Welcome to episode nineteen of A History of Rock Music in Five Hundred Songs. Today we're looking at "That's All Right Mama" by Elvis Presley. Click the full post to read liner notes, links to more information, and a transcript of the episode.

Resources
As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode.
Elvis' 1950s catalogue is, at least in the UK, now in the public domain, and can thus be found in many forms. This three-CD box set contains literally every recording he made from 1953 through 1955, including live recordings and session outtakes, along with a handsome book.
This ten-disc set, meanwhile, charts the history of Sun Records, with the A- and B-sides of ninety of the first Sun singles, including all Elvis' five Sun releases in their historical context, as well as "Bear Cat" and a lot of great blues and rockabilly.
And this four-CD box set of Arthur Crudup contains everything you could want by that great bluesman.
I've relied on three books here more than any others. The first is "Before Elvis" by Larry Birnbaum. which I've recommended many times before. The other two are by Peter Guralnick -- Sam Phillips: The Man Who Invented Rock 'n' Roll, and Last Train to Memphis. The latter is the first volume of Guralnick's two-volume biography of Elvis. The second volume of that book is merely good, not great (though still better than much of the nonsense written about Elvis), but Last Train to Memphis is, hands down, the best book on Elvis there is. (A content warning for both Guralnick books -- they use racial slurs in reported speech, though never in anything other than a direct quote).
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Transcript
Before I start, I just want to emphasise that in this episode I talk about some of Sam Phillips' ideas around race and how to end racism. I hope I make it clear that I disagree with his ideas, but in trying to be fair and present his thinking accurately I may have given a different impression. I'm sure people listening to this in the context of the series as a whole understand where I'm coming from, but I'm aware that this will be some people's first episode. There's a reason this comes after the episode on “Sh'Boom”. If you come out of this episode thinking I think the way to end racism is to have white people perform black people's music, go back and listen to that one. Anyway, on with the show...
The Starlite Wranglers were not a band you would expect to end up revolutionising music -- and indeed only some of them ever did. But you wouldn't have expected even that from them.
They were based in Memphis, but they were very far from being the sophisticated, urban music that was otherwise coming from big cities like that. Their bass player, Bill Black, would wear a straw hat and go barefoot, looking something like Huckleberry Finn, even as the rest of the band wore their smart Western suits. He'd hop on the bass and ride it, and tell cornpone jokes.
They had pedal steel, and violin, and a singer named Doug Poindexter. Their one record on Sun was a pure Hank Williams soundalike:
[excerpt of "My Kind of Carrying On" by Doug Poindexter and the Starlite Wranglers]
Again, this doesn't sound like anything that might revolutionise music. The single came out and did no better or worse than thousands of other singles by obscure country bands. In most circumstances it would be no more remembered now than, say "Cause You're Always On My Mind" by Wiley Barkdull, or "Twice the Loving" by Floyd Huffman.
But then something unprecedented in modern music history happened.
Sun Records was the second record label Sam Phillips had set up -- the first one had been a very short-lived label called Phillips, which he'd started up with his friend, the DJ Dewey Phillips (who was not related to Sam). After his experiences selling masters to other labels, like Modern and Duke and Chess, had caused him mo