This was message enough for me to never argue with Weldon about anything. Weldon Myrick recorded with a Fender Twin with two 12” JBLs which weighed a hundred pounds. Stu Basore used a Deluxe with a stock 12’ speaker. Most of us in the beginning used American made Fender amplifiers. Buddy Emmons, Pete Drake, Doyle Grissom among the steel players here, along with myself, love the Standel tone, but service for these amps in town was not really great. Since I myself had used an identical amp with a 10” speaker for sessions in my early career days, I understood him liking this amp.ĭespite the picture on the back of one of Lloyd’s instrumental albums, he really didn’t record with a Standel like many Nashville players did. Lloyd talks to me about an old black face Princeton that he used many years ago to drive a 15” speaker in a larger cabinet. Lloyd has also tried several amplifiers over the past decade. That was several years ago and Lloyd has tried a couple of other brands of guitars but seems to always go back to the old ’73. And this guitar was a half inch shorter in scale. The tone was not the issue, however the string action was. Upon sitting down behind his ’73, I had to agree with him. I remember he liked it, but the new style triple raise, double lower mechanism didn’t feel as good to him as his double raise, single lower system on his old ’73. He bought the Sho-Bud from me, but a month later said he just couldn’t get use to the pedal feel and wanted to know if I could sell it for him, which I did. Lloyd also played it in the store and did fall in love with the tone. I had a guitar in the store that was a brown finish and I thought it sounded great. He came in the store one day and said he wanted a second guitar as a backup for his ’73 guitar that he was doing all those great records on. Lloyd Green himself was an interesting customer. Some of them are really great, but as most of you know, a lot of them really aren’t very great. There are many other guitars that I have tried real hard to use over time.
Buddy emmons steel guitar forum professional#
I am pretty much of a fanatic connoisseur on all Emmons guitars and Sho-Buds since I pretty well specialized in these two brands in my professional playing career since day one. You don’t have to be picky and come in and hear things yourself because if I tell you something is good, it’s been proven that you can take it to the bank if I tell you it is.
Buddy emmons steel guitar forum serial numbers#
Then six months after he’d get it, he’d order another one within a few serial numbers of the first one. Maness on the west coast, would call me and say, “Bobbe, I need a push pull Emmons guitar, black, in great condition and it really has to sound as good as any.” Players that are too far away, like the famous J.D. These guys would not buy from the factories direct because they claim they never knew what they were going to get, but preferred coming to my store and trying a dozen or more before they made their purchase.
I have sold many guitars to very discriminating players. As a matter of fact, I have seen several steel guitars come out of these little factories that were a lot better for some reason than the guitars they made for star players. A guitar is really just a guitar and I feel it is my responsibility to tell the world that companies that build these guitars for the stars and the masses do not build a better guitar for a star player than they do for the regular player. But then again, she was even nicer than Pete, if that’s possible.īack to the subject of Lloyd’s guitar. About the only time I really saw her was when I was going in or out of Pete’s studio or when she was handing me a paycheck for a session. I never got to know Rose very well personally. Rose was quite respected herself in the world of music publishing in Nashville. Rose was totally responsible for running Window Music, the publishing company she and Pete had together.
I just received a nice thank you note from Pete Drake’s widow, Rose Drake.
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