Elvis Presley: the 100 most inspiring musicians of all time
American popular singer Elvis Aaron Presley, widely known as the “King of Rock and Roll,” (b. Jan. 8, 1935, Tupelo, Miss., U.S.—d. Aug. 16, 1977, Memphis, Tenn.) was one of rock music’s dominant performers from the mid-1950s until his death.
Presley grew up dirt-poor in Tupelo, moved to Memphis as a teenager, and, with his family, was off welfare only a few weeks when producer Sam Phillips at Sun Records, a local blues label, responded to his audition tape with a phone call. Several weeks’ worth of recording sessions ensued
with a band consisting of Presley, guitarist Scotty Moore, and bassist Bill Black.
Their repertoire consisted of the kind of material for which Presley would become famous: blues and country songs, Tin Pan Alley ballads, and gospel hymns. Presley knew some of this music from the radio, some of it from his parents’ Pentecostal church and the group sings he attended at the Reverend H.W. Brewster’s black Memphis church, and some of it from the Beale Street blues clubs he began frequenting as a teenager.
Presley was already a flamboyant personality, with relatively long greased-back hair and wild-coloured clothing combinations, but his full musical personality did not emerge until he and the band began playing with blues
singer Arthur (“Big Boy”) Crudup’s song “That’s All Right Mama” in July 1954. They arrived at a startling synthesis, eventually dubbed rockabilly, retaining many of the original’s blues inflections but with Presley’s high tenor voice adding a lighter touch and with the basic rhythm striking a much more supple groove.
This sound was the hallmark of the five singles Presley released on Sun over the next year. Although none of them became a national hit, by August 1955, when he released the fifth, “Mystery Train,” arguably his greatest record ever, he had attracted a substantial Southern following for his recordings, his live appearances in regional roadhouses and clubs, and his radio performances on the nationally aired Louisiana Hayride. (A key musical change came when drummer D.J. Fontana was added, first for the Hayride shows but also on records beginning with “Mystery Train.”)
Elvis Presley’s management was then turned over to Colonel Tom Parker , a country music hustler who had made stars of Eddy Arnold and Hank Snow. Parker arranged for Presley’s song catalog and recording contract to be sold to major New York City-based enterprises, Hill and Range and RCA Victor , respectively. Sun received a total of $35,000; Elvis got $5,000. He began recording at RCA’s studios in Nashville, Tennessee, with a somewhat larger group of musicians but still including Moore,
Black, and Fontana and began to create a national sensation with a series of hits: “Heart break Hotel,” “Don’t Be Cruel,” “Love Me Tender” (all 1956), “All Shook Up” (1957), and more.
From 1956 through 1958 Presley completely dominated the best-seller
charts and ushered in the age of rock and roll , opening doors for both white and black rock artists.
His television appearances, especially those on Ed Sullivan ’s Sunday night variety show, set records for the size of the audiences. Even his films, a few slight vehicles, were box office smashes.
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Elvis Presley became the teen idol of his decade, greeted everywhere by screaming hordes of young women, and, when it was announced in early 1958 that he had been drafted and would enter the U.S. Army, there was that rarest of all pop culture events, a moment of true grief. More important, he served as the great cultural catalyst of his period. Elvis projected a mixed vision of humility and self-confidence, of intense commitment and comic disbelief in his ability to create frenzy. He inspired literally thousands of musicians—initially those more or less likeminded
Southerners, from Jerry Lee Lewis and Carl Perkins on down, who were the first generation of rockabillies, and, later, people who had far different combinations of musical and cultural influences and ambitions. From John
Lennon to Bruce Springsteen, Bob Dylan to Prince, it was impossible to think of a rock star of any importance who did not owe an explicit debt to Presley.
Beyond even that, Presley inspired his audience. “It was like he whispered his dream in all our ears and then we dreamed it,” said Springsteen at the time of Presley’s death. You did not have to want to be a rock and roll star
or even a musician to want to be like Elvis—which meant, ultimately, to be free and uninhibited and yet still a part of the everyday. Literally millions of people—an entire generation or two—defined their sense of personal style
and ambition in terms that Elvis first personified.
As a result, he was anything but universally adored. Those who did not worship him found him despicable (no one found him ignorable). Preachers and pundits declared him an anathema, his Pentecostally derived hip-swinging stage style and breathy vocal asides obscene. Racists denounced him for mingling black music with white (and Presley was always scrupulous in crediting his black sources, one of the things that made him different from the Tin Pan Alley writers and singers who had for decades lifted black styles without credit). He was pronounced
responsible for all teenage hooliganism and juvenile delinquency.
Yet, in every appearance on television, he appeared affable, polite, and soft-spoken, almost shy. It was only with a band at his back and a beat in his ear that he became “Elvis the Pelvis.”
In 1960, Presley returned from the army, where he had served as a soldier in Germany rather than joining the Special Services entertainment division. Those who regarded him as commercial hype without talent expected
him to fade away. Instead, he continued to have hits from recordings stockpiled just before he entered the army.
Upon his return to the States, he picked up pretty much where he had left off, churning out a series of more than 30 movies (from Blue Hawaii to Change of Habit) over the next eight years, almost none of which fit any genre other than “Elvis movie,” which meant a light comedic romance
with musical interludes. Most had accompanying soundtrack albums, and together the movies and the records made him a rich man, although they nearly ruined him as any kind of artist.
Elvis Presley did his best work in the 1960s on singles either unconnected to the films or only marginally stuck into them, recordings such as “It’s Now or Never (‘O Sole Mio’)” (1960), “Are You Lonesome Tonight?,”
“Little Sister” (both 1961), “Can’t Help Falling in Love,” “Return to Sender” (both 1962), and “Viva Las Vegas” (1964). Presley was no longer a controversial figure; he had become one more predictable mass entertainer, a personage of virtually no interest to the rock audience that had expanded so much with the advent of the new sounds of the Beatles, the Rolling Stones, and Dylan.
By 1968 the changes in the music world had overtaken Presley—both movie grosses and record sales had fallen. In December his one-man Christmas TV special aired; a tour de force of rock and roll and rhythm and blues, it restored much of his dissipated credibility. In 1969, he released a single having nothing to do with a film, “Suspicious Minds”; it went to number one. He also began doing concerts again and quickly won back a sizable following, although it was not nearly as universal as his audience in the 1950s.
For much of the next decade, he was again one of the top live attractions in the United States. Presley was now a mainstream American entertainer, an icon but not so much an idol. He had married in 1967 without much furor, became a parent with the birth of his daughter, Lisa Marie, in 1968, and got divorced in 1973. He made no more movies, and his recordings were of uneven quality. Hits were harder to come by—“Suspicious Minds” was his last number one and “Burning Love” (1972) his final Top Ten entry. But, thanks to the concerts, spectaculars best described by critic Jon Landau as an apotheosis of American musical comedy, he remained a big money earner.
However, Presley had also developed a lethal lifestyle. Spending almost all his time when not on the road in Graceland, his Memphis estate, he lived nocturnally, surrounded by sycophants and stuffed with greasy foods
and a variety of prescription drugs. His shows deteriorated in the final two years of his life, and his recording career came to a virtual standstill. Finally, in the summer of 1977, the night before he was to begin yet another concert tour, he died of a heart attack brought on largely by drug abuse. He was 42 years old.