“Ain’t That A Shame” was released on single in the summer of 1955, backed with “La La” and also featured on Fats’ debut album “Carry on Rockin’” in November of that year.

“Ain’t That A Shame” was one of many classic collaborations between Fats Domino and Imperial A&R man Dave Bartholomew. The pair had achieved a string of hits on the R&B chart since they began working together on the single “The Fat Man” in 1949, but “Ain’t That A Shame” was the first to achieve crossover success on the pop chart. Many timeless collaborations would follow, including “I’m Walkin’” and “Blue Monday.”

The song employs what even then was a well worn stop-time structure for the verses, with Fats and the band punctuating each statement with a double blast of the ‘B flat’ chord. The chorus has a standard R&B rhythm pattern, with Fats’ trademark pounding piano style, and a highly catchy “Ain’t That A Shame” hook. There is also memorable saxophone work throughout and particularly on the instrumental break played by Herb Hardesty, who played on many of Fats’ biggest hits.

Domino’s brand of rock ‘n’ roll was probably closer to conventional R&B than the output of any of his rock ‘n’ roll contemporaries, and “Ain’t That A Shame” was no exception. Fats himself would say that he just continued to play what he’d always played in New Orleans. There was some interference though from Imperial, who speeded up the single by one step in an effort to give the song a little more drive and make Domino’s vocal more youthful and less laidback.

“Ain’t That A Shame” first came to prominence via Pat Boone’s cover, which is often regarded as a watered down rip-off of the original. Putting aside the musical merits of the cover, it also gave mainstream exposure to the original and raised Domino’s profile. The royalties from Boone’s hit record were also significant, leading Domino to joke that Boone bought him his gold ring.

It was hits like “Ain’t That A Shame” that ensured Fats Domino was among the first 10 inductees into the Rock and Roll Hall of Fame in 1986. Bartholomew would join Fats in the Hall of Fame in 1991.

Fats Domino – “Ain’t That A Shame”

Authorship

“Ain’t That A Shame” was written by Fats Domino and Dave Bartholomew.

Recording date/location

“Ain’t That A Shame” was recorded in March, 1955, but sources differ on where, with some citing Cosimo Matassa’s Studio in New Orleans, LA, and others claiming that it was recorded in Hollywood during a break from a tour.

Musicians

The following musicians played on “Ain’t That A Shame”:

• Fats Domino – vocals, piano
• Herb Hardesty – tenor sax
• Wendell Duconge – tenor sax
• Walter Nelson – guitar
• Frank Fields – bass
• Cornelius Coleman – drums.

Chart performance

“Ain’t That A Shame” reached number 10 on Billboard’s pop chart and number one on the R&B chart.

Notable covers

Pat Boone – “Ain’t That A Shame”

Pat Boone was a fine ballad singer, but his instincts for rock ‘n’ roll were limited. His cover of “Ain’t That A Shame” is sung in an odd, overly formal fashion and the whole thing plods along with none of the natural verve of the original. Despite this, Boone had a number one hit on the Billboard pop chart.

Boone suggested that the title of his cover be changed to “Isn’t That A Shame,” but he was sensibly overruled.

John Lennon – “Ain’t That A Shame”

John Lennon claimed that “Ain’t That A Shame” was the first song he learned to play as a teenager, but he didn’t record it until 1974 as part of the sessions that would produce his 1975 “Rock ‘n’ Roll” album. Lennon had assembled a good band, with the keyboard work of Ken Ascher particularly notable on this track, but the whole thing might have benefited from being taken down a notch or two as Lennon’s vocal sounds a little strained.

There will be a new Song of the Week on February 13.

Fats Domino’s “Ain’t That A Shame” is available on numerous compilations, including “Fats Domino Greatest Hits: Walking To New Orleans.”

Title
Fats Domino Greatest Hits: Walking To New Orleans (2 CDs)	Buy Now	Buy Now	Buy Now	Buy Now

Highlights for February include:

• Paul McCartney’s “Kisses on the Bottom” in standard and deluxe editions (Feb 7)
• deluxe editions of the last five Queen albums (Feb 7)
• a number of classic Bob Dylan albums on limited edition vinyl (Feb 7)
• the Van Halen reunion album, “A Different Kind of Truth” (Feb 7)
• the 3-CD set “Santana Anthology 68-69″ (Feb 14) and “Santana – Live at Montreux” on DVD and Blu-ray (Feb 21)
• Pink Floyd’s “The Wall” in Experience, Immersion and Vinyl editions – Feb 28.

The Buddy Holly Center in Buddy’s home town of Lubbock, Texas is also marking the occasion by opening its doors free of charge from 6:00 pm – 9:00 pm this evening. The permanent exhibition includes photographs, clothing, report cards, a pair of Holly’s trademake glasses and his Fender Stratocaster guitar.

Let’s step back in time for an example of how the media reacted to the tragedy in 1959. Ren Grevatt had this to say in his February 9, 1959 “On the Beat” column for Billboard Magazine:

Moving up to date, Dion DiMucci, who also played on the Winter Dance Party tour, has paid tribute to the three on his Facebook page:

Related items:
“Listen to Me: Buddy Holly” – tribute album
Test your knowledge of Buddy Holly

“The Wallflower” – Etta James

After The Peaches broke up, Etta set about trying to forge a solo career and had a number of minor hits before signing to Chess Records in 1960. Within a year she had released the album “At Last,” the title track of which would become her signature tune and one of the most enduring songs of the era.

“At Last” – Etta James

Also on the “At Last” album and on the B-side of the “At Last” single was Etta’s superb interpretation of the Muddy Waters classic “I Just Want To Make Love To You.” This would become her biggest ever UK hit when it reached number five on the singles chart in 1996 after appearing in a Diet Coke commercial.

“I Just Want To Make Love To You” – Etta James

Despite her obvious talent, Etta found it difficult to achieve mainstream success as the decade progressed, but there were real highlights, including the classic soul ballad “I’d Rather Go Blind,” which was recorded in 1967.

“I’d Rather Go Blind” – Etta James

Things would get worse in the next decade as she spent time in rehab and behind bars due to her drug problems. After a long battle, she finally beat her addiction in 1988 and began a more productive period in her career, beginning with the release of the “Seven Year Itch” album. This was followed by her induction into the Rock and Roll Hall of Fame in 1993 and the release of an acclaimed collection of Billie Holiday songs titled “Mystery Lady” which earned Etta her first Grammy award in 1994. The first Grammy had been a long time coming, but more would follow with the albums “Let’s Roll” (2004) and “Blues to the Bone” (2005) both being recognised. She was also awarded a Grammy Lifetime Achievement Award in 2003.

Etta was diagnosed with Alzheimer’s disease in 2008 and leukaemia in early 2011.

Many artists have already paid tribute to Etta James, including the following:

Beyonce – “This is a huge loss. Etta James was one of the greatest vocalists of our time. I am so fortunate to have met such a queen. Her musical contributions will last a lifetime. Playing Etta James taught me so much about myself, and singing her music inspired me to be a stronger artist. When she effortlessly opened her mouth, you could hear her pain and triumph. Her deeply emotional way of delivering a song told her story with no filter. She was fearless, and had guts. She will be missed.”

Aretha Franklin – “Etta James was one of the great soul singers of our generation. An American original! I loved Pushover, At Last and almost any and everything she recorded!!! When Etta SUNG, you heard it!”

Mariah Carey – “Rest in peace to one of the world’s most influential singers Etta James, you will be missed.”

Kelly Rowland – “Classic. One of a kind. Pure soul. Etta James! Thank You for gracing us with your incredible talent & presence!”

Chaka Khan – “Rest in peace Etta James. My thoughts and prayers are with you and your family.”

will.i.am – “Showing respect appreciation and love for all the wonderful music and joy Etta James brought to the world.”

Pink – “RIP to the late and great Etta James. Your voice and your fight inspired me and many. I love that through recordings, people can live forever.”

Cyndi Lauper – “Omg, we lost Etta James today. May she rest in peace and thank you Etta for all the wonderful singing you left behind for us. I’ll miss her.”

Jessie J – “Just been told the legend that is Etta James has passed. Thank you for your voice your dedication to us and your gift. Your voice is timeless and will forever live on. I will always look to you for inspiration. RIP.”

LeAnn Rimes – “RIP to the wonderfully soulful Etta James. You will always be in our heart & on our radios. What a voice, a sad loss.”

Steve Winwood – “Etta James… You’ll be missed.”

Slash – “Deeply saddened by the loss of Etta James, a true legend in our time. RIP.”

Nikki Sixx – “RIP Etta James. Your music soothed and ignited passion in so many of us.”

Otis was born Ioannis Alexandres Veliotes on December 28, 1921, in Vallejo, California, the son of Greek immigrant parents. He lived in a primarily black neighbourhood where he was exposed to and greatly influenced by jazz and blues music. He took a keen interest in the drums, piano and vibraphone as a teenager, and soon took on paying gigs as a drummer with various local jazz combos and big bands, including the Lloyd Hunter Band.

After leaving the Lloyd Hunter band to form his own combo with bandmate Preston Love, an encounter with Nat King Cole in Omaha, Nebraska led to a change of plan. Cole informed Otis that Harlan Leonard needed a drummer for his band the Kansas City Rockets, who were the house band of Club Alabam in Los Angeles. Otis was sold on the idea and moved to Los Angeles.

Following the spell with the Kansas City Rockets, Otis became a session drummer for various recording studios, and also picked up many live drumming gigs, behind the likes of Lester Young, Johnny Moore’s Three Blazers and Count Basie.

Otis would soon form his own Johnny Otis Orchestra and achieve national chart success with “Harlem Nocturne” in 1946. This was a surprise to all concerned as it was something the band had knocked off rather swiftly to fill their quota at the end of a session.

“Harlem Nocturne” – The Johnny Otis Orchestra

In 1947-48, Otis opened the Barrelhouse Club in Los Angeles and put together a package touring show called “The Johnny Otis Rhythm and Blues Caravan.” By 1949, the band featured Little Esther Phillips, Mel Walker and the Robins (who would later become the Coasters). This band would have 10 singles in the R&B Top Ten in 1950 alone, including “Double Crossing Blues,” which was on top of the R&B chart for nine weeks. “Double Crossing Blues” was Esther Phillips’ first chart hit at the age of just 14.

“Double Crossing Blues” – Johnny Otis Quintette

Otis also become active in the music community in other ways, including radio broadcasting, songwriting, producing and working as an A&R man. Among the talents he discovered were Etta James, Hank Ballard and Jackie Wilson. Etta James’ breakthrough hit, “The Wallflower” (aka “Roll With Me Henry)”, was written and produced by Otis. He would also produce some of the early recordings of Little Richard, Big Mama Thornton (including the Leiber and Stoller-penned “Hound Dog”), and Johnny Ace (including the classic “Pledging My Love).

The Johnny Otis Show

Otis will perhaps be best remembered for his popular 1958 single “Willie and the Hand Jive,” with its irresistible Bo Diddley-inspired rhythm.

“Willie and the Hand Jive” – The Johnny Otis Show

“Willie and the Hand Jive” would become Otis’ biggest hit when it peaked at number nine on the US pop chart.

In 1969, Otis recorded a well-received album titled “Cold Shot,” which also featured the talents of Mighty Mouth Evans, Sugarcane Harris and his son Shuggie Otis. This led to an artist-producer contract with Epic and several further albums, including a record of the band’s live appearance at the 1970 Monterey Jazz Festival.

Although performing into his 80s, Otis juggled many activities and achieved many ambitions over the years, including penning the book “Listen to the Lambs” in 1968, serving as deputy chief of staff for a Democratic Congressman, founding the Landmark Community Gospel Church, and maintaining his radio broadcasting career. The Johnny Otis Show on the Berkeley-based KPFA radio station ran until 2006.

“Folsom Prison Blues” was inspired (quite substantially) by Gordon Jenkins’ 1953 song “Crescent City Blues,” which Cash had heard while serving in the Air Force. Cash would later explain:

Everything was right, but only after Cash had paid Jenkins a reported $75,000 settlement.

The prison theme was inspired by the 1951 movie “Inside the Walls of Folsom Prison.” The decision to merge the themes of prisons and trains was a clever one, as the singer is hit by the contrast between the isolation and claustrophobia of a prison cell (“I ain’t seen the sunshine/Since, I don’t know when”) and the freedoms enjoyed by those passing by on the train (“I bet there’s rich folks eatin’/In a fancy dining car/They’re probably drink’ coffee/And smokin’ big cigars”).

The song is also a classic example of Johnny Cash and the Tennessee Two’s use of their trademark “boom-chicka-boom” two-beat rhythm, which was well suited to the train lyric.

Billboard gave the “Folsom Prison Blues” single a positive review in their January 7, 1956 issue:

Cash would re-record “Folsom Prison Blues” for his 1964 album “I Walk the Line,” which featured re-recordings of a number of his early Sun tracks. He also sang what would become a very popular live version of the song in front of the inmates of Folsom prison in 1968. This rendition featured on the album “Johnny Cash Live At Folsom” and was also released on single in April 1968, backed with “The Folk Singer.” The famous moment where a convict whoops after Cash sings “I shot a man in Reno just to watch him die” was added in post production.

The 1968 live version of “Folsom Prison Blues” was a hit single and would earn Cash a Grammy award in the “Best Country Solo Vocal, Male” category.

Johnny Cash – “Folsom Prison Blues” (live, 1968)

Authorship

“Folsom Prison Blues” was written by Johnny Cash and, as noted above, adapted from a Gordon Jenkins composition.

Recording date/location

The original “Folsom Prison Blues” single was recorded on July 30, 1955 at Sun Studios in Memphis, Tennessee. The hit live version was recorded on January 13, 1968 at Folsom Prison, California.

Musicians

The following musicians played on the 1955 recording of “Folsom Prison Blues”:

• Johnny Cash – vocals and guitar
• Marshall Grant – bass
• Luther Perkins – electric guitar.

Cash was introduced to Grant and Perkins in 1954 by his brother Roy Cash, Sr, who worked with them at the Automobile Sales Company in Memphis. The three got their break after auditioning for Sam Phillips at Sun Records. Grant and Perkins would soon become known as the Tennessee Two.

By the time of the 1968 live version of “Folsom Prison Blues,” the Tennessee Two had become the Tennessee Three with the addition of drummer W. S. “Fluke” Holland. Holland had also got his start at Sun, playing on Carl Perkins (no relation to Luther) records, including the classic “Blue Suede Shoes.” Carl Perkins was also a member of Johnny Cash’s band in 1968.

Chart performance

The original “Folsom Prison Blues” Sun single was a Top 10 country hit in early summer 1956, but it was with the 1968 live single that Cash would have the biggest success. This topped Billboard’s country chart for four weeks and peaked at number 32 on the Hot 100.

Covers

“Folsom Prison Blues” became a country standard so, not surprisingly, many of the classic country artists had a crack at it, including Conway Twitty, Merle Haggard, Ferlin Husky, Waylon Jennings, Charley Pride and Porter Wagoner. Here’s two memorable covers.

Jerry Reed – “Folsom Prison Blues”

The great Jerry Reed recorded a country rock version of “Folsom Prison Blues” for his 1973 album “Lord, Mr Ford.” The funky arrangement and Reed’s distinctive guitar style make this an interesting cover that is quite a departure from the original.

Carl Perkins – “Folsom Prison Blues”

Carl Perkins was very familiar with the song as he often played in Johnny Cash’s band, but his solo version from the 1969 album “Carl Perkins Greatest Hits” takes it in a slightly different direction, with more of a rockabilly rhythm and a higher key (from E up to A) to help drive the song along. The rockabilly legend does a great job.

There will be a new Song of the Week on January 23.

Johnny Cash’s original Sun version of “Folsom Prison Blues” is available on various compilations, including the 3-CD set “Cash – Complete Sun Masters.”

The 1968 live version of “Folsom Prison Blues” is available on the 2 CD/DVD Legacy Edition of “Johnny Cash At Folsom Prison.” This includes the entire unedited 65-minute first show on disc one, with seven previously unissued tracks, and the entire 75-minute second show on disc two, with 24 previously unissued tracks. There is also a documentary with footage from the day and interviews with those involved.

Title
Cash – Complete Sun Masters (3 CDs)	Buy Now	Buy Now	Buy Now	Buy Now
Johnny Cash At Folsom Prison Legacy Edition (2 CDs/DVD)	Buy Now	Buy Now	Buy Now	Buy Now

Highlights for January include:

• “Elvis Country – Legacy Edition” – Jan 3
• a number of releases in the Original Album Classics series from the likes of Johnny Cash, Elvis, Journey, the Byrds, Bob Dylan and David Bowie – Jan 17
• the Doors’ “L.A. Woman – 40th Anniversary Edition” and “Mr. Mojo Risin’” DVD and Blu-ray releases – Jan 24
• Dion DiMucci’s “Tank Full of Blues” – Jan 24
• Leonard Cohen’s “Old Ideas” on CD and vinyl – Jan 31.

Milano was born in New York on August 26, 1939 and formed the Belmonts as a teenager in the mid-1950s, along with Angelo D’Aleo and Carlo Mastrangelo. After joining forces with Dion DiMucci, the group entered their most successful period, with classic singles including “I Wonder Why” and “Teenager In Love.”

Carlo Mastrangelo, Fred Milano, Dion DiMucci and Angelo D’Aleo

Dion and the Belmonts – “Teenager in Love”

Dion and the Belmonts went their separate ways in 1960, but the Belmonts continued to record with some success, including the singles “Tell Me Why,” “Don’t Get Around Much Anymore” and “I Need Someone.”

The Belmonts – “Tell Me Why”

Milano featured in a shortlived reunion of Dion and the Belmonts in 1966 with the release of the album “Together Again,” and another reunion in 1972 for a Rock and Roll Revival Show, which yielded a live album. Shortly after, the Belmonts (minus Dion) recorded a highly regarded acappella album called “Cigars, Acappella, Candy.”

A Belmonts line-up comprising Milano, D’Aleo, William Gradus and Daniel Elliott would become a popular live act, playing up to 100 gigs per year right up until 2011.

Dion DiMucci has paid tribute to his old friend:

Dion and the Belmonts – “I Wonder Why”

January

• 4 Jan – Gerry Rafferty (solo singer-songwriter and former member of the Humblebums and Stealers Wheel), age 63
• 4 Jan – Mick Karn (bassist with Japan), age 52
• 7 Jan – Phil Kennemore (bassist with Y&T), age 57
• 10 Jan – Pat Moran (record producer for Robert Plant and Iggy Pop), age 63
• 12 Jan – Tommy Crain (country rock guitarist and songwriter), age 59
• 13 Jan – Alex Kirst (former drummer with Iggy Pop), age 47
• 14 Jan – Trish Keenan (member of Broadcast), age 42
• 17 Jan – Don Kirshner (song publisher/producer), age 76
• 20 Jan – Margaret Whiting (pop and country singer), age 86
• 22 Jan – Bobby Poe (singer with 1950s rockabilly band Bobby Poe and the Poe Kats), age 77
• 26 Jan – Charlie Louvin (country singer), age 83
• 26 Jan – Gladys Horton (member of the Marvelettes), age 65
• 29 Jan – Bruce Jackson (audio engineer), age 61
• 29 Jan 11 – Milton Babbitt (composer), age 94
• 30 Jan – John Barry (Oscar-winning composer), age 77.

February

• 1 Feb – Doc Williams (bandleader and singer), age 96
• 6 Feb – Gary Moore (rock guitarist), age 58
• 14 Feb – George Shearing (jazz pianist), age 94
• 20 Feb – Harrell “Buddy” Jones (drummer), age 70
• 27 Feb – Eddie Kirkland (blues singer), age 88.

March

• 4 Mar – Johnny Preston (pop singer), age 71
• 8 Mar – Mike Star (bassist with Alice in Chains), age 44
• 9 Mar – Robert Marcucci (record company owner and songwriter), age 81
• 12 Mar – Joe Morello (jazz drummer), age 82
• 14 Mar – Todd Cerney (songwriter and musician), age 57
• 14 Mar – Ronnie Hammond (former lead singer for the Atlanta Rhythm Section), age 60
• 15 Mar – Nate Dogg (rapper), age 41
• 15 Mar – Melvin Sparks (soul and jazz guitarist), age 64
• 17 Mar – Ferlin Husky (country singer), age 85
• 18 Mar – Jet Harris (bassist with the Shadows), age 71
• 20 Mar – Joseph “Pinetop” Perkins (blues pianist), age 97
• 20 Mar – Ralph Mooney (steel guitar pioneer), age 82
• 21 Mar – Loleatta Holloway (soul/disco singer), age 64
• 30 Mar – Harley Allen (country music songwriter), age 55
• 31 Mar – Mel McDaniel (country singer), age 68.

April

• 5 Apr – Gil Gibbons (folk singer), age 80
• 9 Apr – Roger Nichols (Grammy-winning recording engineer), age 66
• 11 Apr – Lacy Gibson (Chicago blues guitarist), age 74
• 11 Apr – Billy Bang (jazz violinist and composer), age 63
• 22 Apr – Hazel Dickens (bluegrass singer-songwriter), age 75
• 25 Apr – Poly Styrene, aka Marianne Joan Elliott-Said (singer with punk band X-Ray Spex), age 53
• 26 Apr – Phoebe Snow (singer-songwriter), age 60
• 29 Apr – David Mason (classical musician who played the piccolo trumpet on “Penny Lane”), age 85.

May

• 3 May – Odell Brown (jazz organist and songwriter), age 70
• 7 May – John Walker (founding member of The Walker Brothers), age 67
• 8 May – Cornell Dupree (guitarist for Miles Davis, Aretha Franklin and more), age 69
• 9 May – Dolores Fuller (actress and songwriter), age 88
• 12 May – Lloyd Knibb (drummer for The Skatalites), age 80
• 13 May – Jack Richardson (record producer), age 81
• Bob Flanigan – (singer with the Four Freshmen), age 84
• 19 May – Kathy Kirby (pop singer and television host), age 72.

June

• 3 Jun – Andrew Gold (singer, musician and songwriter), age 59
• 4 Jun – Martin Rushent (record producer), aged 62
• 10 Jun – Kenny Hawkes (DJ and producer), age 42
• 10 Jun – Darryl Pandy (singer and producer), age 48
• 12 Jun – Carl Gardner (member of the Coasters), age 83
• 16 Jun – Larry Wayne Fischer, aka Wild Man Fischer (songwriter), age 66
• 18 Jun – Clarence Clemons (saxophonist with Bruce Springsteen’s E Street Band), age 69
• 30 Jun – Jimmy Roselli (pop singer), age 85.

July

• 7 Jul – Manuel Galbán (guitarist with Los Zafiros and Buena Vista Social Club), age 80
• 9 Jul – Michael “Würzel” Burston (former Motorhead guitarist), age 61
• 11 Jul – Rob Grill (singer and bassist with Grass Roots), age 67
• 23 Jul – Amy Winehouse (pop singer), age 27
• 24 Jul – Dan Peek (co-founder of America), age 60
• 25 Jul – Mike Reaves (former guitarist with Full Devil Jacket), age 52
• 26 Jul – Joe Arroyo (Columbian singer-songwriter), age 55
• 29 Jul – Gene McDaniels (singer-songwriter), age 76
• 31 Jul – Tom Garvin (pianist and composer), age 67.

August

• 4 Aug – Conrad Schnitzler (multi-instrumentalist and composer), age 74
• 6 Aug – Marshall Grant (bass player with Johnny Cash & the Tennessee Two), age 83
• 10 Aug – Billy Grammer (singer-guitarist), age 85
• 11 Aug – Jani Lane (former lead singer of Warrant), age 47
• 22 Aug – Nick Ashford (soul/R&B singer), age 70
• 22 Aug – Jerry Leiber (songwriter/producer), age 78
• 24 Aug – Frank DiLeo (music executive, actor and former manager of Michael Jackson), age 63
• 29 Aug – David “Honeyboy” Edwards (blues guitarist and singer), age 96.

September

• 13 Sep – Richard Hamilton (pop artist who designed “White Album” cover), age 89
• 16 Sep – Willie “Big Eyes” Smith (singer and harmonica player), age 75
• 21 Sep – John DuCann (guitarist), age 65
• 26 Sep – Harry “Cuby” Muskee (singer), age 70
• 26 Sep – Sylvia Robinson (singer-songwriter and owner of Sugar Hill Records), age 75.

October

• 1 Oct – David Bedford (composer, musician), age 74
• 5 Oct – Bert Jansch (folk guitarist), age 67
• 8 Oct – Roger Williams (pianist), age 87
• 8 Oct – Mikey Welsh (former Weezer bassist), age 40
• 12 Oct – Paul Leka (songwriter, producer and pianist), age 68
• 18 Oct – Bob Brunning (original Fleetwood Mac bassist), age 68
• 20 Oct – Barry Feinstein (rock photographer), aged 80
• 29 Oct – Sir Jimmy Savile (DJ and television presenter), age 84.

November

• 3 Nov – Cory Smoot, aka Flattus Maximus (Gwar guitarist), age 34
• 7 Nov – Andrea True (singer and actress), age 68
• 8 Nov – Heavy D (rapper), age 44
• 12 Nov – Doyle Bramhall (singer-songwriter and drummer), age 62
• 14 Nov – Lee Pockriss (songwriter), age 87
• 15 Nov – Mark “Moogy” Klingman (musician, songwriter and producer), age 61
• 23 Nov – Montserrat Figueras (soprano singer), age 69
• 25 Nov – Don DeVito (record producer), age 72
• 27 Nov – Sultan Khan (sarangi player and singer), age 71
• 28 Nov – Tom Roady (percussionist), age 62.

December

• 2 Dec – Howard Tate (soul singer and songwriter), age 72
• 4 Dec – Hubert Sumlin (blues guitarist), age 80
• 6 Dec – Dobie Gray (singer-songwriter), age 71
• 8 Dec – Dan “Bee” Spears (bass player for Willie Nelson), age 62
• 8 Dec – Dick Sims (keyboarist for Eric Clapton), age 60
• 14 Dec – Billie Jo Spears (country singer), age 74
• 18 Dec – Ralph MacDonald (percussionist and composer), age 67
• 21 Dec – Nilesh Patel, aka Nilz (mastering engineer), age 46
• 25 Dec – Jim Sherwood (saxophonist and singer for the Mothers of Invention), age 69
• 26 Dec – Sam Rivers (jazz musician and composer), age 88
• 28 Dec – Kaye Stevens (singer and actress), age 79.

The Dead Rock Star Club website offers a more extensive list of musicians we lost in 2011 and before.

Winfield Scott Moore III was born on December 27, 1931 near Gadsden, Tennessee and began playing guitar as a child. After serving in the Navy from 1948 to 1952, he formed a country band called “The Starlite Wranglers” which also featured future Elvis bassist Bill Black. Everything would change in July 1954 when Sun Records owner, Sam Phillips, asked Scotty to work with an enthusiastic young singer called Elvis Presley.

Left to right: Elvis Presley, Bill Black, Scotty Moore & Sam Phillips at Sun Records

On July 5, 1954, Scotty was involved in one of the most important moments in rock ‘n’ roll history while at an informal session at Sun with Elvis and Bill Black. Here’s how Scotty remembered the incident when speaking to author Jerry Hopkins in 1971:

It was Elvis’ energy and instincts that brought a new dimenion to the Crudup tune, but Scotty’s subtle yet driving guitar work, and Bill Black’s throbbing bass were hugely important in bringing the whole thing together and producing a sound that would enthrall local teens at the time and continues to enthrall listeners today.

Elvis Presley – “That’s All Right”

Phillips convinced Dewey Phillips (no relation) to play the song on his “Red, Hot and Blue” radio show in Memphis and the local response was such that the young Elvis was rushed to the studio to be interviewed on the show – he’d been so nervous at the prospect of the song being played, that he had to be tracked down hiding out at the movies.

The response to “That’s All Right” meant that a B-side was required. For the A-side, the trio had added country elements to a blues song, but for the flip they would add blues elements to Bill Monroe’s country hit “Blue Moon of Kentucky.” The results were on a par with the A-side and it was evident that something special was happening.

Scotty’s pioneering rockabilly style would feature on many classic Elvis recordings over the next few years, including “Good Rockin’ Tonight,” “Baby Let’s Play House,” “I’m Left, You’re Right, She’s Gone,” “Mystery Train,” “Heartbreak Hotel,” “Hound Dog,” “Blue Suede Shoes,” “Too Much,” “Lawdy Miss Clawdy,” “Jailhouse Rock” and many more.

Elvis Presley – “Baby Let’s Play House”

Elvis Presley – “Blue Suede Shoes”

Scotty also played hundreds of concerts with Elvis in the early barnstorming days and appeared in the classic movies Loving You, Jailhouse Rock and King Creole, each time as a member of Elvis’ band. He’d continue to play at Elvis sessions throughout the 1960s, and the pair ended their professional relationship on a high in 1968 as Scotty backed Elvis on the acclaimed so-called “sit down” segment of his 1968 television special.

The next 20 years saw Scotty working in the studio for the most part, engineering records such as Ringo Starr’s “Beaucoups of Blues” and Carl Perkins’ “EP Express,” and also engineering television shows for the likes of Bob Hope, Johnny Cash, Jerry Lee Lewis and Dolly Parton.

Fans got a chance to see Scotty live on stage for the first time since 1968 when he joined Carl Perkins at the Ellis Auditorium in Memphis as part of the “Good Rockin’ Tonight” show in 1992. This welcome return to the stage continued with a number of tours and appearances at special events, including the 1994 Elvis tribute at the Pyramid in Memphis.

Scotty has also been involved in a number of reunion/tribute recording projects, including “All the Kings Men” in 1997 which featured artists such as Keith Richards, Ron Wood, Jeff Beck, and members of the Bill Black combo.

In 2004, some of rock music’s finest gathered in London’s Abbey Road studios to pay tribute to and play alongside Scotty Moore. The artists assembled included Eric Clapton, Ron Wood, Dave Gilmour, Bill Wyman and Albert Lee. Here’s one of the highlights from that night.

Scotty Moore and Eric Clapton – “Mystery Train”

Recognising that arthritis was compromising his ability to play guitar, Scotty Moore made his farewell live performances in the two “Last Man Standing” shows during the 2007 Elvis Week at the Peabody Hotel in Memphis. Scotty played alongside “The Mighty Handful,” which featured some of the all time great session musicians, including Bob Moore and Boots Randolph, who had played with Scotty on Elvis recording in the 1960s. Scotty also produced the two-volume “Might Handful” CDs.

Scotty celebrated his 80th birthday earlier this month with a party at the Gibson Memphis Showcase. Among those in attendence were Elvis’ ex-wife Priscilla Presley and Gibson Guitar President David Berryman, who presented Scotty with a Gibson Custom ES-295 replica of the guitar that he had played throughout his career.

Scotty Moore was an integral part of Elvis’ early band and one of the real pioneers of rock ‘n’ roll guitar. Twentieth century popular music would have been very different without his contribution.

Happy Birthday Scotty and thanks for all the fine music.

For those who want to know more about Scotty, the excellent out-of-print “That’s Alright, Elvis: The Untold Story of Elvis’s First Guitarist and Manager, Scotty Moore” has recently been made available on Kindle by author James L. Dickerson. The 1997 book is Scotty’s account (as told to Dickerson) of his long career, including his time playing guitar for Elvis Presley.

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