The Gibson L-5 guitar was first produced in 1922 by the Gibson Guitar Corporation of Kalamazoo, under the direction of acoustical engineer and designer Lloyd Loar, has been in production since. It was considered the premier guitar of the company during the big band era, it was offered as an acoustic instrument, with electric models not made available until the 1940s. Worldwide, the L-5 was the first guitar to feature f-holes; as well as today, the construction of the L-5 is similar in construction, carving and tap-tuning, to building a cello. This guitar as well as the cello are designed in order to amplify and project the acoustic vibration of strings throughout carved and tuned woods, using f-holes as the projection points. From 1922 to 1934 the L-5 was produced with a 16" lower bout width. In 1934 the lower bout was increased to 17". Released in 1934 was the larger 18" archtop guitar named the "L5 Super", renamed the Gibson Super 400; these two ornate acoustic guitars are Gibson's top-of-the-line carved archtop instruments.
Since the 1930s there have been several other 17" archtops designed by Gibson, including variations introduced to be more affordable, less ornate models. Today the standard model of the L-5 is the L-5 CES, an electric version designed to minimize the feedback that well-carved archtops are prone to when amplified. CES stands for cutaway electric Spanish. Gibson periodically issues variations of the L-5 built in limited editions of varying size. One example is the thin-bodied "L-5 CT", which has the same overall specifications, with the exception of the body thickness; the CT model was first constructed for George Gobel. Another variation of the L-5 is the Wes Montgomery model, named for the popular 1950s and 1960s jazz guitarist; the Wes Montgomery model has a single "Classic 57" pickup in the neck position, an X-brace supporting the top, in the tradition of earlier braces used in the construction of the all-acoustic L-5s. The standard and more popular bracing is the brighter sounding "parallel bracing", considered to project the sound farther than an X-braced archtop.
The 1955 Gibson Byrdland model is yet another L-5 variation, designed by Billy Byrd and Hank Garland. The Byrdland guitar has a thin L-5-style body and came with a narrower neck that featured a short 23 1/2-inch scale length to aid in playing difficult chords. Several different L-5 hollow-body models have appeared over the years, including the L-5 Signature and the L-5 Studio; the ES-5 was the first three pickup factory. The ES-5 was inspired by the L-5, introduced in 1949 modified as the Gibson ES-5 Switchmaster. Unlike the L-5 which had a solid carved spruce top and solid maple sides and back, the ES-5 body was constructed of pressed laminated wood to prevent feedback, Gibson felt that the best tonewoods were not necessary in an electric model and pressed laminated wood would produce a more affordable to manufacture model and thus could land in much more players hands than the carved instruments; the L-5 CES was a direct electric version of the L-5, introduced in 1951. These used P-90 pickups, but used humbucker pickups from 1958 on.
From 1961 through 1969, most production L-5CES guitars featured a "florentine" cutaway, replacing the "venetian" cutaway design. The L-5 has for multiple generations been seen in the hands of many performers. Much of the RCA fifties recordings of Elvis Presley feature the sound of Scotty Moore's L-5. Nashville session guitarist Hank Garland, who recorded acclaimed jazz albums before his near-fatal automobile accident played an L-5. A little known fact - the L-5 is the guitar that Groucho Marx kept by his side throughout his private life. Though not known, Marx played the guitar well. Contemporary guitarists who play and have played an L-5 on notable recordings as well as live include Tuck Andress from Tuck and Patti, Melvin Sparks, Lee Ritenour, George Van Eps, Howard Roberts. John Mayer uses one on his 2008 live CD/DVD. Eric Clapton used an L-5 to record Reptile and used one on his 2002 live CD/DVD One More Car, One More Rider during the songs "Reptile", "Somewhere Over the Rainbow". Early players of the L-5 include Eddie Lang, Maybelle Carter from The Carter Family, who played her now-famous 1928 model for the majority of her career.
Maybelle Carter's L-5 is now kept in the Country Music Hall of Fame in Tennessee. Django Reinhardt played an L-5 fitted with a DeArmond pickup during his tour with Duke Ellington November 1946. Groucho Marx is seen playing his L-5 in the 1932 Marx Brothers film Horse Feathers. Clint Eastwood featured an L-5 in the 1982 movie Honkytonk Man; this had a cutaway, unlikely in a story set during the Great Depression. Comedian and singer George Gobel had a special version of the Gibson L-5 archtop guitar custom designed and gifted to him by his friend Milton Berle in 1958, the "L-5CT", featuring diminished dimensions of neck scale and body depth, befitting his own small stature, a cherry red finish. About 45 L-5CT's were produced from 1958 to 1963. Most of these were acoustic guitars; the rarest L5 model was a close relative of the L-5CT. It was called the "Crest"*, it was conceived by Gibson employee Andy Nelson in 1961. It featured the same thinline body of the L-5CT, but the new-for-1961 "florentine" cutaway shape, Super 400-style fretboard inlays, a unique knight/
Rosewood refers to any of a number of richly hued timbers brownish with darker veining, but found in many different hues. All genuine rosewoods belong to the genus Dalbergia; the pre-eminent rosewood appreciated in the Western world is the wood of Dalbergia nigra. It is best known as "Brazilian rosewood", but as "Bahia rosewood"; this wood has a sweet smell, which persists for many years, explaining the name rosewood. Another classic rosewood comes from Dalbergia latifolia known as Indian sonokeling, it is native to India and is grown in plantations elsewhere in Pakistan. Madagascar rosewood, known as bois de rose, is prized for its red color, it is overexploited in the wild, despite a 2010 moratorium on trade and illegal logging, which continues on a large scale. Throughout southeast Asia, Dalbergia oliveri is harvested for use in woodworking, it has a fragrant and dense grain near the core, but the outer sapwood is soft and porous. Dalbergia cultrata, variegated burgundy to light brown in color, is a blackwood timber sold as Burmese rosewood.
Products built with rosewood-based engineered woods are sold as Malaysian rosewood or as D. oliveri. Some rosewood comes from Dalbergia retusa known as the Nicaraguan rosewood or as cocobolo. Several species are known as Guatemalan rosewood or Panama rosewood: D. tucerencis, D. tucarensis, D. cubiquitzensis. Honduran rosewood:D. stevensonii is used for marimba keys, guitar parts and other musical and ornamental applications. Not all species in the large genus Dalbergia yield rosewoods; the woods of some other species in the genus Dalbergia are notable—even famous—woods in their own right: African blackwood, cocobolo and Brazilian tulipwood. The timber trade will sell many timbers under the name rosewood due to some similarities. A fair number of these timbers come from other legume genera. Another that may be found in market from Southeast Asia is Pterocarpus indicus, sold as New Guinea rosewood. Dalbergia sissoo is timber from rosewood species from India and Bangladesh known as sheesham or North-Indian rosewood.
It is dense and has mild rot resistance, but it is porous and its exterior is soft and susceptible to wood-boring insects. It is used for making cabinets and flooring, for carving, it is exported as quality veneers. Due to its after-work quality when sealed and dyed, it is sold as genuine rosewood or as teak, it has no discernible qualities of a genuine rosewood. It has lower quality and price than teak or Dalbergia latifolia. Although its wood bears no resemblance whatsoever to the true rosewoods, the Australian rose mahogany and Australian blackwood, are sold as rosewood. Australian rose mahogany due to the strong smell of roses from freshly cut bark is more mistakenly called as a "rosewood". All rosewoods are strong and heavy, taking an excellent polish, being suitable for guitars, recorders, handles and luxury flooring, etc. Rosewood oil, used in perfume, is extracted from the wood of Aniba rosaeodora, not related to the rosewoods used for lumber; the dust created from sanding rosewood is considered a sensitizing irritant and can trigger asthma and other respiratory ailments.
The more people are exposed to rosewood dust, the more sensitive they can become to exposure. In general, world stocks are poor through overexploitation; some species become canopy trees, large pieces can be found in the trade. Rosewood is now protected worldwide. At a summit of the international wildlife trade in South Africa, the Convention on International Trade in Endangered Species of Wild Fauna and Flora moved to protect the world’s most trafficked wild product by placing all 300 species of the rosewood tree under trade restrictions. Presence of hints of coarse grains with the shiny and silky smooth texture, compared to the glossy finish of artificial polishes Even texture with an orange/yellow-red to deep purple with black bars color range: Even if artificial dyes can reproduce the color, if with an uneven texture it can be confirmed the product is not made of rosewood. Fake rosewoods products would have light colors with white color in some space. If directly bought from workshop, the sawdust would have a flowery aroma.
If not, the product is compromised. Certain showpieces might have an unusual aroma, this is the effect of fragrant aerosol, not the quality. A drop of water mixed with sawdust will make the dust submerged and the droplet will have a purplish precipitation. A gentle knock on the wood will produce a crisp sound without noise. From Dalbergia species Amazone Rosewood, Para Rosewood Bahia Rosewood, Pau Rosa, Bois de rose, Black Rosewood, Mexican or Panama and Central American Rosewood Brazilian Rosewood Bahia or Rio Rosewood, White Rosewood, german Rio-Palisander Brown’s Indian rosewood Burmese Rosewood Chingchan as Asian or Laos Rosewood, Chinese Rosewood, Fragrant Rosewood, Huanghuali as Bangkok Rosewood Closeflower Rosewood, Cam
Lester William Polsfuss, known as Les Paul, was an American jazz and blues guitarist, songwriter and inventor. He was one of the pioneers of the solid-body electric guitar, his techniques served as inspiration for the Gibson Les Paul. Paul taught himself how to play guitar, while he is known for jazz and popular music, he had an early career in country music, he is credited with many recording innovations. Although he was not the first to use the technique, his early experiments with overdubbing, delay effects such as tape delay, phasing effects and multitrack recording were among the first to attract widespread attention, his innovative talents extended into his playing style, including licks, chording sequences, fretting techniques and timing, which set him apart from his contemporaries and inspired many guitarists of the present day. He recorded with his wife, the singer and guitarist Mary Ford, in the 1950s, they sold millions of records. Among his many honors, Paul is one of a handful of artists with a permanent, stand-alone exhibit in the Rock and Roll Hall of Fame.
He is prominently named by the music museum on its website as an "architect" and a "key inductee" with Sam Phillips and Alan Freed. Les Paul is the only person to be included in both the Rock and Roll Hall of Fame and the National Inventors Hall of Fame. Paul was born Lester William Polsfuss in Waukesha, Wisconsin, to Evelyn Polsfuss, his family was of German ancestry. Paul's mother was related to the founders of Milwaukee's Valentin Blatz Brewing Company and the makers of the Stutz automobile, his parents divorced. His mother simplified their Prussian family name first to Polfuss to Polfus, although Les Paul never changed his name. Before taking the stage name Les Paul, he performed as Red Hot Red and Rhubarb Red. At the age of eight, Paul began playing the harmonica. After trying to learn the piano, he switched to the guitar, it was during this time that he invented a neck-worn harmonica holder, which allowed him to play both sides of the harmonica hands-free while accompanying himself on the guitar.
It is still manufactured using his basic design. By age thirteen, Paul was performing semi-professionally as a country-music singer and harmonica player. While playing at the Waukesha area drive-ins and roadhouses, Paul began his first experiment with sound. Wanting to make himself heard by more people at the local venues, he wired a phonograph needle to his guitar and connected it to a radio speaker, using that to amplify his acoustic guitar; as a teen Paul experimented with sustain by using a 2-foot piece of rail from a nearby train line. At age seventeen, Paul played with Rube Tronson's Texas Cowboys, soon after he dropped out of high school to team up with Sunny Joe Wolverton's Radio Band in St. Louis, Missouri, on KMOX. Paul moved to Chicago in 1934, where he continued to perform on radio stations WBBM and WLS, he met pianist Art Tatum, whose playing influenced him to stick with the guitar rather than original plans of taking on the piano. His first two records were released in 1936, credited to "Rhubarb Red", Paul's hillbilly alter ego.
He served as an accompanist for a few other bands signed to Decca. During this time he adopted his stage name of Les Paul. Paul's guitar style was influenced by the music of Django Reinhardt, whom he admired. Following World War II, Paul made friends with Reinhardt; when Reinhardt died in 1953, Paul paid for part of the funeral's cost. One of Paul's prized possessions was a Selmer Maccaferri acoustic guitar given to him by Reinhardt's widow. Paul formed a trio in 1937 with rhythm guitarist Jim Atkins and bassist/percussionist Ernie "Darius" Newton, they left Chicago for New York in 1938. Chet Atkins wrote that his brother, home on a family visit, presented him with an expensive Gibson archtop guitar that Les Paul had given to Jim. Chet recalled that it was the first professional-quality instrument he owned. Paul was dissatisfied with acoustic-electric guitars and began experimenting at his apartment in Queens, New York with a few designs of his own. Famously, he created several versions of "The Log", a length of common 4x4 lumber with a bridge, neck and pickup attached.
For the sake of appearance, he attached the body of an Epiphone hollow-body guitar sawn lengthwise with The Log in the middle. This solved his two main problems: feedback, as the acoustic body no longer resonated with the amplified sound, sustain, as the energy of the strings was not dissipated in generating sound through the guitar body; these instruments were being improved and modified over the years, Paul continued to use them in his recordings long after the development of his eponymous Gibson model. In 1945, Richard D. Bourgerie made an electric guitar pickup and amplifier for professional guitar player George Barnes. Bourgerie worked through World War II at Howard Radio Company making electronic equipment for the American military. Barnes showed the result to Les Paul. While experimenting in his apartment in 1941, Paul nearly succumbed to electrocution. During two years of recuperation, he moved to Hollywood, supporting himself by producing radio music and forming a new trio. During this time, he was remembered by factory workers as a frequent visitor to the Electro String Instrument Corp. shop on Western Avenue in Los Angeles, where he observed production of Rickenbacker brand guitars and amplifiers.
He was drafted into the U. S. Army in 1943, where he served in t
The Gibson ES-165 Herb Ellis is an Archtop guitar manufactured by the Gibson Guitar Corporation in Nashville Tennessee. As of March 2013, Gibson has confirmed; the single-pickup ES-175s were first introduced in 1949 but were discontinued around 1971 although small custom runs including the ES-175CC were made. Herb's original 1953 ES-175 came with a single P-90 pickup in the neck position; this was replaced with Gibson humbucker. The ES-165 debuted as Gibson's tribute to longtime ES-175 user Herb Ellis, it featured a Gibson 490R humbucker and a single tone and volume control mounted directly to the top. In 2004 the humbucker was replaced with a Gibson BJB Floating humbucker and the tone control was removed; the volume was moved to the surface of the pickguard. This guitar features a 24¾" scale neck with 20 frets, joined at the 14th fret; the width at the nut is 1 11/16 inches. The bound fingerboard is rosewood with parallelogram markers; the early variant of this guitar features what Gibson refers to as a "rounded Jazz profile".
This would be somewhat thicker than the standard neck dimensions. This neck profile would be changed to the standard profile in 2004; the body is hollow with two internal lateral braces. Like the ES-175, it measures 16" across the lower bout and 3½ inches deep at the outer rims. Unlike Herb's original 1953 ES-175, the top and back laminate material consist of a figured maple top followed by poplar and another maple laminate; the original model would have been made of plain maple/basswood/maple. Hardware includes a zigzag trapeze Tune-O-Matic bridge mounted on a rosewood base. While the Tune-O-Matic bridge is branded as a Gibson part, the zigzag tailpiece is not and is most not an American-made part. There have been several reports of this tailpiece failing at the hinge. All models of ES-165 feature gold plated hardware including "Tulip" Grover tuners; the ES-165 was released with a single 490R humbucker, one volume control and one tone control In 2004 the 490R humbucker was replaced with a Gibson BJB Floating humbucker and the tone control was removed.
The volume was moved to the surface of the pickguard. On all variants the pickguard is a three-ply black/white/black beveled pickguard. Instead of having the Gibson logo and crown inlaid on the headstock, a gold Gibson logo was stenciled with Herb Ellis' signature stenciled below it; the reason for putting the signature on the headstock instead of the trussrod cover was that Herb Ellis removed the cover to install a Van Eps String Damper. In the 2004 variant the inlaid logo and crown return with Herb Ellis' name embossed on the trussrod cover; the earliest ES-165s shipped did not have Herb Ellis' signature on the headstock. This was added only after November, 1991. In 1999 Gibson's Epiphone product line presented the Zephyr Regent guitar. Similar in size and construction to the ES-165, it differs in having a laminated mahogany back and sides and dot inlays on the fingerboard. Ingram, Adrian; the Gibson ES-175 Its History and its Players Gibson USA ES-165 Herb Ellis Data Sheet. Gibson USA ES-165 Herb Ellis Schematic.
Fjestad, Zachary R. Blue Book of Electric Guitars
An "archtop guitar" is a hollow steel-stringed acoustic or semiacoustic guitar with a full body and a distinctive arched top, whose sound is popular with jazz, blues and psychobilly guitarists. An archtop guitar has: 6 strings An arched top and back, not a flat top and back A hollow body Moveable adjustable bridge F-holes similar to members of the violin family Rear mounted tailpiece, stoptail bridge, or Bigsby vibrato tailpiece 14th-fret neck join The archtop guitar is credited to Orville Gibson, whose innovative designs led to the formation of the Gibson Mandolin-Guitar Mfg. Co, Ltd in 1902, his 1898 patent for a mandolin, applicable to guitars according to the specifications, was intended to enhance "power and quality of tone." Among the features of this instrument were a violin-style arched top and back, each carved from a single piece of wood, thicker in the middle than at the sides. But Gibson was not the first to apply violin design principles to the guitar. Guitar maker A. H. Merrill, for example, patented in 1896 a modern looking instrument "of the guitar and mandolin type... with egg-shaped hoop or sides and a graduated convex back and top."
The instrument featured a metal tailpiece and teardrop shaped "f-holes," and resembled the archtop guitars of the 1930s. James S. Back obtained patent #508,858 in 1893 for a guitar that among other features included an arched top, which were produced under the Howe Orme name. Another transitional design is the parlor guitar fitted with tailpiece; these inexpensive instruments, manufactured by companies such as Stella and Harmony, are associated with early blues musicians. The earliest Gibson designs introduced the arched top and increasing body sizes, but still had round or oval sound holes. In 1922, Lloyd Loar was hired by the Gibson Company to redesign their instrument line in an effort to counter flagging sales, in that same year the Gibson L5 was released to his design. Although the new instrument models flopped commercially and Loar left Gibson after only a couple of years, Gibson instruments signed by Loar now are among the most prized and celebrated in stringed-instrument history; the most revered instrument from this period is the F5 mandolin, but the more broadly influential was the L5 guitar, which remains in production to this day.
The mature Gibson archtop guitar and its imitators are regarded as the quintessential "jazzbox." Archtop guitars were subsequently made by many top American luthiers, notably John D'Angelico of New York and Jimmy D'Aquisto, William Wilkanowski, Charles Stromberg and Son in Boston, by other major manufacturers, notably Gretsch and Epiphone. In Europe, companies such as Framus, Höfner, Hagström took up the manufacture of archtops. Archtop guitars were adopted by both jazz and country musicians, in big bands and swing bands. Gibson's ES-150 guitar is recognized as the world's first commercially successful Spanish-style electric guitar; the ES stands for Electric Spanish, it was designated 150 because it cost $150, along with an EH-150 amplifier and a cable. After its introduction in 1936, it became popular in jazz orchestras of the period. Unlike the usual acoustic guitars utilized in jazz, it was loud enough to take a more prominent position in ensembles. Jazz guitarist Eddie Durham is credited with making the first electric guitar solo, but it was ES-150 player Charlie Christian who popularized the jazz guitar as a solo, not just a rhythm, instrument.
The ES-150's top was not carved on the underside. In 1951, Gibson released the L5CES, an L5 with a single cutaway body and two electric pickups playable as either an acoustic guitar or an electric guitar; this innovation was popular, while purely acoustic archtop guitars such as the Gibson L-7C remain available to this day, they have become the exception. In 1958, the L5CES was redesigned with humbucking pickups; the electric archtop was popular with jazz musicians Tal Farlow, Barney Kessel and Johnny Smith. Other manufacturers introduced electric archtop guitars, notable examples including the Gretsch White Falcon and various Chet Atkins models; some of these instruments have a distinctive "twangy" sound and were taken up by country music and early rock and roll artists such as Duane Eddy and Eddie Cochran. Similar models remain popular in rockabilly. Gibson's last innovation in archtop design was the creation, in late 1950s, of "thinline" models with a reduced body depth, notably the Gibson ES-335 and Epiphone Casino.
These were easier to play standing up. They are classed as semiacoustic guitars. Thinlines became popular with mainstream rock artists during the 1960s; the 335 and similar guitars were taken up by, remain steadfastly popular with, electric blues players. The 1970s and 1980s were a low point of interest in archtops, with many rock and pop players switching to solid body guitars. Interest in archtops was revived in the 1990s. Archtops had long been expensive instruments, with a level of ornament to match. Boutique luthiers such as Roger Borys and Bob Benedetto brought the aesthetics of the instrument to greater heights, making them attractive to co
Populus is a genus of 25–35 species of deciduous flowering plants in the family Salicaceae, native to most of the Northern Hemisphere. English names variously applied to different species include poplar and cottonwood. In the September 2006 issue of Science Magazine, the Joint Genome Institute announced that the western balsam poplar was the first tree whose full DNA code had been determined by DNA sequencing; the genus has a large genetic diversity, can grow from 15–50 m tall, with trunks up to 2.5 m in diameter. The bark on young trees is smooth, white to greenish or dark grey, has conspicuous lenticels; the shoots are stout, with the terminal bud present. The leaves are spirally arranged, vary in shape from triangular to circular or lobed, with a long petiole. Leaf size is variable on a single tree with small leaves on side shoots, large leaves on strong-growing lead shoots; the leaves turn bright gold to yellow before they fall during autumn. The flowers are dioecious and appear in early spring before the leaves.
They are borne in long, sessile or pedunculate catkins produced from buds formed in the axils of the leaves of the previous year. The flowers are each seated in a cup-shaped disk, borne on the base of a scale, itself attached to the rachis of the catkin; the scales are obovate and fringed, hairy or smooth, caducous. The male flowers are without calyx or corolla, comprise a group of four to 60 stamens inserted on a disk; the female flower has no calyx or corolla, comprises a single-celled ovary seated in a cup-shaped disk. The style is short, with two to four stigmata, variously lobed, numerous ovules. Pollination is by wind, with the female catkins lengthening between pollination and maturity; the fruit is a two- to four-valved dehiscent capsule, green to reddish-brown, mature in midsummer, containing numerous minute light brown seeds surrounded by tufts of long, white hairs which aid wind dispersal. Poplars of the cottonwood section are wetlands or riparian trees; the aspens are among the most important boreal broadleaf trees.
Poplars and aspens are important food plants for the larvae of a large number of Lepidoptera species. Pleurotus populinus, the aspen oyster mushroom, is found on dead wood of Populus trees in North America. Several species of Populus in the United Kingdom and other parts of Europe have experienced heavy dieback; the genus Populus has traditionally been divided into six sections on the basis of leaf and flower characters. Recent genetic studies have supported this, confirming some suspected reticulate evolution due to past hybridisation and introgression events between the groups; some species had differing relationships indicated by their nuclear DNA and chloroplast DNA sequences, a clear indication of hybrid origin. Hybridisation continues to be common in the genus, with several hybrids between species in different sections known. Populus section Populus – aspens and white poplar Populus adenopoda – Chinese aspen Populus alba – white poplar Populus × canescens – grey poplar Populus spp. X – Pacific albus Populus davidiana – Korean aspen Populus grandidentata – bigtooth aspen Populus sieboldii – Japanese aspen Populus tremula – aspen, common aspen, Eurasian aspen, European aspen, quaking aspen Populus tremuloides – quaking aspen or trembling aspen Populus section Aigeiros – black poplars, some of the cottonwoods Populus deltoides – eastern cottonwood Populus fremontii – Fremont cottonwood Populus nigra – black poplar, placed here by nuclear DNA.
Populus Populus × canadensis – hybrid black poplar Populus × inopina – hybrid black poplar Populus section Tacamahaca – balsam poplars Populus angustifolia – willow-leaved poplar or narrowleaf cottonwood Populus balsamifera – Balsam poplar Populus cathayana – Populus koreana J. Rehnder – Korean poplar Populus laurifolia – laurel-leaf poplar Populus maximowiczii A. Henry – Maximowicz' poplar, Japanese poplar Populus simonii – Simon's poplar Populus suaveolens Fischer – Mongolian poplar Populus szechuanica – Sichuan poplar, placed here by nuclear DNA. Aigeiros Populus trichocarpa – western balsam poplar or black cottonwood Populus tristis, placed here by nuclear DNA.
Winfield Scott "Scotty" Moore III was an American guitarist and recording engineer. He is best known for backing Elvis Presley in the first part of his career, between 1954 and the beginning of Elvis's Hollywood years. Rock critic Dave Marsh credits Moore with the invention of power chording, on the 1957 Presley song "Jailhouse Rock", the intro of which Moore and drummer D. J. Fontana, according to the latter, "copped from a'40s swing version of'The Anvil Chorus'." Moore was ranked 29th in Rolling Stone magazine's list of 100 Greatest Guitarists of All Time in 2011. He was inducted into the Rock and Roll Hall of Fame in 2000 and the Memphis Music Hall of Fame in 2015; the Rolling Stones' lead guitarist Keith Richards has said of Moore,When I heard "Heartbreak Hotel", I knew what I wanted to do in life. It was as plain as day. All I wanted to do in the world was to be able to sound like that. Everyone else wanted to be Elvis, I wanted to be Scotty. Winfield Scott Moore III was born near Gadsden, Tennessee, to Mattie as the youngest of four boys by 14 years.
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. Moore's early background was in 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 the 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 "That's All Right", a recording regarded as a seminal event in rock and roll history; this session, held on the evening of July 5, 1954, proved 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,All of a sudden, Elvis just started singing this song, jumping around and acting the fool and Bill picked up his bass and he started acting the fool too, 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 began taping as this was the sound he had been looking for. During the next few days, the trio recorded a bluegrass number, Bill Monroe's "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 "That's All Right" on the A side and "Blue Moon of Kentucky" on the reverse. Phillips's 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. By his performance at the Louisiana Hayride in October 1954, Black and Moore were called the Blue Moon Boys. For a time, Moore served as Presley's personal manager, they were joined by the drummer D.
J. Fontana. Beginning in July 1954, the Blue Moon Boys toured and recorded throughout the American South and as Presley's 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 surviving 1955 home movie clips of Presley before he achieved national recognition. Moore and Fontana appeared on the Dorsey Brothers, Milton Berle, Steve Allen, Ed Sullivan live TV shows from January 1956 to January 1957. Moore and Fontana reunited on the 1960 Timex TV special with Frank Sinatra welcoming Presley upon his return from service in the U. S. Army. 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", "Hard Headed Woman", he called his solo on "Hound Dog" "ancient psychedelia". During the filming and recording of Loving You in Hollywood in early 1957, Moore and Black drove the boredom away by jamming with Presley between takes but they saw little of Presley, who stayed only a couple of floors away from them.
They grew resentful at the separation, which they came to perceive as willfully organized. 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. 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 brother-in-law. In an interview with the Memphis Press-Scimitar that December, they spoke about this and 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 Victor would release. Such permission was needed in order to appear as a group without Presley. 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 th