Scotty Moore

[9]​ In 1954, Moore and Black accompanied Elvis on what would become the first legendary Presley hit, the Sun Studios session cut of "That's All Right", a recording regarded as a seminal event in rock and roll history.Phillips quickly began taping; this was the sound he had been looking for.[cita requerida] Moore played on many of Presley's most famous recordings, including "That's All Right", "Good Rockin' Tonight", "Milk Cow Blues Boogie", "Baby Let's Play House", "Heartbreak Hotel", "Mystery Train", "Blue Suede Shoes", "Hound Dog", "Too Much", "Jailhouse Rock", and "Hard Headed Woman".[16]​ They did not accompany Presley on the soundtrack recordings for his first movie, Love Me Tender, because 20th Century Fox had refused to allow him to use his own band, with the excuse that they could not play country.Such permission was needed in order to appear as a group without Presley.[19]​ During Presley's 1957 tour of Canada, the concert promoter Oscar Davis offered to represent them as his manager.Moore and Black, who had seen Presley become a millionaire while still earning $200 a week themselves, were willing to work with Davis, but the backing vocalists, the Jordanaires, were not, because they did not trust him.[20]​ Tension came to a climax right after the September 1957 sessions for Presley's first Christmas album.Moore and Black had been promised an opportunity to cut tracks after the session, on Presley's studio time.The week after his Tupelo engagement he hired them back on a per diem basis.Moore played on such Presley songs as "Fame and Fortune", "Such a Night", "Frankfort Special", "Surrender", "I Feel So Bad", "Rock-a-Hula Baby", "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 songs recorded after Presley's work was dominated by Hollywood sessions; he mostly played rhythm guitar, however, with his last lead guitar work occurring by 1962."[25]​ Though Marsh credits Presley with introducing "the vocal stutter" on "Baby Let's Play House", "Other than that, it's guitarist Scotty Moore's show, and he sets a few precedents of his own.Fontana's drumming, which is halfway between strip joint rhumba and the perfect New Orleans shuffle."[29]​ On the 1961, post-Army Presley single "Little Sister", "Scotty Moore comes up with his greatest post-Sun guitar lick and not only converts a comparatively humdrum Pomus-Shuman teen love triangle number into the best of Elvis's early sixties hits, but (together with D.J.Fontana's heavy-footed thunderation) gives more than a few pointers toward the metallic rock to come."Carl Perkins was doing basically the same sort of thing up around Jackson, and I know for a fact Jerry Lee Lewis had been playing that kind of music ever since he was ten years old.[33]​ In "That's All Right", the Presley trio's first record, Moore's guitar solo, "a combination of Merle Travis–style country finger-picking, double-stop slides from acoustic boogie, and blues-based bent-note, single-string work, is a microcosm of this fusion.He became an inspiration to many subsequent popular guitarists, including George Harrison, Jeff Beck, and Keith Richards of the Rolling Stones.[35]​ Scotty Moore co-escribió las canciones "My Kind of Carrying On" y "Now She Cares No More" que fueron publicadas como Sun 202 en Sun Records en 1954 cuando estaba en el grupo Doug Poindexter and the Starlite Wranglers con Bill Black como el bajista.co-escribió la canción instrumental "Have Guitar Will Travel" en 1958 con Bill Black, que fue lanzado como un sencillo 45, 107, en el sello Fernwood Records.