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

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Abschlußbericht Mixed Signal Baugruppen 2008/9 Mischpult SILVESTRIS (Teil 1) Einführung Interview mit Scotty Moore für „Music Mart Magazine“, Dezember 2005 Elvis’s guitarist, Scotty Moore talks to Jonathan Wingate about the summer night in 1954 when a black and white world turned technicolour and rock and roll was born Scotty Moore was 22-years-old when he first got together with bassist, Bill Black and the then unknown 19-year-old singer on 5 th July 1954 at Sam Phillips’ Sun Studios in Memphis, Tennessee for an audition that would not only change his life, but change the way the world looked, felt and sounded. “When I heard it,” Keith Richards said of Moore’s playing on Heartbreak Hotel, “I knew that was what I wanted to do in life. Everyone else wanted to be Elvis. I wanted to be Scotty.” Two weeks after the audition, That’s All Right (Mama) was released on Phillips’ Sun imprint. It was the start of Scotty Moore’s 14-year relationship with Presley as his first manager, chief guitarist and one of his closest friends. Over that time, they recorded more than 300 songs together. Presley had never made a professional appearance, and had actually only met Moore and Black for the first time less than 24-hours before his audition. Do you remember your first guitar? “I think the first one I really remember was a Gibson jumbo. I started playing when I was 8 or 10 years old. I stayed out of school one year when I was about 14 because I was just tired of it. My dad gave me an acre of cotton, so I sold it to buy the guitar.” Did you really start to get to grips with the guitar during your year off school? “During that year, I started working harder on the guitar, then I went back to school and stayed about a year and a half before I joined the navy when I was 16. I stayed for four years, and then after I came out of the navy, I went back to Memphis. I started a band - Doug Poindexter and the Starlight Ramblers, and Bill Black was the bass player. “I came out of the navy and ended up getting this band together in Memphis. You just had to pick up guys from all around. That made it really rough, because you didn’t know what you’d end up with because it would be different guys every time. I didn’t like it at all. Our arrangement was that if I don’t have something for us to do for the weekend coming up by Wednesday of each week, you guys can do what you want.” How did you meet Sam Phillips? “ Well, I didn’t know he had a record label at the time, but I knew that you could go in and cut acetates. Once I realised he had a label, I went in there and got an audition. He asked us if we had any original material, but I’d never even thought about that. Writing songs and playing music were pretty much seen as separate things back then, because I don’t think anybody really thought about making money out of songwriting much. “I went home and Bill, Doug, my oldest brother and I put a couple of songs together. We went back to see Sam, and he cut his first record with us, which was called My Kind Of Carrying On. I don’t even think I ever tried to write anything after those first things, because I was too busy trying to play.” Were you working a day job at the time? “Yes, I was still working until mid afternoon, and then I’d drive by the studio a couple of times a week. If Sam wasn’t busy cutting demos for somebody, we’d go next door to Miss Taylor’s Restaurant and have coffee and just sit and talk about music and stuff. Then one day, his secretary Marion Keisker came over and had coffee with us, and she says: ‘Sam, did you ever talk to that boy who was in here a few weeks back? He had a real good voice.’ Seite 1- 58
Abschlußbericht Mixed Signal Baugruppen 2008/9 Mischpult SILVESTRIS (Teil 1) Einführung “A couple of weeks went by, and Sam still hadn’t called him, so he asked Marion to give his number to me. I looked at it and I said: ‘Elvis Presley? What kind of a name is that?’ I called his house that afternoon, and his mother answered and said that he was at a movie and that she’d have him call me. “He called me when he got home, and I told him I was working in conjunction with Sam Phillips of Sun Records and that we were looking for new artists, and then I asked him if he was interested. I didn’t realise this at the time, but in the back of my mind I was hoping to get some work in the studio from Sam with other artists. So I asked Elvis if he could come over to my house the next day, which was actually the 4 th of July.” What do you remember about the first time you met Elvis? “I guess he came over around 1 o clock. Bill Black lived a few doors down from me on the same street, and I told my wife to get him and ask him to come down later. I just said: ‘Play what you feel.’ He was singing all different kinds of songs, and a lot of them he didn’t even know all the chords to, so he’d just keep playing and singing. The thing that impressed me most at that point was his timing. He could stop playing and still sing the whole song, and still the meter would be perfect and he’d be right back in time and then start playing again. “We spent a couple of hours just doing that, and when Bill came in, he didn’t play. He just sat around and listened to us for a little while, and then he left. I told Elvis I’d talk to Sam and that we might be in touch. When Bill saw Elvis’ car leave, he came back down and we talked for a few minutes. He said: ‘Well, he’s got a good voice, but it didn’t really knock me out.’” What happened next? “Sam said he’d call him and ask if he could come in to the studio the following night. He said: ‘I don’t want the whole band, I just want a little music behind him so we can see what he sounds like.’ So we went in on a Sunday night and went through the same thing. Sometimes Bill would bring up a song, sometimes it was me or Sam, but it seemed like he knew every song in the world. No matter whatever we suggested, Elvis could play it and sing some of it. It was country and blues, because that’s about all we was listening to really.” Is it true that this was actually an audition rather than a recording session? “It was absolutely the audition. I don’t know why people think it was a session. They think Elvis just came out of a magic pond. Anyway, it was just the three of us playing. We’d just do a verse and a chorus of something, and Elvis would sing along. I didn’t know half the songs myself, so I just faked along behind him a little bit to make us a little noise. “When we were doing regular sessions later on, we went through everything the same way, just kept going through songs, with Elvis singing a little of them, and Sam didn’t keep any of those, but he did keep a few of those very early things. When Sam sold his contract to RCA, a couple of those first things showed up, and I was crazy every time I heard them, because they were just strictly an audition.” How would you describe the atmosphere in the studio for that audition? “Oh, it was just friendly, we was having a good time, really. There wasn’t any pressure. When you think about most auditions, you go in, half of the guys are looking at what you’re doing. We didn’t have any problems just joining in on whatever he was singing, and we did this for a couple of hours. In fact, Bill and I were actually just getting ready to go home, because we both had to work the next day. “The door to the control room was open, and Elvis stood up and started playing That’s All Right, just beating on a guitar and singing it. Bill was just getting ready to pack his bass away, and he started playing along with him. I listened to what key they were in, and I started playing along with them. Sam heard it through the door, and he came out of the control room and says: ‘What are you guys Seite 1- 59
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Das Mischpult SILVESTRIS – Ein Vollröhren-Mischpult für ... - EMSP

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