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Scotty und Elvis: An Bord des Mystery Train [American Made Music Series]
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Standort: Aurora, Colorado, USA
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eBay-Artikelnr.:203218279714
Artikelmerkmale
- Artikelzustand
- ISBN
- 9781617038181
Über dieses Produkt
Product Identifiers
Publisher
University Press of Mississippi
ISBN-10
1617038180
ISBN-13
9781617038181
eBay Product ID (ePID)
167902001
Product Key Features
Book Title
Scotty and Elvis : Aboard the Mystery Train
Number of Pages
264 Pages
Language
English
Publication Year
2013
Topic
History & Criticism, Composers & Musicians, Genres & Styles / Rock
Illustrator
Yes
Genre
Music, Biography & Autobiography
Book Series
American Made Music Ser.
Format
Trade Paperback
Dimensions
Item Height
0.6 in
Item Weight
15 oz
Item Length
9 in
Item Width
6 in
Additional Product Features
Intended Audience
Trade
Reviews
Scotty was the rock, sort of like the pope is the rock of the church. Knowing Elvis and Scotty the way I do, I can see why Elvis depended on him., "Scotty was there from before the beginning. I learned so much that I never knew . . . great insight to the early years. One of the best books on Elvis I ever read." --George Klein, Memphis radio and TV personality and host of The George Klein Show, Scotty was the rock, sort of like the pope is the rock of the church. Knowing Elvis and Scotty the way I do, I can see why Elvis depended on him.Jerry Schilling, Scotty was there from before the beginning. I learned so much that I never knew . . . great insight to the early years. One of the best books on Elvis I ever read.George Klein, Memphis radio and TV personality and host of The George Klein Show, Scotty was there from before the beginning. I learned so much that I never knew . . . great insight to the early years. One of the best books on Elvis I ever read., "Scotty was the rock, sort of like the pope is the rock of the church. Knowing Elvis and Scotty the way I do, I can see why Elvis depended on him." --Jerry Schilling
Dewey Edition
23
Dewey Decimal
787.87166092
Synopsis
When Elvis Presley first showed up at Sam Phillips's Memphis-based Sun Records studio, he was a shy teenager in search of a sound. Phillips invited a local guitarist named Scotty Moore to stand in. Scotty listened carefully to the young singer and immediately realized that Elvis had something special. Along with bass player Bill Black, the trio recorded an old blues number called ""That's All Right, Mama."" It turned out to be Elvis's first single and the defining record of his early style, with a trilling guitar hook that swirled country and blues together and minted a sound with unforgettable appeal. Its success launched a whirlwind of touring, radio appearances, and Elvis's first break into movies. Scotty was there every step of the way as both guitarist and manager, until Elvis's new manager, Colonel Tom Parker, pushed him out. Scotty and Elvis would not perform together again until the classic 1968 ""comeback"" television special. Scotty never saw Elvis after that. With both Bill Black and Elvis gone, Scotty Moore is the only one left to tell the story of how Elvis and Scotty transformed popular music and how Scotty created the sound that became a prototype for so many rock guitarists to follow. Thoroughly updated, this edition delivers guitarist Scotty Moore's story as never before, When Elvis Presley first showed up at Sam Phillips's Memphis-based Sun Records studio, he was a shy teenager in search of a sound. Phillips invited a local guitarist named Scotty Moore to stand in. Scotty listened carefully to the young singer and immediately realized that Elvis had something special. Along with bass player Bill Black, the trio recorded an old blues number called That's All Right, Mama. It turned out to be Elvis's first single and the defining record of his early style, with a trilling guitar hook that swirled country and blues together and minted a sound with unforgettable appeal. Its success launched a whirlwind of touring, radio appearances, and Elvis's first break into movies. Scotty was there every step of the way as both guitarist and manager, until Elvis's new manager, Colonel Tom Parker, pushed him out. Scotty and Elvis would not perform together again until the classic 1968 comeback television special. Scotty never saw Elvis after that. With both Bill Black and Elvis gone, Scotty Moore is the only one left to tell the story of how Elvis and Scotty transformed popular music and how Scotty created the sound that became a prototype for so many rock guitarists to follow. Thoroughly updated, this edition delivers guitarist Scotty Moore's story as never before, When Elvis Presley first showed up at Sam Phillips's Memphis-based Sun Records studio, he was a shy teenager in search of a sound. Phillips invited a local guitarist named Scotty Moore to stand in. Scotty listened carefully to the young singer and immediately realized that Elvis had something special. Along with bass player Bill Black, the trio recorded an old blues number called "That's All Right, Mama." It turned out to be Elvis's first single and the defining record of his early style, with a trilling guitar hook that swirled country and blues together and minted a sound with unforgettable appeal. Its success launched a whirlwind of touring, radio appearances, and Elvis's first break into movies. Scotty was there every step of the way as both guitarist and manager, until Elvis's new manager, Colonel Tom Parker, pushed him out. Scotty and Elvis would not perform together again until the classic 1968 "comeback" television special. Scotty never saw Elvis after that. With both Bill Black and Elvis gone, Scotty Moore is the only one left to tell the story of how Elvis and Scotty transformed popular music and how Scotty created the sound that became a prototype for so many rock guitarists to follow. Thoroughly updated, this edition delivers guitarist Scotty Moore's story as never before, When Elvis Presley first showed up at Sam Phillips's Memphis-based Sun Records studio, he was a shy teenager in search of a sound. Phillips invited a local guitarist named Scotty Moore to stand in. Scotty listened carefully to the young singer and immediately realized that Elvis had something special. Along with bass player Bill Black, the trio recorded an old blues number called ?That's All Right, Mama.? It turned out to be Elvis's first single and the defining record of his early style, with a trilling guitar hook that swirled country and blues together and minted a sound with unforgettable appeal. Its success launched a whirlwind of touring, radio appearances, and Elvis's first break into movies. Scotty was there every step of the way as both guitarist and manager, until Elvis's new manager, Colonel Tom Parker, pushed him out. Scotty and Elvis would not perform together again until the classic 1968 ?comeback? television special. Scotty never saw Elvis after that. With both Bill Black and Elvis gone, Scotty Moore is the only one left to tell the story of how Elvis and Scotty transformed popular music and how Scotty created the sound that became a prototype for so many rock guitarists to follow. Thoroughly updated, this edition delivers guitarist Scotty Moore's story as never before.
LC Classification Number
ML419.M665A3 2013
As told to
Dickerson, James L.
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