Born in Algona, IA, in 1923, Moore began playing the piano at age seven and by 12 was performing on a Des Moines radio station.
After high school he joined the Chuck Hall Band, which playedon the Midwestern ballroom circuit, taking a break to serve in the Navy during World War II. His war was spent mostly at Lake Coeur d'Alene in Idaho, where he noodled along with Freddie Slack. Afterwards, he married his high-school sweetheart Doris and moved to San Diego, where he worked as a clothes salesman and performed in clubs, often with guitarist Arkie Geurin.
After high school he joined the Chuck Hall Band, which playedon the Midwestern ballroom circuit, taking a break to serve in the Navy during World War II. His war was spent mostly at Lake Coeur d'Alene in Idaho, where he noodled along with Freddie Slack. Afterwards, he married his high-school sweetheart Doris and moved to San Diego, where he worked as a clothes salesman and performed in clubs, often with guitarist Arkie Geurin.
He got a regular gig with the local Buckaroo Club kingpin Jimmy Kennedy and put together the Saddle, Rock & Rhythm Boys as his backing band in 1950. Kennedy helped get Moore a record deal with Capitol in 1952, and that year he released his first single, "Big Bug Boogie." 1953's "House of Blue Lights" became a national hit, but Kennedy refused to allow the band to tour or promote the record: He'd signed them to a seven-year deal to play six nights a week and had only gotten them the record contract to increase their local drawing power.
According to Steve Huey of Allmusic, Moore's "unique style fused Western swing, boogie-woogie, and early R&B in a melting pot that many critics felt was a distinct influence on rockabilly,
especially Jerry Lee Lewis." His music was later highly regarded by rockabilly fans, especially in Europe, although Moore himself said: "We didn't have the idea we were pioneering anything. We were just trying to make a living.... Rock and roll to me was a completely different sound. The rhythm section was incomplete, it was too hard, and it didn't swing...."
especially Jerry Lee Lewis." His music was later highly regarded by rockabilly fans, especially in Europe, although Moore himself said: "We didn't have the idea we were pioneering anything. We were just trying to make a living.... Rock and roll to me was a completely different sound. The rhythm section was incomplete, it was too hard, and it didn't swing...."
Moore continued to record for Capitol in the 1950s, but in 1955 walked out on his contract with Kennedy and moved to Los Angeles. There, he became a regular, along with Tennessee Ernie Ford, on Cliffie Stone's radio program Hometown Jamboree, and
also worked as a session pianist for Capitol, appearing on records by Tommy Sands, Johnny Cash, Faron Young, Kay Starr and others. His playing can be heard on Wanda Jackson’s ‘Rockin’ With Wanda’ LP and her 1960 hit “Let’s Have A Party
also worked as a session pianist for Capitol, appearing on records by Tommy Sands, Johnny Cash, Faron Young, Kay Starr and others. His playing can be heard on Wanda Jackson’s ‘Rockin’ With Wanda’ LP and her 1960 hit “Let’s Have A Party
He recorded only one more session for Capitol, a selection of instrumentals that wasn't released until 1990 by Bear Family.
Moore returned to San Diego in 1962, taking up residency in a hotel lounge. He worked clubs and similar venues for the next couple of decades, sometimes venturing into Nevada and Arizona.
A car accident in 1986 put him on hiatus for a few years, but Moore spent most of the '90s playing regularly at Mr. A's in San Diego, leaving in 1998. He was preparing for gigs in England and Austria when he lost a battle with cancer on June 14, 2000 at the age of 76.
A car accident in 1986 put him on hiatus for a few years, but Moore spent most of the '90s playing regularly at Mr. A's in San Diego, leaving in 1998. He was preparing for gigs in England and Austria when he lost a battle with cancer on June 14, 2000 at the age of 76.
‘Merrill E Moore’ wrote journalist Tim Johnson, ‘is one of those legends of the Country Rock era who, although they’ve never had complete commercial success, have been hailed as The Start Of it All’ (‘Dalkeith Advertiser’, 22 May 1969). Therein lies his importance.
(Compiled and edited from Wikipedia, All Music & Black Cat Rockabilly)