Editing Scotty Moore (section)

==Biography==
[[File:Elvis and Scotty Moore (cropped).jpg|left|thumb|Moore (right) performing with [[Elvis Presley]] (left) in 1956]]
Winfield Scott Moore III was born near Gadsden, Tennessee, to Mattie (nee Hefley) and Winfield Scott Moore II, as the youngest of four boys by 14 years.<ref name=theguardian>{{cite news|last= Sweeting |first= Adam |title= Scotty Moore obituary |url= https://www.theguardian.com/music/2016/jun/30/scotty-moore-obituary|access-date= November 15, 2016|newspaper =[[The Guardian]]|location=London |date=June 30, 2016}}</ref><ref name=DailyExpress>{{cite news|title= Scotty Moore 1931–2016: The Guitarist Who Made 'the King' Rock |url= http://www.express.co.uk/news/obituaries/685332/Scotty-Moore-1931-2016-guitarist-made-the-King-Elvis-rock |access-date= November 15, 2016|newspaper =[[Daily Express]] |date=July 2, 2016}}</ref> He learned to play the guitar from family and friends at age eight. Although underage when he enlisted, Moore served in the [[United States Navy]] in China and Korea from 1948 through January 1952.<ref name="Rubin2015">{{cite book|author=Rubin, Dave|title=Inside Rock Guitar: Four Decades of the Greatest Electric Rock Guitarists|url=https://books.google.com/books?id=ZWfECwAAQBAJ&pg=PT25|date=November 1, 2015|publisher=Hal Leonard|isbn=978-1-4950-5639-0|pages=25–26}}</ref><ref>{{Cite news|url=http://www.nme.com/blogs/nme-blogs/scotty-moore-obituary-the-guitarist-who-co-founded-rocknroll-6202|title=The Guitarist Who Co-Founded Rock'n'Roll—Scotty Moore Obituary|date=June 29, 2016|work=NME|access-date=2017-07-07|language=en-US}}</ref>

Moore's early background was in [[jazz]] and [[country music]]. A fan of the guitarist [[Chet Atkins]], Moore led a group called the Starlite Wranglers before [[Sam Phillips]] at [[Sun Records]] put him together with then-teenage [[Elvis Presley]]. The trio was completed with double bass player [[Bill Black]], who brought a "rhythmic propulsion" that much pleased Phillips.<ref name="Guralnick 1994, p. 95">Guralnick (1994), p. 95</ref> In 1954, Moore and Black accompanied Elvis on what would become the first Presley hit, the [[The Sun Sessions|Sun Studios session]] cut of "[[That's All Right]]", a recording regarded as a seminal event in [[rock and roll]] history.<ref>{{cite book|title=Deep Blues|author=Robert Palmer|year=1981|author-link=Robert Palmer (American writer)|publisher=[[Penguin Books]]|page=[https://archive.org/details/deepblues00palm/page/241 241]|isbn=978-0-14-006223-6|url-access=registration|url=https://archive.org/details/deepblues00palm/page/241}}</ref>

This session, held on the evening of July 5, 1954, proved entirely unfruitful until late in the night. As they were about to give up and go home, Presley took his guitar and launched into a 1946 blues number, [[Arthur Crudup]]'s "That's All Right". Moore recalled,<blockquote>All of a sudden, Elvis just started singing this song, jumping around and acting the fool and then Bill picked up his bass and he started acting the fool too, and I started playing with them. Sam, I think, had the door to the control booth open...he stuck his head out and said, "What are you doing?" And we said, "We don't know." "Well, back up," he said, "try to find a place to start and do it again." Phillips quickly began taping as this was the sound he had been looking for.<ref>Peter Guralnick, ''Last Train to Memphis: The Rise of Elvis Presley''. Little, Brown, 1994, p. 94-97 {{ISBN|0-316-33225-9}}</ref></blockquote>During the next few days, the trio recorded a [[Bluegrass music|bluegrass]] number, [[Bill Monroe]]'s "[[Blue Moon of Kentucky]]", again in a distinctive style and employing an echo effect that Sam Phillips called "[[Delay (audio effect)#Slapback echo|slapback]]". A single was pressed with "That's All Right" on the A side and "Blue Moon of Kentucky" as the B-side.<ref>Guralnick (1994), p. 102–04</ref>

Phillips' rhythm-centered vision led him to steer Moore away from Chet Atkins' style, the one which had been adopted by Merle Travis's finger-picking style, now dubbed as "travis picking", which he deemed fine for pop or country but not for the simple, gutsy sound Phillips was aiming at.<ref>Jorgensen (1998), p. 18</ref> ''Simplify'' was the keyword.<ref name="Guralnick 1994, p. 95"/>

By his performance at the [[Louisiana Hayride]] in October 1954, Presley, Black and Moore were called the [[Blue Moon Boys]].<ref>Jorgensen (1998), p. 19</ref>

For a time, Moore served as Presley's personal manager.<ref name="dickerson2005">{{cite book |title=That's Alright, Elvis:The Untold Story of Elvis's First Guitarist and Manager |first1=Scotty |last1=Moore |first2=James L. |last2=Dickerson |year=2005| publisher=[[G. Schirmer Inc.|G. Schirmer]] |location= New York |isbn=978-0-8256-7319-1}}</ref>{{rp|85}} They were later joined by the drummer [[D.J. Fontana]]. 

Beginning in July 1954, the Blue Moon Boys toured and recorded throughout the [[American South]]. Subsequently, Elvis's popularity rose amongst teenage girls, they began touring nationwide, appearing on distinguished programs such as ''[[The Ed Sullivan Show]]'', which, at the time, was the hallmark for success for young artists. On April 3, 1956, they performed "[[Shake, Rattle and Roll]]," "[[Heartbreak Hotel]]," and "[[Blue Suede Shoes]]" on ''[[The Milton Berle Show]].'' Elvis and the band appeared on ''[[The Steve Allen Show]]'' in a comedy sketch performing "[[Hound Dog (song)|Hound Dog]]" to an actual hound dog. Presley was prohibited from doing the gyrations that elicited screams from the audience, which would produce good reviews, but those were nothing compared to the scandals Elvis and the band would face.<ref>{{Cite web|url=http://www.elvis-history-blog.com/steve-allen-show.html|title="The Steve Allen Show" … The Taming of Elvis Presley in 1956|website=Elvis-history-blog.com|access-date=September 30, 2021}}</ref> Elvis never understood why the girls screamed out of control when he sang. It was Moore who told him why. "It's your leg, man. The way you shake your left leg."<ref>[http://www.mshistorynow.mdah.ms.gov/articles/32/elvis-presley-the-early-years Elvis Presley: The Early Years | Mississippi History Now.]</ref>

Moore played on many of Presley's most famous recordings, including "[[That's All Right]]," "[[Good Rocking Tonight|Good Rockin' Tonight]]," "[[Milk Cow Blues|Milkcow Blues Boogie]]," "Baby Let's Play House" (where Elvis introduced the vocal stutter to the music pundits), "[[Heartbreak Hotel]]," "[[Mystery Train]]," "[[Blue Suede Shoes]]," "[[Hound Dog (song)|Hound Dog]]," "Too Much,"[[Jailhouse Rock (song)|"Jailhouse Rock]]," and "[[Hard Headed Woman]]." He called his solo on "Hound Dog" "ancient psychedelia."<ref>Quoted in Guralnick (1994), p. 298</ref>

During the filming and recording of ''[[Loving You (1957 film)|Loving You]]'' in Hollywood in early 1957, Moore and Black drove boredom away by jamming with Presley between takes but they usually saw little of Presley, although he stayed only a couple of floors away from them. They grew hurt and resentful at the separation, which they came to perceive as willfully organized.<ref>Guralnick (1994), p. 391</ref>

They did not accompany Presley on the soundtrack recordings for his first movie, ''[[Love Me Tender (film)|Love Me Tender]]'', because 20th Century Fox had refused to allow him to use his own band, with the excuse that the band could not play country.<ref>Jorgensen (1998), pp. 57–58.</ref> By December 1956, they were experiencing financial difficulties because there had been few performances since August. When there were performances, they received $200 a week (US${{formatnum:{{Inflation|US|200|1956}}}} in {{Inflation-year|US}} dollars{{inflation-fn|US}}), but only $100 (US${{formatnum:{{Inflation|US|100|1956}}}} in {{Inflation-year|US}} dollars{{inflation-fn|US}}) when they were not performing. Moore and his wife were forced to move in with her three sisters and brother-in-law. In an interview with the Memphis ''Press-Scimitar'' that December, they spoke about their lack of performances and contact with Presley himself. The interview was the vehicle for their announcement that management had given them permission to record an instrumental album of their own, which [[RCA Victor]] would release, permission which was needed in order for them to appear as a group without Presley.<ref>Guralnick (1994), p. 378.</ref>

During Presley's 1957 tour of Canada, the concert promoter Oscar Davis offered to represent them as their manager. Moore and Black, who had seen Presley become a millionaire while they were still earning $200 or $100 a week themselves, were willing to work with Davis but the backing vocalists, the Jordanaires, were not amenable, because they did not trust Davis.<ref>Guralnick (1994), p. 400-01</ref> They had usually been living off $100 a week since 1956, as had Elvis; however, once Hollywood had been introduced, Presley's salary experienced a dramatic rise, while Moore and Black continued at $100 a week. They only received one raise in two years and with the lack of personal appearances it was getting to be too financially difficult.

Tension hit a breaking point right after the September 1957 sessions for Presley's first Christmas album. Moore and Black had been promised an opportunity to jam with Elvis after the session, on Presley's studio time. Yet when the session was over, they were told to pack up and leave. That same evening, the duo wrote a letter of resignation.

They deduced (correctly) the [[Colonel Tom Parker|Colonel]] was working against them. They had been denied virtually all access to Presley and felt as if "they were no longer even permitted to talk to him".<ref>Guralnick (1994), p. 432</ref> Colonel Parker didn't interfere but RCA Victor executive [[Steve Sholes]], who had little regard for the ability of Presley's band, hoped the separation would be permanent. Back in Memphis, a journalist found out about the split and interviewed the duo. Presley responded to the article with a press statement wishing them good luck, saying things could have been worked out if they had come to him first instead of bringing it to the press. In an accompanying interview, Presley revealed that during the previous two years, people had tried to convince him to get rid of his band so from his point of view he had stayed loyal to them.<ref>Guralnick (1994), p. 434</ref>

Presley was scheduled to appear in Tupelo within the next two weeks and started to audition new musicians. He performed with [[Hank Garland]] on guitar and D.J. Fontana's friend, Chuck Wiginton, on bass, but despite their musical ability, it didn't feel the same to him. The week after his Tupelo engagement he hired back Moore and Black on a per diem basis. In the meantime, the duo had played "a miserable two-week engagement at the Dallas State Fair." Moore declared there were no hard feelings, though Presley himself, according to biographer Guralnick, seems to have taken a more melancholic view. One day, Guralnick writes, Presley heard "Jailhouse Rock" on the radio "and declared, 'Elvis Presley and his one-man-band,' with a rueful shake of his head."<ref>Guralnick (1994), p. 435.</ref>

Moore and the Blue Moon Boys performed (and had additional small walk-on and speaking roles) with Presley in four of his movies (''[[Loving You (1957 film)|Loving You]]'', ''[[Jailhouse Rock (film)|Jailhouse Rock]]'', ''[[King Creole]]'', and ''[[G.I. Blues]]'') filmed in 1957, 1958, and 1960.

Early in 1958, when Presley was drafted, Moore began working at [[Fernwood Records]] and produced a hit record, "
[[Tragedy (Thomas Wayne song)|Tragedy]]," for [[Thomas Wayne (singer)|Thomas Wayne Perkins]], the brother of [[Johnny Cash]]'s guitarist [[Luther Perkins]]. {{Citation needed|date=June 2014}}

In 1960, Moore commenced recording sessions with Presley at RCA Victor and also served as production manager at [[Phillips Recording|Sam Phillips Recording Service]], which involved supervising all aspects of studio operation. Moore played on such Presley songs as "[[Fame and Fortune (Elvis Presley song)|Fame and Fortune]]," "[[Such a Night]]," "Frankfort Special," "[[Surrender (Elvis Presley song)|Surrender]]," "[[I Feel So Bad (Chuck Willis song)|I Feel So Bad]]," "[[Rock-A-Hula Baby]]", "[[Kiss Me Quick (Elvis Presley song)|Kiss Me Quick]]," "[[Good Luck Charm]]," "[[She's Not You]]", "[[(You're the) Devil in Disguise]]", and "[[Bossa Nova Baby]]." Moore remained as a guitarist for the majority of the songs recorded after Presley's work was dominated by Hollywood sessions. Moore mostly played rhythm guitar, however, with his last lead guitar work occurring by 1962 with "(You're the) Devil in Disguise". Moore also played on sessions for [[Roy Orbison]] (most notably on “[[Crying (Roy Orbison song)|Crying]]”)<ref>{{Cite web|url=https://royorbison.com/rip-scotty-moore/|title=RIP Scotty Moore |website=Royorbison.com|access-date=September 30, 2021}}</ref> and others.

In 1964, Moore released a solo album on [[Epic Records]] called ''The Guitar That Changed the World'', played using his [[Gibson Super 400]].  Phillips was initially unaware of the project, and once he got wind of it, Moore was fired. He reunited with Fontana and Presley for the [[NBC]] television special known as the ''[[Elvis (1968 TV program)|'68 Comeback Special]]'', again with his Gibson Super 400, which was also played by Presley. This special was the last time these musicians would play with Presley, and for Moore, it was the last time he ever saw him.<ref>Guralnick (1999), p. 317</ref>