‘That’s All Right’ was composed and originally recorded by Arthur Crudup in 1946 as ‘That’s All Right, Mama’.
Arthur Crudup is recognized as the author of this label, receiving acknowledgment for it, and also being mentioned. The performers mentioned are Elvis Presley, Scotty Moore, and Bill Black, and the label states ‘That’s All Right’ (excluding ‘Mama’ from the original title). The Sun 209 catalogue number was assigned to it. On 19 July 1954, it was released with ‘Blue Moon of Kentucky’ as the B-side. ‘That’s All Right’ was the initial single recorded by Elvis Presley in July 1954.
The recording session at Sun Studio in 1954 features Elvis Presley on vocals, with Black Bill Moore on upright bass and Scotty Moore on lead guitar. The recording, produced by Sam Phillips in a ‘live’ style, does not include any additional instruments or drums.
The recording session marked Presley’s fourth time visiting the Sun Studio.
His initial two trips, in the summer of 1953 and January 1954, had been personal recordings.
Are you still okay, mom? That’s good. Everything is fine, right? That’s good, everything is fine. You’re doing well, everything is fine, mom. Everything is fine, mom.
You already know, mom, everything is fine. Everything is fine, everything is alright, but you’re not fooling anyone with your act, girl. Your son told me, “Mommy told me, daddy told me.” Mommy told me, daddy told me, mommy told me.
No matter how you do it, mother, that’s perfectly fine now. That’s perfectly fine, that’s perfectly fine. Well, in that case, you won’t be troubled by my presence near your entrance. I’m definitely departing from this town, darling, I’m departing from this town.
Recorded in July 1954, first released on a single.
On July 5, 1954, Sun Studio in Memphis, Tennessee.
The EPA3 2742-02 Harbor Lights I Love You Because G2WB 1086-SP That’s All Right F2WB 8040-NA.
On Monday, July 5th, three of them went to the Sun studio because Sam Phillips wanted to hear them on tape. They made possible adjustments for the next take of a song, then listened to it to make further adjustments. This happened during a special session where nothing significant occurred until Elvis Presley began fooling around and playing an obscure blues song from 1946.
Did they have the ability to do so? How truly are you unaware of any of them. ‘What are you doing?’ The voice of Phillips boomed from the control booth. Moore and Black jumped in and started singing ‘Big Boy’ Crudup’s blues songs with a more relaxed and fast-paced rhythm, in a more casual style, and with more blues songs than Elvis.
How could they be aware that they had discovered a fresh sound for a new era?
Sam immediately recognized it, the music that he himself had sought to record. The boy’s performance of it conveyed a sense of freshness and enthusiasm, reflecting his clear-eyed and unabashed originality. Sam had long ago fully embraced this particular genre of music. However, he was amazed that the boy even knew of Arthur ‘BigBoy’ Crudup, as there was no indication of this musical influence in any of the songs he had previously attempted.
He asked them to refine their interpretation and recorded it. Phillips was excited about the potential and recognized the unique sound of the trio.
Following that, Elvis gained popularity at school, and it was truly astonishing. Elvis expressed, “It was remarkable how well-received I was at school after that,” referring to his rendition of Teresa Brewer’s ‘Till I Waltz Again with You’ at Humes High in 1953. Elvis also discussed his initial stage appearance and the response to his movements during the performance. While filming the Elvis On Tour movie in 1972, Elvis reminisced about creating his first record for his mother. In 1972, while filming the Elvis On Tour movie, Elvis reminisced about producing his first record for his mother.
Scotty Moore says that it was Bill Black who first came up with the idea to flip the record over. Bill Monroe, made famous by his rendition of the Kentucky Bluegrass standard ‘Blue Moon of Kentucky,’ was the one who made it.
The term ‘rockabilly’ did not become widely known until after Elvis became a household name. Elvis created a fusion of country music (commonly called ‘hillbilly’ music) with a rhythm-and-blues sound that was sped up and relaxed. He used certain syncopated lyrics and a sort of hiccupping sound, adding a famous echo effect resulting in reverberation, all thanks to Sam Phillips.
When the press attempted to explain his sound, they often made a confusing mess by comparing his music to comical or inappropriate types that were confusing and often misleading to their readers. There was no word that could adequately describe his unique style of music when he first cut his record for Sun.
After a brief and unsuccessful session on July 7th, Sam Phillips, also known as DJ Dewey Phillips, plays an acetate of ‘Right All That’s Wrong’ by Flips and Vows.
Currently in the studio, Wink Martindale is visiting Dewey. The reaction was prompt – numerous phone calls and telegrams. Sam Philips brings the song ‘That’s All Right’ on two single-sided acetates to play on his revolutionary Memphis radio show, ‘Red Hot and Blue’, which was then at its peak of popularity. On July 8, Dewey Philips (no relation) presents WHBQ disc jockey Dewey Philips. According to Wink, “You could sense that something thrilling was happening when the record was played.”
Gladys and Vernon eagerly tune in to Dewey’s evening broadcast in hopes of hearing their son on the radio.
Elvis goes to the cinema a few blocks down the road.
Dewey finally appears nervous when Elvis, who has been on the air until they inform him, makes casual conversation with him. Finally locating him, they send Elvis down to the radio station and go to the movie theater. Dewey continues trying to get Elvis to come down to the studio, calling his home over and over again. When Dewey plays the acetate, the lights on the switchboard light up and the song continues to play.
Elvis’ CD of Golden Records.
CD exclusively for LP enthusiasts.
Elvis: The Astonishing Of You FTD CD.