The urge to Play Elvis Presley Blue Suede Shoes resonates with music fans across generations. His energetic rendition became a rock and roll standard, synonymous with his early, electrifying rise to fame. Yet, the story behind this iconic track is more complex than just Presley’s performance. It’s deeply intertwined with the talent and misfortune of another Sun Records pioneer, Carl Perkins, the man who wrote and first recorded the song. Understanding the journey of “Blue Suede Shoes”—from its unexpected inspiration to Perkins’ chart-topping success and Presley’s famous cover version—reveals a fascinating chapter in music history, marked by shared influences, burgeoning stardom, mutual respect, and the sometimes harsh realities of the music business. This is the story not just of a song, but of the artists whose lives it connected, particularly the unique relationship between Carl Perkins and Elvis Presley during the dawn of rockabilly.
The Rise of Carl Perkins
Born in Tennessee on April 9, 1932, Carl Perkins began his musical journey in the mid-1940s. He honed his skills playing at local dances alongside his brothers Jay and Clayton in the ‘Perkins Brothers Band’. Their lineup solidified in 1953 with the addition of drummer W.S. ‘Fluke’ Holland. Perkins, much like Elvis Presley, drew inspiration from a blend of country and blues influences. He developed a distinct guitar style – hard, trebly, and rhythmic – that would become a hallmark of rockabilly. His early exposure to music came from diverse sources, including the Grand Ole Opry broadcasts and listening to black sharecroppers play the blues near his childhood home, mirroring Presley’s own absorption of musical styles from Memphis’s Beale Street.
It was the late summer of 1954 when Perkins first encountered the sound that would change his trajectory. His wife, Valda, called him to listen to the radio, remarking on a singer whose band sounded remarkably similar to his own. The song was Elvis Presley’s “Blue Moon of Kentucky.” Perkins recognized the shared influence of Bill Monroe but noted differences: Presley’s guitar sound was fuller, thicker, while his own was sharper. Presley’s voice, however, was captivating – familiar yet new. He heard echoes of Monroe in Elvis’s high register and phrasing. As the song faded, Perkins declared, “There’s a man in Memphis that understands what we’re doing… I need to go see him.” Hearing Presley’s other early Sun single, “That’s All Right,” further convinced Perkins of their common ground, recognizing the black musical influences Elvis integrated into his up-tempo country style – the sound soon to be known as rockabilly.
First Encounters: Perkins Meets Presley
Before making his way to Sun Records in Memphis, Carl Perkins had the opportunity to witness Elvis Presley live. The setting was a high school gymnasium in Bethel Springs, Tennessee. Perkins, accompanied by his brothers, observed a relatively small crowd, mostly young teenagers – a demographic he hadn’t previously considered for his own music. When Elvis and his band (Scotty Moore and Bill Black) appeared, Perkins was struck by Presley’s stage presence. Dressed in a pink shirt, white sports coat, and black slacks, with his collar upturned and hair slicked back, Elvis commanded attention. His appearance ignited screams from the audience, particularly the girls.
Elvis exuded a playful yet seductive energy, stalking the stage and locking eyes with audience members. Perkins recognized the stage mannerisms – the flirtatiousness, the panther-like pacing – as potential masks for nervousness, something he himself experienced. When Elvis performed, his body convulsed with an energy Perkins likened to religious fervor. He handled the microphone with intimacy, leaning into it possessively. Between songs, however, Elvis’s nervousness showed through stutters and awkward jokes. Yet, this vulnerability seemed to endear him further to the audience and even complemented his singing style, which often incorporated a stuttering technique for added tension. Perkins recalled Elvis performing “That’s All Right,” “Blue Moon of Kentucky,” “Cotton Fields,” and Hank Snow’s “I’m Movin’ On,” complete with an impersonation that drew huge applause. The set ended somewhat comically when Elvis tripped over a guitar cord and fell, quickly scrambling offstage.
Later that night, Carl and his brothers met Elvis, Scotty, and Bill as they were packing their car. The conversation was brief; Elvis was polite but reserved. Years later, Sun Records founder Sam Phillips would describe the young Presley as highly introverted. Perkins noted the upturned collar hid acne on Elvis’s neck, a small humanizing detail behind the electrifying stage persona. This encounter solidified Perkins’ resolve to seek out Sam Phillips and Sun Records.
The Birth of an Anthem: Crafting ‘Blue Suede Shoes’
In October 1954, Carl Perkins drove his ’41 Plymouth to Memphis and Sun Records. Initially, Sam Phillips seemed uninterested, but Perkins persisted and earned an audition. Like Presley’s first attempts, Perkins’ initial offerings didn’t immediately capture Phillips’s attention. It wasn’t until Perkins played an original composition, written at age fourteen and later titled “Movie Magg,” that Phillips recognized his potential. “Now that’s original,” Phillips exclaimed, praising the unique playing, singing, and writing. Perkins had his foot in the door.
The idea for “Blue Suede Shoes” came later, originating from a suggestion by fellow Sun artist Johnny Cash in late 1955. Cash recounted a story about C.V. White, a black airman he knew in the Air Force in Germany. White was meticulous about his appearance, especially his polished shoes. One night, White warned Cash, “Well, just don’t step on my blue suede shoes!” Though the shoes were standard Air Force black, White insisted, “No, man. Tonight they’re blue suede. Don’t step on ’em!” Perkins initially dismissed the idea, unable to relate to the concept as he’d never owned such shoes.
Inspiration struck unexpectedly on October 21, 1955, during a performance at Union University in Jackson. Perkins witnessed a young man angrily tell his date, “Uh-uh… Don’t step on my suedes!” The boy was wearing blue suede shoes, one visibly scuffed. The image of someone valuing shoes over their date stuck with Perkins. Later that night, unable to sleep, the scene replayed in his mind, alongside Cash’s suggestion. He started framing the narrative, trying nursery rhymes: “Little Jack Horner…” No. “See a spider…” Stupid. Then, “One for the money / Two for the show / Three to get ready / Four to go.” He had found his opening line. Combining the rhyme with the dance floor incident and Cash’s story, Perkins crafted the lyrics, telling a story of priorities: you can do anything to me, but don’t mess with my prized footwear. “Blue Suede Shoes” was born.
alt=”Carl Perkins posing with his electric guitar in a 1956 promotional photo during the height of his ‘Blue Suede Shoes’ fame.”
Elvis Presley Steps In: Recording and Performing the Hit
Carl Perkins recorded “Blue Suede Shoes” at Sun Records on December 19, 1955. It was released as a single on January 1, 1956, backed with “Honey Don’t.” Meanwhile, Elvis Presley, having recently signed with RCA Victor in November 1955, was busy with his initial recording sessions for his new label. On January 30, 1956, during his second session in New York, Elvis recorded his own version of “Blue Suede Shoes.”
As Perkins’ single started gaining traction nationally in early March 1956, entering the Billboard Hot 100 alongside Presley’s “Heartbreak Hotel,” a unique situation arose. Perkins’ “Blue Suede Shoes” became the first song by a country artist to appear on the R&B chart, eventually hitting #2 on the pop and R&B charts while topping the country chart – a true crossover smash. Its success reportedly caused some initial panic at RCA. Presley’s producer, Steve Sholes, contacted Sam Phillips, questioning if RCA had signed the right Sun artist, given Perkins’ writing and instrumental prowess alongside his singing. Phillips urged patience with Presley.
Out of respect for Perkins and their friendship forged at Sun, Sholes and Presley agreed not to release Elvis’s version as a single while Carl’s was climbing the charts. Instead, Elvis’s take on “Blue Suede Shoes” first appeared on a four-song EP in March 1956 and later that month on his debut album, “Elvis Presley.” According to guitarist Scotty Moore, Elvis’s decision to Play Elvis Presley Blue Suede Shoes wasn’t driven by RCA pressure but was a personal tribute to Perkins. Elvis had discussed it with his band and simply decided he wanted to record it, likely out of admiration for the song and his friend.
On March 17, 1956, Elvis introduced his version to a national audience, performing “Blue Suede Shoes” and “Heartbreak Hotel” on the Dorsey Brothers Stage Show. This televised performance significantly boosted the song’s profile, even if it was Perkins’ version dominating the charts at that moment. Only after Perkins’ single peaked did RCA release Presley’s version, which reached #20 on the pop charts. While Perkins’ original remains the definitive rockabilly version, the decision to play Elvis Presley Blue Suede Shoes cemented the song’s status as an enduring rock and roll anthem for a massive new audience.
alt=”Publicity photo of rockabilly pioneer Carl Perkins.”
Tragedy and Triumph: Perkins’ Accident and Presley’s Support
Just as “Blue Suede Shoes” was solidifying Carl Perkins’ stardom, tragedy struck. On March 22, 1956, while en route to New York City for a high-profile appearance on The Perry Como Show, the car carrying Perkins, his brothers Jay and Clayton, and drummer W.S. Holland crashed violently near Dover, Delaware. Their driver had fallen asleep, hitting a truck before the vehicle plunged into water. The truck driver died. Carl suffered serious injuries, including a fractured skull and collarbone, while his brother Jay sustained a fractured neck.
The accident abruptly halted Perkins’ momentum at a critical career moment. While recovering in the hospital, Carl received a visit from Elvis’s band members – Scotty Moore, Bill Black, and D.J. Fontana. They were on their way to New York to back Elvis on the Dorsey Brothers Stage Show the following night. Bill Black relayed a message: “Hey, man, Elvis sends his love.” A few days later, a Western Union telegram arrived, dated March 23: “We were all shocked and very sorry to hear of the accident… If I can help you in any way please call me… Our wishes are for a speedy recovery for you and the other boys. Sincerely Alvis Presley, Bill Black, Scotty Moore and DJ Fontana.” Despite the misspelling of Elvis’s first name, the gesture deeply moved Perkins, reaffirming their strong friendship even as their career paths diverged due to the accident. While Carl watched Elvis perform “Heartbreak Hotel” and “Money Honey” on TV from his hospital bed, his own chance at national television exposure was lost.
alt=”Western Union telegram sent by Elvis Presley (signed Alvis Presley), Bill Black, Scotty Moore, and DJ Fontana to Carl Perkins wishing him a speedy recovery after his car accident in March 1956.”
Perkins eventually recovered and returned to the road within about a month. On April 10, 1956, Sam Phillips presented him with a new Cadillac, recognizing “Blue Suede Shoes” as Sun Records’ first million-selling single. However, Jay Perkins never fully recovered from his injuries and tragically died from a brain tumor in 1958. Despite recording further rockabilly classics like “Boppin’ the Blues” and “Matchbox,” Carl Perkins struggled to regain the chart momentum lost after the accident and never again cracked the Top Forty.
alt=”Sam Phillips presents Carl Perkins with the keys to a new Cadillac in April 1956, celebrating ‘Blue Suede Shoes’ becoming Sun Records’ first million-selling single.”
alt=”Carl Perkins performing energetically on stage with his band at Overton Park Shell in Memphis on June 1, 1956.”
alt=”Carl Perkins signing autographs for fans after his performance at Overton Park Shell, Memphis, June 1, 1956.”
alt=”Carl Perkins and Elvis Presley smiling and swapping autographs backstage at Overton Park Shell, Memphis, after Elvis made a surprise appearance on June 1, 1956.”
The Million Dollar Quartet: An Impromptu Jam Session
One of the most legendary moments in rock and roll history occurred on December 4, 1956, uniting several Sun Records stars. Carl Perkins was at Sun Studio recording his song “Matchbox,” with a relatively unknown Jerry Lee Lewis playing piano. Elvis Presley, by then a major RCA star, dropped by the studio unexpectedly. He was accompanied by a dancer named Marilyn Evans (whom Perkins remembered as Miller). Perkins was struck by the change in Elvis since his Sun days: jet-black hair, clear skin, and the confident aura of the newly crowned “King of Rock ‘n’ Roll.”
Elvis headed straight for the piano and started playing. Jerry Lee Lewis ambled over, introduced himself, and playfully challenged Elvis’s piano skills, suggesting he should take over. Elvis laughed and continued noodling. Sam Phillips played Perkins’ new recording of “Matchbox” for Elvis, who declared it a “killer” track. Elvis returned to the piano, and soon he and Perkins were harmonizing on gospel songs. Sensing a unique moment, Phillips instructed engineer Jack Clement to start recording, remarking they might never have these artists together again.
Johnny Cash was also present briefly, joining in some singing before the tape started rolling. He posed for photographs with Perkins, Lewis, and Presley but left shortly after, possibly for Christmas shopping or to pick up his wife. This explains why Cash’s voice isn’t prominent on the recordings. The resulting tapes captured an informal jam session featuring gospel, country, and R&B tunes, showcasing the shared musical roots and camaraderie of these pioneers. Dubbed the “Million Dollar Quartet” by a local newspaper reporter tipped off by Phillips, the session became an iconic snapshot of a pivotal moment in music history.
alt=”The Million Dollar Quartet: Jerry Lee Lewis, Carl Perkins, Elvis Presley, and Johnny Cash gathered at Sun Studio on December 4, 1956.”
Parallel Paths: Perkins, Presley, and Sun Records Legacy
Following the success of “Blue Suede Shoes,” Carl Perkins faced challenges both personal and professional. His brother Jay’s death in 1958 was a devastating blow. Musically, despite continued recording for Sun and later Columbia Records (where he moved alongside Johnny Cash in 1958), Perkins couldn’t replicate his initial chart success. Financial disputes also arose. Perkins felt Sam Phillips had significantly underpaid him royalties for “Blue Suede Shoes,” deducting the gifted Cadillac from his earnings and allegedly withholding substantial publishing income collected through BMI (Broadcast Music International). It wasn’t until years later, guided by manager Jim Denny, that Perkins understood the extent of the discrepancy. A lawsuit in the mid-1970s resulted in a partial award for Perkins and, more importantly, regained him control of his song copyrights. Though Perkins later acknowledged Phillips’s crucial role in his career, the financial issues strained their relationship permanently.
Elvis Presley’s career, meanwhile, skyrocketed after leaving Sun for RCA. He became an international superstar, transitioning from rockabilly rebel to movie star and global icon. Despite their differing trajectories, the bond formed during their early days seemed to endure. In March 1957, Elvis dropped by Sun while Phillips was playing Perkins’ recording “That’s Right.” Elvis reportedly danced to the beat, praised the song, and accompanied Perkins and Phillips to Dewey Phillips’ radio show at WHBQ, where he helped introduce the track on air. This spontaneous support highlighted their continued connection.
Elvis also showed personal kindness during Perkins’ times of loss. Following Jay Perkins’ death in 1958, Elvis sent a distinctive weeping willow tree adorned with paper mache redbirds to the funeral. He sent similar tributes upon the deaths of Perkins’ brother Clayton in 1973 and his father Buck in 1975, each signed “From Elvis, with love.” These gestures underscored a lasting personal regard, even as their public lives diverged significantly.
Later Years and Lasting Friendship
Carl Perkins’ career experienced resurgences over the years. In the 1960s, his influence was acknowledged by the British Invasion bands, particularly The Beatles, who covered three of his songs (“Matchbox,” “Honey Don’t,” “Everybody’s Trying to Be My Baby”). He toured the UK successfully and later joined Johnny Cash’s touring show from 1967 to 1975, bringing him renewed visibility. He continued to record, collaborate, and write songs for other artists, including The Judds (“Let Me Tell You About Love”) and contributing to projects like “The Survivors” (with Cash and Lewis) and “Class of ’55” (with Cash, Lewis, and Roy Orbison). He was inducted into the Rock and Roll Hall of Fame in 1987.
The news of Elvis Presley’s death on August 16, 1977, hit Perkins hard. He expressed deep regret, recounting a visit to Graceland about six months earlier. Concerned about Elvis’s health after seeing him perform, Perkins had hoped to connect with his friend but was told Elvis was asleep, even though it was evening. Learning of Elvis’s passing left Perkins with a sense of guilt for not having reached him. “I guess we all thought that maybe somehow Elvis would never die,” Perkins reflected, describing the “emotional drop” he felt.
Carl Perkins continued performing and recording into the 1990s, publishing his autobiography “Go, Cat, Go!” in 1995, which provides much insight into his life and relationship with Elvis. After battling health issues, Carl Perkins died on January 19, 1998, at age 66, leaving behind a legacy as a foundational architect of rockabilly music.
Conclusion
The story behind the desire to play Elvis Presley Blue Suede Shoes is inextricably linked to Carl Perkins. While Presley’s cover version brought the song to a massive global audience and became one of his signature tunes, Perkins was its originator, fueled by real-life observation and raw rockabilly talent. Their intertwined careers at Sun Records, marked by mutual admiration and shared musical roots, highlight a pivotal moment in American music. Perkins’ groundbreaking success with the song was tragically hampered by his accident, coinciding with Presley’s meteoric rise. Yet, their relationship endured, characterized by professional respect and personal kindnesses, particularly from Elvis during Perkins’ times of hardship. “Blue Suede Shoes” remains more than just a classic rock and roll track; it’s a symbol of the shared journey of two music legends, the creative explosion of Sun Records, and the enduring power of a song born from a scuffed pair of shoes. The legacy of both artists ensures that listeners will continue to play Elvis Presley’s and Carl Perkins’ versions for generations to come.
(Article based on information including details sourced from Carl Perkins’ autobiography “Go, Cat, Go!”)
