133 With the last song of the session: This more or less follows the order suggested by Lee
Cotten in All Shook Up: Elvis Day-by-Day, 1954-1977 (Cotten appears to have been working from
RCA executive Steve Sholes' notes), and Ernst Jorgensen's definitive discography. It must be
emphasized, however, that there can be no certainty as to order in the absence of a true recording
log.
133 To Marion Keisker it was like: Jerry Hopkins interview with Marion Keisker (MVCI
MSU).
135ft' Sam called Pappy Covington: This account is based on interviews with a myriad of
sources, including Sam Phillips, Scotty Moore, Tillman Franks, Billy Walker, Frank Page, and
Horace Logan. Unfortunately, there is nearly as much dispute over Elvis' arrival at the Hayride
as there is over his arrival at the Memphis Recording Service, or at the Opry, for that matter.
According to Horace Logan, it was he who first contacted Sam Phillips (though Tillman Franks,
with whom he fell out just around this time, played an unspecified part), and it was he who first
introduced Elvis onstage. Both Slim Whirman and Billy Walker, who appeared on the bill at
Overton Park, have suggested credibly in published interviews that they brought the news of
the young Memphis phenomenon back to the Hayride, while Tillman's story seeks credit for
nothing but the need to find a substirute for Jimmy and Johnny on the Hayride bill. From talking
with most of the principal players, I think the scenario I have presented is as logical a version
as one might come up with, but that doesn't mean it happened that way.
1 36-137ft' The Hayride was a little over six years old: Background information on the
Hayride comes from interviews with Horace Logan, Tillman Franks, Frank Page, T. Tommy
Cutrer, Merle Kilgore, and Alton and Margaret Warwick, among others. Also the 1984 PBS documentary
Cradle of the Stars and "Sarurday Night Live" by Joe Rhodes in Westward (the Dallas
Times-Herald magazine), October 10, 1982.
138 He stopped by Stan's Record Shop: Interview with Stan Lewis, 1990; also Robert Trudeau,
"Stan the Record Man," Upstate, December 8, 1983.
138 He walked out on the stage: Interview with Horace Logan, 1991.
138-139 He was wearing: This is a composite picrure put together from descriptions of
Elvis' appearance that evening and contemporaneous photographs. I don't know of a photograph
from that first performance itself.
5 0 6 '" N O T E S
139 Horace Logan was out onstage: Interview with Horace Logan. Logan fully described
his working methods.
140 "Elvis, how are you this evening?": This dialogue, which prefaces performances of
"That's All Right" and "Blue Moon of Kentucky," appears on Elvis.... The Beginning Years, on
the Louisiana Hayride / RCA label. Despite Horace Logan's claim, the interlocutor appears to be
Frank Page (though it's always possible that Logan preceded Page). The tape seems to be authentic,
and I don't know any reason to question its dating (the dialogue is certainly awkward
enough to signal a first appearance). In any case, it's well worth a listen.
140-141 The cheers that went up: Interviews with Sam Phillips, Merle Kilgore, Tillman
Franks, Jimmy "C" Newman, Curley Herndon, et aI., 1989-92.
142 'Td never seen anything like it before": Interview with Jimmy "C" Newman, 1990.
142 "I think he scared them": Interview with Merle Kilgore, 1989.
143 "My daddy had seen": 1972 interview.
143 He missed the Hayride for the next two weeks: There has been some debate over this
issue. There is no question that Elvis returned to the Hayride and signed a contract on November
6, 1954, or that he missed the October 30 broadcast. I had believed from oral testimony, and
from a story in "The Cashbox Country Roundup" of November 6, 1954 (which quoted Marion
Keisker on the success of his second week's appearance), that he played the Hayride on October
23. But he does not appear to have been listed in the lineup, and Scotty's recollection is that
there was at least a two-week gap while Sam was "negotiating the contract - not that there
was all that much to negotiate, at twenty-four dollars a week or whatever it was." Sam, meanwhile,
recalls clearly that they did not return until at least three weeks later, after the contract
had been arranged.
144ft' That Friday night Bob Neal brought a visitor: This account of Oscar Davis' discovery
of a fresh young talent is based on several interlinked sources: Jerry Hopkins interviews
with Oscar Davis and Bob Neal (MVC /MSU); a joint interview with both Colonel Parker and
Oscar Davis carried out briefly in the aftermath of Elvis' well-known interview in August 1956;
Gordon Stoker's recollections to me (and others) of meeting Elvis backstage at the Eddy Arnold
show, long before Elvis had made his mark; my interview with Hoyt Hawkins' widow, Dot
Hawkins; ads and a review in the Memphis Press-Scimitar of Eddy Arnold's October 31 show; and
the documented fact that by early January the Colonel was well aware of exactly who Elvis
Presley was.
At the time of that first meeting, Oscar Davis told Hopkins, "Scotty Moore was acting as
[Elvis'] manager.... They were somewhat excited about getting me in the picture with them,
and we agreed to meet the follOWing Sunday when Eddy Arnold would be in town and I would
be in town." In the 1956 interview Parker credited Davis with "introducing" him to the boy (he
refused to acknowledge that Davis actually discovered him), though it is unclear whether he
actually met Presley at the time, and Davis made a point to Hopkins that he tried to keep his
find secret from the Colonel. Both Parker and Davis stipulated that an Eddy Arnold concert in
Memphis was the occasion, and Davis declared that "I called him to the Colonel's attention on
the Sunday which we played [there]." The working out of this scenario has involved some
guesswork, obviously, but the only discrepancy that I am aware of is that Davis remembered
going to see Elvis perform at a little "airport inn." The fact that Elvis was advertised at the
Eagle's Nest the weekend ofthe Eddy Arnold show seems to resolve the discrepancy.
Background on Oscar Davis and Tom Parker stems from numerous interviews, including
invaluable ones with Grelun Landon, Gabe Tucker, and Sam Phillips, as well as extensive documentation
in Marge Crumbaker and Gabe Tucker's Up and Down with Elvis Presley; Elvis by Jerry
N O T E S '" 5 0 7
Hopkins; It's a Long Way from Chester COllnty by Eddy Arnold; Elvis and Gladys by Elaine Dundy;
Elvis and the Colonel by Dirk Vellenga; and Elvis by Albert Goldman.
145-146 he introduced him to Eddy and to Hoyt Hawkins: Interview with Gordon Stoker,
146 they had enjoyed his singing, too: jerry Hopkins interview with Neal Matthews
(MVC /MSU).
146 The following Saturday night: Interview with Horace Logan. The actual contract is
available and has been widely reproduced.
147 They stopped by the Chisca to visit: Elvis' relationship with Dewey was documented
in interviews with Sam Phillips, Dixie Locke, june juanico, and Dickey Lee, among others, as
well as by jonnie Barnett's extensive interviews with Harry Fritzius and Charles Raiteri's exhaustive
research for his fine screenplay on Dewey.
So far as the issue of Elvis on Beale, this is an old, and much-debated, question. I have
spoken with innumerable Beale Streeters, and read the testimony in Beale Black &- BIlle by
Margaret McKee and Fred Chisenhall. Although Rufus Thomas has adamantly insisted he
never saw Elvis on Beale until the December 1956 WDIA Goodwill Revue, I don't have any
problem placing Elvis on Beale; it is just a question of when. From speaking with Elvis' childhood
friends, and considering the nature of the young man, I find it far more likely that he
would start going down to the clubs once he had achieved a certain measure of confidence
and respect, and if WDIA's Professor Nat D. Williams was Beale Street's uncrowned mayor,
Dewey Phillips was something like a roving ambassador from another galaxy. There is nothing
in the interviews with Beale Street habitues that I have conducted or read that would indicate
a distinction in the mind of the speaker between a young Elvis Presley who had not recorded
at all and a young Elvis Presley who had simply recorded locally but was not widely
known, at least not in the black community. That, as I see it, is the cause of the confusion.
Robert Henry, for example, who is quoted in Beale Black &- BIlle as haVing "taken him to the
Hotel Improvement Club with me," was cited in much the same role in the Press-Scimitar on
Elvis' death with one telling exception: "I met him through Dewey Phillips," Henry said. You
can read the interviews with Billy "The Kid" Emerson (Living Bllles 45/46, spring 1980), Sunbeam
Mitchell (by David Less, unpublished), and Calvin Newborn with this chronology in
mind, and I don't believe there is anything in any of them that would sharply contradict it.
And when an even younger, even less well known white boy is recalled hanging out in the
clubs at a presumed earlier date, the question naturally arises: How did you know it was Elvis?
In the absence of an introduction, the presumption must be that the name was attached retrospectively.
This is all, in other words, inductive (but not, I hope, circular) reasoning, and persuasive
only to the point that it is actually proved, or disproved, by documented events. Putting
the description in the form of a dialogue with Dixie is a narrative device, however: the
conversation may have happened, but it is not a memory that I have gotten from Dixie, and it
is simply a means of threading together a chronological story in a manner that seems to me
reasonably plaUSible.
148 Toward the end of football season: jerry Hopkins interview with Red West (MVC I
MSU); Red West et aI., Elvis: What Happened?; Trevor Cajiao interview with Red West for Elvis:
The Man and His MltSic 22, March 1994; interview with Buzzy Forbess, 1991.
148 "He would look in the papers": Interview with Guy Lansky, 1990.
148 Ronnie Smith recalled running into Elvis: Interview with Ronald Smith, 1993.
148 Sometimes old friends passed him: He speaks of this happening, at a later date, to Bob
Neal in Robert johnson, Elvis Presley Speaks!, p. 30.
5 0 8 N O T E S
148 he didn't know if they were laughing: H e cites this fear in his Warwick Hotel interview
in March 1956.
149 In berween shows at the auditorium: Interview with Maylon Humphries, 199I.
149 With Merle Kilgore: Interview with Merle Kilgore.
1 49-150 Sometimes they would go: Interview with Maylon Humphries.
150 They worked one night: Interviews with Curly Herndon, 1991; Scotty Moore; D. J.
Fontana, 1988, 1991; and Tillman Franks, 1991-93.
150--152 Pappy called Tom Perryman: Interview with Tom Perryman, 1989.
Scotty Moore confirmed how the connection came about and the nature of the relationship.
"A lot of times," Perryman recalled, "the boys would come by after the show. Elvis would
look after our three kids when we took the baby-sitter home. Hamburgers and banana pudding."
1 52-153 On Thursday, November 25: Interview with Biff Collie, 1990.
In addition to the quotes, much of the background material on Biff Collie comes from this
same interview. Additional information on Collie from interviews with Tillman Franks and
T. Tommy Cutrer, while the Eagle's Nest incident was illuminated by Franks as well as by the
story "The Notorious 'Country' Johnny Mathis" by Bill Carpenter, which appeared in Go/dmine,
May 28, 1993. The telegram was on display for a time at the Elvis - Up Close Museum, across
from Graceland, and was published in Go/dmine, August 10, 1990, in a story by Joe Haertel,
"Retracing Elvis's Memphis and Tupelo Footsteps."
153-156 Meanwhile, Bob Neal was looking on his new project: Jerry Hopkins interviews
with Bob Neal (MVC /MSU).
154 "they didn't know exactly how to take him": This description of Elvis' development as a
stage performer is assembled from various points in Jerry Hopkins' interviews with Bob Neal
(MVC / MSU).
154-155 Sometimes Bill would come out of the audience: Interviews with Bobbie Moore,
1992, and Bobbie Moore and Evelyn Black, 1993.
156 Elvis had already given himself: Elvis Presley Speaks!, p. 16; Robert Johnson, "Suddenly
Singing Elvis Presley Zooms into Recording Stardom," Memphis Press-Scimitar, February 5,
1955; Country &- Western Jamboree, April 1955.
157 a new song by a Covington, Tennessee, theater manager: Colin Escott and Martin
Hawkins, Good Rockin' Tonight: Sun Records and the Birth of Rock 'n' Roll, p. 72.
F O R B I D D E N F R U I T
All quotes from Sam Phillips, Marion Keisker, Scotty Moore, and Dixie Locke are from the
author's interviews, unless otherwise noted.
160 "They did a lot of their harmony gospel songs": Interview with Tom Perryman, 1989.
160--162 In Corinth, Mississippi: Interviews with Buddy and Kay Bain, 1989, 1990, 1994.
162 It was all like a dream: Elvis referred to this fear again and again, that somehow his success
would turn out to be all an illusion, from his earliest recorded interviews on. "I think about
things that have happened," he told Edwin Miller in May 1956 ("Elvis Presley," Seventeen, fall 1956),
"and it's kind of like a dream. A year and a half ago, I was nothing." To Bob Johnson he insisted
that, despite this dreamlike atmosphere, he would never forget "who I am and where I came from
and my friends and how this all happened."
N O T E S ", 5 0 9
162-163 there was a full, four-column spread: Memphis Press-Scimitar, February 5, 1955.
163 He was fascinated, too: Interview with Martha Carson, 1989; Pave Byers, "Martha Carson:
The Rockin' Queen of Happy Spirituals,' " 1983.
163-164 In between shows he and Scotty went across the street: Scotty recalled the experience
in 1988, 1989, and 1992 interviews; Sam Phillips spoke of it in 1989 and 1990 interviews; the
date in New Boston in early January has been confirmed by a January 24, 1955, letter from the
Colonel to Robert Shivers, a promoter in Hope, Arkansas, in which the Colonel states: "Presley
alone did over $500 in New Boston a few weeks ago."
164-16;,169-170 The meeting at Palumbo's: This account has been put together primarily
from interviews with Sam Phi11ips and Scotty Moore, along with Oscar Davis' colorful, if somewhat
confused, description to Jerry Hopkins (MVC I MSU). Davis gives the most vivid account by
far of the Colonel's frontal assault, but both Scotty's and Sam's impressions of Tom Parker in the
aftermath of the meeting, and the Colonel's subsequent attempt to sell Tommy Sands, not Elvis
Presley, to RCA as a harbinger of the new music, bear out the somewhat unfortunate contretemps
that resulted, at least initially, from this meeting.
16; Thomas A. Parker on first impression: Much of the specific background on the Colonel
here comes from Marge Crumbaker and Gabe Tucker's Up and Down with Elvis Presley; Dirk Vellenga's
Elvis and the Colonel; and Albert Goldman's Elvis.
16;-166 Acuff, then known as: Elizabeth Schlappi, Roy Acuff.
166 According to Oscar Davis: This description of Colonel Parker has been put together
from various points inJerry Hopkins' interview with Oscar Davis (MVC / MSU).
166 To Biff Collie, the Houston OJ: Interview with Biff Collie, 1990.
166 Gabe Tucker, who met Parker: Interview with Gabe Tucker, 1990.
167 "When Tom's your manager": Eddy Arnold, It's a Long Way from Chester County,
pp. 46-47.
167 From now on, he told Gabe Tucker: Crumbaker and Tucker, Up and Down, p. 74.
167-168 In 1953, in an episode: Jerry Hopkins, Elvis, p. 101.
168 Arnold and Parker "were dissipating": Crumbaker and Tucker, Up and Down, p. 7I.
168 making his office in the lobby: Jerry Hopkins interview with Bill Williams (MVC I
MSU); the story is told in Hopkins' Elvis, p. 102.
168 By the spring of 1954: Billboard passim.
168 "No one knows very much": Jerry Hopkins interview with Oscar Davis (MVC I MSU).
168-169 "You have one fault": Vellenga, Elvis and the Colonel, p. 126.
169 As Gabe Tucker observed: Interview with Gabe Tucker.
169 everyone else in the Colonel's estimation: "Everyone has weaknesses," Oscar Davis told
Jerry Hopkins (MVC / MSU). "He'll read you very quickly. Helluva guy."
171-17; Snow was bowled over by his first exposure to this kid: Interviews with Jimmie
Rodgers Snow, 1990, 1993, 1994.
A note on the spelling of Jimmie Rodgers Snow's name. Snow was named, obviously, for his
father's musical idol. He came to identifY himself, however, as "Jimmy," both as an artist and, in
later years, as a minister. Hence the discrepancy in spelling.
One final note. Jimmy Snow believes that he played Lubbock with Elvis a month earlier than
this booking, operating as a kind of scout for his father and Colonel Parker. After extensive interviews
with Billy Walker, who headlined Elvis' first, brief West Texas tour; Tillman Franks, who
booked it; and "Pappy" Dave Stone, who booked the Lubbock gigs in both January and February
(not to mention Bill Griggs' article "Elvis Presley in Lubbock" in Rockin' 50S, August 1992), I have
5 1 0 '" N O T E S
corne to the conclusion that this is just a matter o f the normal telescoping and expansion of
memory - but I remain open to correction.
1 7 1 "His energy was incredible": Nick Kent, "Roy Orbison: The Face Interview," The Face,
1989·
1 72--173 "He was this punk kid": Ibid.
173 "There never was a country act": Jerry Hopkins interview with Bob Neal (MVC!
MSU).
173 The trouble was: RobertJohnson, TV Star Parade, September 1956, p. 65.
174 "I see people all different ages": 1972 interview.
174 "He would study a crowd": Interview with Tillman Franks.
174 "He was always unhappy": Jerry Hopkins interview with Bob Neal (MVC! MSU).
175-176 the startling success of Alan Freed: My primary source for background on
Alan Freed was John Jackson's biography Big Beat Heat: Alan Freed and the Early Years of Rock
er Rol!.
1 76--177 "For the past year the top U.S. deejay": Time, February 14, 1955, © 1955. Reprinted
by permission.
177 ("It was a tremendous emotional problem"): Cleveland Plain Dealer, September 15,
1956.
1 77-178 "He was extremely shy": This and subsequent quotes by Randle are from Ger Rijff
andJan van Gestel, Memphis Lonesome.
178 On March 15: Jerry Hopkins interview with Bob Neal (MVC!MSU); also Report of
Guardian Ad Litem re the Estate of Elvis A. Presley. Deceased, in the Probate Court of Shelby
County, Tennessee (this reproduces the Colonel's agreement with Neal on November 21,
1955).
179 While they were out: Interview with Stan Kesler, 1987.
179 this new boy Perkins: Colin Escott and Martin Hawkins, Good Rockin' Tonight: Sun
Records and the Birth of Rock 'n Roll, p. 130.
180 Jimmie Lott was ajunior: Ibid., p. 73.
181 Some two weeks later: Both the date and the background have been established by correspondence
between Colonel Parker and Bob Neal, and Colonel and the William Morris Agency,
which ultimately set up the audition. The information on the trip itself is from Jerry Hopkins'
interviews with Bob Neal and mine with Scotty Moore, while Bill Randle's perspective is
described in Rijff and van Gestel, Memphis Lonesome.
182 a 1951 Cosmopolitan Lincoln: Interview with Merle Kilgore, 1989. Information on the
Cadillac comes primarily from records made available through the Elvis Presley Estate.
182 "It was always exciting": 1972 interview.
182 "He's the new rage": Jules J. Paglin, "Louisiana Disc Jockeys," Melody Maker, December
31, 1955 (as reprinted in Blues World 31, June 1970).
182--183 "This cat carne out": Paul Hemphill, The Nashville Sound: Bright Lights and Country
Music, pp. 272-273.
183 The Miller Sisters, the performing duo: Hank Davis, "The Miller Sisters," DISCoveries,
June 1989.
184 "one of the newest": Souvenir program accompanying the "Hank Snow All Star Jamboree"
tour.
184 Johnny Rivers saw the show: Steve Roeser, 'Johnny Rivers: The Man Who Made the
Whisky," Goldmine, September 6, 1991.
N O T E S ", 5 I I
1 84 Jimmy Snow roomed: Interview with Jimmie Rodgers Snow, 1990.
185-186 He met Mae Boren Axton: Interview with Mae Boren Axton, 1988.
1 86-188 In the interview he persisted: Mae told me about this interview before I heard it,
and we spoke about it afterward. Acrually putting a date on it has proved to be a persistent problem.
In the course of the interview Mae refers to Elvis having previously played Florida, which
would lead one to wonder about its acrual date. It certainly sounds like a first meeting, and my
best guess about the somewhat tentative references to earlier touring is that this was a way to
indicate a wider celebrity than the singer acrually possessed. The evident intention of the interview
was to publicize his appearances throughout Florida over the next week; at least that is the
most logical explanation I can come up with. The fact that the Jacksonville riot of May 13 is not
referred to indicates to me that the interview predates the acrual tour.
188 "and she was just right into it": Interview with Mae Boren Axton.
189-190 "Skeeter Davis was there": Ibid.
191-192 Parker had accused publicist Anne Fulchino: This account and the subsequent
quotes by Crumpacker are from interviews and letters, 1989-94.
192 Chick finished up his trip: The next time Chick saw Elvis was at the third annual Jimmie
Rodgers Festival in Meridian, Mississippi, on May 25. Founded to honor the "Singing Brakeman,"
who was widely hailed as the Father of Country Music, the festival also served as a kind of trade
convention about midway between one annual OJ convention in Nashville and the next. Elvis and
Scotty and Bill made a big impression on the '55 festival, practically causing a riot in their appearance
at the football stadium and coming to the inescapable attention of Steve Sholes, Chick's boss
at RCA. Hill and Range was also represented in the person of Grelun Landon, and there were
innumerable other performers and industry figures getting a look at this new phenomenon for
the first time.
The reason I mention all this is that in recent years a story has sprung up that this was not
Elvis' first trip to Meridian. In 1953, so the story goes, Elvis hitchhiked to Meridian two days
short of high school graduation, performed in an amateur contest to some acclaim, and then
borrowed ten dollars from a festival official to get back home. I first heard this story in 1980
when I was in Meridian for the festival and have tried to track it down ever since. I have never
found any evidence to support the story, and, while it is always possible that hard evidence will
rum up, it seems more likely that this is yet another case of two stories merging: the first that of
an unknown young singer who appears hungry and talented (and anonymous) in 1953, the second
the appearance two years later of a rapidly gathering sensation sti11 largely unknown to an older
generation. It would not be at all inconceivable that these two stories could become legitimately
confused. In any case, Elvis enjoyed a real triumph at Meridian in 1955 among both his peers and
his elders.
M Y S T E R Y T R A I N
All quotes from Sam Phillips, Marion Keisker, Scotty Moore, and Dixie Locke are from the
author's interviews, unless otherwise noted.
195 a man who had it in his power: Neal and Parker conferred in Memphis all day on June
17, just one month after the Jacksonville "riot." According to the July 2 Cash Box: "Bob Neal...
flew into Nashville last weekend for a meeting with Col. Tom Parker... [and] signed an exclu5
1 2 '" N O T E S
sive contract with Hank Snow Enterprises, allowing the company to represent Presley in
all phases of the entertainment field. Neal, however, will continue as exclusive manager of
Presley."
195-204 On balance Bob Neal was well satisfied: Not only the quoted material but the
appraisal of Elvis' career, his listening habits, and avidity for knowledge, all stem from Jerry Hopkins'
interviews with Bob Neal (MVC / MSU).
196 "I was, I think, a year or two": Neal was in fact about a year younger than Vernon.
1 96-197 Then on July 4 he found himself: Information on the De Leon date from interviews
with James Blackwood and]. D. Sumner in 1988, 1990, and 1991: also Country &- WesternJamboree,
October 1955, as supplied by Wayne Russell, Lee Cotten's All Shook Up (second edition), and
Bob Terrell's The Music Men. Colin Escott's biography, Hank Williams, points out that Hank
Williams was booked in 1950 but showed up drunk and didn't perform.
1 97-199 The next-door neighbors, the Bakers: Interviews with Jackson Baker in 1989, 1990,
and 1992, as well as a joint telephone interview with Jack, his sister, Sarah, and their mother, Eve,
in 1990. Just when the Presleys got their phone became a matter of some debate among the Bakers,
but even if the Presleys had their own line by July, as might well be expected, both Jackson's
and Sarah's memories of him on their hall phone are so vivid that it seems clear that he must have
continued to make some calls from their home even afterward.
199 "He told me to drive it": Interview with Guy Lansky, 1990.
201 He kept telling them about Colonel Parker: "Elvis by His Father Vernon Presley" as
told to Nancy Anderson, Good Housekeeping, January 1978, p. 157.
202-203 Meanwhile Bob Neal was fielding offers: Jerry Hopkins interviews with Bob Neal
(MVC / MSU).
Additional information on the other labels' interest in Elvis comes from interviews
with Jerry Wexler, Jerry Leiber and Mike Stoller, Grelun Landon, and Sam Phillips, as well as
Colin Escott and Martin Hawkins' Good Rockin' Tonight: Sun Records and the Birth of Rock 'n'
Roll (the MGM telegram); Arnold Shaw's The Rockin' '5os; Bill Randle in Memphis Lonesome by
Ger Rijff and Jan van Gestel; Vince Staten's The Real Elvis: Good Old Boy (on Randy Wood's
offer); and Albert Cunniff, "Muscle Behind the Music: The Life and Times of Jim Denny," pt. 3,
Journal of Country Music, vol. II, no. 3 (on the involvement of Jim Denny, Jud Phillips, and Decca
Records).
206 "Elvis Presley on Beale Street": Margaret McKee and Fred Chisenhall, Beale Black &
Blue, p. 95.
206 'before he could be rescued": Cash Box, August 13, 1955.
206-208 Vernon seemed pretty much ready to sign: The account of this Little Rock meeting
is based primarily on Vince Staten's interview with Whitey Ford in The Real Elvis, Vernon
Presley's testimony in his Good Housekeeping story; and - for the specific context in which the
Colonel's wooing of the Presleys was taking place - my own interviews with Sam Phillips, Marion
Keisker, Jimmie Rodgers Snow, Hank Snow, Gabe Tucker, Mae Boren Axton, Lillian Fortenberry,
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