Play Thats When Your Heartaches Begin Again by Billy Williams

Memphis, 1954, and Sun recording studio boss Sam Phillips dreams of discovering a new audio: a blend of the best of black music and the best of white music. In an extract from his latest biography, Peter Guralnick takes up the story ...

Sam Phillips had been thinking more and more that the fundamental lay in the connection between the races, in what they had in mutual far more than than what kept them apart. At that place were always going to be 'some bastard white people', he knew, just far more to the point was the spiritual connection that he had always known to be between black and white, the cultural heritage that they all shared. 'Not to copy each other but to just - hey, this is all we've got and we're going to requite it to you lot. This is our Broadway play. This is our Tin can Pan Alley. This is what it is. We hope you likeit'.

To Marion Keisker, his assistant, he had begun to talk increasingly almost finding someone - and it had to be a white human being, because the wall that he had come across with his recordings practically proved that in the present racial climate it couldn't exist someone blackness - who might be able to bridge the gap. 'Over and over I heard Sam say, 'If I could find a white human being who had the Negro sound and the Negro feel, I could make a billion dollars!' And he would always laugh, Marion said, as if to underscore that money was never the betoken - information technology was the vision.

One song continued to haunt Sam, a plaintive carol called 'Without You lot' that the song publisher Red Wortham had given him. In that location was something about it - for all of its sentimentality, at that place was a quality of vulnerability near it, and he thought that he'd like to accept someone come in and give it a try. The only ane who came to mind was a kid who had stopped past the previous summer and for $4 cutting a 'personal' record for his mother.

The boy had come in to cut some other 'personal' in January or February - Sam couldn't imagine that he was more a year or and then out of high school - and plainly he stopped past from time to fourth dimension to talk with Marion. Sam was well aware of that fact because Marion was going on virtually him. He didn't actually know, but when Marion brought up his name for what seemed like the thousandth time, he thought, Why non? The male child had the same yearning quality in his voice, attached to the kind of purity and fervor that yous might be more inclined to assign to religious music. Sam had no thought of his full potential, merely there was no question, he was certainly different. So he had Marion call him.

Elvis Presley came into the studio on Sat, 26 June 1954. He was 19 years onetime; a good-looking boy with acne on his cervix, long sideburns, and long, greasy hair combed in a ducktail that he had to proceed patting downwardly. Merely what struck Sam near was his quality of genuine humility - humility mixed with intense conclusion. He was, innately, Sam thought, one of the most introverted people who had ever come up into the studio, simply for that reason one of the bravest, too. He reminded Sam of many of the great early blues singers who had come into his studio, 'his insecurity was and so markedly like that of a black person'.

Elvis Presley, Bill Black, Scotty Moore and Sam Phillips at Sun Records, February 3, 1955.

They worked on the number all afternoon, with Elvis accompanying himself inexpertly on his own mussed-up little guitar. When information technology became obvious that for any reason the boy was non going to get it right - maybe 'Without You' wasn't the right song for him, possibly he was just intimidated past the damn studio - Sam had him run down just virtually every song he knew. He didn't need much of an invitation, and he didn't finish every song, but what Sam sensed was a breadth of knowledge, a passion for the music that didn't come along every day.

'I judge I must have sat there at least three hours', Elvis told Memphis Press- Scimitar reporter Bob Johnson in 1956. 'I sang everything I knew - pop stuff, spirituals, merely a few words of [anything] I remembered'. Sam watched intently through the glass of the command room window - he was no longer taping, and in about every respect this session had to be accounted a dismal failure, but nevertheless there was something ...

Every so often the boy looked upwardly at him, every bit if for approval: was he doing all right? Sam simply nodded and spoke in that smooth, reassuring voice. 'Y'all're doing just fine. At present merely relax. Allow me hear something that actually ways something to you now'. Soothing, crooning, his gaze locked into the boy's through the plate-glass window he had built and so that his eyes would be level with the performer's when he was sitting at the control room console. He didn't actually know if they were getting anywhere or non, it was but and then damned difficult to tell, especially when you were dealing with someone who was plain unaccustomed to performing in public.

Then again, it was only from but such a person - pure, unspoiled, every bit raw, equally untutored as anyone who had ever set foot in this studio - that he felt he could get the results he was looking for. He knew this boy, he knew where he came from, he could intuit all the things they had in common in groundwork and sensibility . What you could never tell was whether it would always add up to annihilation. He sent the boy on his way, exhausted.

Sam Phillips and Elvis Presley.

There was something almost him - Marion kept after him all week most how the session had gone. 1 day they were sitting with [guitarist] Scotty Moore, and Marion brought up the male child again. 'This particular day', Scotty said, 'it was near 5 in the afternoon. Marion was having coffee with u.s., and Sam said, 'Get his name and phone number out of the file'. And then he turned to me and said, 'Why don't you give him a call and get him to come over to your house and see what you think of him?' [Bass player] Bill Blackness lived just three doors downwardly from me. Sam said, 'Yous and Nib can just give him a listen, kind of feel him out'.

Scotty chosen Sam at home the post-obit evening. They had had their audition and it had gone much like the i Sam had conducted. Bill had been none too impressed, and Scotty's wife had just about bolted out the back door when the kid arrived wearing a black shirt, pink pants with a black stripe, white shoes, and that long greasy ducktail. They ran through the same assortment of songs - hillbilly, pop, Billy Eckstine's 'I Apologise'; the Ink Spots' 'If I Didn't Care'; Hank Snow and Boil Arnold's latest hits - and a Dean Martin-styled version of 'Yous Belong to Me'.

They were all ballads, all sung in a yearning quavery tenor that didn't seem prepare to settle anywhere someday soon and accompanied by the most rudimentary strummed guitar. Well, Sam, said, what did he think?

It was in a sense Scotty'southward determination - this might be the vocalist he had been looking for to sing with his band. 'Well, you know, he didn't actually knock me out', said Scotty, never less than completely honest. 'But the boy'south got a good voice'. 'You know, I think I'll just call him', Sam said, 'get him to come up down to the studio tomorrow - nosotros'll set upwards an audition and see what he sounds like coming back off of tape'. Should he bring the whole band? Scotty asked - The Starlite Wranglers? No, Sam said. 'Just you and Pecker, just something for a little rhythm. No use making a large deal nigh it'.

The three of them showed up the next night around seven. In that location was some desultory pocket-size talk, Bill and Scotty joked nervously between themselves, and Sam tried to brand the boy feel at ease, advisedly observing the style in which he continued to both withhold himself and thrust himself into the conversation at the same time. At terminal, subsequently a few minutes of bumming conversation and letting them all become a piffling bit used to being in the studio, Sam turned to the boy and said, 'Well, what practice you want to sing?'

This occasioned fifty-fifty more than self-conscious defoliation equally the three musicians all tried to come with something they knew and could play - all the way through - but later a number of false starts they finally settled on 'Harbor Lights', which had been a big hitting for Bing Crosby in 1950, and worked it through to the end. And then they tried Leon Payne'south 'I Honey You Considering', a cute country carol that had been a number one country hit for its writer in 1949, and a number two hitting for Ernest Tubb, as well on the hillbilly charts, the same year.

They tried each vocal again and again - each accept was slightly different, just each time the boy flung himself into the functioning, conspicuously trying to make it new. Sometimes he simply blurted out the words, sometimes his singing phonation shifted to a thin, pinched, near nasal tone before returning to the high, keening tenor in which he sang the rest of the song. It was as if, Sam thought, he wanted to put everything he had e'er known or heard into i vocal.

Scotty's guitar part was almost invariably too damn complicated, he was trying too hard to sound similar Chet Atkins - but then at that place was that foreign sense of inconsolable want in the voice, in that location was the unmistakable thrill of hearing costless, unfettered emotion being conveyed without disguise or restraint.

Sam sat in the command room, trying to expect fully engaged but unconcerned at the aforementioned time. Every so often he would come out and change a mike placement slightly, talk with the boy a little, non but to bullshit with him but to try to make him feel more at home. He was happy enough with the interaction betwixt the musicians.

At that place was a reason he had called them to back-trail the boy. Scotty was the best-natured person in the earth - he never made any demands and he didn't take himself too damn seriously. Bill on the other hand was a cut-upward. He was a natural mixer who could get a laugh out of a perfect stranger. And while he was no more a virtuoso on his musical instrument than Scotty, he could slap that bass to create the kind of driving, propulsive consequence that Sam felt this petty trio was going to demand if it was always going to exist able to get across.

But yet, they hadn't got annihilation usable and he wasn't certain exactly what to practice. Y'all never wanted to quit a session like this likewise early - you might just kill whatsoever risk of conviction developing over time. But it was a existent question as to how long you wanted to continue things going, too. Staying with information technology too long could create a kind of mind-numbing quality of its own, it could shine over all the crude edges you were trying to bring out and banish the very element of spontaneity yous were trying to reach.

Finally they decided to have a intermission. Information technology was late, the boy was clearly discouraged, and everybody had to piece of work the next 24-hour interval. Maybe, Sam idea, they ought to only give it upward for the nighttime, come dorsum on Tuesday and attempt again. Scotty and Nib were sipping Cokes, not maxim much of anything. Sam was doing something in the control room and, as Elvis explained it after, 'this vocal popped into my mind that I had heard years agone, and I started kidding effectually with [it]'.

It was an up-tempo song chosen 'That'southward All Correct, Mama', an erstwhile dejection number by Arthur 'Big Boy' Crudup. 'All all of a sudden', said Scotty, 'Elvis just started singing this song, jumping around and acting the fool, then Bill picked up his bass, and he started acting the fool, too, and I started playing with them.

'Sam, I think had the door to the command berth open. I don't know, he was either editing tape or doing something. And he stuck his head out and said, 'What are you doing?' And we said, 'We don't know'. 'Well, support', he said, 'attempt to find a identify to start, and do it again'.

The rest of the session went as if all of a sudden they had all been defenseless upward in the same fever dream. They worked on the song. They worked difficult on it, but without whatsoever of the laboriousness that had gone into the session upwardly to this point. Sam worked to get them to see the vocal in more than of a flow. He got Scotty to cut out the conventional turnaround and cut downward on all the stylistic flourishes that were mucking information technology up. 'Simplify, simplify!' was the watchword.

Bill'south bass became more than of an unadulterated rhythm instrument - it provided both a slap crush and a tonal beat at the same time - all the more than important in the absenteeism of drums. They continued to piece of work on information technology, refining the song merely the centre never changed. Information technology always opened with the ringing audio of Elvis' rhythm guitar, up till this moment almost a handicap to be gotten over. Then at that place was Elvis' vocal: loose and free and total of confidence, 'sounding so fresh', Sam said, 'because information technology was fresh to him'. With Scotty and Pecker finally falling in with an easy swinging gait that was the very essence of everything Sam had dreamt of but had never been able to fully imagine. There were no studio tricks employed. He didn't even use his new discovery of slapback, which he had applied primarily to the guitar on the two other completed selections. There was but the purity of the music.

Sam Phillips: The Homo Who Invented Rock 'n' Curl. And Discovered Elvis Presley.

The beginning time Sam played it dorsum for them, 'we couldn't believe it was u.s.', said Bill. 'It merely sounded sort of raw and ragged', said Scotty. 'We thought it was exciting, but what was it? Information technology was simply and so completely different. Simply it just really flipped Sam'.

And the male child? By the end of the evening there was a different vocaliser in the studio than the one who started out the night. For Elvis, clearly, everything had changed. Sam sabbatum in the studio after the session was over and everyone had gone dwelling. He was bone-weary, but he just wanted to bask the moment.

When he got home, he woke up Becky, and, as she would always remember it, 'he was excited, he was happy, and he appear that he had only cutting a record [that was] going to change our lives. I didn't understand at the fourth dimension what he meant, but it did. He felt that nothing would ever exist quite the aforementioned again'.

Buy Sam Phillips: The Man Who Invented Stone 'n' Scroll Book

Hardcover: 784 pages
Publisher: Footling, Brownish and Company
Language: English

Elvis Presley : Visits Sam Phillips, Memphis : September 23, 1956

Elvis Presley's Sun Recordings : SUN Studios, Memphis Tennessee

Sun Records was a record label based in Memphis, Tennessee starting operations on March 27, 1952. Founded by Sam Phillips, Sun Records was known for giving notable musicians such as Elvis Presley, Carl Perkins, Roy Orbison, and Johnny Cash their first recording contracts and helping to launch their careers.

Fifty-fifty though nothing came of his first session at the Memphis Recording Service, Elvis was adamant to give it another shot. He returned to the recording service in January 1954 to tape 2 more songs on acetate. He sang 'Casual Love Affair' and a land tune called 'I'll Never Stand in Your Way'.

This time Phillips worked the controls. Though he offered the young singer little in the fashion of encouragement, he did take downwards Elvis' telephone number and address.

Phillips didn't call Elvis until Peer Music of Nashville sent Sun Records a demo recording of a ballad chosen 'Without You'. Phillips decided to allow Elvis to record the new ballad. Unfortunately, Elvis could not seem to master the vocal, so Phillips asked him to sing anything else he knew. Delighted with the opportunity, Elvis eagerly ran through his extensive repertoire of country songs and R&B tunes. Phillips was impressed enough to advise that the hopeful singer go together with Scotty Moore, a immature guitarist who played with a local country-western combo, the Starlight Wranglers.

Elvis dropped by to see Moore well-nigh immediately. Moore recalls, 'He had on a pink shirt, pinkish pants with white stripes down the legs, and white shoes, and I thought my wife was going to go out the back door -- people just weren't wearing that kind of flashy clothes at the time'. (Ed. note: In fact, in the 1950s, pink was the hot fashion color for everything from men's clothing to cars.) Moore introduced Elvis to bass histrion Bill Black, and the three musicians spent the long, hot Memphis summer trying to detect a audio that clicked.

The trio worked in the recording studio at Dominicus Records instead of performing in forepart of a live audience. Recently developed magnetic recording tape made it possible for them to do one take of a song, heed to it, then make adjustments for the next accept. Presley, Moore, and Black finally hit upon their sound while they were fooling around during a break i dark.

Elvis started singing Arthur 'Big Boy' Crudup's dejection song, 'That's All Correct', with a fast rhythm and in a more than casual style than nigh blues songs, and Moore and Blackness jumped in. Phillips' phonation boomed out from the control booth, 'What are you doing?' None of them really knew. How could they? How could they know that they had stumbled onto a new sound for a new generation?

Phillips was excited nearly the trio's sound and recognized its potential. He asked them to refine their unique interpretation of 'That's All Right', and then he recorded it. The flip side of their outset record was their rendition of the bluegrass standard 'Blue Moon of Kentucky', made famous by Beak Monroe and the Bluegrass Boys. Elvis' first record seemed to symbolize the roots of his musical sound; a blues song occupied i side while a country song made up the flip side.

Elvis' treatment of both songs didn't audio much like the recordings by the original artists. His approach was far more than easygoing, which gave his renditions an air of spontaneity. Instead of the difficult vocal delivery and tense rhythm of Crudup's version of 'That'southward All Right', Elvis used a more-relaxed vocal mode and rhythm. For 'Blueish Moon of Kentucky', the tempo was speeded upwards, and two elements were added that would brand Elvis' sound famous.

He syncopated certain lyrics, using a sort of hiccuping audio, while Sam Phillips added a reverberation, resulting in the famous repeat event. Elvis' way became the basis of 'rockabilly', the fusion of country music (unremarkably chosen hillbilly music) with a rhythm-and-blues sound that has been relaxed and speeded upwardly, or 'rocked'. The term rockabilly was non widely known until after Elvis became a household proper name.

At the time he cutting his first record for Sun, there was no word that could fairly depict his style of music. When the press attempted to explain his sound, they normally made a mess of it, frequently confusing their readers with inappropriate or comical comparisons to other types of music. Elvis was referred to at various times as a 'hillbilly singer', 'a young rural rhythm talent', a 'white man...singing Negro rhythms with a rural flavor', and 'a boyfriend [with a] boppish approach to hillbilly music'.

Non long after Elvis' success, other rockabilly and country-western singers showed up on the doorstep of Sun Studio, hoping that Phillips could piece of work the same magic with them as he had with Elvis. Phillips eventually recorded Johnny Cash, Jerry Lee Lewis, Carl Perkins, Roy Orbison, Charlie Feathers, Baton Lee Riley, Dickie Lee, and other artists.

With their flashy dress, raw sound, and fervent delivery, these singers forged a new audio and style that was intensely Southern, or 'Dixie-fried'. As Pecker Williams, Sun Records publicist, recalled, 'I think every one of them must have come in on the midnight train from nowhere. I mean, they came from outer space'. Notwithstanding, the influence of Sam Phillips and Sunday's recording artists on the evolution of rock 'n' roll can never be overestimated.

As his first recordings began to spread, Elvis gained recognition for his unique sound.

Elvis Presley'south Dominicus Recordings

In the summer of 1953, near likely inspired by a July article in the local paper on the Memphis Recording Service and Sam Phillips's recording of the Prisonaires, a group of prisoners from the state penitentiary, Elvis ventured into 706 Spousal relationship Artery and asked to record his voice for the very kickoff time. There he made a two-sided acetate at his ain expense and accompanying himself on guitar. The songs he recorded were:

My Happiness

This song was written in 1933 by Betty Peterson and Borney Bergantine. Information technology was recorded in 1948 by John and Sandra Steele, whose release went to #3 on the Billboard Singles Nautical chart. Others to record it in 1948 were The Pied Pipers with Paul Weston Orchestra, Ella Fitzgerald, The Song Spinners, and The Marlin Sisters. In 1953 the Mulcays, a harmonica group, released information technology every bit an instrumental. In 1959 a version by Connie Francis hit #two on the Hot 100 Chart.

That's When Your Heartaches Begin

This song was written in 1940 by William J. Raskin, Billy Hill and Fred Fisher. The Ink Spots recorded it in 1950. In 1951, a recording by Bob Lamb was released. In 1952 Billy Bunn and His Buddies released a version of it. Elvis re-recorded it for RCA on January 13, 1957 at Radio Recorders. This version was the B side to the single 'All Shook Up' and it peaked at #58 on the Hot 100 Chart.

Elvis stopped in at the Memphis Recording Service from time to fourth dimension. On Jan 4, 1954, just four days earlier his nineteenth altogether, he again paid to record 2 songs. There were:

I'll Never Stand up In Your Manner

This vocal was written past Fred Rose and Walter (Hy) Heath in 1953. It was released in Nov 1954 by Joni James and then just a few days later on a version by Ernie Lee was also released. Others who have recorded it also are Ray Charles, Jimmy Dean, Don Gibson and Dottie West.

It Wouldn't Be The Aforementioned Without You

This ane was written by Jimmy Wakely and Fred Rose and recorded past Jimmy Wakely. Willie Nelson and Chris Isaak also have released versions.

Six months later in June 1954, Sam Phillips sent for Elvis to come and audition for a recording session. This fourth dimension he had Scotty Moore and Bill Blackness of the Starlite Wranglers to back him up Their commencement attempts to find a audio were on July 5-6, 1954 and the songs they finally got on tape so were:

I Dear You Considering

This song was written and recorded by Leon Payne in 1949. Payne's version reached #4 on Land Chart. In 1950, Ernest Tubb likewise reached #4 with his version. Jan Garber, Gene Autry and Eddie Fisher as well released versions. Other releases were Patti Page in 1951, Johnny Greenbacks in 1960 and Carl Smith in 1969. Information technology was Al Martino'southward 1963 version that attain #iii on Hot 100 Chart and #1 on the Piece of cake Listening Chart.

That's All Right

This song was written and recorded by blues vocalizer Arthur 'Big Boy' Crudup. Mr. Crudup also wrote two other songs that Elvis would record, My Baby Left Me and And so Glad Y'all're Mine. Elvis said in a 1956 interview for the 'Charlotte Observer' newspaper in N Carolina, '...I used to hear Arthur Crudup bang his box the way I practise now and I said that if I ever got to the place where I could feel all old Arthur felt, I'd be a music man similar nobody e'er saw'. Elvis' kickoff single release was in July 1954 - That's All Correct with Bluish Moon of Kentucky as the flip side. RCA re-released it on their label in Dec 1955 after they bought Elvis' Sun Records contract. Some of the others who have recorded information technology are Roy 'Smiley' Maxedon, Marty Robbins, Billy Swan, Bob Dylan, Ann Wilson, Canned Heat, Grateful Dead, Albert King, Rod Stewart, Waylon Jennings, Sunny Burgess, Jimmie Rogers and Paul McCartney.

Harbor Lights

This song was written in 1937 by Jimmy Kennedy and Hugh Williams. That same year there were releases by Frances Langford and by Claude Thornhill and His Orchestra with Jimmy Farrell on vocal. In 1950 Sammy Kaye had a #1 hit with his version. Also trying their mitt at it that year were Guy Lombardo, Bing Crosby, Ray Anthony, Ralph Flanagan and Ken Griffin. It set a tape for the most performed song on television's 'Your Hit Parade' and sold over 1,000,000 copies of the canvass music. The Platters' 1960 version reached #8 on the Hot 100 Chart. Over the years, many others have recorded it, including Billy Ward and The Dominos.

Blue Moon Of Kentucky

This bluegrass song was written and recorded by Neb Monroe in 1947. Among the others to have recorded it over the years are Patsy Cline, Charlie Feathers, George Jones, Sonny James, Benny Martin, Rick Nelson, Carl Perkins, Jerry Reed, Jeannie C. Riley and Ricky Skaggs.

Elvis' That's All Correct / Bluish Moon of Kentucky single was released on July 19, 1954. In the August vii, 1954 issue of 'The Billboard' Mag Elvis was reviewed in the column 'Review Spotlight on.....TALENT' where it was written: 'Presley is a potent new chanter who can sock over a melody for either the country or the r. & b. markets. On this new disk he comes thru with a solid performance on an r. & b.-type tune and and then on the flip side does another fine job with a country ditty. A strong new talent'.

The following is this single's chart history for Billboard'south Country and Western Territorial All-time Seller Chart:

For the calendar week catastrophe Baronial eighteen, 1954:
Memphis - Blue Moon of Kentucky - #3

For the calendar week ending August 25, 1954:
Blue Moon of Kentucky - #three in Memphis
That's All Correct - #iv in Memphis

For the week ending September ane, 1954:
Blue Moon of Kentucky - #1 in Memphis
That's All Right - #7 in Memphis

For the calendar week ending September 8, 1954:
Blue Moon of Kentucky - #4 in Memphis
That'south All Right - #half-dozen in Memphis

For the week ending September 15, 1954:
Blue Moon of Kentucky - #1 in Memphis
That's All Right - #iv in Memphis, #7 in Nashville

For the week ending September 22, 1954:
Blue Moon of Kentucky - #4 in Memphis
That's All Correct, E. Presley - #five in Memphis

For the week ending September 29, 1954:
Blue Moon of Kentucky - #half dozen in Memphis
That's All Right - #7 in Memphis

For the week ending Oct 6, 1954:
Bluish Moon of Kentucky - #6 in Memphis

For the week catastrophe October thirteen, 1954:
Bluish Moon of Kentucky -
#2 in Memphis, #6 in Nashville, #3 in New Orleans

For the week ending October 27, 1954:
Bluish Moon of Kentucky - #6 in Memphis

In the Nov 13, 1954 issue 'The Billboard', Elvis was voted #viii on the disk jockeys' 'Most Promising' listing.

For the week ending November 24, 1954:
Blue Moon of Kentucky
#6 in Memphis, #4 in Richmond, VA.

For the week ending December i, 1954:
Richmond, VA
Blueish Moon of Kentucky - #vii in Richmond, VA.
That'due south All Right - #8 in Houston, TX

For the week catastrophe December 8, 1954:
That's All Right - #9 in Houston, TX.

Elvis' world was changing rapidly. His offset single 'That's All Right'/'Blue Moon Of Kentucky' was outset to take off and by the center of August 1954, both sides would be on the Billboard Nautical chart for the Memphis area. He returned to Sun Studio on August 19, 1954 wanting to record again.

August 19, 1954:

Bluish Moon

'Blue Moon' was the song Elvis chose to lay down that dark. The song was written in 1933 by Richard Rogers and Lorenz Hart. It was originally written under a different title for a project with extra Jean Harlow. Mr. Hart later changed the lyrics and inverse the title to 'The Bad In Every Man' for the 1934 Clark Gable film 'Manhattan Melodrama'. The lyrics and championship changed once more to 'Bluish Moon'. It was recorded by Frankie Trumbauer & Ring in 1934 and Glen Gray and the Casa Hill Band in 1935. The Benny Goodman Orchestra with Helen Ward also released information technology that year. Many other artists over the years have recorded this song, Elvis' version for Sun was not be released until 1956 when information technology appeared on his first album for RCA, 'Elvis Presley'.

September 10 - ?, 1954:

Tomorrow Dark

This song was written in 1939 by Sam Caslow and Will Grosz, and recorded that same year by Horace Heidt and his orchestra The Heidt-Lights. It was released once more in 1948 by Lonnie Johnson and in late 1954 by LaVern Baker. In 1965 RCA recorded new backing tracks and overdubbed Elvis' original vocal rails to release information technology on the album 'Elvis For Anybody'. An edited version was released on 'The Complete Dominicus Sessions' and this original version was released in 1992 on The King of Stone 'northward' Roll.

Satisfied

This vocal was written and recorded by Martha Carson in 1952. In 1953 Johnnie Ray recorded it and it has since been released by a number of artists including Barbara Mandrell and Pecker Gaither and The Gaither Vocal Band. Records indicate that Elvis definitely recorded one take of this vocal but the tape has yet to surface.

I'll Never Let You Become (Little Darlin')

Cowboy crooner Jimmy Wakely wrote and recorded this song in 1943. Other versions were released past Jimmy Liggins and Hank Snow. Elvis' version was released by RCA on his first album Elvis Presley in 1956.

I Don't Care If The Sun Don't Polish

This vocal was written by Mack David in 1949 for the Disney picture 'Cinderella', but information technology was not used. In 1950 Patti Folio released a version, as did LeRoy Homes and Dean Martin, who was one of Elvis' favorite singers. Martin'south version was used in the Dean Martin/Jerry Lewis movie 'Scared Stiff'. The story goes that Marion Keisker, who worked for producer Sam Phillips and had brought Elvis to his attention, actually helped write additional lyrics for the song for Elvis, only signed away any rights at the insistence of the song'south publisher. It was released as the B side of Elvis' 2nd single Practiced Rockin' This evening.

Only Considering

Bob and Joe Shelton forth with Sid Robin are credited with the writing and recording of this song in 1937 - a hit for them. There is some controversy that it comes from a much earlier vocal by a group called Nelstone's Hawaiians. Others who have recorded it include Brenda Lee, the Flying Burrito Brothers, Jerry Lee Lewis, Conway Twitty, Bobby Vinton, Lawrence Welk, Rosemary Clooney, Duane Boil, Rick Nelson and Paul McCartney. Frankie Yankovic'due south 1948 polka version was very popular.

Adept Rockin' Tonight

This song, written and recorded in 1947 past Roy Brown, reached the top xx on the R&B Chart. It was recorded past Wynonie Harris in 1948 and it reached #1 on the R&B chart. It was Elvis' second single. Later, in 1959, Pat Boone's version peaked on the Hot 100 Nautical chart at #49. In 1956 Jean Chapel recorded an 'answer song' chosen I Won't Be Rockin' Tonight.

November - December 1954:

The exact date and the details surrounding this session are non known at this time. RCA never received main tapes of this session.

Milkcow Blues Boogie

Written and recorded by James 'Kokomo' Arnold in 1935, this song was recorded in 1938 by Bob Crosby and in 1941 by Johnny Lee Wills. Moon Mullican recorded it in 1946 under the championship New MilkCow Blues. Also in 1946, Bob Wills and His Texas Playboys recorded it under the title Brain Cloudy Blues. In 1961 Ricky Nelson's version hitting #79 on the Hot 100 Chart. Elvis' version was released in January 1955 every bit a unmarried with You're A Heartbreaker as the other side.

You're A Heartbreaker

This song was written in 1953 past Charles 'Jack' Sallee, who was a friend of Sam Phillips. Jimmy Heap recorded information technology in 1953 every bit did the Ray Anthony Orchestra with Jo Ann Greer. In January 1955, this song, along with Milkcow Blues Boogie as the other side, became Elvis' 3rd single released on the Sun label in Jan 1955. In the January 29, 1955 issue of 'The Billboard' magazine, this single was reviewed:

'Presley continues to impress with each release as one of the slickest talents to come upwardly in the state field in a long, long time. Detail hither is based on some of the best folk blues. The guy sells all the way'.

Past February 1955, Elvis' regional popularity was growing past leaps and bounds. He had released 3 singles for Sun Records, he was a regular on the 'Louisiana Hayride', and he was performing on cyclone tours through Texas, Arkansas, Louisiana and Mississippi. Sometime in the first week of February he squeezed in another recording session at Lord's day.

Elvis taking a break during a heavy tour schedule : May 1955.

February (5?), 1955:

I Got A Woman

Written and recorded by Ray Charles in 1954, the song was derived from the tune of a gospel vocal by Alex Dark-brown called I've Got A Savior (Across Boondocks). Mr. Charles'due south version was a hit and reached #two on the R&B Chart. Elvis' version for Sun was lost, nevertheless, he can be heard to singing it live in concert recordings from those early on days. He would tape it again at his first session for RCA in 1956 and it would exist a staple of his concerts throughout his life. Others who have recorded this vocal include Ricky Nelson.

Trying To Get To You

Written by Rose Marie McCoy and Charles Singleton in 1954, this song was a hit for the Washington, D.C. group The Eagles that same year. Elvis tried one take of this vocal in February 1955 and created the final master on July 11, 1955. This detail runway was lost.

Baby, Let'south Play House

This vocal was written and recorded by Arthur Gunter in 1954. Information technology would become Elvis' fourth single along with I'm Left, You're Right, She's Gone. In an interview, Elvis' mother Gladys said this song was one of her favorites he'd recorded thus far. It peaked at #five on the national Billboard Country Chart.

March (5?), 1955:

I'm Left, You're Right, She's Gone

Producer Sam Phillips was looking to have Elvis record some other song that could back the Baby, Allow's Play House single. Another Sun hopeful, steel guitarist Stan Kesler, forth with Bill Taylor, had written this song. The session didn't go well at start. Elvis and the band tried the song at a slow beat out. Sam and so brought in a immature drummer, Jimmie Lott, who was the offset percussionist to piece of work an Elvis Presley recording session. The song was then reworked and recorded again.

July 11, 1955:

I Forgot To Remember To Forget

This song was written by Sun artists Stan Kesler and Charlie Feathers. This time Johnny Bernero was on drums. Elvis wasn't really interested in the vocal, only it was Mr. Bernero'southward drumming that helped him warm up to it. Released forth with Mystery Train as Elvis' concluding Sun single, this song would become Elvis' first number i hit on a national chart. It spent a total of 39 weeks on the Billboard Country Chart, with five of the those weeks at the #one spot.

Mystery Train

Written and recorded in 1953 past Sun artist Herman 'Piffling Junior' Parker. Elvis' version was released as the B-side of I Forgot To Remember To Forget. Information technology peaked at #11 on the national Billboard Land Chart.

Trying To Get To You

On this date Elvis tried once again and finally got a successful take of this vocal. It would be released on his beginning album for RCA Elvis Presley in 1956.

November, 1955:

When It Rains, Information technology Actually Pours

This song, written past Sun artist, William 'Billy the Kid' Emerson, was the last one Elvis recorded for Sun Records. The session was never completed. Negotiations had begun on the auction of Elvis' contract to RCA. This song would eventually exist released in 1983 on the album 'Elvis: A Legendary Performer, Volume 4'.

By the week ending June 29, 1955, Elvis' Dominicus singles were on Billboard's Territorial State Charts in Memphis (I'g Left, You're Right, She's Gone - #5), New Orleans (Baby, Let's Play Firm - #7), Richmond, VA (Baby Permit's Play Business firm - #half dozen), and St. Louis (Baby Let'southward Play House - #8).

The 'Meg Dollar Quartet'. Jerry Lee Lewis, Carl Perkins, Johnny Cash, Elvis Presley. December 4, 1956.

In the review section of the August 20, 1955 issue of Billboard magazine, I Forgot To Remember To Forget was spotlighted: 'This audio is certain to get stiff initial exposure. Presley is currently on the best selling charts with Babe, Let's Play Business firm and the wide acceptance of this side should ease the way for the new deejay. Flip Mystery Train is a splendid coupling, with the guitar outstanding'.

The '1000000 Dollar Quartet'. Jerry Lee Lewis, Carl Perkins, Johnny Greenbacks, Elvis Presley, (With Elvis' engagement, Marilyn Evans). December four, 1956.

Higher up photo; Often mistaken as one and the same paradigm (with the photo higher up), hither we have the 4 in a slightly dissimilar pose. And of course Elvis' ladyfriend (Marilyn Evans) is now besides in the frame.

By September 3, 1955 Elvis had also hit the Territorial Charts in Charlotte, NC and Dallas/Ft. Worth for the beginning time with Baby Let'due south Play House. By the end of the year, Elvis had his first national #1 hit (country nautical chart) with I Forgot To Think To Forget and RCA finalized the buy of his Sun recording contract. The audio of Elvis Presley's recorded voice starting time captured at that tiny studio on Union Artery in Memphis would soon be heard throughout the world. It still is today, l years after his career began.

On July 5, 2004 things came full circle with an outcome billed equally 'A Global Moment in Time'. Scotty Moore, the only surviving member of the original grouping, pushed a push button at Sun Studio and played the original recording of That'southward All Correct for a global satellite feed to radio stations in commemoration of the 50th ceremony of Elvis' first single and the commencement of his career.

Elvis Presley : Visits Sam Phillips, Memphis : September 23, 1956

Elvis Presley, Buddy Holly, Carl Perkins & Johnny Greenbacks 1955
Elvis Scotty & Bill 1953-1955
Interview with Sam Phillips
Interview with Scotty Moore
Beak Black
Interview with D.J. Fontana

More than Interviews

Interview with Larry Muhoberac
Interview with John Wilkinson
Interview with Michael Jarrett, songwriter, I'grand Leavin'
Interview with James Burton
Interview with James Burton Sydney Australia 2006
James Burton : First Call For The Royalty Of Rockabilly
Interview with Ronnie Tutt
Interview with Ronnie Tutt #2
Interview with Jerry Scheff
Interview with Glen D. Hardin
Interview with Terry Blackwood & Jim Murray
Interview with Tony Brown
Duke Bardwell
Interview with Charlie Hodge
Interview with Ernst Jorgensen
Elvis Presley & the TCB Band

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Source: https://biography.elvis.com.au/how-sam-phillips-discovered-elvis-presley-sun-records-1954.shtml

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