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Elvis Presley (Photo courtesy HBO/Cinemax) Facebook Twitter WhatsApp SMS Email Print Copy article link Save While the title of Preston Lauterbach's book, “Before Elvis — the African American Musicians Who Made the King” (Hachette Book Group, $15.99) might be deemed provocative, the author offers no preconceived opinions on the often-discussed subject. Instead, digging deep into the musical dynamics of the time, Lauterback relies on his own and others' interviews, newspaper and magazine articles.
He often relied on quotes from such noted artists such as Willie Mae “Big Mama” Thornton, who in 1953 released “Hound Dog,” which in 1956 became a huge hit for Presley, and guitarist/vocalist Arthur Crudup who wrote “That's All Right,” Elvis' first, very successful release. Before Elvis by Preston Lauterbach “Arthur bore Elvis no ill will,” Presley's manager told Lauterbach in 2003. “He felt that Elvis' singing captured the spirit of black music.
” Memphis inspirations and influences First and foremost, Lauterbach devotes himself to research while relating his findings as a storyteller who sets the musical and racial scene primarily in the segregated city of Memphis, Tennessee, to which Presley moved in 1948 from his birthplace in Tupelo, Mississippi. A major figure during this era was the Rev. W.
Herbert Brewster, an activist in Black voter registration and the Civil Rights Movement who opened his East Trigg Missionary Baptist Church to White people. Presley, writes Lauterbach, attended the church regularly and later in his career the “king of rock 'n' roll” cited gospel music as a key element of his style. Elvis also took away from his experiences at East Trigg the importance of building an audience to a frenzy.
In the church it was the spirited and spiritually driven congregation, while throughout Presley's career his shows were typified by screaming, ecstatic teenage girls and engaged crowds. Those who 'made the king' Preston Lauterbach, author of 'Before Elvis' Credit goes to Lauterbach for spending full chapters with bios of those “who made the king” and the affect his rise had on their careers. While Crudup died destitute, his family finally received the royalties that he earned and deserved.
His story of not being credited for his composition is an all too familiar one. (New Orleanians have only to think of artists like Al Johnson, who, with help, at last got cash money for his Mardi Gras anthem “Carnival Time.”) Then there is Big Mama Thornton, whose pure presence, huge talent, powerful voice, moxie and determination carried her through a career that appeared satisfying, though not financially lucrative.
Her star rose again in 1968 when she released her original composition, “Ball and Chain,” which skyrocketed to the top of the charts when remade by the dynamic vocalist Janis Joplin. Joplin, who idolized Thornton, made sure her fans knew the song's source. Big Mama did get royalties from the recording, whereas when asked whether she had received money from “Hound Dog,” which was written by Mike Stoller and Jerry Leiber, her answer: “I never got a dime.
” Musicianship and stage presence Memphis in the late 1940s and 1950s was buzzing with music. Despite the efforts of E.H.
“Boss” Crump, the head of a powerful political machine bent on separation of the races, musicians and music lovers found a way, as we say in New Orleans, to do what they wanted. Presley sought out the best and headed to the Plantation Inn, a Black venue, where the Newborn family orchestra performed. It included, among others, patriarch Phineas Newborn Sr.
on drums and his energetic and talented son Calvin on guitar. Calvin, whose brother was the noted jazz pianist Phineas Newborn Jr., inspired Presley with not only his fine guitar work but with his hip moves and hot stage presence.
The two became friends. Sun Recording Studio, founded by the now legendary Sam Phillips, set down its roots in Memphis in 1950. It, of course, became the early home of Elvis Presley, a then-unknown artist who first entered the studio door to record a song for his beloved mother.
Soon thereafter Memphis' WDIA became the first all-Black radio station in the nation. Preston Lauterbach's “Before Elvis — The African American Musicians Who Made the King,” stands as an examination of a small though transitionally crucial segment of musical history. At the same time, it also looks into the continuing evolution of racial relations in America.
Elvis, who was strongly influenced and nurtured by Black music, was a part of the revolution that stood up against Jim Crow just as music has always done, and continues to do..
