Scotty Moore Net Worth and Wiki

January 1, 2020

Scotty Moore Net Worth

How rich is Scotty Moore? For this question we spent 13 hours on research (Wikipedia, Youtube, we read books in libraries, etc) to review the post.

The main source of income: Rock Stars
Total Net Worth at the moment 2022 year – is about $10 Million.



Scotty Moore information Birth date: December 27, 1931 Birth place: Gadsden, Tennessee, United States Profession:Guitarist, Actor, Audio Engineer Nationality:United States of America Nominations:Grammy Award for Best Country Instrumental Performance Movies:Scotty Moore & FriendsAlbums:The Guitar That Changed The World, All the Kings Men, 706 ReUnion

Height, Weight

:How tall is Scotty Moore – 1,87m.
How much weight is Scotty Moore – 69kg


Scotty Moore Net Worth
Scotty Moore Net Worth
Scotty Moore Net Worth
Scotty Moore Net Worth


Winfield Scott Scotty Moore III is an American guitarist and recording engineer. He is best known for his backing of Elvis Presley in the first part of his career, between 1954 and the beginning of Elvis Hollywood years. He was ranked 44th in Rolling Stone magazines list…
Biography,Scotty Moore was born near Gadsden, Tennessee to Mattie (nee Hefley) and Winfield Scott Moore as the youngest of 14 children. He learned to play the guitar from family and friends at eight years of age. Although underage when he enlisted, Moore served in the United States Navy, in China and Korea, from 1948 through January 1952.Moores early background was in jazz and country music. A fan of 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 bass player Bill Black, who brought a rhythmic propulsion that much pleased Phillips. In 1954 Moore and Black accompanied Elvis on what would become the first legendary Presley hit, the Sun Studios session cut of Thats All Right, a recording regarded as a seminal event in rock and roll history.The session, held 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 Crudups Thats All Right. Moore recalled, 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 dont know. Well, back up, he said, try to find a place to start, and do it again. Phillips quickly began taping, this was the sound he had been looking for. During the next few days, the trio recorded a bluegrass number, Bill Monroes Blue Moon of Kentucky, again in a distinctive style and employing a jury-rigged echo effect that Sam Phillips dubbed slapback. A single was pressed with Thats All Right on the A side and Blue Moon of Kentucky on the reverse.Phillips rhythm-centered vision led him to steer Moore away from the pretty finger-picking style of Chet Atkins, which he deemed fine for pop or country, but not for the simple, gutsy sound Phillips was aiming at. Simplify was the keyword.[11]By his performance at The Louisiana Hayride of October 1954, Black and Moore were called the Blue Moon Boys.[12]For a time, Moore served as Elviss personal manager.[13]:85 They were later joined by drummer D.J. Fontana. Beginning in July 1954, the Blue Moon Boys toured and recorded throughout the American South and, as Presleys popularity rose, they toured the United States and made appearances in various Presley television shows and motion pictures. The Blue Moon Boys, including Moore, appear in the few 1955 home movie clips that survive of Elvis before he achieved national recognition. Moore, Black, and Fontana also appear on the Dorsey Brothers, Milton Berle, Steve Allen, and Ed Sullivan live TV shows of January 1956 to January 1957. Moore and Fontana also reunited on the 1960 Timex TV special with Frank Sinatra welcoming Elviss return from the Army.[citation needed]Moore played on many of Presleys most famous recordings, including Thats All Right, Good Rockin Tonight, Milk Cow Blues Boogie, Baby Lets Play House, Heartbreak Hotel, Mystery Train, Blue Suede Shoes, Hound Dog, Too Much, Jailhouse Rock, and Hard Headed Woman. He called his solo on Hound Dog ancient psychedelia.[14]During the filming and recording of Loving You in Hollywood in early 1957, Moore and Black drove the boredom away by jamming with Presley in between takes, but they usually saw little of Presley, who 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.[15]They did not accompany Presley on the soundtrack recordings for his first movie, Love Me Tender, because 20th Century Fox had refused him to use his own band, with the excuse that they could not play country.[16] By December 1956 they were experiencing financial difficulties, because there had been few performances since August: when there were, they received $200 a week, but only $100 when there were not. 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 this and about their lack of contact with Presley himself. The reason for the interview was their announcement that management had given them permission to record an instrumental album of their own, which RCA would release. Such permission was needed in order to appear as a group without Presley.[17]During Presleys 1957 tour of Canada, 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 backing vocalists the Jordanaires were not, because they did not trust him.[18]Tension came to a climax right after the September 1957 sessions for Presleys first Christmas album. Moore and Black had been promised an opportunity to cut tracks after the session, on Presleys studio time. Yet when the session was over, they were told to pack up. That same evening, the duo wrote a letter of resignation. They had only had one raise in two years, and with the lack of personal appearances had to live off $100 a week. They also felt the 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.[19] Colonel Parker did not interfere, but RCA executive Steve Sholes, who had little regard for the ability of Presleys band, hoped the separation would be permanent. Back in Memphis, a journalist found out and interviewed the duo. Presley responded with a press statement wishing them good luck, saying things could have been worked out if they had come to him instead of bringing it to the press. In an accompanying interview, Presley revealed that during the last 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.[20]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. Fontanas friend Chuck Wiginton on bass, but despite their musical ability it didnt feel the same to him. The week after his Tupelo engagement he hired them back 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.[21]Moore and the Blue Moon Boys perform (and have additional small walk-on and speaking roles) with Elvis in four of his movies (Loving You, Jailhouse Rock, King Creole, and G.I. Blues) filmed in 1957, 1958, and 1960.Early in 1958, when Elvis was drafted, Scotty began working at Fernwood Records and produced a hit record called Tragedy for Thomas Wayne Perkins, brother of Johnny Cash guitarist Luther Perkins.[citation needed]In 1960, Moore commenced recording sessions with Elvis at RCA, and also served as production manager at Sam Phillips Recording Service, which involved supervising all aspects of studio operation. 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, Shes Not You, (Youre The) Devil in Disguise, and Bossa Nova Baby.In 1964, Moore released a solo album on Epic Records called The Guitar That Changed the World, played using his Gibson Super 400. For this effort he was fired by Sam Phillips. Moore reunited with Fontana and Presley for the NBC television special known as the 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.[22]Style and influenceMoores playing on his Gibson with his unique finger-picking style using a thumbpick, as on the Sun and early RCA recordings, represented a move of the Chet Atkins style into a more rockabilly mode. Moores best performances are often considered precedent-setting.Of Presleys first single Thats Alright Mama, critic Dave Marsh writes that Moores guitar–especially the solo–toughens the song up and forces it to rock.[23] Though Marsh credits Presley with introducing the vocal stutter on Baby Lets Play House, Other than that, its guitarist Scotty Moores show, and he sets a few precedents of his own.[24] Of the other Sun recordings, Marsh cites the urgent Scotty Moore guitar lick as a standout element of Mystery Train,[25] while Good Rockin Tonight displays his stinging guitar.[26]In Marshs description, the teamwork of Moore and other musicians turns the 1957 single and movie title song Jailhouse Rock into an enduring smash for at least three reasons: the great walking bass, Scotty Moores invention of power chording, and D.J. Fontanas drumming, which is halfway between strip joint rhumba and the perfect New Orleans shuffle.[27]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 Elviss early sixties hits, but (together with D.J. Fontanas heavy-footed thunderation) gives more than a few pointers toward the metallic rock to come.[28] According to Presley discographer Ernst Jorgensen, however, Hank Garland is the lead guitarist on the song while Moore plays acoustic guitar.[29]Moore is given credit as a pioneer rock n roll lead guitarist, though he characteristically downplayed his own innovative role in the development of the style. It had been there for quite a while, recalled Moore. 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.[30] Paul Friedlander describes the defining elements of rockabilly, which he similarly characterizes as essentially … an Elvis Presley construction: the raw, emotive, and slurred vocal style and emphasis on rhythmic feeling [of] the blues with the string band and strummed rhythm guitar [of] country.[31] In Thats All Right, the Presley trios first record, Scotty Moores 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.[32]Many popular guitarists cite Moore as the performer that brought the lead guitarist to a dominant role in a rock n roll band.[citation needed] Although some lead guitarists/vocalists, such as Chuck Berry and blues legend BB King, had gained popularity by the 1950s, Presley rarely played his own lead while performing, instead providing rhythm guitar and leaving the lead duties to Moore. As a guitarist, Moore was a noticeable presence in Presleys performances, despite his introverted demeanor. He became an inspiration to many subsequent popular guitarists, including George Harrison, Jeff Beck, and Keith Richards of the Rolling Stones.[33] While Moore was working on his memoir with co-author James L. Dickerson, Richards told Dickerson, Everyone else wanted to be Elvis—I wanted to be Scotty.[13]:xiii Richards has stated many times (Rolling Stone magazine, Life autoBiography, ) that he could never figure out how to play the stop time break and figure that Moore plays on Im Left, Youre Right, Shes Gone (Sun), and that he hopes it will remain a mystery.[citation needed]EquipmentWhile with Presley, Moore initially played a Gibson ES-295 (nicknamed The Guitar that Changed the World)[34] before switching to a Gibson L5[35] and subsequently a Gibson Super 400.[36]One of the key pieces of equipment in Moores sound on many of the recordings with Elvis, besides his guitars, was the use of the Ray Butts EchoSonic, first used by Chet Atkins, a guitar amplifier with a tape echo built in, which allowed him to take his trademark slapback echo on the road.[36]Last years and deathMoore had to give up playing guitar a few years before his death due to arthritis issues.[37] He died on June 28, 2016, in Nashville, Tennessee, at the age of 84.[33]


Wikipedia Source: Scotty Moore

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