This is one of those great books that takes a familiar subject and injects new life into it. Having lived in Memphis for a few years in the 1990s, I was peripherally familiar with Willie Mae Thornton, Junior Parker, and Arthur Crudup as they related to the Elvis legacy but was surprised at the importance of jazz pianist Phineas Newborn Jr and his brother Calvin. This was a quick, enlightening, and engaging read that is highly recommended for fans of Elvis Presley, Memphis Blues, R&B, or Rock'n'Roll music. Highly recommended

Thanks to NetGalley and Hachette Books for an advanced reader copy.

My thanks to NetGally and Hachette Books for an advance copy of this book that looks at the history of those musicians that had an influence on a young Elvis Presley, the African American pioneers who sang, wrote, produced and performed so that rock n' roll could be born.

In comic books there are two terms for when one artist copies another artist. One is called an homage, where one artist creates a new work in the style of another artist, maybe to celebrate an anniversary for a character, or just as a thank you for the inspiration. There are also artists who swipe. Swiping is when you copy art and claim credit for what is not your own. Many artists are known for their history of swiping other artists. Music lacks terms like these. Sometimes an artist is called out for being a knockoff of someone else, but music inspires many, and why wouldn't someone who likes a singer sing their songs in the same way as their hero. Joe Perry, of the band Aerosmith once said that everyone who wraps a scarf around their microphone owes Steven Tyler, the lead singer money. However I am sure other artists did that too. Elvis Presley has been called the "King of Rock and Roll", but even the King admits that he had influences. Listening to black music, watching black performers. As Presley said in an interview, the music and the performances were always there, white people just weren't paying attention. The King remains a controversial figure in music, as Public Enemy would sing. People love to talk about what he did, but not where he might have received inspiration, how he did so, and what performers. Before Elvis: The African American Musicians Who Made the King by writer and music historian Preston Lauterbach, is a look at this influences, complete with profiles, a look at the music industry, what life was like before Elvis, and what came after.

The book begins with an appreciation for the work of Elvis Presley, which is no small thing. The music industry in its own way knew they were waiting for someone who could mix black sound and attitude, with a white gloss that could make it marketable to white audiences. What I found interesting is that even with all the books, and movies on the King, few probed where his influences came from. Not many could see Elvis going to juke joints or black churches, not with a protective mother, though it is possible. The problem with writing about the King, is that there is a lot of different stories. Lauterbach discusses the power of radio, and WLAC which was a radio station with a powerful signal that began playing black, or race music as it was called at night. Within a short period of time, letters were pouring in with requests, songs, and even more where to get this fantastic music. From here Lauterbach looks at the lives of various performers, whose songs Presley covered like Junior Parker, Arthur Crudup and of course Big Mama Thornton. Lauterbach looks at their lives, their careers, ups and downs, and of course the chicanery that the music industry committed when it came to fair payments. Or any payments.

A book much bigger than just the King, and the music that made him famous. Lauterbach looks at the history of black musicians, the politics of the South and the influence music had on the people. Lauterbach looks at the rising power of church groups in civil rights, and music was responsible for many people coming together for change. One thing that many of these musicians have in common is there unfair treatment by the industry. First financially, and now in credit for what they did. Lauterbach isn't here to bury Elvis, Lauterbach talks about the things that Elvis did, and what more he could have done. Lauterbach is a good writer and a great researcher, able to bring little bits together to form a narrative that tells a story not only of music, but people, and a changing time.

If one likes books on musical history, especially American music, this is a great read. Blues, rocking, gospel and more are covered, with a lot of people to track down and listen too. And a lot of musicians who deserve credit for what they did. This is the second book by Lauterbach I have read, and I can't wait for more.

As a passionate singer and music enthusiast, I truly appreciated the book's exploration of the rich musical history of the United States, particularly the diverse influences that shaped rock and roll, blues, R&B, and jazz. It highlights the artists who played pivotal roles in Elvis's rise to fame, including Willie Mae Thornton, Calvin Newborn, and Phineas Sr., who collectively contributed to his title as the King of Rock and Roll. While I would have enjoyed seeing photographs of these influential artists, I understand that such elements may be included in the final publication. For those who love music, are interested in its history, or are fans of Elvis, this book is definitely worth reading.

Thank you NetGalley and Hachette Books for allowing me the opportunity to read and review this book.

As the founder of Rock 'n' Roll Highway, my mission has always been to shine a light on the often-overlooked pioneers of rock music, and Before Elvis by Preston Lauterbach does exactly that. This book profoundly resonates with me, as it tells the untold stories of the Black musicians who played a crucial role in shaping the sound and style that would later catapult Elvis Presley to stardom. This was my second read-through, and I became even more immersed in the rich history and poignant truths that Lauterbach brings to light.

Lauterbach’s exploration of the lives and legacies of Little Junior Parker, Big Mama Thornton, Arthur “Big Boy” Crudup, and Calvin Newborn goes beyond just recounting their contributions to rock 'n' roll—it delves into the heart of a cultural movement that was often overshadowed by the mainstream media’s focus on white artists. The book is well-written, informative, and, for me, a crucial addition to my understanding of music history. I’m sure I’ll be using it as a reference text in the future, especially when discussing the origins of rock 'n' roll and the significance of these artists.

One of the most striking moments in the book is recounting a sit-down interview in a diner in Charlotte, North Carolina, on June 26, 1956. This interview, where Elvis himself acknowledges that he didn’t create rock 'n' roll, is a powerful reminder that the narrative of rock’s origins has often been misrepresented. Elvis’s words, admitting that "The colored folks been singing and playing it just like I'm doing now, man,for more years than I know" serve as a testament to the truth that many have long known but few have publicly acknowledged.

The book also sheds light on the pivotal moment at WLAC, when a stack of records brought into the station forever changed the way America listened to music. Before Elvis captures these kinds of moments so well—moments that are often overlooked but are foundational to the story of rock 'n' roll.

Lauterbach doesn’t just focus on the music; he also addresses the systemic injustices that allowed Black artists to be exploited while others reaped the financial rewards. This is not just a history lesson—it’s a call to recognize and honor the true architects of rock music. Including artists like Calvin Newborn, whose influence on Elvis was profound yet remains unrecognized mainly, is a crucial aspect of this narrative.

As someone passionate about preserving and celebrating the legacies of all who contributed to the creation of rock 'n' roll, Before Elvis is an essential read, it not only made me feel more knowledgeable but also more committed to ensuring that these stories are told and remembered.

If you’re interested in the roots of rock music and the cultural dynamics of the 1950s, or want to understand more about the artists who paved the way for legends like Elvis, I highly recommend this book. It touches the soul of the matter and brings long-overdue recognition to the African American musicians who truly made the King.

Preston Lauterbach’s new book, “Before Elvis: The African Musicians Who Made the King” is an important, welcomed, and needed book. There have been a few books that have explored these topics, and even some of these artists but it is nice to put the focus on some of the artists that inspired Elvis and what their life/careers were before Elvis and what happened to them after Elvis rose to superstardom. This is no hatched job when it comes to Elvis.
Lauterbach does a decent job of explaining the realities of what life in the US was prior to Elvis and the explosion of Rock and Roll and how that history must be addressed and understood when discussing Elvis and his place history. “It is not he (Elvis) who has stolen the music, but rather a media and public that have otherwise failed to notice it.” As Elvis stated in an interview, “A lot of people seem to think I started this business. But rock ‘n’ roll was here a long time before I came along. Nobody can sing that kind of music like colored people. Let’s face it: I can’t sing like Fats Domino can. I know that.” Elvis helped kick down the racial barriers at a time that the country was starting to desegregate. We must not forget that the Brown vs. Board of Education decision happened in May of 1954 just two months before Elvis released “That’s All Right Mama.” We are still a fairly segregated society. The last school to finally desegregate was Cleveland High School in Cleveland, Mississippi in 2016.

Lauterbach points out that Black gospel and spirituals are often overlooked and underappreciated when discussing they had on Elvis and the invention of Rock and Roll. It might have been Elvis’ biggest influence, which he discussed in an interview in 1957. “My first, I would say, would be spiritual music. I mean some of the old colored spirituals, you know, from years back.”
I kind of understand why Lauterbach included Willie Mae Thornton as “Hound Dog” played a big part in making Elvis a superstar and if that song hadn’t been written (it was written specifically for Thornton) than it could have possibly changed Elvis’ rise even though Thorton was not Elvis’s inspiration.
However, I am grateful that he included Phineas Sr. and Calvin Newborn in this collection as not many people have heard their names when people discuss influences on Elvis.
Lauterbach, at the end of the book, mentions that there are numerous stories of support that Elvis gave to Black artists and/or their families including Fats Domino, Jack Wilson, Roy Hamiliton and others. It might also be the only book I have read (and I have read hundreds) that mentions Elvis’ “donation to the expansion of daycare center for Black families” in the Memphis neighborhood of Orange Mound. A lot has been written about Elvis and Beale Street, but not a lot on Elvis and Orange Mound.
Lauterbach also points out that Elvis could have done more, but doesn’t expand on this other than a paragraph about what other artists (Led Zeppelin, Rolling Stones, etc.) did to help promote artists that influenced them. I agree that Elvis could have done more, but there are a number of reasons why he didn’t. The most likely is that he wasn’t aware. The influence and management of the Colonel also didn’t help the matter.

I highly recommend this book for anyone who is interested in Elvis, music, US history and culture. However, I just wish there was a little more meat on the bones as this could have been a much larger book with more artists, more stories, and more discussions.