The “Nashville Sound” is known around the world.
It’s those very popular commercial audio vibrations which have enhanced
millions of music lovers into buying phonograph records. One of
Nashville, Tennessee’s biggest industries, the “Nashville Sound” has
been the subject of countless discussions and articles. Endless words of
explanation and definition have been written about it. Interwoven in the
makeup are many interesting stories.
This album, MR. NASHVILLE SOUND, is by one of the many great
musicians who help make up that fantastic sound—Lloyd Green, who was the
recipient of Record World Magazine’s “Most Promising Instrumentalist
Award” for 1967, and in that same year was voted “#1 Most-Promising
Instrumentalist” in the Cash Box deejay poll.
Now, I’d like to tell you his story.
Lloyd Green started his musical career by playing for Faron
Young on the road in 1958; however, in 1960 he quit the road. Looking
for greener pastures, he became a shoe salesman. Although he stayed in
Music City, U.S.A., Lloyd gave up playing steel guitar—in fact, he
didn’t touch his guitar for almost two years. Roy Drusky was responsible
for getting Green back into the music industry in 1964. Drusky, at that
time administrator of the newly opened Nashville office of SESAC (one of
the industry’s three music licensing firms), hired Lloyd as his
When he started to work for SESAC, Lloyd, with a renewed
interest in country music, began playing his steel again as a sideman on
the Saturday night “Grand Ole Opry.” Then Slim Williamson used him on a
few Chart sessions, and as time went by things started to click. Little
did Lloyd know when he went to work for SESAC that three and half years
later the demand for his talent on sessions would force him to resign
Any modern C&W fan can recognize the uninhibited creative
style of Lloyd Green on his steel guitar, which has been featured on
many of the “Nashville Sound” country smashes, such as Warner Mack’s The
Bridge Washed Out, David Houston’s You Mean the World to Me, Lynn
Anderson’s Ride, Ride, Ride and Promises, Promises, Charlie Pride’s /
Know One, Faron Young’s Wonderful World of Women and others too numerous
to mention. He does eight to ten sessions a week, and it’s needless to
say that in almost five years of studio recording Lloyd has made records
with practically every major recording artist. His self-penned Green
Strings single gave Lloyd national recognition as an instrumentalist. As
a writer, Lloyd has two Al Hirt recordings to his credit, one of which
was a Top 5 finalist in the NARAS Awards competition—Trumpet Pickin’. He
has also written four tunes in this album—Turtle Neck, Swarmin’, Loose
Ends and Mr. Nashville Sound. He has been on television many times and
his network appearances include “The Jimmy Dean Show” and “The Lawrence
Welk Show.” It’s interesting to note that the first big hit Lloyd played
on was Strangers by Roy Drusky, the guy who got Lloyd back into the
business, and that the label he now records for, Chart, was the first to
use him on sessions.
Lloyd Green has played a big part in the successful Chart
Records sound, so it’s justified that the Chart label should give to you
a sound showcase for this once-upon-a-time shoe peddler, now a master of
the peddle steel guitar.
Now you know a little more about the Lloyd Green story and
the confidence Chart Records has had in his talents. Let’s listen to
this record for its sound value. MR. NASHVILLE SOUND contains the same
Green sensationalism that’s put many a tune on the top of the national
ratings. MR. NASHVILLE SOUND is hours of music entertainment, not
because of the hours behind the creation of Green’s soulful sound but
because of his own unique style, beautiful tone delivery and melody
interpretation which will be a listening sound treat in anyone’s
from the 1993 Double 10 Records 28C-9001 Re-Release:
This album, the first of three I recorded for Chart Records,
was recorded at R.C.A. Studio `B' in Nashville, Tennessee on two dates,
Tuesday, August 13th and Tuesday, September 3rd, 1968.
The recording engineer was Bill Vandevort. Among the
musicians I selected for this instrumental album was: Piano - Hargus
`Pig' Robbins, Bass - Jr. Huskey, Drums - Buddy Harman, Electric Guitar
- Wayne Moss, Acoustic Guitar - Billy Sandord.
On the first session I used the Anita Kerr singers for
background vocals, and on the second date I used Hurshel Wigenton and
the Nashville Edition.
As you listen, pay close attention to the tracks "No Another
Time," "Promises, Promises," and "Too Much of You," you can hear my
friend Lynn Anderson singing with the Nashville Edition. Lynn had
already released hit vocal records of those three tunes and she asked me
if she could sing on my instrumental versions since I had played on and
produced hers. I accepted, of course, and you can hear her vocal
influence on those cuts.
By the time (1968) I recorded this album I was cutting
between 500 and 600 records a year with other artists, consequently it
was quite difficult to find the time in my schedule to do this project.
This explains the time gap between the two sessions during which I
recorded all twelve songs.
With the exception of the four original songs I wrote for the
occasions, "Turtle Neck," "Mr. Nashville Sound," and "Loose Ends," the
songs were all hits of that late 1960s era.
One other bit of minutiae concerns the appellation `Mr.
Nashville Sound' by which I've been introduced countless times on shows,
TX, etc. It had very little, if anything, to do with such a supercilious
presumption, but instead was a direct derivative from this single album
title. The introduction caught on but I always cringe when I hear it
because the `Nashville Sound' is truly a composite of all the gifted
musicians, singers, and recording engineers who work and record in
Nashville, Tennessee, an industry that I was fortunate enough to have
been a part of for twenty-five years.