Paul Franklin on Martina MCbride's "Timeless" CD

Marlin Smoot · Post by **Marlin Smoot** » 21 Feb 2006 4:11 pm

Interesting notes; Paul Franklin who played on Martina's "Timeless" CD duplicated not only the licks but the tone from the classic recordings as well.

I've seen posted on this forum where steel players of various playing levels are very serious about not sounding like anyone else, thus, finding their own "voice" with their playing. I understand and respect that.

Paul Franklin who is known for his playing style and tone did not take that approach with this project, although he very well could have.

It really shows the dept of Paul Franklin's playing. Not only does he have his own style and tone but can draw from the Steel playing masters that came before him as well...all with the ease of a true professional.

Richard Sinkler · Post by **Richard Sinkler** » 21 Feb 2006 6:45 pm

Not only does he have is own style, but he is great at the styles of many of the greats before him. He has fooled me on records too many times to mention. Truly one of the most versatile players ever.

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Carter D10 9p/9k, NV400, Korg Triton Le88 Synth, Korg CX-3 organ, Yamaha Motif Rack Module, Regal Dobro, Tele, Gretsch Acoustic.

Brett Day · Post by **Brett Day** » 21 Feb 2006 9:05 pm

I've got the cd too, and Paul's steel work is awesome! I've been learning the Tammy Wynette song Martina sang on the record called "Til I Can Make It On My Own". I love to hear Paul's steel on this record. Brett, Emmons S-10, Morrell lapsteel, GFI Ultra D-10

Jeff Colson · Post by **Jeff Colson** » 22 Feb 2006 6:15 am

Back in the early 80’s I ordered a bunch of Paul Franklin lesson tapes. One of them was on Styles. Teaching the styles of the great players Emmons, Green, Mooney etc. But the thing he stressed was not to go and learn every lick these guys played, but he explained how they thought so you could play licks like they did not necessarily everything they played.

This Inspired me more than anything in my playing since I could copy things and once in a while did, but most of the time I always just felt good in my own skin about being able to play like me and occasionally sound vaguely similar to the great players.

I have never meet Paul but if I did I would really like to thank him for that lesson
Since I always have played like me and done ok. His playing is unbelievable and that “Timeless” cd is one of my favorites its all great, but when I hear “Once a Day” you would swear it’s the early 60’s all over again.

Jeff

Erv Niehaus · Post by **Erv Niehaus** » 22 Feb 2006 7:35 am

I just listened to that CD again last night. Paul even has that ting-a-ling touch on one of the songs. Do you have the DVD on the making of this album? There are some nice shots of Paul on it.
Erv

Ken Thompson · Post by **Ken Thompson** » 22 Feb 2006 9:11 am

Erv, where can a guy get that DVD?

Mark Eaton · Post by **Mark Eaton** » 22 Feb 2006 10:51 am

I bought the album last fall at Wal-Mart after it had been out for about a month, and the cd/dvd came as a package deal at the time for a ridiculously cheap price of about $14.00, but I don't know if Wal-Mart is still selling it as a package.

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Mark

Ed Gerl · Post by **Ed Gerl** » 22 Feb 2006 2:10 pm

Would anyone of you buy this CD+DVD for me and I'll pay you with PayPal?

Is there any chance? I search for the DVD in several shops in the www, but it's a special bonus ONLY for Wal-Mart U.S.A and they wouldn't ship outside US.

Erv Niehaus · Post by **Erv Niehaus** » 22 Feb 2006 2:48 pm

I found mine on www.Amazon.com
There are two different CD's out there. I got the one with the bonus songs on it, 22 instead of 18. I believe Target sells the CD with the bonus tracks on it.
Erv

Jeanie Richardson · Post by **Jeanie Richardson** » 22 Feb 2006 4:33 pm

Boy ! Am I lucky ! I received Martina's CD for Christmas. Absolutely love it.

Bill Ford · Post by **Bill Ford** » 23 Feb 2006 7:16 am

For those that were down on PF for coping the sound/style of the original players.. Maybe you have never done session work where the producer says, play it like so and so. The idea of the prodject was to sound like the original recordings. From what I've read the old style mikes and amps were used when possible. The CD was well done, and brought back some good memorys.

My $.02 worth...Bill

Ricky Littleton · Post by **Ricky Littleton** » 23 Feb 2006 6:54 pm

Bill:

Anyone crapping on Paul for trying to keep it "old school" are probably just jealous.

This CD is excellent. Congrats to PF for all of it.

p.s.- the singer that backed up his steel was ok also.

Ricky...

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Emmons LeGrande - 8x4
Session 400 Ltd, Nashville 112,Hilton Volume pedal, Peterson VS-II Tuner
Dan-Echo, E-Bow, Ibanez Distortion, Bo-Bro, Ibanez Auto-Wah, Regal Dobro

Mark Eaton · Post by **Mark Eaton** » 23 Feb 2006 10:25 pm

Anyone crapping on Paul Franklin in regards to anything about pedal steel would have to be a complete idiot.

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Mark

Marlin Smoot · Post by **Marlin Smoot** » 24 Feb 2006 6:25 am

Just for the record, and all due respect to Bill and to keep the post on track...I've never seen any negitive about Paul Franklin or anyone "down" on Paul for his playing on "Timeless" or for any other project he's been involved with.

I find it amazing that Paul comes to this site often to help with postings and answering questions when he can. Paul Franklin is truly a first class guy who happens to be one of the foremost steel players in the world.

I don't know Paul but in 1983 I was in Nashville where a friend took me and my wife to The Hall of Fame Inn by the old Shoneys and Paul Franklin was playing along with Phil Baugh.

Funny at the time but I did not know of Paul Franklin but I knew who Phil Baugh was. Phil Baugh had his Peavy T-60 rigged with the floor pedals to pull the strings on his guitar as he has always had...and he and Paul were "trading licks" like crazy.

Honestly, I've never heard playing like that before and have never again. Paul was so focused on his playing and play he did. Things you don't hear on "formula" hit country records.

If you can imagine, Paul was playing as if he had to prove something...(Of course we know he has nothing to prove, not then and not now) but his focus and dedication was there for all to see.

It was a live setting where the players let it all hang out. Paul and Phil's skill set was way above anyone I had ever heard back home in Oklahoma City, and man...there were (still are) some great players there too.

Needless to say, after leaving that night, I began to know who Paul Franklin was but what a special night...I'll never forget. Really, it was one of those nights where after seeing this kind of playing you either want to burn your guitar or keep pushing ahead. Paul became more of bench mark for me from that moment on, Phil Baugh too.

I only wish everyone on the forum could have been with me that night. Words truly cannot express what I saw and heard.

Bill Ford · Post by **Bill Ford** » 25 Feb 2006 4:03 pm

Marlin,
I went back and reread the topic I referenced before puting my foot any further in my mouth. The statement was directed at all the musicians on the session and that included PF, to which I took offence, and I still stand by my statement about playing what the producer says play.

To prevent a bigger firestorm, I will not comment further.

BF

Marlin Smoot · Post by **Marlin Smoot** » 25 Feb 2006 7:10 pm

Bill, no problem. You are correct. Many producers know what they want and relate that to the musicians on the project. That's not a bad thing. It's just business. I'm sure it swings both ways; do as their expected with regard to pre-arranged charts or make some magic on their own.

Each session is different. Each producer has different expections on each track.

There is no right or wrong here. As I'm sure you know, what we are talking about is art. In art, there is no right or wrong; there just "is".