Scotty Moore, a guitarist whose terse, bluesy licks on Elvis Presley’s early hits virtually created the rockabilly guitar style and established the guitar as a lead instrument in rock ’n’ roll, died on Tuesday at his home outside Nashville. He was 84.
His death was confirmed by James L. Dickerson, who was Mr. Moore’s biographer and friend.
In 1954, Mr. Moore was performing with a country group, Doug Poindexter and the Starlite Wranglers, and recording at Sun Records in Memphis when Sam Phillips, the label’s owner, asked him to audition a young singer that his secretary kept mentioning.
On July 4, Presley showed up at Mr. Moore’s house. Bill Black, the bass player for the Starlite Wranglers, arrived soon after, and the three men began running through a random selection of songs. Mr. Moore was not overly impressed but told Phillips that the young fellow had a nice voice and might be worth a try.
The next evening, at Sun studio, the trio recorded an up-tempo version of “That’s All Right,” a blues song by Arthur Crudup,” known as Big Boy, that Sun released with a rockabilly version of “Blue Moon of Kentucky” on the flip side.
The record caught fire locally, and Presley was on his way, electrifying audiences with a new sound defined in large part by Mr. Moore, whose slashing chords, inserted like musical punctuation, and hard-driving solos inspired future rock guitarists around the world, including Keith Richards, George Harrison, Jeff Beck, Mark Knopfler and Chris Isaak.
“All I wanted to do in the world was to be able to play and sound like that,” Mr. Richards told Mr. Dickerson, who helped Mr. Moore write the 1997 memoir “That’s Alright, Elvis.” He added: “Everyone else wanted to be Elvis. I wanted to be Scotty.”
Mr. Moore and Mr. Black, joined by the drummer D. J. Fontana in 1955, recorded more than 300 songs with Presley for Sun and RCA, including “Heartbreak Hotel,” “Don’t Be Cruel” and “Hound Dog.” Billed as the Blue Moon Boys, they backed him on tour, and they appeared in several of his films.