That's Alright, Elvis

That's Alright, Elvis

Scotty Moore and James Dickerson

ISBN 0-02-864599-5.

Don't be fooled into thinking that "That's Alright, Elvis" is a book about Scotty Moore's experiences with Elvis Presley. It is much more a biography of Scotty, dwelling as much on his life as his time as Elvis's guitarist.

This leads to a problem with the book, as the authors seem uncertain as to exactly what it is meant to be. The reader is first presented with a fairly detailed account of Scotty's background and life prior to meeting Elvis, including his time as a member of the US navy on active service. His private life is then largely ignored when Elvis appears on the scene, and the genesis of modern pop music is described. I was disappointed with this part of the book, as I had expected a lot more detail, but Scotty seems only to want to get across his resentment at the way he was treated, primarily by Parker, though he also seems to harbour an underlying grudge against Elvis for not ensuring that his financial interests were properly taken care of. Perhaps my criticism is unwarranted as Scotty's life clearly must have revolved around Elvis and Bill Black during that time. Certainly well described are his experiences as Elvis's first manager Ñ their contract is reproduced Ñ and the way in which Tom Parker gradually moved in to take over control, despite first having written to Scotty to say that, basically, his organisation was not interested in him Ñ and the letter is reproduced, too!

The early concert years are described all too briefly. Scotty must have lots more stories to tell about the period from 1955 to 1958, but again the book can't decide whether it is a pure biography or an Elvis book and far too little gets told: there isn't even the merest mention of the famous, though brief, meeting with Buddy Holly!

When Elvis entered the armed forces, Scotty tells how he had to find some other source of income, describing his efforts to set up his own recording company (Fernwood, which had just one hit), his return to work for Sam Phillips, his recording of his own album and the subsequent split from Phillips as a result.

Scotty's "instrumental" album, "The Guitar That Changed The World!" is painted as being a truly great endeavour which did not gain the credit it deserved. (In fact, whilst the guitar playing is up to Scotty's usual standard, the album can hardly be called "instrumental" as the Jordanaires take the lead singing role. Indeed, I suspect it is their singing which held the album back Ñ there's nothing wrong with the singing as such, but their style just doesn't suit the raucousness of many of the tracks and they sound positively ridiculous on number such as "That's Alright, Mama" and "Milk Cow Blues.")

Scotty got back with Elvis again in 1968 to perform with Elvis in the NBC TV special. The lady who was Scotty's wife at that time provides a lot of fairly superficial information from backstage at the event, indicating that the relationship between Elvis and Priscilla was already suffering, even that early on in their marriage. There is also an indication from D J Fontana that Scotty was not at all pleased about Elvis swapping guitars with him during the sit-down session of the show. Scotty did not meet Elvis again after the "Comeback Special" and the rest of the book then tends to lose momentum, chronicling his further business ventures and failures. Towards the end of the book, however, things cheer up somewhat as Scotty's return to live performing and his continued activity in this area are presented. Unfortunately "That's Alright, Elvis" suffers from numerous errors. To begin with, the photo on the dust jacket, showing part of the famous Elvis and the Blue Moon Boys publicity shot, is printed in mirror-image (the photo is printed in full and correctly orientated in the book itself); additional more or less serious glitches raise doubts as to the accuracy of the rest of the material: Ray Walker of the Jordanaires, becomes Ray Walter; Otis Blackwell and Bumps Blackwell are two different people, but in the book they are merged to be one Otis 'Bumps' Blackwell; "Stuck on You" and "It's Now or Never" are reported to have been hits for Elvis in 1959; Freddie Bell is said to have recorded "Hound Dog" in 1953 instead of 1955; when describing Elvis's call to Scotty to appear with him on the NBC TV show, it is stated that Scotty had not performed on stage since February 1961, when he appeared with Elvis at Ellis Auditorium, but just 16 pages earlier we read that he had appeared with Elvis in Hawaii in March 1961. OK, some of these errors might be misprints ("1953" instead of "1955" and Walter" instead of "Walker"), but the other errors indicate poor research or just plain sloppiness: even Jerry Leiber's name is written incorrectly on at least one occasion ("Lieber") and Floyd Cramer becomes Floyd Crammer. Oh dear! I was so hoping this would be a book to enthuse over Ñ I like Scotty Moore! Unfortunately, however, whilst being readable and enjoyable, "That's Alright, Elvis" doesn't match up to my expectations. Perhaps my expectations were too high and perhaps I should be kinder. Judge for yourself. "That's Alright, Elvis" is published in hardback by Schirmer Books and costs US$ 25.

David Neale

September 1997

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