Elvis Presley 

"The Boy from Tupelo"

It is true that nothing is invented but in some cases there is a difference, or a particularity in the things we do that makes us special. This can excite people or even hate them because there is always a general canon and if it is not followed or you do not conform to it, let's say that for others you would be the stranger and this is sometimes a reason for ridicule or, on the contrary, respect. Elvis Presley was special, different... he always was.
From a young age he would make a difference in the way he dressed, combed his hair, moved and there was his voice...
So special, so different... which is why his style would be innovative. Over the years in maturity, his personal tone would also lead through his particular show, his dance, his karate movements, his special repertoire and also again in his clothing would mark a particular design the decade. from the 70s.
The story of Elvis Presley was that of a different boy who enjoyed his special way of being, since he never wanted to be like the others.
At least artistically, Elvis always tried to be unique and special, and he succeeded.
His difference would mark his path forever and for this he will be remembered as the absolute King...

                                   Elvis Presley The boy from Tupelo

As of July 1954, he would begin his artistic beginnings, joined by Sun Records, a modest record company located in Memphis. The support of Sam Phillips, producer of the Sun, would be very important to give security to a young man who still did not know how to follow in his footsteps in the musical world.
  His modest beginning, the recording of his music and the concerts he would start giving during his first two years, would be key in his rise. But the diffusion through the Radio would be the great springboard that would begin to air his name, giving him constant support and popularity.
It was just the beginning... 



The Sun Records recording studio was opened on January 3, 1950, by Sam Phillips at 706 Union Avenue in Memphis, Tennessee. An innovative recording studio, modest but steeped in history, local artists would initially be recorded. And a special sound would always be sought in the recordings.
For many historians, the place where Rock and Roll was discovered, legends and musical genres of the 50s, from B.B. King and Elvis Presley to Johnny Cash and Jerry Lee Lewis; from Blues and Gospel to Country and Rock'n'roll.
A studio that made some great recordings, with its own boss and producer Sam Phillips. Over time the studio would outgrow it and in 1959, Phillips decided to open the Sam C. Phillips Recording Studio in 1959, which was better known as Phillips Recording.
But Sun Records will always be known as the birthplace of Elvis Presley as an artist.

January 1954. Private recordings at Sun Studios.

These two songs recorded by Elvis,
Now they are almost forgotten songs. Both are very much in the same style as the previous recordings. "I'll Never Stand in Your Way"
would be the better of the two, "It wouldn´t Be the same Without You" https://www.youtube.com/watch?v=csrrWe1FkLk
In neither one can still perceive a polite voice, they do not even offer security, just a pleasant voice to listen to but nothing new.
Even Elvis was an inexperienced boy with his voice and had not found himself. Elvis was waiting for Sam Phillips to call him maybe for some recording, but it took a few months yet.
Listening to the two demo recordings, Sam Phillips would call Elvis because he wanted to record a ballad and he thought it would sound perfect on his voice. The song "Without you", in which he still did not find what he expected with his voice, even so Sam contacted Scotty Moore the guitarist and bassist Bill Black, so that he would return later to try new material. ...
The next session would be in July 1954.

July 5-6, 1954: Study Session

It was the first real recording studio session for Elvis, he was joined by Scotty Moore, guitar and Bill Black, bass. In these sessions Sam Phillips wanted to find something special, a different sound. He knew that Elvis had potential as a singer, but he didn't quite know how or what he was going to accomplish with this session.
They started the session with two ballads, in which Elvis at least began to sing much more confidently than on his private recordings. The song "Harbour Lights" which was a very popular song in the 20's, the version is interesting and the voice of Elvis longing, with the accompaniment of Scotty underneath that decorates the melody.
At the moment what they were doing was nothing special and this song would not be published until two decades later. The song "I love you Because", which was a success for Leon Payne, in this case versioned at a slightly slower pace and Elvis also spoke, but this would be cut in the publication that RCA later made.
You could still see a lot of inexperience as an artist in Elvis, he still didn't have a sufficient technique and it shows in the middle of these recordings, the breaths that cut the lines, sometimes in the middle of the words, which would become a difficult habit to correct. . But the next song was the one that caused the miracle.
Arthur Crudup's song "That's all Right" that they improvised almost by chance. They started playing but they didn't get anything and in one of the breaks, Elvis started playing a version of a song at another rhythm and this made the spark jump in the Sam's head
At this moment Sam Phillips knew that he had found something different and that it was worth recording. Listening to the Elvis version one after another with the original programs of Crudup. Elvis changed elements of the melody and altered the tempo and some verse of the song. Scotty and Bill followed him, and suddenly what Sam had been waiting for so long came up.
The important thing was the rhythm and the way in which Elvis finally managed to take his voice, sure and in a way that gave a confidence to the rhythm of the song With the next song they got even more, the theme "Blue Moon of Kentucky" by Bill Monroe.
Here, he, Scotty, and Bill took a waltzing country song, sped it up, and changed the 3/4 to 4/4. Nothing to do with the original from then and
obviously it was no longer a country song, it would be a success that would continue to impact the public.

Songs that make history

"That's all right "

Producer and sound engineer: Sam Phillips.

Scotty Moore, guitar.
Bill Black, bass.
Elvis Presley, guitar.

July 5, 1954, Sun Records Studios, Memphis. The song that would give Elvis Presley the opportunity to enter the world of music. Composed by one of his favorite musicians Arthur Crudup.
Elvis accompanied for the first time by Scotty Moore on guitar and Bill Black on bass, they were looking for a melody, a song, a rhythm... Elvis improvisedly began to sing this song, which he liked, but at his own rhythm.
In other words, with his own interpretation, he would find a new style. He would be accompanied by Bill and Scotty who, improvising with him, in a natural way, turned the history of music upside down. This would be his first single, it was the birth of Rock, a need for different expression that others also found with Elvis. Sam Phillips had discovered the greatest artist without knowing the reach that his music would have. He was looking for a voice and created the myth...
The original song had been recorded by Crudup in 1946, a blues very different from what would be recorded in Elvis's voice. With his voice and his rhythm on the guitar, he carried Scotty and Bill in his interpretation... because Elvis was not only a beautiful voice...she was pure rhythm and knew what she wanted to express, what was inside her and how to make others feel.
Elvis always gave his place to this song, because he opened the doors for him... His gratitude to him was forever... and he started again with this song in his concerts since August 1969, after years away from the stage. Elvis would start again with this song as an opening in his shows. Elvis recorded the B track "Blue Moon Of Kentucky" the following day.
The first single from it was released on July 19, 1954. It was initially released locally, but spreading...sales would reach 20,000 records.
The song was so popular among the young people of Memphis, that Elvis's murmurs in the song became a greeting among fans. Although they were not country songs, they would enter the Billboard country and western singles from Memphis and would reach number 4 and number 1 on the charts.
It reached #6 on the Nashville and #3 on the New Orleans regional Billboard charts. The first version :https://youtu.be/DCP_g7X31nI
It was included on: "For LP Fans Only" and EP "A Touch of Gold" Vol. 2. In later years, on "Elvis: A Legendary Performer" Vol 1, "The Sun Sessions", "This Is Elvis" (another remix), "The Great Performance" , "The Complete Sun Sessions" , "The King Of Rock And Roll" , "Sunrise" , The Elvis CD Edition "Golden Records vol. 1", "Artist of the century", Elvis "2nd to None", "Elvis at Sun", "History", "Elvis R 'n' B", and "The Essential Elvis Presley" (2007 version).
Alternate takes of the original recording session have appeared on A Golden Celebration, The Complete Sun Sessions (the 2006 version also includes live performances), Platinum: A Life In Music (the first three takes), and Sunrise. A number of Louisiana Hayride recordings have been released on records including The Hillbilly Cat, Good Rockin' Tonight/Playing With Fire, and Elvis At The Louisiana Hayride. An early live version appeared on the 1999 release Sunrise.
Elvis also sang the song live at his 1961 benefit appearance in Hawaii, it would be included in "Elvis Aron Presley". It was included in "Elvis: A legendary performer" vol. 4, "A golden Celebration", In 1991 the reissue of the Comeback Special would be called "Elvis NBC TV Special Memories: The 68" ""Comeback Special" and "Tiger man".
The version in the Comeback:
Performances in 1970 of this song were included in "That's the way it is" documentary and later in "Elvis as recorded at Madison Square Garden", "Elvis in concert", "An Afternoon In the garden", "Live in Las Vegas ", etc etc...
And the 70's concert version:
A song with history...

"Following the path of the King..."

Blue Moon of Kentucky

SUN RECORDS. Producer and sound engineer: Sam Phillips.

Scotty Moore, guitar. 
Bill Black, bass. 
Elvis Presley, guitar.

On July 6, 1954, Elvis with Scotty Moore and Bill Black recorded the song "Blue Moon of Kentucky." It was a bluegrass song composed in 1947 by Bill Monroe. A song that would be as innovative as "That's All Right (Mama)".
In an impromptu way because Bill Black, the bass, was playing on his bass, when Elvis continued to hear him sing Monroe's song in a mocking falsetto. Since they couldn't find a way with Elvis's favorite ballads, they tried more things. They kept messing around with melodies and rhythms, but this song would stand on its own and Sam Phillips liked how they covered it in a more rhythmic way with a completely different vibe.
He broke the stylistic mold by giving a rhythmic bluesy edge to a Country song. When the first single, "Blue Moon of Kentucky", came out, it was a far cry from Bill Monroe's original song. Elvis sang it along the same lines as "That's all right". And the collaboration of Scotty Moore and Bill Black that would complement a performance with a magical rhythm would do the rest.
On August 18, 1954, the song peaked at number 3 on the Billboard Country chart in Memphis, eventually selling 20,000 copies. The song was not released on LP until 1959's "A Date with Elvis", by which time RCA had added even more reverb to the song.
Shortly after, he followed up with the release of the EP "A Touch of Gold Vol. 3". "Blue Moon Of Kentucky" and also on "The Sun sessions", "The King of Rock& Roll", "Great Country songs", The Complete Sun sessions","Sunrise", "The Country side of Elvis" and "Elvis at Sun". A slower version recorded at that same session appeared years later on "A Golden Celebration". Live versions at Louisiana Hayride on "Memphis Recording Service Vol. Munroe was a classic country singer-songwriter who developed the bluegrass style named for his group the Blue Grass Boys.
He received a Grammy Award for Lifetime Achievement from him. More songs like "Little Cabin On The Hill", "Kentucky Waltz", etc. Bluegrass was a style that was created in the 1940s, with a limited range of acoustic string instruments and featured nostalgic lyrics that harkened back to the era preindustrial. Monroe, who witnessed Elvis' interpretation in his only performance at the Grand Ole Opry, encouraged him because he knew that at the beginning of an artist you have to support... even if you didn't quite like the version of his song https:/ /www.youtube.com/watch?v=QLb99I86pE4

"I love you because"

On July 5, 1954, Elvis made his first professional recording. The first song, in which he put all his enthusiasm, was a well-known ballad. His voice already sounds different from the personal recordings he made at SUN. Safer, more tempered and very heartfelt, inexperience is still noticeable but it is a ballad that is interesting.
The song was a No. 4 country chart hit in 1949 for songwriter Leon Payne, a prolific blind singer-songwriter from Texas. A song that was heavily covered before Elvis. When RCA had the copy, they released it with the Sun Records recordings, on their first LP, "Elvis Presley."
It would be released as a single with the song "Tryin to get to you". In the anthology "The King of Rock And Roll", In the year 2000 in The Country Side of Elvis. In 1974 "Elvis: A Legendary Performer Vol.1" and "The Sun Sessions" of 1976.
All five takes from the session were published in the 1987 and 2006 editions of The Complete Sun Sessions. The alternate takes on "Sunrise" and "Elvis at Sun." And those performed at concerts "Elvis Presley At The Louisiana Hayride", etc.


"Harbor Lights"

"HARBOR LIGHTS" by authors Jimmy Kennedy and Hugh Williams wrote the song in the late 1930s. Elvis sang his way through this ballad during his first professional recording session at Sun Studio on July 5, 1954. But it is true that his inexperience as an artist, even if he had a special and different voice, could make him imitate or follow the earlier versions, so Sam Phillips put the song on hold.
He didn't see it any differently than previous singers like Sammy Kaye and Bing Crosby. Sam expected Elvis to do something a little different, for this reason the song would be saved initially.
Elvis's version of "Harbor Lights" was not released until the end of his life, when in 1976 RCA included it on the album "Elvis: A Legendary Performer Vol.2".
Since then it has appeared in the anthologies "A Golden Celebration" and "The King Of Rock And Roll", including "The Complete Sun Sessions" and "Elvis at Sun". It can also be found on "Memphis Recording Service Vol.22". An alternate version on "Sunrise" and "Today, Tomorrow & Forever" and the 2006 edition of "The Complete Sun Sessions".

Elvis Presley

He had the voice, the taste, the sensitivity, the image... but there are many cases of artists who have all this and even more, who never succeed. Artists with impeccable technique and learning who never got anywhere. As a child, Elvis began to show an interest in music, in singing, which increased over time... but his musical education was poor.
He had no means and his economic situation could not afford extras that were not the basics. He grew up in a humble, poor family... but that was not an obstacle for him to be given the gift of his first guitar with which he began to grow his interest in music. Although he never had a masterful education, nor a training technique, from school, Elvis Presley made himself.
His vocal and artistic growth was innate and he evolved over time and sometimes with the help of others. But his undoubted talent from a young age needed to sprout and make himself known. At some point in our lives, help, an opportunity, may arise, it may be through oneself if you pursue your dream... But it is clear that if you do not find support, a patron, someone who gives you that opportunity... In many cases that great talent would be lost...
Elvis Presley enjoyed that opportunity at the hands of a great visionary:  Sam Phillips

The voice in the shadow

Scotty Moore

Scotty Moore the artist's musical backing. He started playing the guitar at the age of 8, he learned from his family and friends. Reserved, serious and formal, he enlisted in the navy at the age of 16 in 1948 and served in China and Korea, living through the horror of war for four years.
He returned home in 1952, experienced and wanting to continue the guitar performances he had already started at this time. In 1954 he formed a country band called "The Starlite Wranglers"; one of its members was the double bass Bill Black, and he began working with Sam Phillips for Sun Records. With the arrival of Elvis Presley in his life, he joined his path to his for 14 years, and her life would change forever.
He is considered one of the best guitarists, a pioneer of Rock and Roll and for opening the doors to other soloists, giving weight to the solo guitarist in musical groups. He was Elvis's first manager during the early days they came together to perform in public. He was a very special man and, although always with a friendly smile on his face, when he played the guitar he was focused on his instrument and seemed absorbed in the real world. But his way of playing helped Elvis Presley a lot in the beginning of his artistic career, he and Billy Black helped him on stage to learn to hold the microphone, the guitar... 

The first thing that caught his attention about Elvis was his way of dressing in bright colors, his hair, like everyone else, but above all his cheerful, joking character was also what he liked about Elvis. They always understood each other very well on stage, the last time they worked together was during the recording of "Elvis" The Comeback Special for NBC TV in 1968. 

Although Elvis wanted Scotty to continue being his lead guitarist, the unforeseen events and misinformation regarding the concerts that were planned to be held meant that no agreement was reached and finally the commitments they had separated them forever. 

From this moment on, their paths were different, despite being good companions and friends... Scotty would never see Elvis Presley again and would focus on his commitments as a guitarist and later as a sound engineer and producer. Scotty Moore was inducted into the Rock and Roll Hall of Fame in 2000 and later inducted into The Memphis Music Hall of Fame.
With his Gibson ES-295 dubbed "the guitar that changed the world", he would start in the days of Elvis, before switching to a Gibson L5 and later a Gibson Super 400. One of the key pieces of equipment in Scotty's sound Moore on many of the recordings with Elvis, in addition to his guitars, was the Ray Butts EchoSonic, first used by Chet Atkins. It was a guitar amp with a built-in tape echo, which allowed for an echo effect, slapback echo, delay, a delay effect on the sound. Although he was not the great master performer, Scotty Moore had his own style and his mark would always be imprinted in the history of music. 

"Following the Path of the King...".

Luck intersects with Destiny. 

Elvis in Radio Times

Elvis Presley's artistic career would be catapulted first by Radio. For a long time, it was his support and the main spread of it. It is true that with time, Television would provide the opportunity to become known throughout the country and internationally, but what is clear is that without Radio, in the first moments, all this would have been very far from being a reality.

Dewey Phillips and the WHBQ

Dewey was a DJ and Radio presenter, he had a Radio show on WHBQ "Red Hot and Blue". His program was energetic with rhythm and he had a special gift for choosing hit songs. Rhythm and blues, especially, was his favorite style. 


On July 8, 1954, Sam Phillips, who knew him and occasionally dropped by to see him, brought him a new recording from his Sun Records label, and Dewey put it on his show that night. The song was "That's All Right" which had been recorded by a young man unknown to Phillips. The phone immediately started ringing, and Dewey brought the subject up again and again.
Dewey received phone calls and even telegrams, it was such a success that he finally called Elvis's house and got in touch with Elvis's father, Vernon. Elvis, he knew they were going to play the record on the radio and he was so nervous that he went to the movies at Suzore Theater #2. His favorite place as a child where he went to see movies and a few meters from his house.
His mother and his father looked for him and found him there, and Elvis had to go to WHBQ, even more nervous to be interviewed by Dewey Phillips. Which asked Elvis where he studied so that listeners would realize that the singer was white.

They understood each other very well, they talked about music and a friendship was born between the two. The Phillips show also became very popular thanks to Elvis. On several occasions Elvis made radio appearances with Scotty and Bill. Attracting an audience that wanted to listen to them and get to know them, so they came to the Hotel Chisca, on 272 South Main Street, which was where the Radio was broadcast. The public filled the room to witness the broadcasts and over time the artists also asked for an opportunity to appear on the Radio, as Elvis had. Dewey became famous in Memphis with his show and even had a WHBQ TV show. On Radio WHBQ Elvis also had contact with George Klein, who was one of the best DJs in Memphis and whom he knew from Humes High. Since his early days as a DJ and over the years he presented

Talent Party on WHBQ-TV from 1964 to 1973. Elvis visited the Radio and on his show he sometimes went on the air, you could hear his new songs and George talked about his movies, recordings and concert tours. George Klein was also a great friend of Elvis, becoming one of the members of the Memphis Mafia.
https://www.youtube.com/watch?v=tHbBJRjg1_0 Dewey Phillips is considered along with Alan Freed as the main radio figure during the emergence of rock and roll. His program "Red, Hot & Blue" was the first to be simultaneously broadcast on radio and television. When Radio times changed he was fired from the station in 1958, the musical airs and the new Top 40 commercial format to which he could not adapt did the rest. His alcoholism and addiction cut short his life at the age of 42, in 1968. Elvis was always his friend and wanted to help him and his family in the worst of times. But although the friendship lasted for many years by then in the year 1968, he was already very distant from him. Sometimes we spoil our luck ourselves and the traced path becomes a sententious destiny...

Bill Black the other side of the coin.

Bill Black

William Patton Black was born in Memphis in 1926, Bill was nine years older than Elvis. And of course his experience as an artist was several years, since he had played with some country-western bands in the 40s and 50s. He met Scotty Moore who was a neighbor of his and joined him in his group Starlight Wranglers with his bass . His character was friendly, funny and warm, and he was also a very talkative and close person. As a musician they say that he was not a luxury professional, but his mere presence on stage, his cheerful and dynamic interpretation, his games and dances with his double bass would open doors and popularity for him, even overshadowing a young Elvis. His grace behind him excited the audience and Elvis did the rest with his electrifying voice and movements. But it is true that his relationship with Elvis was not as close as Scotty could have. It was different although they got along and had fun with the music, both Scotty and Bill with the drummer DJ Fontana, they were never recognized as professionals, nor well paid. His salary did not grow as it corresponded with the success and fame of Elvis. This would cause some headaches and upsets, but in the end they never had full recognition as Elvis' musicians in terms of fees. On several occasions they complained about this and in September 1957 they left Elvis due to economic issues. Although he tried to remedy it, for a short time there was no solution because Colonel Parker did not want to increase his salary and it was evident that Bill Black did not like him. On many occasions he forbade him to perform graces on stage because he did not want anyone to overshadow his boy Elvis and this would logically annoy Billy because it was his natural way of performing on stage. In addition, Colonel Parker prohibited them as musicians from being able to accompany on other works, with other artists and he demanded the exclusivity of his artist Elvis Presley but without paying that exclusivity as he deserved. Sometimes it is difficult to understand the reason for things, how they happened and why relationships were broken. In the case of Bill Black, working for Elvis was a success and a boost as with Scotty Moore and DJ Fontana, Their lives changed forever and their names will always be remembered for being his initial backing group and his rise to stardom. But unfortunately they were never fully appreciated in their value as artists, in the economic aspect and this would definitely break the relationship in the case of Bill Black. The case was more serious due to the negative influence of Colonel Parker who did not treat them as they deserved and there is also a curious point and it would obviously be annoying for Bill Black as well. It was in one of the recording sessions on May 8, 1957... Bill was changing from the double bass to the electric bass and logically the adaptation was costing him. In one of the recordings they were making of the song "(You're So Square) Baby I Don't Care", he had to play a musical line with the electric bass that would be the foot of the whole number. Since he couldn't do it, Bill, who had never shown much of a temper, threw the bass to the ground out of helplessness and left the studio. But Elvis picked him up and played him for him, recorded the bass line. This must not have sat well with him out of pride and as a musician, although Bill would eventually record his part to finish the song. This surely created in him an annoyance and a distance towards Elvis. Although he continued to accompany him in the first films, his friction with Colonel Parker finally made him and Scotty leave Elvis and they were replaced in 1958. Bill's last recordings with Elvis were on Sunday, February 1, 1958, when they recorded "My Wish Came True", "Doncha' Think It's Time", "Your Cheatin' Heart" and "Wear My Ring Around Your Neck". The main reason was economic, but it is clear that something else was going on, which led to this separation and that Elvis did not know or did not want to remedy. The next thing was Elvis's military service and this increased the distance from him. When recordings and other films were resumed, the influence and decisions of the Rca with Colonel Parker would do the rest. Bill Black formed his own group called "Bill Black's Combo" with which he would continue to perform in public. He went on to perform with his group on the Ed Sullivan show and achieved moderate success with his song "White Silver Sands". But his state of health would affect his performances, finally stopping playing. Bill opened a recording studio "Lyn Lou Studio" on Chelsea Street in Memphis in 1962. His group continued to perform for years, but although he occasionally collaborated, his illness worsened and Bill died of a brain tumor in 1965. His way of playing the double bass and his enthusiasm, with Scotty and Dj, will be remembered forever, because they were also absolutely responsible for being part of this great Elv story.

his group continued to perform for years, but although they collaborated from time to time, his illness worsened and Bill died of a brain tumor in 1965. His double bass playing and enthusiasm, with Scotty and Dj, will be remembered forever, because they were also absolutely responsible for being part of this great Elvis story and its initial success. As a musician and also initiator of Rock, he continued to pursue his dream along another Path that also left history. https://www.youtube.com/watch?v=YNiZkAhv7Zs

"Following the Path of the King..."

On July 17, 1954.
Sam Phillips takes Elvis to the Bon Air Club in Memphis, where Scott's group, the Starlite Wranglers, played regularly. Elvis, Scotty and Bill perform the two songs that will be the new single recorded. Sam wanted to see how Elvis dealt with the audience. They would perform again days later, on the 24th.
On the 26th Sam Phillips talks to WMPS disc jockey Bob Neal about including a young singer in the show he is going to perform "hillbilly hoedown". It was a joint show starring Louisiana Hayride performers Slim Whitman and Billy Walker, to be held at the Overton Park Shell in Memphis. That day Elvis signed the contract with Sun Records.

On July 30, 1954 Overton Park Shell, Memphis Elvis with Scotty and Billy performed their two recorded songs. He would be so nervous that without realizing it his legs begin to shake, driving the audience crazy. It is the beginning of the legend...

Dewey Phillips con Elvis Presley                  George Klein con Elvis                                           Elvis con Dewey Phillips

The birth of the myth

July 30, 1954. Elvis Presley's first performance in front of the public. Scotty Moore would once tell how the first performance in which Elvis Presley caught the public's attention was, this was a special moment.
Elvis, Scotty and Bill had only performed at a club called the "Bon Air", but this performance was special because it was not a small place. Radio host Bob Neal made the presentation. Suddenly the stage at the Shell didn't seem so big, it seemed enormous, nerves were on edge.
You have to keep in mind that Scotty and Bill had only played sessions or small venues... So they were also very nervous. When they heard their names, they went up on stage, they were impressed by the audience, because they didn't expect so many people. They started playing "That's all right"... Elvis was so impressed, that he stood up straight and scared the hell out of them, because they expected any stuff.
His reaction to seeing so many people was to move his leg to the beat of the music, a movement he sometimes used when he got carried away by the rhythm. But the movement was so energetic, it was pure nerve. To their surprise they saw that the young women in the audience relaxed, shouted and clapped. The movement of him following the rhythm of the music created a wild spinning effect with the pants he was wearing. Seen from the audience the movements seemed exaggerated against the backdrop of the Shell stage. They didn't know what was going on when all those people started screaming...
They sang "Blue Moon of Kentucky." As they walked offstage, Elvis asked why people were yelling at him. Someone told him it was because his leg was shaking. Later in the show, they returned to the stage and the same thing... Elvis was a boy with an impulsive character and full of energy, his way of externalizing everything he had inside was through his movements with his legs, this was what What triggered his movements?
Marion Keisker who was also there recalled that at one point Elvis looked at her while she was singing... and she realized that she was also screaming like the rest of the audience. the audience would react the same way. Sam Philips couldn't believe what he was seeing and hearing, but he felt very lucky. This would be the beginning of a general reaction from the public: shouting, applause, impulsive reactions but that unleashed people. From then on all this would go in crescendo...
Over time, Elvis would continue to act in the same way, but he learned to control the movement of his legs, his dance and movement of his hips and thus he would be able to dominate the reaction of the public. At this moment the myth would be born!
"Following the Path of the King..."

Diffusion through concerts and radio

The importance of live performances, in venues, theaters, schools, etc. made Elvis popular over time. The presence and emission of local Radios would do the rest. They were decisive for the figure of a young artist like Elvis Presley to become known in Memphis and in surrounding and nearby cities. On many occasions Elvis Presley's performances were recorded by local radio stations and broadcast live. It was a way of disseminating and making artists known. It was a great help in his rise and popularity. .

19 August 1954. SUN RECORDS

The song that they wanted to record that day was "Blue Moon" by Rodgers and Hart.
 In this recording they achieved a mixture of musical styles, but Sam Phillips believed that he should not release other people's hits, he would be very careful in everything he wanted to do with his new star. A song with a peculiar history, whose melody was heard for the first time Once in Clark Gable's 1934 film Manhattan Melodrama, directed by W. S. Van Dyke. The truth is that Sam did not consider publishing it and it would be released in 1956, when Elvis was already at RCA. 
It was a great performance, Elvis slows down the song, it varies from the original in which the first two verses were recorded, but the bridge and the last verse of the song were left out. The voice in echo covered by the somewhat peculiar, mysterious accompaniment of Scotty and Bill. Elvis sang in falsetto in some fragment, although he would not use it again later.  It is a song with a halo of mystery.

On and after August 7, 1954, Elvis and The Blue Moon Boys, Scotty and Bill, played at a Memphis nightclub called "The Eagle's Nest" on Lamar Avenue Memphis. There they would be the main attraction for several weeks. There he would meet the country singer Johnny Cash with whom he would have a great friendship.

Elvis Presley. 

The first appearance at the Louisiana Hayride on October 16, 1954

KWKH radio host Frank Page introduced Elvis on his first radio broadcast of the Louisiana Hayride inside Shreveport, the Louisiana Municipal Auditorium, on October 16, 1954. has shot up the charts. The performance is a success and Sam Phillips knows that this would be the beginning of something very big.


For months they performed at various clubs in Memphis, Memphis State University, The Lake Cliff club in Lake Cliff, Louisiana, at the Texarkana Municipal Auditorium, Arkansas, at the Paladium Club in Houston, Texas. Also at the Catholic Club, Helena in Arkansas and they made several performances at the Louisiana Hayride, at the Municipal Auditorium.. the last performance of 1954 would be at the Cook's Hoedown Club in Houston. 

Everything is going fast and Elvis's popularity is on the rise. So he makes another recording at Sun Records. On December 28, two recordings were made with "Milkcow Blues Boogie" and "You're a Heartbreaker"

 Although Scotty Moore would be in charge of hiring Elvis as manager, from January 1, 1955 he would sign with Bob Neal. The year 1954 was the rather timid beginning of Elvis Presley's career, initially in clubs, but the year ended with performances at the Louisiana Hayride that would open doors to popularity.

SUN RECORDS September 1954

On September 10, 1954, several recordings would be made at Sun Records. Apart from the songs "Good Rokin´ tonight" and "I Don't Care If The Sun Don't Shine" that would be published as a Single. The themes were also recorded; "Tomorrow Night" by Sam Coslowy Will Grosz."Satisfied" by Martha Carson . "I'll Never Let You Go (Little Darlin')" by Jimmy Wakely. "Just Because" by Bob & Joe Shelton/and Sid Robin.

 Sam Phillips recounted that he let Elvis experiment with many ballads before he could find the confidence to do something different. It was like a warm-up in the studio. From there some recordings would come out that would later come to light, others were lost. Elvis was very fond of singing ballads and that was what he usually started with. They experimented with rhythms, singing the songs sometimes slower then faster. Those were times of being able to find the best of oneself through experimentation.

The rhythm of the artist

Good Rockin´ Tonight
Single PUBLICATION:  4  Octubre 1954

SUN RECORDS. Producer and sound engineer: Sam Phillips.

Scotty Moore, guitar. 
Bill Black, bass. 
Elvis Presley, guitar.

Elvis needed more material so a new recording was made at Sun Records. On September 10, 1954, his second single "Good rockin' tonight"
A song composed by Roy Brown, an animated blues of the year 1947, but completely different from the interpretation that Elvis Presley would give him. This same day he recorded the song "I don't care if the sun don't shine", including this song as the B-side of the single, which would be published on October 04, 1954. The song "Good Rockin Tonight" was something fresh and striking for the public that was becoming more and more animated at Elvis's performances. Live versions are included on the "Louisiana Hayride" compilations. On the album "A Date with Elvis" from 1959 and later on Rca Eps "Good Rockin´Tonight" and "A Touch of Gold Vol 1". On "The King of Rock and Roll": "Platinum: A life in Music" and "Artist of the Century" and on "Memphis Recording Service Vol 1" and Vol 2, etc.Two songs with a fast rhythm and again a special and different interpretation. A special sound and above all, the fresh naturalness of Elvis Presley. The magic continues and Sam Phillips knows that he has an artist who will break all molds.

"I don't care if the sun don't shine"
A song composed by Mack David, a popular composer, who curiously made this score to include in the Disney movie "Cinderella" but which was not used for it in the end. The most popular version was recorded by Patti Page, achieving success in 1950 and it would also be sung by his idol Dean Martin. The recording of Elvis made on September 10, 1954 at Sun Records. It was included in the Ep "Any way you want me" and in "A date with Elvis" album. In the anthology "The complete Sun Sessions", "A golden celebration", "The king of Rock and Roll" and "Elvis at Sun". Live versions from 1955, on Louisiana Hayride albums, "Memphis Recording Service Vol. 2", etc.


The private world of Elvis Presley. The Pink Cadillac

Dreams sometimes come true... wishes that come true at a certain moment... Elvis wanted to be a singer, an actor and, starting in 1954, his dream began to come true. Day by day what is expected will arrive suddenly and almost without knowing the reason. It was the year 1955, in the beginning, the time of concerts and of traveling day by day from one place to another to perform. Elvis always wanted to own a Cadillac and through his dream he fulfilled his wish. Elvis bought his first Cadillac in March, the pink and white '54 Cadillac Fleetwood Series 60 Special. This car served as transportation for Elvis, Scotty and Bill for months, at the time of concerts.
On the night of June 5, after the performance in Fair Park, Hope, Arkansas, the Cadillac burned down because of the brake lining, which caught fire. After the show, Elvis was going out with a girl from there, they were driving the car on the highway between Hope and Texarkana, Scotty and Bill were traveling with other friends in another car. About halfway there, Elvis's pink and white Cadillac catches fire and burns. The car was completely burned. Fortunately, they had time to collect their instruments and clothing.
Elvis was devastated by the loss of this car that represented something important to him. At this moment his artistic path was already taking off and the car was the means of transportation for the three musicians. His mother was a very sensitive and intuitive woman and she was a little scared when Elvis went out with the car for the performances. They were so close that Gladys, it seems that she had a feeling about her, she told him that she woke up from a deep sleep at home because of the feeling that something was wrong. Elvis sat desolate next to his burned out car, everyone could see the disappointment on his face.
They had to perform in another city so Scotty went back to Memphis to get another car, the pink and white Ford Crown Victoria that Elvis recently bought for his parents, while Elvis and Bill fly to Texas. On July 7, 1955, Elvis purchased his second 1954 Fleetwood Series 60 Cadillac, in blue with a black roof, to replace the Cadillac that burned out.
The car was repainted pink by order of his neighbor, Art, who designed a custom pink color for Elvis that he called "Elvis Rose", but the car kept its black roof. It would be the car that he gave to his mother, although she never had a driver's license. She would use it again to get around her concerts... They also used it in 1956, unfortunately they also had a serious accident near Texarkana, on September 2, 1955, against an oncoming vehicle.
Fortunately, only the car had to be repaired. It would become legendary as Elvis's Pink Cadillac.
"Following the Path of the King..."

The Grand Ole Opry

Elvis Presley began performing in various venues during 1954, where he would gradually make a name for himself. In the first performances Elvis, Billy and Scotty performed under the name "Hilbilly Cat and The Blue Moon Boys".
The Grand Ole Opry was a show that was created in November 1925, as a radio program, the oldest dedicated to country music, it began to have an impact until in 1939 on NBC it jumped nationally. From the year 1942, he would broadcast his performances from the WSM station in the Ryman Auditorium in Nashville. The great stars of country music from Porter Wagoner to Dolly Parton paraded there.

On October 2, 1954 Elvis performed there as Hilbilly Cat and The Blue Moon Boys. This performance would be memorable for what it meant then to a young Elvis Presley, who was opening doors for himself on every show that could be important right now. Although he was not a country singer, his performance was splendid and memorable, with the songs "That's all right" and "Blue Moon of Kentucky". The comment made to Elvis by James R. Denny, who was a promoter of the concert at the time, is anecdotal. He literally told him why he didn't leave the profession and return to his profession as a truck driver... Some time later they coincided and he would logically regret it because he would finally tell the press that he knew that boy would go very far. ..
Fortunately, the comment was not something important for Elvis, since he did not give up and two weeks later, on October 16, he went to the great competitor of the moment, the Louisiana Hayride. It was a radio program, and after reaping a resounding success, he signed a contract with them.
Getting to perform at the Grand Ole Opry was very important to Elvis and Sam Phillips. And although the applause was not great, according to Scotty it was a respectful applause.
You have to keep in mind that the style that was played was Country and obviously the music they played was very different and unexpected. For Sam Phillips it was a success, because despite the initial rejection that Elvis got, it would be a triumph to play in the Opry and then gain the grudging approval of Jim Denny and Bill Monroe, who was the author of "Blue Moon of Kentucky." Even criticism would not hurt. Sam firmly believed that it could be used to promote the boy's attractiveness. But success was just around the corner...
"Following the Path of the King..."

The Hayride de Luisiana

The Louisiana Hayride was also a highly regarded country music radio show with a rich history dating back to its first broadcast on April 3, 1948. It was broadcast live every Saturday night from Shreveport on KWKH, a radio station that reached to 28 states.
It was a very innovative show and many country stars made their debut on the show including Hank W9illiams, Faron Young, Slim Whitman, Kitty Wells, Webb Pierce. Jim Reeves, the Carlisles, David Houston, and an unknown young man named Elvis Presley. It became known as the cradle of the stars.

On October 16, 1954, Elvis made the first of many performances at the Louisiana Hayride.The presentation they gave him was warm, about the success that he was having with the recorded album and saying that he had a different and fresh style. Elvis with Scotty and Billy performed "That's all right Mama" and "Blue Moon of Kentucky" It was a receptive and warm audience, they received him with curiosity and with applause. But from the second concert, the public received him enthusiastically and with applause. The standing audience would discover a new style and accepted it with thunderous applause.
On November 6, Elvis, accompanied by his parents, signed a contract with Horace L. Logan, who represented the KWMH, to perform every week at the Louisiana Hayride. He would receive $18 per performance and Bill with Scotty $12. A year later, on November 12, 1955, he signed another new contract, with an initial salary of $200 per month, which later rose to $400. On March 5, 1955, it would be the first time that Elvis Presley would live in the Tv, because the program would be broadcast live.

On March 14 again in a program called, Town and Country Jubilee that presented Jimmy Dean for whom Elvis had great admiration. From October 1954 to December 1956, he made 50 performances. It would be an open door to success that little by little would be achieved. This program was very important in the beginning of Elvis Presley, because it had a lot of diffusion, they admitted innovative artists and they gave him the opportunity to make himself known.

"Following the Path of the King..."

Third Single on Sun Records

SUN RECORDS. Producer and sound engineer: Sam Phillips. 

Scotty Moore, guitar.
 Bill Black, bass. 
Elvis Presley, guitar.

"Milkcow Blues Boogie"
During a break in the concert tour, Elvis would record the song to publish the third single on Sun Records. There is no specific date, from November to December 1954. A song composed by James Kokomo Arnold, an influential composer in the 30s in the blues, published 88 singles, one of his songs from 1934, «Sissy Man Blues» would be from the most notable.
The recorded song follows the same line in which the two Elvis singles were recorded. combines a blues-influenced number with an up-tempo beat. The single was issued on December 28, 1954. It sold well locally. Elvis's version begins similar to James Kokomo Arnold's. This song was already covered by Robert Johnson.
This song first appeared on an album when RCA released it on "A Date with Elvis" in 1959. Later on "The Sun Sessions", "The King of Rock And Roll", "The Complete Sun Sessions", "Sunrise and "Elvis at Sun." The song struck an audience as something new. Elvis Presley - Milkcow Blues Boogie (1955) - YouTube

"You're a Heartbreaker"
It was the B-side of Elvis' third single, "Milkcow Blues Boogie," which hit stores on December 28, 1954. Sam Phillips bought the song from Jack Sallee, a playwright who had only gotten into Sun because he wanted to do some commercials. radio for its main business. This would be Elvis's first song in a version, he sang it retro style, very elegant. RCA later reissued it. RCA added overdubs and included it on "For LP Fans Only". on "The Sun Sessions", "The King Of Rock & Roll", "Sunrise" and "Elvis At Sun". The original master on "The Complete Sun Sessions", "Memphis the Recording Service Vol. 1, etc. https://www.youtube.com/watch?v=AGDZntMeX7w

   ELVIS PRESLEY                      CONCERTS   1954



 Road to Success

Reflections on the Path of the artist.

Highway to Heaven.

The artistic beginnings of Elvis Presley would be like those of other musicians, day after day on the road, from one city to another, almost without rest... First in small clubs, small halls... later in theaters and auditoriums, the Radio and later Television. But fortunately, he would have the opportunity, the right time to change course and the support of the public.
Elvis would record only five singles for Sun Records during the years 1954 to 1955. His growth as a singer, as a performer would be equal to his rise to fame. Initially his voice, although different from those of the others, with a somewhat nervous and insecure mood, would grow in front of the public and in the studio.
A special voice that had to shout to the world his own self, from inside him... Elvis knew he was special and he wanted to reach people through his gift. But there is no doubt that the songs, the scores they chose would also be important in this ascent. His particular way of singing them changing the air, style, not only with his voice, but also with his body movement and adding to this, the accompaniment of Scotty Moore, guitar and Bill Black, bass. A set of factors that would make him, the beginning of the legend, the myth.
Elvis Presley had come to drive youth crazy and his music had changed the schemes of the moment. Over time, the control of his performance, his voice, his special way of moving on stage would make him the most acclaimed and famous artist. His music was different and his style would be born to create history; The rock and Roll. But Elvis Presley had many musical interests, it is very possible that the beginning of everything was as he once said, the casual inspiration of the moment. But it was clear that he also liked other musical styles that over time he was able to interpret. His voice, with his special sensitivity, his passion... everything in him sprouted in a special way with a different color.
Elvis felt the music and knew how to make the public enjoy it. His image also added another important factor on stage. An attractive young man with a brutal magnetism and a nervous, sensual way of moving that made him a magnet for the audience: he was perfect. Obviously he would attract everyone's attention because it was clear that this young phenomenon would go far. A raw mineral that had to be polished and shined. Elvis was from then on a product that would turn everything he touched into gold.
Everything was about to happen...
"Following the Path of the King..."

The road to success. The beginning...

Bob Neal was Elvis Presley's new manager. He had so far organized most of the concerts and acted as emcee and promoter for most of the ones in Memphis. He worked hard thereafter to get publicity for the concerts out of town, often traveling with them and arranging radio meet-ups to advertise the concerts and placing advertisements in the newspapers. The performance through the Louisiana Hayride promoted tour packages. They eventually became a feature of his tour throughout 1955.
The beginning was face-to-face with a country-style audience, although obviously Elvis did not sing in this line... and over time he changed. Elvis's performances were more and more explosive live and the public responded to all his movements, to his songs, with shouts and exaltation. Elvis would begin touring with the Hank Snow-Jamboree Attractions. Featuring the popular Hank Snow, a multi-hit country artist. He managed a very particular character named Tom Parker, with whom everything was going to change... 

"Following the Path of the King..."


From January 4, Odessa to January 7, Midland.
Produced by Tillman Franks and Billy Walker of Louisiana Hayride.

Elvis topped the bill, ahead of Billy Walker, Jimmy and Johnny (a comedy singing duo) and comedian Peach Seed Jones. The payment was 150 dollars a day and 10 for transportation expenses. All this to share with Scotty and Bill.

Production by the Louisiana Hayride Jamboree.
From January 12, Clarksdale MS to January 21, Sikeston MC.

His actions were in support of Jim Ed and Maxine Brown, Bob Neal also acted.
Local acts would do the same in different towns.

From January 24, Hawkins, to January 28, Gaston.
Produced Tom Perryman of KSIJ Radio in Gladewater.

Elvis headlined the acting bill, supported by the Browns. Pay was $150 per show plus $10 per day for expenses.

From February 10, Alpine TX, to February 18, West Monroe LA.

The early days Elvis would be supported by the Duke of Paducah, Charlene Arthur and Jimmie Rodgers Snow. From February 14 Roswell, he joined Hank Snow Jamboree. They would be the third in the performance poster until the end of the tour.

The particular world of the Artist.
The beginnings.

Bob Neal
The Opening of Paths

There are characters in the life of Elvis Presley who were much more important than history can tell in general. It is the case of Bob Neal. Changes were taking place that would open more doors to the path of Elvis Presley. From August 1954, Scotty Moore was the representative as manager, in addition to lead guitar.
It was clear that he could not exercise the two functions correctly, for which it was necessary to find another manager. He was beginning to succeed and someone competent was needed. Finally the proposal was accepted by disc jockey Bob Neal, from the WMPS station. He had a famous radio show called "The Bob Neal Farm Show" and also owned a record store, ran two radio shows and started a management agency.

On December 27, a publicity photo was taken for the signing of the contract, effective from January 1, 1955, in which Sam Phillips, Elvis and Bob Neal were present. Bob Neal assumed with this the direction of his artistic path and he did it frankly well.
The contract signed this day with Elvis Presley assumed a 15% profit for the manager. To begin with, Bob Neal had a lot of initiative and would have many projects for his artist, so he would found Memphis Promotions and Elvis Presley Enterprises, which was the company that was created to market him. It was no longer an amateur game, it was a search for opportunities and Bob would fight to find more proposals and new concerts. Not only did you have to record albums, you had to promote yourself and it was also very important that the public know the artist.
The beginnings of Elvis Presley as a singer were somewhat contradictory because in his initial concerts, he had on the one hand the young public that began to applaud his songs and the middle-aged, conservative, who did not admit or consider his talent. One of the The first things he did was buy a bigger car so they could get around to concerts. Thanks to him, Oscar Davis, Parker's associate, went to see Elvis at the Eagle's Nest where he was performing to give him a choice in concerts and tours. From the time he began his managerial stint, he would move gigs daily, in Texas, Mississippi, Arkansas and Louisiana.

In late February he convinced Colonel Parker to include Elvis on Hank Snow's tour. By the time the Colonel realized the value of Elvis Presley as an artist months later in May, he had already paved the way for Bob Neal…. Bob Neal opened up a portfolio of possibilities with concert bookings and publicity. He tried since March that Elvis had the opportunity to appear on TV, on CBS, although unfortunately without success, because when they met Elvis they saw him still green for TV. Little by little, he would pave the way for proposals for the record companies, so that there were many opportunities to contract Elvis during this year of 1955.
He knew that they needed a more important label than Sun Records, to assume the risks financially. In June of this same year, Elvis was already proposed by several record companies, such as MGM Records, but Sam Phillips put up obstacles because he wanted to raise the price of the transfer of his artist. Bob Neal had already paved the artistic path for Elvis, drawing attention to be able to get more out of the major labels, but Elvis's popularity had yet to grow and this was achieved step by step. In May Neal would continue to be manager, but he reached an agreement with Colonel Parker, so that he will manage with him and continue looking for a major label.
Neal got Elvis a raise, on a new one-year deal with the Louisiana Hayride, effective November 11, 1955, which the Colonel objected to, so they argued. Elvis learned in all this time to move on stage, to deal with his audience, to get bigger every day and the security would come too.
The only flaw he would have would be the lack of cunning and cunning that he had, compared to a character like Colonel Parker. When he met Elvis and saw his success, he insisted on cajoling him little by little, since he had the wisdom to gain his trust, filling him with ideas of success and isolating him from others.

Bob was his manager for 13 months. By the end of the year, Sun Records handed over its contract to RCA and Bob Neal left the direction of Elvis Presley in the hands of the Colonel. Despite everything that is told in the history of Elvis, Bob Neal was a good manager and when Colonel Parker crossed his path, Bob had already opened many paths for Elvis... albeit modestly, surely he would have arrived anyway At the top. Simply through the new record company...RCA,  since it was inevitable that Elvis would eventually rise to the top.
But the Colonel already had it easy, he would just have to move his contacts and keep pulling the strings of your Marionette...

"Following the Path of the King..."

Elvis Presley in concert
The beginning

The year 1955 begins with a busy schedule of concerts for Elvis, Scotty and Bill. Although he didn't have much experience on stage, his presence would be stronger and stronger.
The beginning is very shaky and nerve wracking, not only for the young and inexperienced Elvis, but also for Scotty and Bill.
January 1955 The Louisiana Hyride : https://www.youtube.com/watch?v=PsdWcVNyjWA

Everyone who knew the shy and quiet artist would see another person on stage, over time he transformed in such a way that he seemed like another person. In some moments all that nerve and immaturity would be seen in the show and thanks to Bill's jumps, shouts, the moment seemed to pass and the magic entered him, controlling his performance and finally the public. From the few recordings that we can hear of the first concerts, with a limited repertoire and a poor sound from only three artists, it is clear that for these it would be something very big. Not only is the tremor heard at the beginning of Elvis's performances, but also Scotty making mistakes on some solo... the bass hits... but above all, the important thing and what we capture in these concerts would be the strength and impact in the interpretations, which would be what would catch the public.
Elvis was a rookie who had a lot of character, his way of controlling his shyness and finally managing the public, would be the evolution of his performance as the year 1955 passed into 56. Elvis begins to play in the performances, tells jokes and even his attitude with the girls on stage, the screaming... etc. It would be his evolution that would drive the public crazy, from the middle of the year all this would begin to be very clear to all those who had the opportunity to see him on stage... The record companies would begin to knock on his door with offers, but Sam Phillips did not want to sell the Sun contract
Records until it wasn't worth it...

FEBRUARY 1955    SUN Records

It is believed in the first days before February 5. Back in Memphis, Elvis returned to the studio to record another single. Recordings of "I Got a Woman" and "Trying to Get to You" were made, but have been lost. The surviving song from the session became the A-side of the next release, "Baby Let's Play House" was the recording left over from this Elvis day.
When the tape was delivered to RCA, it appears that one tape of these recordings was lost. A Woman" by Ray Charles.
They then reviewed another R&B number, "Trying To Get To You" by Charles Singleton and Rose Marie McCoy, a hit by the Eagles, a group from Washington, DC. But when they turned to "Baby Let's Play House," yet another R&B hit. This song was an evolution as a singer, the new song was a big step forward. Without a doubt, because of the experience and the success that he was already perceiving with the public...
Elvis was now completely comfortable with the sound, with Scotty and Bill, with the studio and with his producer Sam Phillips. He had found himself during the previous months and this was the fruit. "Baby Let's Play" in this song sounds like his energy and good humor are almost unstoppable as he vocalizes the word "baby" at the beginning of the song. Everything was evolving, they had their own style and were marking a path to follow in music and youth. And also changing in an original and instinctive way the content and intention of the lyrics...

Fourth Single on Sun Records

Producer and sound engineer: Sam Phillips.

Scotty Moore, guitar.
Bill Black, Bass.
Elvis Presley, guitar.

The fourth single for the Sun.
It was recorded in the first week, it is believed on February 5, 1955, at the Sun Records Studio. Its publication as a single would be on April 10, 1955 with "I'm Left, You're Right, She's Gone" as the B side. The song was originally recorded by its author, Arthur Gunter, a year before, but the version of Elvis would have a change in the introduction in a syncopated and more innovative way by Elvis, who would perform a variation of the original.
It was a variation and additionally changed the original lyrics somewhere, replacing Gunter's line "You may have religion" with the words "You may have a pink Cadillac", referring to his painted '55 Cadillac.
He also made variations in the air of the original score giving more impact to the song. Its more frenetic rhythm, more impressive than its author's version, especially fresh in Elvis's voice. The particular characteristic in his way of singing, adding that force that surrounded his rhythmic performance, accompanied by Scotty and Bill.
Composer Arthur Gunter had based his composition on an Eddy Arnold country hit titled "I Want To Play House With You". A composer only known for this song, since it reached number 12 on the US Billboard R&B chart and with Elvis it would be an absolute success a year later, since it had not yet entered the charts until now.
This song performed by Elvis generated many imitators, his style swept and they emerged to create style. "Baby Let's Play House" was Elvis's first single to reach a Billboard chart, climbing to number 10 and number 5 on the Billboard Country Singles chart in July 1955. A live version of this song was also released on July 20. August 1955.
Elvis played this song on February 4, 1956 on his first national television show, the Dorsey Brothers' "Stage Show." to include in the special he would record in 1968, for the NBC "Elvis" The Comeback special. The song was included in the "Platinum: A Life In Music" (1997) features a rehearsal in the run up to his engagement in Las Vegas filmed for That's The Way It Is in 1970. After the album's initial release in 1959 on "A Date with Elvis", various recordings of the track appeared on a host of official and bootleg albums, including "I Was The One", "A Golden Celebration", "The Sun Sessions", "The Complete Sun Sessions", "The King Of Rock 'n' Roll", "Sunrise", the Golden CD edition of Elvis Records Vol. 1, "Artist of the century", "Elvis en Sun", "Elvis R&B", and 2007's "The Essential Elvis Presley". Early live versions are on "Elvis Raw", "Good Rockin' Tonight" and other Louisiana Hayride collections.
A 1955 live version of "Eagle's Hall in Houston" appeared on "Memphis Recording Service Vol.2", etc. This same day, two more songs, "I got a woman" by Ray Charles and " Trying To Get To You" by McCoy. By selling the recordings to RCA, they were lost...

"Following the Path of the King..."

Elvis Presley, with Scotty Moore and Bill Black. February of the year 1955. Buddy Holly, Johnny Cash and Carl Perkins. The film was shot in 1955 on an 8mm camera in Buddy Holly's hometown of Lubbock, Texas, by Buddy Holly's friend Ben Hall, a local disc jockey. They were young promises who would become legend.
Buddy Holly would initially have an interest in country, but this interest changed when he first saw Elvis Presley in his town in 1955. When the show ended, Holly headed straight to Presley's dressing room and befriended him. He would share the stage with Elvis for the first time on February 13 of this year in the city of Lubbock, at the Fair Park Coliseum. Elvis would lend her his guitar to play. Buddy then played a duo, from that moment his artistic life changed. Elvis would play again in this place on June 3 where he would see Buddy again and later on October 15.

The help of Radio

The path provides more opportunities for success.

One of Bob Neal's tasks as Elvis's manager was to promote his albums, concerts and, above all, promote the publicity movement so that Elvis became known. One of the initial problems was that although the success of Elvis could work and be on the rise, having a small label, such as Sun Records, limited the possibility of expanding the field, it could not cover much, because it would not go very far. . 

There was a need for expansion and search that would not stop. Radio was very important at the time and remained so for the first two years, because it was the most accessible medium for Bob Neal to make Elvis known. 

On February 26, 1955, they made their first trip North, to Cleveland, to play at the Circle Theater Jamboree. Bob was looking for new contacts that he had made on the radio stations and there was Tommy Edwards Dj who Elvis had done a radio show with. Edwards was also the host of the Hillbilly Jambore and had been playing Elvis records, he was a fan and wanted to provide more possibilities. So on this occasion he introduced Bob Neal, after the performance to a character who would help in this radio expansion. 

He was a person who might be of interest to him, because he had put on a show with his radio show on WCBS in New York. His name was Bill Randle and he was a Dj with a different vision... he had discovered and supported new artists of the moment, for which he would receive from Tommy Edwards some recordings of Elvis' work. 

The song "Blue Moon of Kentucky"... this would be a month before I met Elvis in person. Finally, he liked his music and interviewed him in the studio of WERE, the program he used to host. Randle considered Elvis to be very polite and correct... he asked him about his musical influences and Elvis told him about Pat Boone, Bill Haley... Bill Randle had made his show very commercially successful, it was yet another door and they had successfully walked through it. Randle told Bob Neal that he had a talented artist on his hands and gave him the name of his contact at a song publisher to see if he could help Elvis, the purpose was to give him the opportunity to perform in Arthur Godfrey's Talent Scouts show. The next step would be to propose him for a TV broadcast...

"Following his Path King..."

Two geniuses on stage

Sometimes we can have the opportunity to meet apparently normal characters who at some point become geniuses, stars or simply butterflies... life gives us the blessing of transformation and the advantage of change...
Elvis had the opportunity to meet great artists during his first performances in 1955, some shared the show with him and others would even become great friends. At one of his first concerts on tour during the month of February, Elvis with Scotty and Billy were performing in Texas. Buddy Holly went to see Elvis Presley in concert in February 1955. When the show ended, Holly went straight to Elvis's dressing room, introduced himself and befriended him. Elvis, who had the opportunity to influence the duo that Buddy Holly had with Bob Montgomery to sing with him in his performance, he invited the duo to be his opening musicians. It was the day on February 13 at the Fair Park Coliseum in Lubbock. Months later they would play together again on the bill. In the performance Buddy would play in a duo, before Elvis, called "Buddy and Bob" they were Buddy Holly and Bob Montgomery, from the same town of Lubbock. They both came from country music backgrounds, Bob Montgomery who was a country music star, although his success was limited, and Buddy Holly who was not yet known and also had that influence. Buddy would change his musical destiny from this moment on, when he met Elvis, his way of singing would impact him and turn his destiny upside down. Elvis would play again in this place on June 3 where he would see Buddy again and later on October 15. The duo Buddy and Bob were looking for the possibility of being able to sign a record contract. Buddy Holly already admired Elvis and was lucky enough to share the stage with him. In October 1955, he would give himself this opportunity again and in the previous day's performance he was able to share the bill with "Bill Haley and the Comets" and was recruited to open Haley's program. The performance would also be seen by Jimmie Rodgers Snow, an artist also the son of Hank Snow, who would be the one who would speak enthusiastically about Buddy. From these concerts Eddie Crandall who was a talent agent from Nashville, was very impressed with Holly and would open the doors to negotiate a recording contract with Decca. Buddy Holly a musical talent, singer, songwriter, would eventually become famous and would also become an influence on other musicians and a legend. Unfortunately he died at the age of 22 in a plane crash, when he was already a star. Elvis and Buddy hit it off right from the start, after the show. Elvis stayed backstage signing autographs and talking to the rest of the musicians. Elvis would never have imagined that already at this moment everything was so incredible for him, to be successful. His attitude towards the public would be very generous, since there were more than two hundred people to whom he signed autographs and not only on paper, he also included some parts of the body... The girls asked him to sign anywhere, it was curious and fun for a young Elvis who began to change his ways.
Sometimes life makes us change the course of our life...

Following the Path of the King..."


TOUR : Arkansas and Louisiana.

From February 20, Little Rock, to February 25, Texarkana. Produced by the WSM Grand Ole Opry Show, 
Elvis is third in the lineup for the Duke of Paducah and Mother Maybelle and the Carter Sisters. Colonel Parker promoting the shows.

Local CONCERTS in Memphis and Shreveport:
From March 2, Newport, to March 12, Shreveport. 
Variety of supporting acts including Jimmy Work and Betty Amos.
Memphis to Houston via College Station to play the Grand Prize Jamboree.
Aired on KPRC Radio: March 19 and 20.
 It was the fourth on the Louisiana Hayride package bill in College Station. 
Project for Houston Jamboree.

TOUR Arkansas & Texas: 
March 29, Parkin, to April 2, Houston.
 Support for The Onie Wheeler Houston show 
was broadcast live remotely for Louisiana Hayride in front of a crowd at the City Auditorium.

 END OF WEEK April.April 7, Corinth to April 9, Shreveport. TOUR
 week of April in TexasFrom Houston April 10 to Dallas April 16.
 Elvis headlined the bill, supported by Onie Wheeler

. TOURS from Mississippi to West Texas: 
April 20 in Grenada to April 30 in Gladewater. 
Beginning April 23, Elvis appeared on a bill with Dub Dickerson, 
Chuck Lee and Gene Kay and Walking A Ranch Hands. 
The highlight was the remote broadcast of the Louisiana Hayride from Gladewater.

March 1955.  Recording Sessions.

Study session again to be able to include another song in the Elvis Presley repertoire. A month after recording "Baby Let's Play House", Elvis began recording the B-side of the single "I'm Left, You're Right, Ella She Ella's Gone". It was a song with a country air. For this session he would have a drummer named Jimmie Lott. Two versions were recorded, a slow one and a faster one that would be chosen by Sam Phillips. As for the faster master take, while it's a competent and enjoyable track, it pales in comparison to what had been achieved just a few weeks earlier, when the slow one was supposed to have been done. The song didn't add anything new, because it wasn't top notch in itself and Elvis seems to be just going over old ground. The slow version was saved and would not come out until 1984.

"I'm Left you're right, She's Gone"

GrabaciMarch 1955.
Producer and Sound Engineer: Sam Phillips. Sun Records.

ELVIS PRESLEY Scotty Moore, guitar.
Bill Black, bass.
Jimmie Lott, drums

It would be the fourth single recorded for Sun Records, in March 1955. It was released with the song "Baby, Let's Play House".
Written by Sun guitarist Stan Kesler and Bill Taylor, who were in a group called the Snearly Boys. They normally worked for the Sun Records label. Curiously, it was included with the accompaniment of Bill Black, bass and Scotty Moore, guitar, drummer Jimmie Lott.
The story is very simple, about a girl who left a boy and her friend who warned her about what would happen. The tune is said to have been inspired by a Campbell's Soup commercial. The single was released on April 10, 1955, by Sun Records. An interpretation along the same lines as the song "That's alright", in rhythm and intention and above all in the voice of an Elvis Presley who begins to be more sure of his initial style. Although it is a very simple score, with a similar rhythm and similar accompaniment.
It reached number four on the Memphis Country & Western charts. This song has been included on many albums, both in its original version and also in a slower version of the song. When the recording was made it was initially recorded, with the title "I'm Right, You're Left, Ella She Ella's Gone". When Elvis began recording with RCA, the song would be reissued as a single.
The song later appeared on the "Any Way You Want Me" EP. In later years he appeared on "For LP Fans Only The Sun Sessions" and "The Country Side of Elvis." The slow version and other alternate takes came out on "The Complete Sun Sessions". A slower version of the song, recorded at the same time, was not released until 1984 on the album "A Golden Celebration". Alternatives can also be found on the "Sunrise and Fifties" anthology "The King Of Rock' n'Roll".
Both the fast and slow versions (sometimes called "My Baby's Gone") are on the 2004 BMG release "Elvis at Sun", and the 2006 independent release "Memphis Recording Service Vol. 2". that Elvis sang at many of his early concerts in the early 1950s. There are publications of these performances in "Sunrise" 2006, "The Complete sessions" and many of the performances in the Louisiana Hyride retrospectives and "Memphis Recording Service vol.2".

"Following the Path of the King..."


The power of TV
The first opportunity

March 1955. Bob Neal knew that the opportunity and opportunity to make a little-known artist known was through TV. At this time, 1955, TV began to be the most important medium besides Radio and the concerts that were already underway. Elvis had a tight concert portfolio, but Bob Neal was looking for a chance to get on TV.
The option of being able to audition for CBS in New York would be the first opportunity. Bob Neal had tried every possible way to find a contact to get to Arthur Godfrey.
Bob talked about Elvis with the DJ. Bill Randle to see if he had a chance to connect him with someone at CBS. Randle, got Max Kendrick to give him an appointment for a test with Godfrey. The news filled Elvis, Scotty and Bill with enthusiasm, not only because of the test, but also because they had never traveled to New York where it was done.
They all traveled to New York and were impressed... For this they had to travel by plane. It was their first trip by plane and to the big city, because their schedule was so tight that they didn't have time to drive or catch the train. They were all very excited about this possibility and about the city... they were amazed at the skyscrapers and went up the subway to take a walk. The audition would be on March 23 at 02:30 pm on the Fourth floor of 501 Madison Avenue , at Godfrey's Offices.

It was time to go to the studio to take the test.  But when they did, the response was not very positive. They had to see Arthur Godfrey and his assistant was the one who attended them in a distant and hopeless way. He told them: "we will call you back.." But it was clear that it would not be like that. This audition was the dream they had been waiting for until then, what they had been waiting for because it could be a good opportunity to rise to the top, to become famous.
The disappointment was great...especially for Bob Neal who had received from the Dj. Bill Randle, the contact for CBS, a hope. Max Kendrick told Bill Randle that Elvis wasn't ready.
In his performance, even though he did well, he described him as disheveled, poorly dressed and very nervous. As a result he turned down that opportunity. It is possible that Elvis was still a little green for TV or they simply did not see yet the great potential that they had in their hands. . It is curious to think that Elvis gave that impression because he was very careful when dressing, combing his hair... But his nervous way of acting would give the wrong image or perhaps they were not prepared for someone so different from the others. Elvis would normally have accepted something like that, as normal, but his temperament was changing because of the success he had with the public. He would be very offended by this...it was clear that the humble boy from Tupelo already felt safer and he did not accept being rejected without giving him the slightest chance.
Despite all this, his life was about to change... A year later Elvis would become the scandal of the moment on TV.

"Following the path of the King..."

Elvis special touch

A particularity in the early days of his heyday as an artist would be his image. Elvis slicked back his hair in a high slicked-back pompadour, but he wore his hair longer than the other young men, and his sideburns too. Jimmy Rodgers Snow, son of singer Hank Snow with whom they were touring at the time, described his fascination with Elvis and the way he combed his hair; he used three different oils to comb his hair. In the toupee, a wax like the one used in the cut to the angle, another oil for the upper part and another for the back. Elvis told him that by using different oils, when performing, his hair would fall in a certain way. But regardless of the performances, her hair had been like this for a long time. Elvis always took into account the image and how to give that special touch to differentiate from the rest.

ELVIS LIVE- Performances broadcast on KWKH Radio
Elvis in performances performed in 1955 live performances "Lousiana Hyride"

April 26, 1955

Anecdotes 1955

On April 26, 1955, Elvi, Scotty and Bill performed in Big Spring at the Municipal Auditorium. It was the second day of a small tour with artists Dub Dikerson, Chuck Lee and Gene Jay. The day before had been very busy because they performed in two places and the second day they were late because they had a car breakdown. So they stayed up until dawn without sleeping, when they arrived in Big Spring they looked for a motel to stay for a few hours and rest. They were in "The Record shop, located at 211 S Main Street. It was famous both for its selection of new releases as by its eccentric owner, Oscar Glickman. Elvis saw Glickman behind the cash register and introduced himself explaining that they were on tour and had some records to promote. They had them in the back of the car. He told Glickman that he would make him a deal to keep them. 
When they were performing they used to sell records from the back of their car it was standard operating procedure for small time recording artists in those days. Most musicians had to make a big self-promotion to be heard. Glickman hesitated a lot because he didn't need 78 records that he didn't know if he could sell. But Elvis was as always so convincing that he invited him to store Luff at your favorite place a modest restaurant around the corner. Glickman sued Elvis Presley for the profitability of sales. 
Elvis spoke in a very modest manner and as always with such charm that he finally convinced Glickman to buy his record company. to be famous with that look, with that hair... he'd probably win something, but he wouldn't get far. which forty years later, they were still there and Glickman's grandson stumbled upon them. It is strange to think that a record store owner did not realize that the same boy who was there would go on to be the most famous artist of the moment. And that the value of those discs stored over time, for any collector, would become incalculable. 
But it is true that this commercial Glickman was obviously one more skeptic of the moment, of those who never accepted him. Although Elvis would get away with it, it would surely have been better to have sold them in the back of his car to his true fans. .

"Following the Path of the King..."

Live Performances

An example of the performances that could be recorded live, during the performance. The song "TWEEDLE DEE" by Winfield Scott. A song that he regularly sang at the Louisiana Hyride. With Scotty Moore on guitar, Bill Black on bass and occasionally accompanied on piano by Floyd Cramer and Jimmy Day on guitar. Although the sound is not very good, in these performances Elvis Presley, who is already very popular, feels more confident. The public reacts to his movements, still timidly.El público  reacciona con sus movimientos, aún de manera tímida.

April 30, 1955: Gladewater, Texas

March 19, 1955. Eagles Hall, Houston..Sings the song "I GOT A WOMAN" by Ray Charles

"Good Rockin´  tonight" de Roy Brown

The Climb to the Top

In the middle of the year, in May 1955, the figure of Elvis Presley was already known in all the places he planned to perform. The help of the promotion of his concerts, through Radio and the modest contribution of his manager Bob Neal, who did everything possible to move his performances, who finally recognized that Sun Records was a very small. Elvis needed an economic boost for his promotion and a big record company that would push his Camino to a national level. Sam Phillips did not have the economic power to boost his career and despite the multiple offers that were beginning to be present, he still did not want to let them control his destiny. The weight of Elvis Presley on the billboards of the performances would be on the rise. His success in them and the reaction of the public, made clear the growing interest in his performances. Colonel Parker was already convinced of the total influence of this artist and saw his gold mine in his. From now on he is going to try at all costs to get hold of his professional future in order to become his manager. But there are still a few months for this...

"Following the Path of the King..."

April 30, 1955.

This recording may come from a tape made by KWKH, since a Louisiana Hayride remote broadcast program was made. Houston DJ Biff Collie witnessed the performances and recounted them as the public's vehement reaction to Elvis Presley's performance. The song "Tweedle Dee" was on his song list. Elvis said two months before that it would be his next single, but he would never get to record it in a studio.

Hank Snow

Hank Snow, country singer, would be of great importance in the first tours of Elvis Presley. He was represented by Colonel Tom Parker. Hank would be an influential character in the proposals that were made for the concerts and supported with Bob Neal, a young artist named Elvis Presley, to perform at the Grand Ole Opry. Hank Snow was a well-known artist and performed around the country and later also influenced his manager, Parker, to include him in the cast of artists who performed with him on his "Jamboree" tours. By then in May 1955 they would already have an important weight with the figure of Elvis, Scotty and Billy.
The presence of Elvis created such a ruckus, shouting, etc ... that it overshadowed the main artist, to which they got used to over time, since his fame grew by the moment ...
"Following the Path of the King..."


EAST TEXAS TOUR AND JIMMIE RODGERS FESTIVAL The three-day Rodgers Festival in Meridian, Mississippi: 
May 20 in Kilgore to May 28 in Dallas. 

May 29, Fort Worth, to June 3, Lubbock. 
Martha Carson, Ferlin Huskey, Carlisles, Jim Ed and Maxine Brown, Chuck Lee, Onie Wheeler are also on the bill. Reserved by Bob Neal.

 TOUR WEEK in Arkansas and Texas: 
From June 5, Hope, to June 10, Breckenridge.

 TOUR WEEK of Mississippi and Texas: 
From June 14. Bruce, June 19. 
Houston.Marty Robbins 

TOUR: June 20, 
Beaumont-June 30, Mobile.Stars of the Grand Ole Opry, Louisiana Hayride and Big D Jarmboree. 
Including Maddox Brothers, Sonny James, Charlene Arthur, Texas Stompers. Six-City Week TourThe tour covered a great distance in one week.

 Tour of six cities in four days:

 July 1, Placune, Louisiana to July 4, Brownwood, Texas.
 It included a triple header on July 4 at Stephenville, De Leon and Brownwood at the Battle of the Songs. 

Local shows on the way to Louisiana Hayride: 
July 20, Cape Girardeau, to July 23, Shreveport. 

FLORIDA TOURJuly 25, Fort Myers, to July 31, Tampa. 
Elvis was booked for a late tour by comedian Andy Griffith. With Marty Robbins, Jimmy Farmer, Ferlin Huskey, Jimmie Rodgers Snow, Glenn Reeves. Tour organized by Colonel Parker.

The confusion of the moment


Bob Neal, who had managed to accomplish many things, most recently the inclusion of D.J as drummer, was in great confusion at the hands of Colonel Parker. There was a general chaos due to his handling..., he was not yet Elvis's manager but he did and undid as he pleased. With promises, with flattery, with deals.
Sam Phillips needed the deal, though he wouldn't have wanted to accept it if economic circumstances hadn't forced him. The Colonel was hurting him since he was telling the promoters that Elvis's contract was going to be sold and this was sentencing Sun Records, without ensuring anything... The image of the Sun was at stake because of the Colonel.  All this would come to an end but without any security in November. 
On the other hand, the publisher Hill & Range, who saw Elvis perform through a manager, Grelun Landon, in the company of RCA promoter Chuck Crumpacker, would see Elvis perform at the Jimmy Rodgers Festival in May 1955. Amazed by the result... They contacted the Aberbachs who had set up the company Hill & Range to report this singer. They represented many artists such as Bill Monroe, Hank Snow... Landon encouraged the company to get in touch with Sam Phillips and Bob Neal, to reach an agreement, in order to benefit from this promising singer... Bill Randle had also put in contact with Aberbach to reach an agreement and represent Elvis... 
Everything was getting complicated by the handling of Colonel Parker, who finally still had nothing. In short... Everyone really loved Elvis... But the Colonel didn't clarify anything because he still had nothing... And he didn't let anyone do it either, he wasn't even his manager and he was taking functions away from Bob Neal, who had removed everything... Knocked on doors... Etc. Bob Neal had already contacted several record companies... The Path was already clear and Elvis's future was about to change.
But it would take a few months to reach that firm. 
"Following the Way of the King..."

The private world of Elvis Presley

The Pink Cadillac

Dreams sometimes come true... wishes that at a certain moment come true. Elvis wanted to be a singer, an actor and from 1954, his dream began to come true. Day by day what is expected will arrive suddenly and almost without knowing the reason.
It was the year 1955, in the beginning, the time of concerts and of traveling day by day from one place to another to perform. Elvis always wanted to own a Cadillac and through his dream he fulfilled his wish.
Elvis bought his first Cadillac in March, the pink and white '54 Cadillac Fleetwood Series 60 Special. This car served as transportation for Elvis, Scotty and Bill for months, at the time of concerts. On the night of June 5, after the performance in Fair Park, Hope, Arkansas, the Cadillac burned down because of the brake lining, which caught fire. After the show, Elvis was going out with a girl from there, they were in the car on the highway between Hope and Texarkana, Scotty and Bill are traveling with other friends in another car. About halfway there, Elvis's pink and white Cadillac catches fire and burns. The car was completely burned. Fortunately, they had time to collect their instruments and clothing. Elvis was devastated by the loss of this car that represented something important to him.
At this moment his artistic path was already taking off and the car was the means of transportation for the three musicians. His mother was a very sensitive and intuitive woman and she was a little scared when Elvis went out with the car for the performances. They were so close that Gladys, it seems that she had a feeling about her, she told him that she woke up from a deep sleep at home because of the feeling that something was wrong. Elvis sat desolate next to his burned out car, everyone could see the disappointment on his face. They had to perform in another city so Scotty went back to Memphis to get another car, the pink and white Ford Crown Victoria that Elvis recently bought for his parents, while Elvis and Bill fly to Texas.
On July 7, 1955, Elvis purchased his second 1954 Fleetwood Series 60 Cadillac, in blue with a black roof, to replace the Cadillac that burned out. The car was repainted pink by order of his neighbor, Art, who designed a custom pink color for Elvis that he called "Elvis Rose", but the car kept its black roof. It would be the car that he gave to his mother, although she never had a driver's license. She would use it again to get around her concerts... They also used it in 1956, unfortunately they also had a serious accident near Texarkana, on September 2, 1955, against an oncoming vehicle. Fortunately, only the car had to be repaired.
It would become legendary like Elvis's Pink Cadillac.
"Following the Path of the King..."

The Absence of Rhythm

Elvis Presley performed on July 3, 1955 from 4:00 to 8:00 p.m. at the Hoedown Club at 4320 South Lexington Boulevard in Corpus Christi.
Elvis was already beginning to be known and popular, because in the advertisements they were mentioned as the star trio of the Louisiana Hyride. They were singing with other artists on the show that day who were not in the advertisements.
Sometimes Elvis added more songs to the show due to success, to fit the requirements of the concert. It is known that he sang at least two songs that were not on his usual set list, the song "Born To Lose", an original by Ted Daffin's Texans and the song "Do The Mess Around", which was a rhythm and blues. , which was a Ray Charles hit from 1953.

Red West, his friend and his bodyguard, would tell an anecdote that happened during that concert. From the beginning there were three musicians, voice, guitar and bass, it was clear that they already needed the accompaniment of a drummer to be able to keep the rhythm and give their performance more presence. As they did not have a permanent drummer, Elvis had asked one of the musicians to accompany him during the performance. He finally got one up to play drums, but he told him he wasn't a drummer, he was a trumpeter. Then Elvis got mad because he told him to just go on stage and just keep the beat... The trumpeter would play during the song "Maybellene", but with a stick...
It was evident that they urgently needed a real drummer to properly accompany them in their performances.


1July 11, 1955. SUN RECORDS. Memphis.

At this time Sam Phillips wanted to add more material to publish in the Elvis discography. For a new song he would again count on composer Stan Kesler who composed a country tune with a title similar to a play on words. At first, Elvis expressed his doubts about the song "I Forgot To Remember To Forget", because he was not convinced whether he liked it or not, but playing with the tempo and the collaboration of drummer Johnny Bernero, slowing down as Sam indicated, with this he began to get excited about the song.
Sam suggested doing a cover of a song he shared the copyright on, Junior Parker's "Mystery Train," a 1953 Sun hit. Elvis, Scotty and Bill drove the track on their own, without the need for drums. The lyrics were quite particular and at the end, Elvis laughed with joy, not realizing that his laugh would become one of rock 'n' roll's memorable moments.
They included the drums again when recording the song "Trying To Get To You" last session, getting into the recording. Sam thought that this song could be a future single to be released.


SUN RECORDS. Producer and sound engineer Sam Phillips.

Scotty Moore, guitar;
Bill Black, bass;
Johnny Bernero, drums.

The song was recorded on July 11, 1955 at Sun Records.  The recording was made on July 11, 1955 on Sun Records. A country song, written by Stan Kesler and Charlie Feathers. Sam Phillips, Elvis's producer, had not yet shown much interest in selling Elvis's contract at this time. . What interested him at the moment was to make more recordings to be able to publish. A song that would be recorded by many Sun Records artists, Jerry Lee Lewis, Johnny Cash, Charlie Feathers... It was included in the EP "Heartbreak Hotel" in 1956, in the LP "A date with Elvis", "The Sun Sessions" , "The complete Sun Sessions", "The king of rock and roll", "Great country songs", "Sunrise", "The country side of Elvis", "Elvis at sun", "Elvis 2nd to none", "Memphis Recording Studio Vol.2", etc. For the material he turned to Stan Kesler, the same songwriter of "I'm Left, You're Right, Ella She Ella's Gone," who with Sun artist Charlie Feathers came up with a second country tune with a title similar to a play on words At first, it was a song that Elvis really didn't like and he would hesitate to sing this song. It didn't seem right to him, because the chord progression was a bit heavy, too country, but Sam suggested some changes and the three musicians trying and playing with the tempo, would finally get Elvis excited about the song.


Stan Kesler was not only a composer, but also a singer and producer, he would become a sound engineer at Sun Records. He formed his own record company. In 1955 he became a session musician for Sun Records, playing with the Carl Perkins band and others, before switching to bass, which he played on Jerry Lee Lewis's 1957 hit "Great Balls of Fire," also recording with Orbison. In the late 1950s, he founded his own record label, Crystal, and later started two more labels, Penn and XL, etc. Kesler also engineered recording sessions for the Goldwax label and put together a band of session musicians that included guitarist Reggie Young, drummer Gene Chrisman, keyboardist Bobby Emmons, and bassist Tommy Cogbill. After achieving initial success with Kesler at Goldwax, the band was persuaded to leave to join Chips Moman's new American Sound Studio in Nashville, where they became more successful as the "Memphis Boys". With whom Elvis would record in 1969 at the American Sound Studio sessions.

"Following the Path of the King..."


Sam Phillips, producer and sound engineer. 

Elvis Presley vocals. 
Scotty Moore, guitar
 Bill Black, bass
Johnny Bernero, drums. 

Junior Parker's "Mystery Train" The recording was made on July 11, 1955 on Sun Records. Sam suggested doing a cover of a song to which he shared the copyright, Junior Parker's "Mystery Train", a 1953 hit for Sun that was recorded by Herman Parker. A song that Elvis approached cheerfully and with a lot of rhythm, the help of a particular rhythm in the musicians provided a catchy song that is easily remembered. It would be the other side of the single released with the song "I forgot to remember to forget". Later it was included in the EP "Any way you want me", "For Lp Fans Only", "The Sun Sessions", "The Complete Sun Sessions", "The king of rock and roll", "Platinum: A life in music ", "Sunrise", "Elvis`Golden Records Vol.1", "Artist of the Century", "Elvis y Sun", "Elvis R ´n´B and "The Essential Elvis Presley". Elvis was enthusiastic about the song in such a way that he got carried away and believed that he was doing it wrong. At the end of the recording Elvis had had such a good time that he laughed with joy, this would remain on the recording, without realizing that his laugh was left as memorable moment ... It was a recording that would give a lot of play between the three musicians. the Blues Hall of Fame.With Sun Records he had three hits, "Feelin' Good" (which reached number 5 on the US Billboard R&B chart), "Love My Baby" and "Myster and Train", a version of which was recorded by Elvis Presley. The fifth and final single that Elvis would record for Sun Records. "I forgot to remember to forget" and "Mystery train". Released in August 1955, it entered the regional charts in Florida, Tennessee, and Texas. 2 months later it entered country charts and national radio playlists. At the end of February it became Elvis' first national hit on the country and western music charts, 24 weeks on the charts. It would be the impetus of the new RCA label at the end of 1955. Mystery Train by Elvis Presley on 1955 Sun 78. - YouTube

 "Following the Path of the King..."


SUN RECORDS. Producer and sound engineer:  Sam Phillips.

ELVIS PRESLEY voice and piano?
Scotty Moore guitar
Bill Black, bass 
Drums Jhonny Bernero. 

Elvis recorded this track by Margie Singleton and Rosemarie McCoy on Sun Records on July 11, 1955, with the curious backing of drummer Johnny Bernero. This would be the sixth single, featuring the bluesy song by Billy "the Kid" Emerson, titled "When It Rains, It Really Pours". Recording had been attempted at the beginning of the month, but until today the final session that would lead to the master could not be recorded. 
Sam Phillips wanted to release this song, but Elvis moved to RCA before this could happen. This song had already been recorded by The Eagles in 1954. Although RCA acquired the unreleased master as part of the deal with Sun Records, missed an earlier, incomplete version that Elvis recorded at Sun on February 5, 1955. Elvis's new label released the track with the song "I Love You Because", August 1956. It was first included on Elvis album, Elvis Presley, and on EP of the same name. He subsequently appeared on "The Sun Sessions", "The Complete Sun Sessions", the CD version of "For LP Fans Only", "The King Of Rock And Roll", "Sunrise", "Artist Of The EP Century", " Elvis at Sun", "Elvis By The Presleys", "Hitstory2 (European edition) and "Elvis R 'n' B". and in the reissue of the first Lp "Elvis". It was wanted to be included in the TV show "Elvis" The Comeback Special from 1968. It was wanted for the live medley and Elvis recorded it on the two taped shows on June 27, but the idea was eventually dropped due to timing issues and it was dropped from the live finale. this song in live repertoire from 1974.. In 1954, Rose Marie McCoy associated with the composer Charles Singleton, it was the year 1954. They would then have their first success, "It Hurts Me to My Heart", recorded in 1954 by Faye Adams. Their collaboration lasted about eight years and, individually and together, they wrote many hits for the top artists of the day, including "I Beg O f You" by Elvis Presley, "Trying to Get to You" by The Eagles, "Mambo Baby" by Ruth Brown and "Little by Little" by Nappy Brown. Singleton & McCoy's songs were also recorded by Nat King Cole ("If I May", "My Personal Possession"), Little Willie John ("Letter from My Darling"), Eartha Kitt, Eddy Arnold, Big Joe Turner, The Du Droppers, Little Esther, The Clovers, and many other major artists of the day. Charles Singleton without Rose McCoy, wrote or co-wrote over a thousand songs. "Strangers in the Night" reached number one on the Billboard charts for Frank Sinatra, and Elvis Presley's version of "Spanish Eyes" had sales of over three million copies. 

When Elvis initially recorded the song, Elvis was simultaneously playing the piano and because his piano playing wasn't up to par, since he wasn't a pianist, he just played his own way...producer Sam Phillips erased the piano sound on the master take, so in addition to the Elvis voice, all you hear is the guitar, bass and drums. Elvis's piano is heard on the version from the July session and appeared on the 1956 "Elvis" LP. Various versions exist by other artists such as Ricky Nelson, Eric Burdon, Paul McCartney, The Teen Kings with Roy Orbison, etc. The version that Elvis did does seem to have a clear influence from the previous version of The Eagles. Also the guitar solo seems to be a substitute for the saxophone that is heard in the original. 
On the charts, since it wasn't doing anything new. It was about making albums to move new music, but in this case, despite being a good song, they didn't do anything original. They were still looking for songs that could be an absolute success to make themselves known.
"Following the Path of the King..."

July 1955 photographs William Speer

Professional photos in Studio

July 1955

Photographer : William Speer

July 1955.
One more step to success and Eternity.

The promotion and commercialization of the image of Elvis Presley would be another important factor for his manager Bob Neal, so in July 1955 he took Elvis to the studio of a professional photographer named William Speer to take pictures of him, so that he could have the possibility of his protégé not only being heard, but also known by his image. Elvis had already had two previous sessions that Sam Phillips had proposed for Sun Records, but they had nothing to do with the ones that Speer finally did. William Speer had a studio at 1220 Linden Avenue, his specialty was black and white photography, a very Hollywood-like style, like the photographs taken for movie actors. His Rembrandt's technique was based on the incidence of spotlights, projecting shadows downwards on the artist's face or body. Speer didn't like the typical smiling poses and neither did Elvis... when he met him he didn't know who he was or what he did, but what he did tell him is that he seemed to have a clear image of an actor for his camera. The vision of him in the photographs was perfect, since his promotional photos from 1955 came out of these photo sessions, for autograph signings, etc. He would validate 11 photographs of which 2 were mainly used for promotion. At the beginning of these sessions, Elvis was wearing a white jacket that he wanted to show off, but the photographer did not like its effect and asked him to take it off, finally he also asked him to take pictures of him without his shirt, with his torso naked, which Elvis He did not like it and forbade these photos to be published, because they caused him shame. Elvis was a young man with a very strong personality in these things, he did not like being the object of anyone and although he initially agreed, he later asked that these photos not come to light. Some magnificent photos came out of these sessions to remember in which You can see the great beauty of the face of a twenty-year-old who wanted to reach stardom. The photos highlight the features between shadows and light, of Elvis Presley's face, it can be considered that they would be the first professional photos that would be made for him. Elvis liked these pictures, even if he didn't like posing shirtless for him, so his parents would also take pictures in Speer's studio and his girlfriend at the time, Barbara Hearn, would also take pictures in it. 
One of his photos, with his hands crossed, would be one of the best known, because later Speer would give it color and with this he promoted himself from 1956. Like everyone who knew Elvis, Speer defined him as a young man with a magnetism animal, a peculiar beauty with an electric charge that magnetized people...
Elvis Presley, the man, the myth... The King!

"Following the Path of the King..."

Johnny Cash and Elvis 

On July 31, 1955, the Florida tour ended in Tampa, followed by a short five-day tour that Bob Neal arranged with Webb Pierce. In this Elvis would sing for the first time with the new artist of Sun Records called Johnny Cash. A powerful baritone voice that would start a career dedicated to country, which over time would become more and more important, not only as a singer, but also as a composer. He and Elvis became immediate friends, in addition to sharing more tours throughout the following months, since they coincided in many performances. 
Elvis would eventually introduce Johnny to the most important woman in his life, June Carter, singer and comedian, who would become his wife. Although over time their paths took different paths, they always maintained a good friendship. Although they did not sing on stage together, a year later, on December 4, 1956, they would reunite at SUN RECORDS, coinciding with two artists hired by Sam Phillips, Jerry Lee Lewis and Carl Perkins. 
From this meeting a Jam session would arise, in which the four would sing and a recording was made of their fun, which Sam executed with success and that over time would become a legendary session renamed "The Million Dollar Quartet" 
Elvis Video with Johnny Cash: 
"Following the Path of the King..."

1955    Road to Success

1955 A busy year for Elvis, Scotty and Bill back on the road with shows. Traveling across the country with various stars and also teaming up with the performers of the Louisiana Hayride. Colonel Parker appears on the scene because he is in charge of the artist Hank Snow. Again in Hayride several performances. And the collaboration of D.J Fontana is requested to accompany them as a drummer. In the spring, they try to get Elvis to be invited to a TV program by Arthur Godfrey's Talent Scouts, without success, he would be rejected. But his popularity is on the rise, their performances create a special and different appeal and especially for teenagers. Their shows are different, their sexy movements and their physique draws a lot of attention apart from their music that changes with traditional styles. In many cases the enthusiasm is general and breaks with all schemes. His figure begins to be known and attracts more and more attention. The daily concerts were hard in the beginning because they spent a lot of time on the road, they didn't eat well, sometimes they didn't sleep... with little money. 
The year 1955 would be important because his performances are becoming more confident and the public begins to respond ... from the middle of the year a figure enters Elvis Presley's path that will change his life ... 
The Colonel Tom Parker. July 1955.


ELVIS PRESLEY August 1955 Elvis performing on August 20, 1955 at the "Lousiana Hayride". The Municipal Auditorium, Shreveport, Louisiana. Elvis Presley - Complete "Louisiana Hayride" performance (August 20, 1955) - YouTube

Webb Pierce Tour Package:
August 1, Tupelo, to August 5, Memphis. Pierce should have headlined, but Elvis Presley closed the show at Muscle Shoals, and possibly elsewhere. Bill included Johnny Cash and Wanda Jackson.

Tour por el este de Texas:
August 8, Tyler, to August 12, Kilgore. Support from Jim Ed and Maxine Brown. Pre-ordered through Tom Perryman of KSIJ Radio.

Tour Mid Texas:
August 22, Wichita Falls, to August 26, Gonzales. Louisiana Hayride Package including Johnny Horton, Betty Amos.

Jamborees: From 1 to 3 September
Con John Cash, Charlene Arthur, Floyd Cramer .

Tour Package: September 5, Forrest City, to September 8, Clarksdale.
 Elvis headlined with the support of Johnny Cash. Bud Deckelman and Eddie Bond.

Hank Snow All-Star Jamboree Tour: September 11. Norfolk, September 22, Kingsport. Elvis led the pack this time. With the Louvin brothers, Alabama Sand Boys, Cowboy Copas, Hank Snow's Rainbow Ranch Boys.

D.J Fontana 

The basis of rhythm

Dominic Joseph Fontana (March 15, 1931-2018) Nicknamed Dj, he began playing drums for Hayride singer and promoter Tommy Curtrer.
He was a regular at the Louisiana Hayride, during the Saturday night radio broadcasts. He joined Elvis, Scotty and Bill who had no drummer. At that time they called themselves The Blue Moon Boys. With a good touch, power, swing, good timing as a drummer. The first time Louisiana Hayride played with Elvis was in October 1954 in Lousque although he joined them in early 1955 in Texas.
The first recording of him with Elvis was on January 10, 1956. DJ Fontana said that Elvis could play various instruments, guitar, bass, piano ... whatever he wanted. Dj was influenced by big band music and his point of view was very simple, when he heard what Elvis was doing with Scotty and Billy, he first thought that he didn't want to spoil his sound.
He always played what he felt and his precision, power, swing, he adapted perfectly to the group, so with Elvis he would stay true to his music.

The road to success.
The beginning

The path of success started by Bob Neal and the collaboration of Tom Parker. Since mid-January 1955, another factor enters Elvis Presley's path that will definitively change his course. Bob Neal had already promoted Elvis, on the radio, in concert performances and his image was on the rise, he was already popular and his concerts began to take on another dimension, his image, his voice attracted a lot of attention and the public responded enthusiastically in their performances. Since the beginning of the year 1955, Parker already hears about Elvis, his performances and is going to be interested in seeing him personally. On Saturday, January 15, 1955, about two weeks after Bob Neal took over as Elvis's manager, Parker and his assistant, Tom Diskin, headed to Shreveport to see Elvis perform at the Louisiana Hayride. Colonel Parker would begin to notice the young Elvis Presley and the reaction he was already beginning to cause in his audience. During this time, Parker approached Bob Neal with an offer to cast the young Elvis Presley on some country music package shows. When the Colonel reached an agreement with Bob Neal to collaborate in the artistic direction of Elvis, many things had already been achieved, it was already easier for him, because Bob had already knocked on the doors of several record companies, he had tried to get Elvis out on TV, etc... it was just a matter of time and cleverness. Then, the collaboration with the Colonel came from the month of May.

The influence of Colonel Tom Parker, who had already realized the value he was beginning to have as an artist, the possibility of being able to make this boy bear fruit over time, made him approach him at all times to talk to him, to try to gain his trust with promises, so that he can finally become his manager. Over time it would turn his future as an artist through RCA, a prestigious record label, and its broadcast on both Radio and Television.

During his time as Eddy Arnold's manager, Parker landed a weekly radio show for Arnold on the Mutual Network. He then got a daily network show, "Checkerboard Jamboree," and Arnold's popularity led him to leave the Grand Ole Opry in 1948. Eddy Arnold was under contract to RCA Victor, and Parker had a special relationship with producer Steve Sholes. , director of the country division at Rca. However, in September 1953, Eddy Arnold fired Tom Parker as his manager. The firing was due, in part, to Parker's involvement in Hank Snow's run. Snow, who was also at RCA Victor, needed a booking agent in the fall of 1954 and, seeing the success of Eddy Arnold, met with Parker. Parker formed a booking agency, called "Jamboree" Attractions, with various artists. Parker organized several tours with Hank Snow as the headliner. In 1955, Bill Haley and the Comets hit the top of the charts with "Rock Around the Clock." Parker booked Bill Haley and the Comets on a tour with Snow through the Jamboree attractions in 1955 and the shows sold out. Also in 1955, Parker told Snow about Elvis Presley and agreed to have Elvis in some programs led by Snow. This would be a great success since despite being an unknown artist Elvis caught the attention of the public who went crazy with his acting. From then on, the Colonel began to talk with Elvis, because he was very interested in capturing him to sign with the Jamboree Agency. He realized that he was stealing the show from Hank Snow. It was proposed to Bob Neal, Elvis's manager, that Jamboree Productions book 26 guest appearances on Snow's television show, 26 television and radio appearances on 26 Saturday nights, one hundred personal appearances by Elvis Presley at venues designated by Colonel Parker, $10,000 cash to be paid by Hank Snow and Colonel Parker. The condition was that he release himself from the contract with Sun Records and sign with another larger record company of Tom Parker's choosing. The terms of the contract would be: three percent royalties to Elvis Presley, two percent royalties to Hank Snow and Parker. Total package price for the above: $40,000. By accepting this proposal, Elvis was supposed to break definitively with Sun Records, being free of any recording commitment and allowing Colonel Parker to negotiate a contract with another company. On July 24, 1955, Elvis signed a contract in which it was indicated that Colonel Tom Parker and Hank Snow Attractions would provide exclusive representation.

Bob Neal continued as Elvis Presley's manager, but the Colonel made his presence more and more important, not only with Elvis, but also with his parents, with whom he already had some influence.

The Colonel's influence was so great in the field ino of Elvis, that on August 15, 1955, Elvis represented by his parents, Vernon and Gladys would sign his contract in Memphis. He would appoint Colonel Parker as his "artistic advisor". From then on he would control all aspects of Elvis's career. With this deal, Colonel Parker would retain the exclusive rights to one hundred performances over the course of the next year, 1956, for each of which the singer would receive $200, including pay. of the accompanying musicians. The Colonel was reimbursed for his expenses and charged $175 a day for the first performance, $250 for the second and $350 for the third. he also retained exclusive land rights in more than 40 cities... and with the right to negotiate contract renewals. From this moment Elvis was part of "Hank Snow's Jamboree Attractions". From then on, a permanent drummer was added to accompany him to complete his show. It was evident that this character, Parker, knew how to do his job well and to his own benefit, without being Elvis Presley's manager. He was a cunning and unscrupulous man, but what is clear is that Bob Neal left it all to him halfway through when it passed into his hands. Surely Elvis' path would have been successful without the Colonel, because the record companies were already interested in him and it would simply have been a matter of time...Parker was still Snow's manager and he negotiated a new five-year contract with Steve Sholes for that Snow continue at RCA Victor. After these contracts were signed, Parker contacted Julian Aberbach with Hill and Range and informed him that a major label deal was being closed. Although it was not yet true, Parker asked Hill and Range to help him arrange a contract with RCA Victor. Everything was underway, Elvis tours continued for the next few months. Bob Neal had secured a one-year contract with the Louisiana Hayride, although the Colonel did not agree. Elvis played the Louisiana Hayride every Saturday night, as well as various dates in Texas, Arkansas, Mississippi, Virginia, North Carolina, Tennessee, and Missouri. Colonel Tom Parker was obsessed with gaining control of Elvis's future, so he went to New York, checked into the Warwick Hotel, and told RCA executives that he represented the singer, when in fact, he wasn't. ... he was only his adviser, but having convinced Elvis's parents, he backed this up with a telegram from Vernon and Gladys Presley, as well as an agreement with Bob Neal, which he had no choice but to confirm by submitting his label. This would be one of his tricks since there was still no exclusive management contract between him and Elvis, not even a verbal agreement. Bob Neal was his manager and he wanted to score the point that would give him the key to that signature. The Colonel didn't care and wanted to begin negotiations with RCA AND with Hill and Range, since he already knew the latter as Eddy Arnold. On October 28, 1955, Parker received a telegram from RCA. It was from W.W. Bullock, who stated that RCA was only willing to offer $25,000 for Elvis' contract with SUN RECORDS. The next day he and his assistant Tom Diskin went to Memphis and met with Sam Phillips and Bob Neal. Ben Starr, the attorney for Hill and Range, arrived the same day to work out a publishing deal. Sam Phillips didn't believe the Colonel at all, never trusted him, and told him the deal was for $35,000 to give up the Presley's contract. He never wanted to deal with him, but Tom Parker gave Phillips a check for $5,000 as a non-refundable deposit. He was taking a risk and Sam Phillips agreed to give Parker two weeks to collect the full payment. Finally Colonel Parker got hold of the money and the signing of the contract was set for November 21, 1955. 

"Following the Path of the King..."

The Fate of the Artists

October 1955. It would still only be the beginning of the madness that would come later. In October 1955, Coroner Parker's tour paired Bill Haley & the Comets with Hank Snow on an extensive tour beginning in Omaha on October 10. Elvis would join this tour in Oklahoma. The poster dedicated the same space to Bill Haley and Elvis. The idea was to capture the attention of RCA, who was already interested in Elvis, and see that there was already a lot of interest from the public.
 Elvis also met Bill Haley, who lived his best artistic moment, in 1953, the song "Rock Around the Clock" was recorded by Haley and his group The Comets. It was initially relatively successful, peaking at number 13 on the Billboard pop charts and charting for only a few weeks. A month later he would re-enter as a number one. From then on it would be an absolute success and obviously in concert it was the star of any bill or tour. Although it was an honor for Elvis to share a poster with one of his idols, he was already used to the shouts, the fans, the applause and, above all, to astonish whoever gave the poster its name. 
He was in a good place and his performances with Scotty Moore and Bill Black were opening a lot of doors. Bob Neal was still in his role as manager and Colonel Parker had already taken over his supporting role and was pulling the strings to make his image even more important. In addition to increasing Elvis's personal self-esteem, he grew even more every moment, not knowing that he still had a little time, experience and above all to shape his performance on stage. 
His humility made him surprised by everything that was happening, but the Colonel's incessant insistence increased his aspiration and made him ambition even more. But it was still early... Elvis was impressed by the possibility of singing with him, he felt very disappointed because although he sang before him, the public was aware of Bill Haley's performance and they did not applaud him as much as he did. Elvis was already used to darkening everyone who was sharing the scene with him and this would be a disappointment to his pride and something to think about, so in the dressing room Bill gave him some advice for the scene. 
Bill would tell how Elvis told him about his admiration for him, the advice he gave him would be to lean more on rhythm songs, not ballads. This was said to him after a performance. Elvis was very upset and after his performance he was found very disheartened because he saw a great difference between the two. Elvis felt that there was a lot of distance at the moment, since Bill had the public in his pocket, they spent a week together in which they talked a lot about all this. 
But this little anecdote would remain empty, after a few more months in which Elvis would reach the top... 

"Following the Path of the King..."

1955, The year of Madness.

1955 was a very eventful year for Elvis Presley, from one place to another, many concerts, many cities and many new faces, artists, friends, characters that he would meet along the way and that would become colleagues, friends, etc.
At this time of concerts during the year 1955, Elvis would meet June Carter, comedian, singer, who toured with the Opry group and her husband Carl Smith, country singer. Elvis met June Carter, became friends with her, during her tour of Texas and she would invite him to stop by her house if she ever came through Nashville again.
On one of these trips that Elvis made to Nashville, he decided to visit her at her house and went with Red West, who was her bodyguard and friend at the time, because she was with him everywhere.
In 1955 Elvis's personal circle was still small and Red was more or less than his shadow... It is not known if they were the wrong day, if they appeared by surprise or had an appointment already arranged, but the fact is that when they got there and knocked on his door, no one was home.
From Elvis's spontaneous and folksy temperament, it's very likely that it was an afterthought and he said to Red, let's go to June's house. Since no one answered at her knock and they were both tired and hungry, they couldn't think of anything else but to break a window and go into the house. Not happy with this, instead of waiting, they went to the kitchen and made some sandwiches, since no one came home they decided to sleep there in a double bed, which was the main bedroom. They fell asleep and the next day, Carl Smith would arrive at her house. He saw the broken window and carefully entered the house, seeing the mess in the kitchen and headed for the bedroom. Elvis heard his footsteps and when Carl arrived he opened the door, he was sitting on the bed rubbing his eyes... he said "Hello Carl". Then Red had woken up too and fearing that Carl thought that the body that was covered by the sheets was that of June, his wife, he discovered himself very slowly... he stuck his head out and also said "How are you? .. .
This particularly curious image made Carl Smith laugh, because such a number was not expected.
Hours later when June arrived at her house and they ate, sang, talked and surely they laughed at this anecdote... Elvis Presley, genius and figure...

"Following the Path of the King..."

October 1955

Louisiana Hayride Jamboree Tour in Texas:
October 3, College Station, to October 8, Houston. Elvis Presley headlined the bill. It included Jimmy and Johnny, Johnny Horton, Betty Amo

Elvis Presley Jamboree Tour of West Texas:October 10, Brownwood, to October 15, Lubbock. With Johnny Cash, Floyd Cramer, Wanda Jackson, Jimmy Newman. Buddy Holly opened the Buddy and Bobby show in Lubbock.
October 16, Oklahoma City, to October 29, Shreveport.
Variety of shows with Bill Haley .Oklahoma City.
 With Roy Acuff and Kitty Wells in Cleveland and the Greater Gulf States Fair in Prichard.

Elvis Presley, The Young Nerve

October 3, 1955. In the early days, Elvis discovered his potential influence with the public, with women, with fans in general. But his attitude, sometimes fresh, other times daring, and his natural way of being, sometimes pleasantly surprised and other times could unintentionally anger the attendees. Elvis was amazed at his rise that was still even a shadow of what was to come later. Everything would start to happen in a very unsettling way and every time he came out on stage, anything could happen… 
Concert in College Station at the G. Rollie White Coliseum on the campus of Texas A&M University in Bryan, Texas. The show was sponsored by the Office of Student Activities. A small tour of small venues in Texas had begun this week, headlining a seven-act touring group, the Louisiana Hayride Jamboree. With Elvis Presley, there was Jimmy and Johnny, Johnny Horton, Betty Amos, David Houston, comedian Willie Birdbrain and Daldon... Also present were Tillman Franks, who booked the tour, and Horace Logan, who acted as master of ceremonies. 
Elvis already had a lot of filming on stage after a year from one place to another, his popularity was already a fact and the attitude of the public was already a clear symptom of euphoria, shouts and uncontrolled attitudes. Elvis, although he was a modest young man, had already assimilated this attitude and began to control the response attitude of the young people who attended the concert with his movements. He was dressed in a pink jacket, black shirt with an open collar, his attitude was somewhat mocking, or passing from laughing... the sight that followed would be amazing. At his performance, hundreds of girls screeched and twitched and twitched at his movement. 
Everything was incredible, because it was still not even the slightest part of what would happen a year later, but the public got up, The girls had gone crazy seeing Elvis go on stage. Some hiked up their shirts in excitement while some girls took off their panties throwing them on stage. Elvis did not cease to be surprised, but he looked from the first row and saw that there were many military men, with normal boys who were having fun with everything that was happening. Elvis's attitude was sometimes so spontaneous, that he realized that he had a piece of gum and should sing, so in a natural way and without thinking about it.
Elvis spit a piece of gum on stage causing something unthinkable. A bunch of the male attendees, military or not... rushed onto the stage shaking their fists and wanting to kick the young performer off the stage. Shouting "you're desecrating our stage, etc. Fortunately, someone got on the mic and called to order saying that they had already collected the gum and that the boy meant no harm... People apparently calmed down.
Finally Elvis surreptitiously apologized before the public... "Ladies and gentlemen," he said, "I'd like to say that I didn't mean to do anything with it. I'll try to do better." At last he started singing "Shake, Rattle And Roll" and already everyone was moving to his rhythm even the cadets, the screaming, the euphoria again... then when he sang "Good Rockin' Tonight", the The audience was his again. 
The performance ended and he had to do encores because it would be a success. 
Elvis, genius and figure...

The designs of destiny

The Colonel Parker
Sometimes life changes course in a single moment, in many cases because we do something to change our path and in others, it is the decision of others, which make our existence drift towards another unexpected path. It is our decision at the time that it could be right or not... But it is certainly something that we could change over time. Andreas Cornelis van Kuijk was born in Breda, the Netherlands. Showman by profession in his youth, he had to flee to the US illegally. The reason had to do with a criminal investigation that was never resolved. In 1929 he would enlist in the US Army, changing his name to Tom Parker, later nicknamed "Colonel" because he helped his political campaign for Governor of Louisiana. He had worked in a traveling circus, in the port of Hamburg, as a dog trainer, publicist, promoter, etc. Over the years he has represented artists, with a lively and agile mind to manage money and promote shows. He set his sights on an artist just beginning to make a name for himself in 1955. His vision of his show was bolder than that of Sam Phillips, who was unfortunately strapped financially. Colonel Parker wanted to buy Elvis's contract, his vision of the artist went beyond the present and his success in being able to take him to stardom through not only live concerts, but also TV and Radio. Sam Phillips who would be his discoverer, he had too many economic problems that had left him in a financial bind. The Elvis product, that is, the success involved many financial obligations that he could not meet. He didn't have enough funds to support La Sun Records, his studio, the new Wher radio station, which he had just opened, and the artists he also had under contract. The Colonel tried to negotiate for weeks, with Sam Phillips, with RCA manager Steve Sholes and trying to get him before a new single could be released. 
The reason was clear, if La Sun Records had another success, the Elvis product would become more expensive and he could lose it, if the price rose. Finally, the Colonel and Bob Neal, first convinced Elvis and later Sam, to sell him his contract. and drive through the Rca, future releases. Elvis would suddenly have a change of course and the doors open to the highest, from the hand of Colonel Parker. It was on August 15, 1955 Elvis Presley signed his contract with him, it was the beginning of his rise as an artist and on November 21 of this year, Rca would buy the contract from Sun Records. This contract for years tied them successfully . The success of the Colonel's management took Elvis to the top. Elvis Presley's rise was swift and shocking. 
Concerts throughout the country and performances on TV that would give him an absolute and overwhelming success. The country surrendered at his feet, but Elvis's image threatened the conservatives with his success. Someone new, young with an attitude that seemed to bewitch his audience with his movement and different music, a new style, Rock and Roll. The Colonel's work at this time was successful and fortunate for a young singer who would never have imagined reaching so high, he would be removed by Colonel Parker to clean up his image and for two years he would enlist in the army. His music continued playing all this time and far from forgetting about him, when he returned he would be accepted by all. But his artistic course would change radically by not continuing to perform in public or on TV. This would be an unforgivable mistake that would eventually take its toll on the artist's spirit and on his career. 
Colonel Parker's economic vision was directed towards the cinematographic world, first of all because Elvis wanted to be an actor. But the easy success, through films that would not have quality or an interesting plot, made his path a nonsense. Easy money would be earned through these films, but it was not what Elvis really wanted and he would eventually end up tired of them. .In 1967 he had the opportunity to reject the contract he had to renew with Colonel Parker, but in the end he did not. He would sign a contract again, leaving his artistic destiny in his hands and unfortunately this would eventually be a mistake. The economic vision of the Colonel, a man without scruples in business, against the artistic and spiritual need of Elvis would collide with time, facing his way. Despite the artistic renaissance of Elvis in 1968, his return to TV and in 1969, with his return to the stage and to his beloved public, the management of Colonel Parker would have no scruples with the passing of the weather. This would upset Elvis who had already matured and would be handled at the whim of his manager, in an abusive and brazen way. But although he wanted to separate his path from the Colonel, circumstances, economic obligations, fear, etc. made him never give up his manager.

A man in the Shadow.
Tom Diskin.

Of all the characters who knew and worked for Elvis Presley, many have passed through his path and passed without pain or glory. But there is someone who can be unknown for discretion and modesty or simply for seeming like someone who works in the shadow of Colonel Parker and who was from the beginning to the end of his life, his name was Tom Diskin.

Diskin would meet Tom Parker in 1951 in Chicago, when he was a representative of his three sisters who acted under the name Dikens Sisters. At that time they were accompanying Eddy Arnold on some tour, which Parker was taking.
When they met they decided to join as co-owners of Jamboree Attractions and Jamboree Music, a publishing company. But later Hank Snow bought his share from Diskin and the Colonel decided to hire her as his assistant, supervising the road tours.

Whenever an effort was made, he went through Diskin to get to Parker and many decisions were consulted with him. When El Coronel took over Elvis's career, he had Diskin behind him, whom he asked at all times when a decision had to be made, saying "What would he do about it." This would always be so, that is to say that Tom Diskin was something like his brain and his shadow. Of this there were always witnesses who heard this type of consultation, although it seems that Tom Parker decided everything, it seems that Diskin was always advising behind.

He was a very respected and loved man by all, Elvis always appreciated him and normally everyone loved him. He was always the person in charge of the details and how things would be done. He was the official intermediary and a kind person with everyone and with a lot of sense, in addition to solving all the things that arose as impediments. Most of the staff normally went to Diskin to get everything sorted out before going to Parker. The musicians too, because they knew that he did things differently, without the brusqueness that there could be with the Colonel.
Interestingly before he had a manager, when Scotty Moore was managing Elvis in 1954, he wrote to Diskin about the possibility of hiring Elvis Presley, but Mr. Diskin replied that he could not hire Elvis at that time. This would be when Sam Phillips took an interest in him and Bob Neal was in charge of being his Manager, moving his performances and opening all the doors.

He was also in charge of reporting the Colonel's discontent when something seemed inappropriate or unfortunate for his liking. He was the mediating party that smoothed the situation if there were problems and although he would never receive praise or talk about him, he would be an indispensable character in Elvis Presley's Path.
But the truth is that he was a very simple, humble man and although he had a great talent, he always wanted to remain in the background, since he did not like to attract attention. He was also a mediator before the press and only allowed what was strictly correct, he knew everything there was to know about Elvis Presley.
Elvis trusted him and always appreciated him because at all times he looked out for his interests, for his shows and for everything to be done in the best way.
"Following the Path of the King..."

October 19, 1955. Cleveland, Ohio.

Elvis would coincide for the first time with the teenage idol Pat Boone, who had already broken records as a singer. When he saw Elvis and they were introduced he told him; Bill Randle has told me that you will become someone very great, although Elvis did not answer anything clearly, he is shocked and saw him shy and as if he could not speak to him... the reason was the impression that Elvis suffered since Pat Boone was one of his admired singers at the time. The impression he gave Boone was a bit catastrophic, since he didn't see him on stage, but when he went on stage and sang "That's slright, Mama" the audience went crazy... they needed the police to contain the crowd and get him out of there, with his clothes torn, his jacket with a torn sleeve.
Pat Boone and Elvis became friends, they shared hobbies, football... The next day at Bill Randle he wanted to include Elvis in a short film that was going to make for Universal about Bill Randle titled "Top Jock Famous Disc Jockey," filmed at Brooklyn High School in Cleveland. 
In the same Pat Boone, Bill Haley and the Comets .. with Elvis. But the short film, which would have to last 15 minutes, was never published and was never located. That same day, Bob Neal would receive a telegram in which Gladys and Vernon, Elvis's parents, announced that they were granting Colonel Parker their representation. unique and exclusive to him. 
Finally the Colonel, after playing behind his influence, managed to get away with it. Surely this must have hurt a lot, considering that everything was almost done... all that was left was the deal with RCA... Everything was ready...
"Following the Path of the King..."

The million selling song

On November 10, 1955, Elvis Presley accompanied by Bob Neal attended the Annual Country and Western Music Disc Jockey Convention at the Andrew Jackson Hotel, 231 6th Avenue North, in Nashville. This day he received an award and would be presented as the "New star of the year" in the category of Country and Western. It was clear that the reality of his artistic promise was already a fact.
 There they met Mae Boren Axton, who had written a song with Tom Durden that would definitively open the doors of success to a young man who was already making an impact with his concerts, Elvis. Mae Boren Axton was a songwriter, but she became known in the music industry as the Queen Mother of Nashville. 
She wrote about 200 songs, she worked with Willie Nelson, Eddy Arnold, Blake Shelton... But the best known song of hers was co-written with Tommy Durden, "Heartbreak Hotel", who would write the lyrics for it. The story of the song was written after reading a moving newspaper article from the "Miami Herald".
 The newspaper headline read "Do you know this man?" And what she was describing was the suicide of a man that she had left in her suicide note: "I walk a lonely street", being developed by Durden who took it to Mae, in order to perform the song. In the first place, it was proposed to Glenn Reeves, who finally said that it was too dramatic for him and did not want to accept it, but he did record a demo, which would be the one that was finally heard by Elvis. He did like the song, by accepting it, a deal was struck whereby he would be given a co-writing credit with the actual songwriters Axton and Durden, who accepted the deal. This song would be a crucial part of the contractual talks they would have with RCA. Elvis already knew Mae Axton, because she was hired by Tom Parker as a publicist during Hank Snow's various tours, so she promised him a good song. Axton was impressed by Elvis and she knew that she would be successful, although she wrote some other songs with Durden, like for example "Honey Bop", none would be like this song. The demo that Elvis heard would be performed based on the demo that Country singer Glenn Reeves did with it.

Author Tom Durden noticed that Elvis even breathed in the same places Glen did in his demo. But it is true that a score gives you the opportunity to interpret, respecting the silences that become pauses for breath... Obviously the voice, the interpretation that Elvis made of it, finally gave it his personal touch to make it a song that would become a hit.

"Heartbreak Hotel" was a different song, strange at the time, precisely the novelty and the particular interpretation of Elvis would give it that magic that grants eternity to this score. The most curious thing about the whole anecdote is knowing that Elvis insisted on singing this song against the RCA executives. The contract would be signed and RCA had planned other types of songs for him, but Elvis would insist that it had to be recorded. 

The song was even sung in public for the first time on December 9, 1955, in Swifton, Arkansas, a month before recording it at RCA. Elvis said that this would be his first hit and of course, he was not wrong. Colonel Parker, who was not sure about this song either, put the demo for several musicians to listen to and fortunately they all agreed on its excellence. Glenn Reeves himself also had to insist to Colonel Parker, saying that the song, although special, had commercial potential. What finally convinced Colonel Parker would be Axton and Durden's deal whereby they would share a third of the songwriting credits, since Elvis did not write anything. As it would be from then on, the economic issue was paramount in dealings with Parker, always giving priority to them, more than to his future protégé. By then Bob Neal didn't have much to say because he was no longer Elvis's manager. 
Bob Neal told about that first day they heard the song, that they repeated it over and over again and it left them shocked. This song would be the ultimate door to success. 

"Following the Path of the King..."

CONCIERTOS Noviembre de 1955

Gira Texas este y Sur.
De 5 a 12 de Noviembre
Aparición sin cantar en el Dj Convention de Nashville.
Días 10 y 11 de Noviembre Inauguración en Carthage, Texas, en Noviembre 12.
Western Swing Jamboree tour:
Noviembre 13 a 18. Memphis a Longview,
Transmisión remota para el Louisiana Hayride desde Gladewater el día 19.
                         Elvis recibió la misma aceptación y recaudación que Hank Thompson and the Brazos Valley Boys. también                     Charlene Arthur and Carl Perkins .
Shows en Texas:
Sur de Texas e Indianapolis:
Desde el 25 de Noviembre Port Arthur hasta el 19 de Diciembre. en Memphis
Incluyen el Hank Snow package en Indianapolis y Louisville, y el Talent Show en Montgomery, con un final de espéctaculo lucha musical en el Auditorio Ellis de Memphis.

El final de la Sun Records

"When it rains, it´s really pours"
De William Emerson.
"When It Rains, It Really Pours "es una canción escrita y grabada originalmente por su autor en 1954 para la Sun Records en 1954.
La idea de Sam Phillips es que este fuera el sexto sencillo de Sun de Elvis. Finalmente consiguió que Elvis ingresara al estudio en noviembre de 1955 para lo que resultó ser su último single oficial de Sun. Dicen que cuando Elvis todavía estaba en el estudio, se recibió la llamada de que RCA, que estaba comprando su contrato. Esto haría que no estuviera claro el finalizarse la grabación.Era el fin de una etapa muy importante para Elvis Presley y también para Sam Phillips.  Sería la última vez que fuera a grabar oficialmente a la Sun Records, porque a partir de enero del año 1956 lo haría ya para la RCA. 
El 24 de febrero de 1957, Elvis finalmente grabó una versión completa de la en el estudio Radio Recorders en Los Ángeles para RCA. El lanzamiento de esta versión también se retrasó. No salió hasta el álbum Elvis For Everyone de 1965. Desde entonces apareció en "Reconsider Baby", la antología "The King of Rock 'n' Roll", la reedición de "Loving You" de 1997, la edición de FTD "Loving You" y "Elvis Sings The Blues". La grabación original de Sun de Elvis fue con él a la RCA, pero no se publicó hasta 1983, "A Legendary Elvis Performer Vol. 4". Desde entonces, ha aparecido en "Sunrise", "Elvis at Sun" y "Elvis R 'n' B". Alternates from the Sun se han estrenado en "A Golden Celebration" y "The Complete Sun Sessions". Un ensayo en el camerino del 24 de junio de 1968, antes del NBC TV Special de Elvis, etc.

The end of an era, Sun Records

Sam Phillips the producer of Sun Records, the man who believed in the greatness of Elvis Presley from the beginning. The person who blindly supported him at all times, who made economic efforts and projected changes with him... could not fulfill his aspirations, in the end they could never happen. His production company, lacking in means and with little media coverage, would be the main problem in keeping this relationship afloat. Sam Phillips' economic commitment was very great and he had too many obligations and he could not keep Elvis's contract up to what he would have to achieve. 
But unfortunately we will never know... it is very likely that the good work of the year that was ending, 1955, the concerts, the radio, all the publicity that had already been given thanks to Bob Neal his manager and Colonel Parker , who would also become Elvis's manager, would finally bear the desired fruit without having to sell Elvis's contract to a major record company. He was an innovative artist, Elvis, Scotty and Billy managed to change the course of the world of music and with it Elvis' artistic path would be about to revolutionize the whole country from January 1956.
 Elvis loved Sam Phillips as if he were a second father, he trusted his sincerity, his greatness, his musical taste and believed that with him he would have all the success that could be achieved. But his sights were widened, his ambition increased day by day by the comments that Tom Parker made to him at every moment, causing his loyalty, his trust in Sun Records, to be put aside to covet fame, quickly. and easy. He knew that with Sam the Path would be slower and more unlikely, but there really were many more options, more record companies... but Colonel Parker's web was already too big and he finally decided to sign with RCA. It is evident that many artists would have done the same, it really would not be objectionable because you always want to be successful and also the conditions at Sun Records forced change. But Sam Phillips was so financially tied that he could not assume his own expenses and this would close the door to the Path of a rising future, of a reality... he was no longer the young promise, Elvis was the reality, the artist who would begin to drive the youth of America crazy. You only had to clap your hands for this to happen and everything was yet to come. 
Colonel Parker's trick with RCA would work and eventually Sam had to take the deal. Too bad he left him only moments before enjoying the real success of his product. Known domes like Carl Perkins, Jerry Lee Lewis, Johnny Cash... finally closed in 1968. On November 21, 1955, Elvis would leave Sun's Records to sign the RCA Victor contract. Sam Phillips agreed to turn over all recordings that had been made for Sun Records and not to sell or distribute any more Elvis recordings after December 31, 1955. Elvis Presley's Path would have charted a different path and Sun Records would be left behind forever. ...

 "Following the Path of the King..."

November 21, 1955.
From Sun Records to RCA Victor.

Finally on November 21, 1955, Elvis officially left Sun's Records to sign a contract with RCA Victor. Also in the studio were RCA executives Steve Sholes and Coleman Tilley, Ben Starr, Hill and Range attorney Hank Snow, Tom Diskin and Colonel Tom Parker. Sam Phillips, Vernon and Gladys Presley and Bob Neal were also in attendance. 
On that date, Elvis received a check for $4,500. The Colonel received $1,500 of the original $6,000 check, a 25 percent commission. Bob Neal received 15% of Elvis's income through March 15, 1956. Sun Records agreed to turn over all Elvis recordings to RCA and not sell or distribute any more Elvis recordings after December 31, 1955. From this Hill and Range Publishing, which had provided the remaining money, created two publishers as part of the deal; Elvis Presley Music (BMI) that gave Elvis 50% of the company and Hill and Range, its owners, Julian and Jean Aberbach would get the rest. The other company was called "Gladys Music" (ASCAP). 
For Elvis Presley all this was a hope and a reality, since his desires as an artist gave way to concerts, recordings and popularity... but he still did not know everything what would come in the next two years.Everything was already underway.
 it was still only the Beginning.

 "Following the Path of the King..."

November 21, 1955
Elvis Presley Signs with RCA

The contract signed by Elvis

December 1, 1955. Publicity photos for the RCA Victor Record Company.
The photos were taken at RCA's Twenty-4th Street studio, along with action shots to be used on the back of the first album to be released in March 1956, "Elvis Presley". Photographs by William "popsie" Randolph.

The artistic world of Elvis

Elvis had already signed a contract and was still performing, accompanied by Scotty Moore and Bill Black, but it was necessary to include a permanent drummer, so D.J Fontana was included, with whom they easily got along. The agreement to charge $200 per performance included in his salary the payment of $100 to be distributed among his musicians. This would create a slightly rarefied environment due to economic issues, which Elvis did not know how to handle. Bob Neal told Elvis that it was all up to him. Although they protested they continued to be together, but it is evident that the influence of Colonel Parker as an advisor was already causing problems, because he was suggesting to fire them and share the musicians of Hank Snow's group. All this was making the atmosphere rarefied, but even so, they would continue together. What was clear is that Elvis Presley as a singer was the absolute figure of this group and that at any moment, the rest of the members could disappear, by their own desire or by decision of Elvis himself. Nothing was going to stop the new phenomenon anymore...

"Following the Path of the King..."

The bet of destiny

Elvis Presley was a great artist, but he was still a novice, young and with an inner nerve that unleashed the public's hysteria... it was the beginning of situations that would be difficult to control over time. His artistic change in the hands of RCA, the new label, would open the music market, expanding his expectations, but it was an important change and also meant for RCA, an important investment in a young man who was not yet sure that it would bear fruit. and they could make a profit. Although Elvis was having success on stage and despite having signed his contract with RCA. Steve Sholes, the producer who was going to make the Elvis Presley recordings from now on, was very nervous. You have to keep in mind that RCA was a serious, classic record company and although they bet on young promises, the risk they had taken with Elvis was very big. It was a new, different style and Sholes had bet on Elvis, but he knew that he was betting without knowing if his horse would be the winner. _The boy really liked him and believed in him, but he was practically the only one who trusted this investment.
 They took the necessary actions so that their investment began to pay off and as of December 2, 1955, they released their own version of the single recorded at the Sun, "I Forgot to Remember to Forget", which would reach number one and remain in the charts. the charts 28 weeks. At the end of the month, on December 20, the other albums that Elvis had recorded on Sun Records were released. It was clear that they wanted to bet heavily on their new singer, it was also known that Elvis was finally going to appear on TV. It had already been announced that Elvis Presley had signed a contract to do 4 performances on CBS, on the Stage Show, presented by Tommy Dorsey. At that time there were other TV networks interested in hiring him, such as NBC, but for now, these would be the first steps. It is evident that it was the commitment to the artist with the most expectation that had occurred in the musical world, for years. . The next step was to make recordings for RCA in January and Steve Sholes sent Elvis 10 Songs so that he could choose the ones he wanted to record. In December, Colonel Parker was already listed as general manager and Bob Neal would be officially as manager until March 15, 1956. "Following the Path of the King..."


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