Big Mama, Arthur Crudup & The Sound That Shaped Elvis – What History Overlooked

In Before Elvis: The African American Musicians Who Made the King, Preston Lauterbach presents a deep, fascinating look into the overlooked roots of rock ‘n’ roll. While many might assume the title suggests a contentious argument, Lauterbach’s approach is far more nuanced and investigative. Rather than making a declarative statement, he seeks to uncover the influential Black musicians whose sounds fueled Elvis Presley’s success, acknowledging their uncredited roles in the creation of rock ‘n’ roll.

Lauterbach’s book is an important exploration into the intersection of race, music, and the rise of one of the most iconic figures in popular music. He doesn’t settle for conjecture; instead, he uses interviews, articles, and primary sources to provide a vivid portrait of the musical and racial landscape in Memphis during the 1940s and 1950s.

The Sound of Memphis

Memphis, the city where Elvis Presley moved in 1948, served as a crucible for the birth of rock ‘n’ roll. The city, still deeply segregated, was alive with musical innovation. One of the most significant influences on Presley’s early years was gospel music, which he absorbed at the East Trigg Missionary Baptist Church, a place where Black and White congregants worshipped side by side. As Lauterbach describes, the church was more than just a spiritual center for Presley—it was a place where he learned to captivate an audience, a skill he would later apply on stage during his electrifying performances.

Presley’s experience at East Trigg wasn’t limited to gospel; it laid the foundation for the energetic, engaging performances that would define his career. The same crowd-driven fervor he witnessed in church would later manifest in his screaming, ecstatic audiences during concerts—a key part of the Presley persona.

The Unsung Pioneers

The heart of Lauterbach’s work is dedicated to musicians like Arthur Crudup and Big Mama Thornton, whose contributions have often been overshadowed by Presley’s success. Crudup, a gifted guitarist and vocalist, wrote “That’s All Right,” Elvis’ breakout single. Yet, despite the song’s massive success, Crudup died in poverty, having never fully been compensated for the hit that helped launch Presley’s career. Lauterbach highlights the injustice of this historical oversight, offering a perspective from Presley’s manager in 2003, who said that Crudup “felt that Elvis’ singing captured the spirit of black music.” This acknowledgement, though late, recognizes the undeniable link between Presley and the Black musicians who shaped his sound.

Similarly, Big Mama Thornton’s powerful vocal performance on “Hound Dog” in 1953 became one of the most iconic moments in early rock ‘n’ roll. However, when Presley’s 1956 version became a chart-topping hit, Thornton was not compensated for the royalties she deserved. She famously said, “I never got a dime” when asked if she received money from the song’s success. Thornton’s story mirrors the plight of many Black musicians who created the foundations of rock ‘n’ roll but were robbed of the recognition and financial rewards that they rightfully deserved.

Musicianship and Cultural Exchange

Despite the constraints of segregation, Memphis in the 1940s and 1950s was a bustling hub of musical creativity. Elvis Presley wasn’t isolated in his love for Black music; he sought out the best. One of his key inspirations was Calvin Newborn, a guitarist in the Newborn family orchestra, who not only influenced Presley’s guitar playing but also his stage presence. Calvin’s hip moves and energy were crucial in shaping Elvis’ own electrifying performances, and their friendship symbolized the cultural exchange taking place in Memphis at the time.

The story of Sam Phillips and Sun Studio is well-known in music history, and it was here that Elvis Presley, an unknown artist at the time, began his recording career. Phillips recognized the potential of blending Black musical forms with White pop, a fusion that would go on to shape rock ‘n’ roll.

Legacy and Evolution

Lauterbach’s book is more than just a history of early rock ‘n’ roll—it is an exploration of the racial dynamics of the time and how music played a role in the ongoing struggle against segregation and inequality. Presley, in his rise to fame, was part of a larger revolution that was pushing against the boundaries of Jim Crow. His music was deeply influenced by Black artists, and in turn, his success helped break down cultural barriers, bringing Black music to a wider, predominantly White audience.

As Lauterbach suggests, Before Elvis is not just a look back at the past but also a reflection on the continuing evolution of race relations in America. The musical revolution that began in Memphis was a precursor to the larger social changes that would follow. Music has always been a form of resistance and a tool for uniting disparate groups, and it continues to play that role today.

In Before Elvis, Lauterbach gives voice to the unsung heroes of rock ‘n’ roll, shining a much-needed spotlight on the Black musicians who helped shape the King of Rock ‘n’ Roll. Their stories, often overlooked, are now being told—and their contributions will no longer be ignored.