The Steel Guitar Forum

I wrote to Red Foley in 1955 when he had the "Ozark Jubilee" on TV.
The letter was regarding Bud Isaacs guitar and his pedal setup.
There was a recent post about Bud's guitar being for sale.
I think Red's response to to my letter might be of interest to some here on the Forum.

Fascinating that a big star sends such a personal in-depth response. Thanks for sharing, Erv!


Kind Regards, Walter

Walter,
You're welcome.
I really prize the letter.

The "Ozark Jubilee" was one of the best show on TV, thanks so much for sharing the letter with us.

Catus Jack

I really liked it when Red would close the program with a gospel song and oft times a recitation, very moving.

I find the A flat interesting.

m.

Was so happy to be exposed to that fine letter of yours from Red Foley. He was always my favorite and in my opinion, was one of the greatest at recitation.

He stated the pedal/tunings just like Paul Bigsby did for me when he built my Quad.

I find it unique that RED FOLEY would know.

What a wonderful letter.

Matt Ab / G# is the major third of E

Perfectly logical. just named oddly.

What REALY is curious is the
A and B pedals aren't split,
but lower and higher parts of A and B
are combined on each pedal.

Rather than A's on one
and C#'s on the other.

Normally E9
if I read this right,

Hit pedal 2 only. Now in A6 plus A69 & Amaj7
You get low to high
E - A -, C# - E - F# - Ab - B - E
V - I - III - V - VI - maj7 - 9 - V


and hit pedal one only, modifying E9,
E7, E7sus4 & E9
you get
E - Ab - B - D - F# - A - B - E
I - III - V - bVII - 9 - IV - V - I

(and don't I also see with Ab root; Abm7b5b9 & Ab#5(no 3rd))
#V - I - bIII - bV - bVI - b9 - V - #V
Pedal one did nice passing chords!

And also Bm6, B7 & B7sus4
IV - VI- I - bIII - V - bVII - I - IV

1 + 2 down gets you
E - A - C# - E - F# - A - C# - E
V - I - III - V - VI - I - III - V
A6 and it's relative minor F#m7

THINK I have that right... tired.

That's a lot of power for two pedals.
Very well thought out. If at first
looking quite odd compared to A&B as we know them.

That's definitely a neat letter...a real piece of history for sure. I hope you have it framed properly for its protection.

Casey

I just throw it in a box with the rest of my "stuff".

That's pretty impressive, Erv! Thanks for posting it.

Doug,
You're sure welcome.

Well, David; Here we go again! That's the same E9 setup I had on my first D–8 Sho-Bud, as I guess everyone else started with on a ‘real’ PSG in 1957! Recently I started getting those tunings again, when I set my current E9 to this copedent: *[X]
E9~LL1~LL2~LV~LR~P1~P2~P3~RL~RR
F#________________________G#_____
D#________________________E__D/C#
G#__________________A____________
E_______F____Eb________F#________
B_________Bb___*[C#]___C#________
G#________________*[A]____F#_____
F#_______________________________
E_______F____Eb__________________
D___________________________*[C#]
B__C#_____Bb________________*[A]_
To get those same before mentioned combinations, you need to use P-1, P-2 & RKR. You'll notice my 10th. str. does not Raise on P-1 as before, but; it's quite accessable when needed on the LL1. It's still new to me, but; so far, I really like it this way!

There is a CD out on Bud with recordings from the Jubilee days. Red introduces the tunes. Grady Martin plays some great guitar, as always, on these also. I think you can get it from Scotty's Music in St Louis. (314) 427-7794.Bobby

Bobby thanks that's worth a listen.

It is most interesting to see it being
a top and bottom set of changes rather than
a 'more parallel type' like later E9 copedents
5 pulls, two pedals and a lot of power in them.