Reggie Duncan 1979 Rosewood Emmons!

Reggie Duncan · From: Mississippi

Hello Reggie,
At this point I'm using a Fender Hot Rod Deluxe with a D-130F JBL( original cones) on the records I'm cutting, along with my Sho-Bud. Beyond that I've tried a number of older Fender amps in recent days and, so far, still like the Hot Rod best.
But I'm still in the experimenting stage and, may yet, return to a Fender Twin if I find one that equals the sound of my 1960's one. I'll keep you informed.

I'm starting to get close to the sound and tone I like best for records in addition to learning all of the new information that technology has engendered to recording sessions since I left 15 years ago. It's a wonderful and exciting experience, having the opportunity to cut records again....only with a new group of remarkably talented musicians who, largely, were not yet on the scene when I exited. They have been more than generous with their warm welcoming. I hope I can again add to the sound of records with my ideas.

Other exciting and quite interesting things are happening that I'll relate later. I'm reticent to reveal too much at the moment.

Regards,

Lloyd Green

Reggie Duncan 1979 Rosewood Emmons!

[This message was edited by Reggie Duncan on 13 January 2003 at 08:32 PM.]

Ron Page · From: Penn Yan, NY USA

I relish the thought of new recordings with Lloyd playing steel. When he finds the sound that pleases him I’m sure we’re in for a real treat.

Speaking of technology, I often wondered what it would have been like to hear recordings of greats like Hank Williams, Bob Wills, Lefty and others with current technologies, or for that matter, pedals. (I know Lefty has some later recordings with PSG.)

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HagFan

Ken Byng · From: Southampton, England

I think that Lloyd's tone on the Charlie Pride live album from Panther Hall recorded in the 1970's epitomised his touch and tone. One of the all time great steel guitar recordings. Great to see him back on the recording scene again

Tony Rankin · From: Land O’ Lakes, FL

Reggie,

Thanks for passing this along. I have been considering trying a Twin or a Hot Rod Deluxe for some time now and info like this does help.

Tony Rankin

Dave Birkett · From: Oxnard, CA, USA

Joey Ace · From: Hamilton, Ontario, Canada

The "Panther Hall" is often considered the best example of Lloyd's sound.

An interesting point is he was playing a D-10 at Panther Hall.

The following quote is from Lloyd's "Cool Steel Man" Album liner notes.

quote:
"I was playing my new double-neck 10 string Sho-Bud steel, the one with a sunburst color and a lightning bolt-like diagonal imperfection in the center of the birds-eye maple wooden cabinet that effected a most beautiful and startling look.

This incidentally was the very finest of the fine Sho-buds I played during my twenty five year recording career, and was the guitar I used on the "Live At Panther Hall" album with Charley Pride.
" -LG

Frank Parish · From: Nashville,Tn. USA

I just heard Lloyd playing on a yet to be released cut from Steve Wariner the other day and it's as good as it gets for my ears. Watch everybody start showing a big interest in Sho-Bud guitars again. Seems like it was about the time he left recording that Sho-Bud slipped in popularity. He's also on the newest Alan Jackson album. Just what we need is some fresh Lloyd Green in todays country music. It suits me.

Patrick Ickes · From: Upper Lake, CA USA

Thanks for the info Frank. I'm pretty sure my brother Rob is on that album, too. I didn't know Lloyd was.
That's going to be a great album.
Pat

Ricky Davis · From: Bertram, Texas USA

Yes that was Lloyd's 1966 Sho~Bud Fingertip Double 10. Fiddleback maple. 8 pedals and 4 knee levers.

Jim Peter · From: Mendon,Mich USA

I am a little confused here. Last fall at the I.S.G.C. Lloyd gave a seminar in the Peavey room talking about what a great amp the Nashville 1000 is and what settings he uses on it. Does he use the Nashville 1000 or was he just trying to sell us something?

Jim

David Mullis · From: Rock Hill, SC

I don't see what he would have to gain by trying to sell an amp. I'm guessing like everybody else, he probably has several amps that he likes. About the Twin Reverb thing. I wonder how he would like the way mine is set up. Thanks to some help from Gino, and a great amp tech here locally, it sounds great!

Stephen Gambrell · From: Over there

Frank, you've hit the nail on the head! More LLoyd Green, and more Sho-Buds. What a better world...

Reggie Duncan · From: Mississippi

Lloyd Green's response to Jim Peter is this.
"Perhaps I could have included a little more information about my amps. I still have 4 Peavey amps of various denominations in addition to my 2 Hot Rod Deluxes. In live performances I still intend to use Peaveys, preferably 1000s, at least for the present.
The reason I did the Peavey presentation was because Mike Brown asked me to. Since I was using the 1000s and was in St. Louis, I didn't mind.

I was merely giving my impressions at the presentation, not trying to sell the amps. If I didn't think they were a superb amp, they couldn't have paid me enough money to endorse it. In fact, I receive no money to endorse any amplifier or steel guitar. Mike Brown, who works for Peavey, certainly had a vested interest in selling them though. That's part of his job requirement, I imagine.

My personal response to Reggie Duncan was meant to be strictly about what I am using on recording sessions. As the St. Louis event occurred I was just getting my feet wet again in the studios and liked the sound I got with the Fender on the Alan Jackson Christmas album, "Let It Be Christmas", which had some significant steel solos that got replaced by strings, horns and choral groups except for one, "Santa Claus Is Coming To Town".

So Peter, I hope this has somewhat clarified my position. Peavey has been good to me over the years and I would still say that the 1000 is, in my opinion, the best state of the art amp currently on the market for 'live' playing. For studio, my previous statement stands.

But, in the final analysis, you should buy only what sounds good to your ears, using your own judgement, not mine nor anyone elses. It's your money and you are the one who has to listen to what your bucks have purchased."

Lloyd Green

John Steele (deceased) · From: Renfrew, Ontario, Canada

Today I picked up a copy of the Fender Frontline magazine for 2003. As usual it is awash with guitarists... page after page of them. It was a nice surprise to see Lloyd's face smiling up from one of the pictures, explaining how much he likes the Hot Rod Deluxe fender amps. Nice to see him on the scene again.
-John

Ron Page · From: Penn Yan, NY USA

You guys covered what we do need and I think Lloyd hit on something we don't need...

quote:
... steel solos that got replaced by strings, horns and choral groups except for one, "Santa Claus Is Coming To Town".

We especially don't need this in ALAN JACKSON records of all places. I think Honky Tonk Christmas had better mix -- full bore steel on every cut-- even though it lacked the Christmas traditions. I expect when the next non-seasonal AJ album comes out we'll get what we're really after. If not, I'll be testing Best Buy's return policy on CD's.

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HagFan

[This message was edited by Ron Page on 15 January 2003 at 02:42 PM.]

Roger Andrusky · From: Waterford, PA, USA

I have several albums of Lloyd Green and I love them all. (Yes those vinyl things you put on turntables!) I play to them and I have the utmost respect for him! He was my inspiration for starting back in 1974. It's disappointing to me that someone would attempt to impute motives by questioning whether he was trying to "sell" us something. I hope that that was not the intention by one of the previous remarks. Lloyd, you were kind to respond, but you should never have had to...

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