Great stuff on those Little Darlin' Paycheck recordings.

It's hard to imagine an LDG model of any other brand.

(Actually, I was surprised to learn the answer).

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HagFan

Please refer to the website www.lloydgreentribute.com - on the photo page you'll find some interesting photos and comments about the change from the doubleneck to the first LDG model.

Kind Regards, Walter

www.lloydgreentribute.com
www.austriansteelguitar.at.tf

I don't think Lloyd owned the Bigsby, though. I think Faron owned it. But you can check with the Man.

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Herb's Steel Guitar Pages
Texas Steel Guitar Association

[This message was edited by Herb Steiner on 07 June 2005 at 09:52 AM.]

Kind Regards, Walter

www.lloydgreentribute.com
www.austriansteelguitar.at.tf

I was given a "working" copy of the disc to learn some tunes for a new band I'll be playing with. All they told me was "Paycheck & Lloyd Green,"
and the tracks to learn, of course.

I 've actually played "Pardon Me I Have Someone to Kill" in another band.

Thanks again, DZ

Dave, I'll bring you my copy of that Cd so you can read it if you like.

Seriously, I asked LG to comment on this, for historical accuracy. Here's the reply:

quote:

---

"Gosh, this is the first thread I've read where virtually everything stated
about me or my equipment is accurate.
First, Dave Zirbel is right. The steel is thin on those early Paycheck
recordings, mine more so than the A-11 steeler for George Jones in that era,
Sonny Curtis.
Ricky Davis is correct about the Paycheck Little Darlin' recordings. All
were cut with my finger-tip Sho-Bud. The JCH was used only during my last
year of recording in 1988, with Skaggs, Nanci Griffith, Dolly Parton, Lorrie
Morgan and "many others".
Ron Page. I'm glad I didn't precipitate a coronary. However, the LDG model
and all it's copiers didn't exist until 1973.
Jay Jessup. Again, correct. Those first few tunes were cut in NYC with the
Jones band and Sonny Curtis was on steel. I have no idea what kind of steel
he had.
Walter Stettner who knows more about me than my mother did is right about
the Bigsby D-8 used during my first 9 months of recording in 1964.
Herb Steiner's facts are maddeningly correct, as usual. During my almost 2
years with Faron Young I played a 3 neck Bigsby. It had one damn pedal and
weighed 105 lbs. in the case! But I was 19 so it didn't matter. Faron had
bought the Bigsby for my predecessor, Joe Vincent who played it on, "I Miss
You Already." Faron insisted I return the steel when I left the band.
Reluctantly.......I did."

Lloyd Green

---

quote:

---

LG's playing seems to imulate BE a little bit, particularly on some of the Little Darlin' Johnny Paycheck tunes.

---

Kind Regards, Walter

www.lloydgreentribute.com
www.austriansteelguitar.at.tf

I'm taking over for Lee Jeffries who has other priorities right now. Dave Gleason will be on the Telecaster and another forumite, Steve Walz on bass. Johnny is going for a late 1960s Bakersfield sound these days. A great reason to drag out the old D-10 ZB. We have a show coming up in Penngrove at the Black Cat. Check the site for details.

Thanks for asking

DZ

[This message was edited by Dave Zirbel on 08 June 2005 at 11:56 AM.]

Kind Regards, Walter

www.lloydgreentribute.com
www.austriansteelguitar.at.tf

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Darvin Willhoite
Riva Ridge Recording

quote:

---

And probably everyone who raises their E's to F have probably been influenced by Lloyd Green.

---

These guys are so good and so top shelf, and so open ear'd,
that thay can help but have rubbed off on each other
in ways likely only THEY can tell you.

Big E raises his E's, but who came 1st !!

Good post. As to E's to F? Who used it first? Lloyd certainly played the lick that popularized the change.

I recently discovered the original recording of Jim Reeve's "Have I Told You Lately" and listened to the sound of that change. This is possibly the first hit using that middle major triad inversion position. I believe it was either Day or Emmon's.

Paul

[This message was edited by Franklin on 11 June 2005 at 09:58 AM.]

Buddy just posted in another post that he steals from everybody. I believe he's actually taking back little tidbits he left behind on his musical journey.

I agree completely and am not trying to diminish the fact that he alone made the change popular through that song. I just find it interesting how advanced Day and Emmon's were on their quest for innovating the basic tuning that the rest of us chose to stay with.

I wholeheartedly agree with you about Buddy and Jimmy's tunings. It is mindboggling when you think about it. They developed the tunings, the changes, etc... and even very early on, they were sounding like they had studied that very tuning for years.

quote:

---

It is mindboggling when you think about it. They developed the tunings, the changes, etc...

---

I was just listening a "fresh air" on public radio where Terry`s gest was Les Paul,celebrating his 90th birthday.I didn`t have a clue that this gentleman invented electric guitar,reverb,multi track recording,delay atc...what a brain.He said,he had to invent that stuff because he couldn`t buy it in the store.I think Mr.Emmons would be in the same category under inovator and definately under a genious.And I would also have him under a person that is fun to be around,funny,openminded and hell,he will even have a beer with you if he likes you.

Db

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"Promat"
~when tone matters~
http://hometown.aol.com/damirzanne2/PROMAT.html

[This message was edited by Damir Besic on 12 June 2005 at 07:33 AM.]