listened to this song so many hundreds I’ve times, and every time I marvel at how Elvis’ completely untrained voice is so pitch perfect and soars with a flirty power. No matter when or where I hear this song, time stops for two minutes and there’s nothing else that can distract from its magic.
This song became an instant smash hit in Memphis, and with it came a zeitgeist with many facets. Elvis was both winning over a rabid fanbase quickly (through relentless touring in the south), and also causing a hideous backlash (rooted in hideous racism) from folks who felt this music was leading white kids down a dark path. Elvis’ safety and freedom hung on by a thread. Rock N Roll and all of its relatives (from heavy metal to hip hop) officially became the sound and expression of the alienated and the outcast.
Deftly stated. And accurate all the way down the lines. Thanks for the birthday post.
Thanks for sharing. Always loved the Elvis version. My interpretation is an homage to J.J. Cale and is the 4th single from my new album of cover tunes, Dusted Off. Please give it a listen. Cheers.
https://dustywright.bandcamp.com/track/thats-all-right-2