Das Mischpult SILVESTRIS – Ein Vollröhren-Mischpult für ... - EMSP

Abschlußbericht Mixed Signal Baugruppen 2008/9 Mischpult SILVESTRIS (Teil 1) Einführung
Anhang
Die Interviews mit Scotty Moore
Der Gitarrist Scotty Moore war, bis 1958, an allen Elvis-Aufnahmen maßgeblich mit beteiligt. Später
war er als Produzent tätig. Er hat einige Interviews gegeben, in denen er auch ausführlich und
plastisch über die Aufnahmessessions mit Elvis Presley berichtet. Diese Interviews sind eine
hervorragende Informationsquelle aus erster Hand. Zwei dieser Interviews sind im Folgenden im
Wortlaut wiedergegeben.
Interview mit Scotty Moore für „Guitarist Magazine“, November
1992
Recording sessions in the ‘90s are well organized, with musicians having at least some idea of what’s
about to go down. I asked Scotty whether this description suited those long gone days at Sun…
“Oh no, it was all very informal. We’d go in and maybe Elvis would have a couple of tunes he’d want
to try, or maybe Sam would have some ideas, so we’d try different things and finally just lock into one
of them.”
And everything was done in straight takes.
“Oh yes, we had no overdubbing, no splicing. What you hear is what we played.”
And when we hear Elvis slap the back of the guitar on those records, it was simply his exuberance…
“Yes”
People talk about Sam Phillips the great producer. What exactly was his input?
“Sam had a lot of input, especially after the first record, because then he had a direction. But he
would dig through anything that he had published or recorded before, so a lot of those old things
from other artists were re-done.”
Would they have been country and gospel-based songs?
“Yes. And then people started bringing material in: Stan Kentford for instance with You Forgot To
Remember and I’m Left, you’re Right, which were basically country songs.”
As a band, how much influence did you have over what came out on those recordings?
“We had more or less a free hand. Sam might say, ‘That was a little busy,’ or whatever – just little
comments like that – but as far as any kind of dictation to play a certain thing, there wasn’t any. In
fact there never was, even later on in the Victor and RCA years.”
Seite 1- 50