Scotty Moore & D.J. Fontana – All The King’s Men

Just got back from catching a new 35mm print of Jailhouse Rock on the big screen — a Saturday afternoon matinee at that. Man, that Presley kid had presence, not to mention a decent voice. He also had one helluva band: Scotty Moore on guitar, Bill Black on bass and D.J. Fontana behind the drum kit. Now that was a classic rock band.

Two-thirds of that archetypic ensemble (Black died from a brain tumor in ’65) recently reconvened — Moore walked away from the limelight in 1968 and swears he didn’t pick up a guitar for the next 24 years — for a set of historically relevant recordings featuring an assortment of artists eager to pay tribute to two men who shaped the parameters of rock ‘n’ roll. The results aren’t electrifying or legendary, but they testify to the time when “rock” and “roll” meant just that.

Few artists understand better than the Rolling Stones, whose guitar tandem bookends this record. Keith Richards consistently credits Moore for inspiring him to pick up the instrument, so it seems appropriate that he kick-start the event as he and The Band romp through the Kevin Gordon/Gwil Owen tune “Deuce And A Quarter”, with Richards’ and Levon Helm’s unpolished-but-genuine vocals preceded by the unmistakable ring of Moore’s fretwork. And with a prefacing statement of “from the heart,” Ron Wood goes on to express his disbelief in playing alongside icons in the shuffling “Unsung Heroes” before deferring to some tasty playing from Moore and Jeff Beck.

Sandwiched in between are a stellar track from the hit-and-miss Bodeans, who nail the vibe in “Locked Up In The State Of Illinois”; a swinging offering from Steve Earle in “Hot Enough For Ya”, with some great call-and-response vocalizing from Tracy Nelson (who also chips in a solo track) and Alice Newman; and the Mavericks taking the “Ghost Of Elvis” honors (acing out master impressionist Ronnie McDowell) with “I Told You So”, featuring Raul Malo solely reprising the Jordanaires’ roles.

But the singular standout cut here is (understandably) from the reunion of the original Bill Black Combo. It’s almost not fair: Reggie Young, Bobby Emmons, Ace Cannon — these guys, along with Moore and Fontana, helped define what was to be called rock ‘n’ roll. And it’s the Young/Emmons composition, “Goin’ Back To Memphis”, that showcases what was, and still can be, so special about that vernacular.