Almost all the rockabilly recorded in these early years was produced by musicians who had seen Presley perform. Moreover, they inspired numerous musicians to make the switch from country to rockabilly, among them Buddy Holly and Marty Robbins, the latter already an established star. Fontana, toured the South almost continually in 19, igniting audiences. Presley, Moore, and Black, along with drummer D.J. Backing was provided by a bass played in the slapping style, frequently supported by a drummer an electric guitarist filled the gaps and took an energetic solo and the whole sound was enlarged by a studio effect called slap-back, or “Sun echo,” developed by Phillips. Following this blueprint, rockabilly records typically featured a wildly expressive vocalist tearing into a bluesy song while flailing away on an acoustic guitar. He accompanied himself on strummed acoustic guitar, Scotty Moore provided fills with electric guitar, and Bill Black added propulsive upright bass as the trio established rockabilly’s quintessential instrumentation. Presley sang with African-American inflections and more emotional intensity than country singers of the time. In July 1954, in his first session for Sam Phillips’s Sun label of Memphis, Tennessee, Presley recorded two songs that would lay the foundation for rockabilly: “That’s All Right,” written by Mississippi bluesman Arthur “Big Boy” Crudup, and a hopped-up version of “Blue Moon of Kentucky,” a mid-tempo waltz by Bill Monroe, the creator of bluegrass.
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