"This was a white kid in the 1950s going on Beale Street, learning from masters of black music like Roy Hamilton, Jackie Wilson and others. He was different, interesting, but not something you felt the magnitude of at first – not until you heard Dewey Phillips playing 'That's All Right' on [his radio show] 'Red, Hot & Blue'. Hearing what he was doing, singing black music with a confidence and a uniqueness, made me and other African-American talents say, 'This guy has something'. And he did! We felt that maybe he was opening up a market that had been not fully opening up to black music, breaking down barriers to a greater appreciation of what black music truly was. That opened up more doors for artists like Chuck Berry, Little Richard, Fats Domino, Brook Benton and so many others. We felt that maybe he was opening up a market that had been not fully opening up to black music, breaking down barriers to a greater appreciation of what black music truly was. That opened up more doors for artists like Chuck Berry, Little Richard, Fats Domino, Brook Benton and so many others. He was soulfully expressing the songs with an r'n'b flair, showing what black music was through his perspective. What Elvis did for me was cement in my mind the great potential reach of r'n'b and soul music. The credibility that he bought to it, whether he viewed it that way or not, doesn't matter, because this was the net result. What Elvis did for me was cement in my mind the great potential reach of r'n'b and soul music. The credibility that he bought to it, whether he viewed it that way or not, doesn't matter, because this was the net result.This documentary gives the complete picture of the person, his greatness, some of his secrets, some of his ups, some of his downs and an abundance of his power. And people would love to see how much of a production role Elvis had in the music that he made. It was a real honor for us at Stax Records, for [Elvis] to record there. He was as soulful as anyone. He was amazing at whatever he chose to do."