Elvis Presley : biography
Not long after, he failed an audition for a local vocal quartet, the Songfellows. He explained to his father, "They told me I couldn’t sing." Songfellow Jim Hamill later claimed that he was turned down because he did not demonstrate an ear for harmony at the time. In April, Presley began working for the Crown Electric company as a truck driver. His friend Ronnie Smith, after playing a few local gigs with him, suggested he contact Eddie Bond, leader of Smith’s professional band, which had an opening for a vocalist. Bond rejected him after a tryout, advising Presley to stick to truck driving "because you’re never going to make it as a singer."
Phillips, meanwhile, was always on the lookout for someone who could bring to a broader audience the sound of the black musicians on whom Sun focused. As Keisker reported, "Over and over I remember Sam saying, ‘If I could find a white man who had the Negro sound and the Negro feel, I could make a billion dollars.’" In June, he acquired a demo recording of a ballad, "Without You", that he thought might suit the teenage singer. Presley came by the studio, but was unable to do it justice. Despite this, Phillips asked Presley to sing as many numbers as he knew. He was sufficiently affected by what he heard to invite two local musicians, guitarist Winfield "Scotty" Moore and upright bass player Bill Black, to work something up with Presley for a recording session.
The session, held the evening of July 5, proved entirely unfruitful until late in the night. As they were about to give up and go home, Presley took his guitar and launched into a 1946 blues number, Arthur Crudup’s "That’s All Right". Moore recalled, "All of a sudden, Elvis just started singing this song, jumping around and acting the fool, and then Bill picked up his bass, and he started acting the fool, too, and I started playing with them. Sam, I think, had the door to the control booth open … he stuck his head out and said, ‘What are you doing?’ And we said, ‘We don’t know.’ ‘Well, back up,’ he said, ‘try to find a place to start, and do it again.’" Phillips quickly began taping; this was the sound he had been looking for. Three days later, popular Memphis DJ Dewey Phillips played "That’s All Right" on his Red, Hot, and Blue show. Listeners began phoning in, eager to find out who the singer was. The interest was such that Phillips played the record repeatedly during the last two hours of his show. Interviewing Presley on-air, Phillips asked him what high school he attended in order to clarify his color for the many callers who had assumed he was black. During the next few days, the trio recorded a bluegrass number, Bill Monroe’s "Blue Moon of Kentucky", again in a distinctive style and employing a jury-rigged echo effect that Sam Phillips dubbed "slapback". A single was pressed with "That’s All Right" on the A side and "Blue Moon of Kentucky" on the reverse.
Early live performances and signing with RCA
The trio played publicly for the first time on July 17 at the Bon Air club—Presley still sporting his child-size guitar. At the end of the month, they appeared at the Overton Park Shell, with Slim Whitman headlining. A combination of his strong response to rhythm and nervousness at playing before a large crowd led Presley to shake his legs as he performed: his wide-cut pants emphasized his movements, causing young women in the audience to start screaming. Moore recalled, "During the instrumental parts he would back off from the mike and be playing and shaking, and the crowd would just go wild". Black, a natural showman, whooped and rode his bass, hitting double licks that Presley would later remember as "really a wild sound, like a jungle drum or something". Soon after, Moore and Black quit their old band to play with Presley regularly, and DJ and promoter Bob Neal became the trio’s manager. From August through October, they played frequently at the Eagle’s Nest club and returned to Sun Studio for more recording sessions, and Presley quickly grew more confident on stage. According to Moore, "His movement was a natural thing, but he was also very conscious of what got a reaction. He’d do something one time and then he would expand on it real quick." Presley made what would be his only appearance on Nashville’s Grand Ole Opry on October 2; after a polite audience response, Opry manager Jim Denny told Phillips that his singer was "not bad" but did not suit the program. Two weeks later, Presley was booked on Louisiana Hayride, the Oprys chief, and more adventurous, rival. The Shreveport-based show was broadcast to 198 radio stations in 28 states. Presley had another attack of nerves during the first set, which drew a muted reaction. A more composed and energetic second set inspired an enthusiastic response. House drummer D.J. Fontana brought a new element, complementing Presley’s movements with accented beats that he had mastered playing in strip clubs. Soon after the show, the Hayride engaged Presley for a year’s worth of Saturday-night appearances. Trading in his old guitar for $8 (and seeing it promptly dispatched to the garbage), he purchased a Martin instrument for $175, and his trio began playing in new locales including Houston, Texas, and Texarkana, Arkansas.