'Elvis Presley's incendiary vocal performance of 'Baby, let's play house' (1955), hails from rockabilly's formative era, when the rules hadn't yet been cast in stone, and Elvis was still experimenting in overdrive, searching for the compelling sound that would catapult him to icon status in little over a year. Presley's slapback, echo laden hiccuping - briefly rendered 'a cappella' before the snarling low end guitar of Scotty Moore enters -, segues into an irresistibly lascivious declaration of lust, and a not-so-subtle hint of violence. Both of Scotty Moore's immaculately conceived, and executed solos were monstrously influential to the rockabilly idiom, copied by countless Southern axe-wielding teens. And Bill Black slaps his thundering upright bass so percussively, that no drummer was necessary'

' From the darkest of backgrounds, Elvis' voice emerges with such realism that you could take singing lessons, his vocals so irresistible and smooth, and with …

'Take 'My baby left me' (1956) by Arthur 'Big Boy' Crudup, the black Mississippi sharecropper whose 'That's All Right' had literally been Elvis' first recordin…

'Arguably some of the most important tracks in the history of Rock and Roll, Elvis' SUN recordings demonstrate what a dynamic and talented vocalist he was; the…

' That night at the 'Eagle's Nest', I remember, he was playing a D-18 Martin acoustic guitar and he was dressed in the latest teen fashion, but the thing I rea…

'For me,' he explains his mammoth project, 'it is an obligation to know and learn to understand the various styles living within the guitar, to work with them …

'Besides, the bass isn't a difficult instrument to play. It's like one step up from the kazoo, isn't it?'