This was the album that did it for me. I think it also immensely influenced the steel guitar world of the late '60s and early '70s. It takes no prisoners; just hot picking, perfect intonation, well conceived ideas and lots and lots of gorgeous steel.
This particular tune is buried on side 2, which shows you how good the album is. It features one of my all time favorite C6 breaks, and greatly influenced how I approach that neck (I do say approach, as I'm still miles from getting there!). To think that Lloyd abandoned the C6 neck shortly thereafter speaks to his talent and the confidence he had in the E9 tuning.
Joe
Last edited by Joe Goldmark on 25 Apr 2017 6:46 am, edited 1 time in total.
Listening again reminded me, those particular Sho-Bud permanent model guitars allowed and perhaps required the player to use such free artistic expression, because of the way they played and sounded. Lloyd certainly took advantage of that! Just a fabulous example of Lloyd's great playing and the Sho-Bud permanent.
I bought that album on a cassette from Tom Bradshaw in the early 80's. Great stuff, through and through. Another good one is Green Country. Of course, all Lloyd Green albums are great. I even like the one with patriotic songs on it, Day of Discovery (I think - I'm too lazy to go to the cabinet and look).
What a great one, thanks Joe. I have the collection that is out there called “the Little Darlin’ sound of Lloyd Green” and it has all the songs from “The Hit Sounds” EXCEPT this one. I wonder why this one was left off that collection? Weird. It’s great to hear it now.
I can never get my pedals to do that quick, trill like bounce like LLoyd. One guy I've heard do it is Ricky Davis! Thank you for sharing this, and thanks to Cal Sharp also for your great website! I find it really cool and funny too!
"Strangers" is (IMOHO) one of the coolest recordings OF ALL TIME. Mister Lloyd Green showing the potential of the NASHVILLE tuning. Three pedals and one knee.
Joe Goldmark wrote:It features one of my all time favorite C6 breaks, and greatly influenced how I approach that neck (I do say approach, as I'm still miles from getting there!). To think that Lloyd abandoned the C6 neck shortly thereafter speaks to his talent and the confidence he had in the E9 tuning.
Joe
I believe this was the first steel guitar instrumental album I ever heard. It took a few years of listening before I could tell that he was on C6 for that last verse before the modulation. Later I found "Day for Decision" in a bargain bin that predates this album and has more C6. I still think this is my favorite C6 ride of Lloyd's though.
Do You think it's because the modern instruments, with their, nearly effortless changers, are the reason you don't hear tone like this (much, nowadays)?
>>Do You think it's because the modern instruments, with their, nearly effortless changers, are the reason you don't hear tone like this (much, nowadays)?
I think it's the heavier, humbucking pickups and solid state amps people use. This sounds like single coil pickups through a Fender amp that's slightly breaking up... that's the sound I like best. I think modern steel players play so clean, it's almost sterile sounding. God forbid players get a little hum from the amp. Listen closely, though, to classic country recordings from the '60s and you'll hear the amps buzzing away... doesn't detract at all, IMO.
I love this record, and have stolen a lick or two from it. That means about 20% of my licks came from this record! Bought my copy at a used record store in Ann Arbour MI just before, or just after I bought my first steel.
Regarding the "trill" that Dave Manion mentions, I thought that was done with the bar, not the pedals. Seems a few years ago Lloyd Green addressed that point...Jerry
I can never get my pedals to do that quick, trill like bounce like LLoyd.
I think he often does that trill lick without using pedals on different strings than we might assume. Its one of the many reasons his sound is so distinct and strong.
Unless I'm missing something here, the "trill" lick is just Lloyd being quick and accurate with his second pedal, mostly in the blues positions, two frets down from the open and closed positions, and one fret up from the open position. In some of those positions, using E's down or (as Lloyd did it, the second string), and the first pedal, you can trill with the whole chord.
I think J Fletcher is right. I always assumed the trill lick was B pedal, and I recall being amazed not too long ago to learn that it was actually done with the bar.
lloyd showed me one time how he will do the trill lick in a few different ways. He was demonstrating how important it is to be able to play every phrase you know in a few different places on the neck. He said it was a great way to learn the tuning and also get things just right. He played the trill lick using the 1st and 4th strings without any pedals and the difference in sound waa subtle but significant. I was and am astonished by his virtuosity.
The Permanents had that sound that I feel caused so many of us to pursue the steel guitar, at least for me. It tone quest can be equated to the old push/pulls of that era. I suppose the old Standel tube amp didn't hurt either
Very cool & thanks for posting some nostalgia!
Thanks for posting it Joe!
