Elvis was influenced by "The Blues"
On a regular basis EIN examines a new
release or issue in the Elvis world. In this edition we shine our
spotlight on how The Blues influenced Elvis!
previous articles I examined the influence on Elvis of gospel,
ballad (crooners) and doo wop artists. In this part, the seminal
impact of the blues is discussed.
other musical genres that influenced Elvis, there do not appear
to be any blues artists who stand out in their impact on Elvis.
Elvis was influenced by the blues as a music genre. Big Mama Thornton,
Arthur ‘Big Boy’ Crudup, The Prisonaires, Lowell Fulson, Chuck Berry,
Bo Diddley, Little Richard, Fats Domino and many others were all
admired by Elvis who recorded many of their songs while traces of
their music, delivery and style are evident in many of his other
music largely evolved after the Civil War - a combination of the
music of slaves, railroad songs and gospel, backed by a dance beat.
That beat became more noticeable with the advent of rhythm and blues.The
lyrics of blues songs were usually depressing, dealing with life’s
hardships and the woes of love.
were two primary forms (or regions) of blues in America - the electrified
(guitar) Chicago blues and the Delta blues of the Mississippi region
characterised by the use of harmonicas and acoustic guitars. Growing
up in Tupelo, and more importantly Memphis, it is not surprising
that the young Elvis Presley quickly appreciated the raw, heartfelt
emotion and personal expression emanating from Delta blues music.
southern states of the US had long been a hotbed of complementary
and dissimilar musical genres: country, hillbilly, gospel and blues.
Moreover, the 1950s was a time of racial change. Increasingly black
and whites played alongside each other in clubs and slowly ‘race’
stations which were playing the devil’s music (black rhythm and
blues) became accessible to white youth. The stories of Elvis going
to Beale Street (‘home of the blues’) to listen to artists such
as B. B. King, Little Junior Parker and Rufus Thomas are well known.
legend B. B. King in his autobiography mentions meeting the young
Elvis on several occasions and comments on Elvis's obvious fascination
with blues music. Beale Street was where the father of the blues,
W. C. Handy (famous for his St Louis Blues) began to publish blues
songs around 1912. Consisting of a series of nightclubs and other
venues, passers-by could be entertained all night long in the clubs
by legendary entertainers and out on the street by itinerant black
Hazen and Mike Freeman note in their excellent book 'Memphis Elvis
Style' that Beale Street was an area where black people could go
and socialise without experiencing any intimidation from whites
and Elvis because of his love of blues music is generally regarded
as being one of the few whites who visited Beale Street.
Karal Marling perceptively observes in her book ‘Graceland Going
Home With Elvis’, because of its role of ‘freeing’ blacks from the
constraints of mixing with whites, Beale Street not only offered
an escape from prejudice, but also "an arena in which a person,
an artist, could be judged on talent alone."
Professor Karal’s point further (and just as importantly) it allowed
a freer expression of that talent, an open expression not lost on
the young Elvis with his great thirst for freedom giving, expressive
music. It was on Beale Street that Elvis also listened to lesser
known artists such as Calvin Newborn. Newborn in fact claims to
have taught Elvis a few things on guitar while another promoter
remembers taking Elvis into the Men’s Improvement Club to watch
the blues musicians.
Memphis Elvis listened to Dewey Phillip’s ‘Red, White and Blue’
show on WHBQ. Phillips (like his Sun Studios counterpart with the
same name) offered a show which pushed at the boundaries and allowed
teenagers (both black and white) to ‘get down and dirty’. For white
youth this was the avenue they needed to escape the mainstream conservatism
of the music revered by their parents.
is part of Elvis history it was on ‘Red, Hot and Blue’ that Dewey
Phillips would play That’s All Right, Mama and its flip side the
hillbilly/country inspired Blue Moon of Kentucky around 14 times
on July 7, 1954 in response to an overwhelming listener response.
Elvis’s Sun singles consisted of a blues side and a country side.
That’s All Right, Mama, Mystery Train and Good Rockin’ Tonight all
being examples of the blues influence. This was of course consistent
with the frequently reported comment by Sam Phillips that he was
looking for a white boy with "the Negro sound and the Negro feel".
when Elvis signed with RCA and his recordings were softened to appeal
to a broader audience he would still break out with full spirited
blues numbers - Smiley Lewis’s 'One Night (Of Sin)' (complete with
unbowdlerized lyrics unlike the watered down lyrics featured in
the single release of the song), Reconsider Baby, Merry Christmas
Baby - all are excellent blues songs. Others include So Glad You’re
Mine and Too Much while Elvis’s blues version of Hound Dog caused
considerable controversy particularly when he performed it on The
Milton Berle Show in April 1956.
the early 60’s with Elvis’s Hollywood phase in full flight blues
recordings took a back seat although fans were treated to I Feel
So Bad (a single release in 1961) and When It Rains, It Really Pours
(on the Elvis For Everyone album).
interviewed in 1966 Howlin’ Wolf commented on the white blues singers
and that Hound Dog number by Elvis. When someone suggested to Howlin’
Wolf that Elvis couldn’t be considered strictly a blues singer he
replied but "he started from the blues...He made his pull from the
of the finest white blues singers the world has ever known, Joe
Cocker, went on record as saying that Elvis was the greatest white
blues singer in the world.
the late 60’s Elvis’s "candy floss" formula movie songs were taking
their toll on Elvis. Peter Guralnick observed in Elvis Sings The
surprisingly the signal for his regeneration was a series of blues
singles (Big Boss Man, Guitar Man, Hi Heel Sneakers, U.S. Male)
that went largely unnoticed at the time, and the ‘68 TV Special,
whose centerpiece was a nakedly intimate, almost embarrassingly
spontaneous live concert he did with his original Sun session mates,
which focused not surprisingly on the blues."
fact the Guitar Man/Hi Heel Sneakers single has the distinction
of being Elvis’s only double sided blues release of the 1960s. Also
in the late 60s fans were treated to the occasional release of superb
blues recordings, some of which had been buried in the RCA vaults
for years. They appeared as a filler for an Elvis film soundtrack
- Down In The Alley (Spinout album) while in 1985 Tomorrow Night
(a long lost Sun recording originally released on the 1965 album
Elvis For Everyone) re-surfaced on the Reconsider Baby LP.
Reconsider Baby album effectively became only the second Elvis concept
album (after Elvis Country). It is a fitting tribute and symbol
of Elvis’s love of the blues. Its effect, particularly late at night
with all the lights turned off, is quite chilling. Elvis’s regeneration
via a series of ‘blues’ singles was followed by the superb blues
number Stranger In My Own Home Town from the From Elvis In Memphis
sessions. Then as part of his live concerts in the 70s Elvis included
slow, ballsy, blues versions of songs including Merry Christmas
Baby, Hound Dog and Reconsider Baby.
Elvis was heavily influenced by the blues is dramatically apparent
by the ongoing accusation that he was ‘the white boy who stole the
blues’. Arguably this is a simplistic statement that ignores both
the innovation Elvis brought to his music and more importantly,
as noted by Gilbert Rodman in his superb book ‘Elvis After Elvis:
The Posthumous Career of A Living Legend’, how his music served
as a catalyst for transforming "a mainstream popular music scene
dominated by the white-bread sounds of Perry Como and Frank Sinatra
into a more integrated and diverse beast than it had ever been before."
blues legacy has never been fully examined and is generally little
appreciated. Given Joe Cocker’s statement that Elvis was the greatest
white blues singer in the world this is a travesty, and another
example of how the music establishment generally refuses to take
Elvis’s musical career, post 1958, seriously.
All Around Me, B. B. King and David Ritz (1995)
At The End Of Lonely Street The Life And Death Of Elvis Presley,
Peter Brown and Pat Broeske (1997)
After Elvis, Gilbert B. Rodman (1996)
Sings The Blues, Peter Guralnick (1985 - liner notes for Reconsider
Baby (RCA/BMG LP/CD release)
Going Home With Elvis, Karal Ann Marling (1996)
Elvis Style, Cindy Hazen and Mike Freeman (1997) Reconsider Baby
(BMG LP/CD release 1985)
article was prepared by Nigel Patterson and first appeared in ‘Elvis
Monthly’ as part of the author’s fourteen part series, Influences
On A Legend. ©1999, 2002
Click to comment
on this article