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Earl Erb

 

From:
Old Hickory Tenn
Post  Posted 6 Jun 2004 7:55 pm    
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I just got my advance copy of Russ's latest CD.Not only is he a great musician, he is one of my oldest friends...and I don't mean age. Holiday for Strings will knock your socks off and Lasso the Moon brings a tear to my eye and he ain't no slouch on guitar either! Way to go Russ.

[This message was edited by Earl Erb on 07 June 2004 at 02:09 PM.]

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Buddy Emmons

 

From:
Hermitage, TN USA * R.I.P.
Post  Posted 7 Jun 2004 2:09 am    
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He don't shoot no bad stick on the trumpet either, Earl. You need to drop an eardrum on an instrumental called Horn On The Cobb.
Luv ya Russ.
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Smiley Roberts

 

From:
Hendersonville,Tn. 37075
Post  Posted 7 Jun 2004 3:04 am    
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Another fine example of horns,on the new album,are cuts 2,3,7,& 10. (don'cha just HATE people that can play more than one instrument,...& WELL?!?!)

------------------
  ~ ~

©¿© It don't mean a thang,
mm if it ain't got that twang.
www.ntsga.com


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Charles Curtis

 

Post  Posted 7 Jun 2004 4:14 am    
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Where can you get it?
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Bob Knight


From:
Bowling Green KY
Post  Posted 7 Jun 2004 4:23 am    
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You can get it direct from Russ. http://steelguitarforum.com/Forum4/HTML/005927.html
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Bill Ford


From:
Graniteville SC Aiken
Post  Posted 7 Jun 2004 10:39 am    
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Hey Buddy,
You guys did'nt do too shabby on NBA,one of my favorites was the vamp you did on Ghost Riders, did you actually work that up or was it one of those one shot things that "just happened"...cool

BF
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Buddy Emmons

 

From:
Hermitage, TN USA * R.I.P.
Post  Posted 7 Jun 2004 11:44 am    
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Good question, Bill. The intro or vamp began as an experiment of timing the right hand with the time setting of the delay. I would first play a triad with a picking repetition that matched the longest delay. From there I slowly increased the speed of each triad until I found a spot between the repeats that matched. Eventually I discovered that slowly increasing the speed of the right hand without stopping caused the effect to morph into a rhythm pattern.

I discovered the technique soon after I recorded Emmons Guitar Inc. and used it as an intro to Witches Brew on live dates. To my ear the rhythm effect sounded more like a dog trotting through dry leaves than the sound of galloping horses, but I used it anyway. I’m glad you like it.
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Dale Thomas

 

From:
West Branch, IA
Post  Posted 7 Jun 2004 1:27 pm    
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Wow Russ, You deserve to be a little puffed up after your Cside effort. It's just fresh and new all the way. Did you use the restored guitar with the high 5 on all cuts? The tone and clarity was great. I love it.
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Joe Casey


From:
Weeki Wachee .Springs FL (population.9)
Post  Posted 7 Jun 2004 2:31 pm    
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I was going to wait until St. Louis to get one, now you guys got me over anxious.
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Russ Hicks

 

From:
Pegram, Tennessee, USA
Post  Posted 7 Jun 2004 4:50 pm    
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Hey Joe....glad you don't want to wait til St. Louis.....I'll have some competition then from Laney cause her Country Classics CD will be ready by then and man does she have a surprise guest for that one!!!!!...and Dale, I'm not nearly as puffed up over On The C Side as I was when I was invited to join four of my heros and be a part of the Nashville Bar Association....talk about excited....it's a wonder I could even play, but we had a great time...sometimes all of us were in the studio at one time, sometime it was one or two or three at a time...Buddie played bass and I played guitar when we did the tracks...I don't remember if that was to show off or to save money..probably the later....we had a few other studio musicians join us for the project...Larri London on drums, Tony Migliori on piano, and I also remember Randy Rhinehart (I know that spelling is wrong)being there some...also Don Sheffield on trumpet(I had a hard time trying to keep up with him; he wrote out some pretty mean parts)...anyway, it was great working(playing) with those heavyweights and along with Charlie McCoy and the BFJ that's probably been my most memorable project ever. Thanks guys for all the kind words about the C Side.
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