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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, Elvis Presley always on my mind face mask 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 Rev. H.W. Brewster’s black Memphis church, and some of it from the Beale Street blues clubs he began frequenting as a teenager.
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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 inspire frenzy. He inspired literally thousands of musicians — initially those more or less like-minded 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.
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