into a recording studio for the first time can be a frightening
experience. The high ceilings, the specially-finished walls, the maze of
sound equipment, instruments and musicians make you feel as though
you’ve entered a strange new world.
You look around for a friendly face. The musicians are all
busying themselves preparing for the session—tuning guitars, unpacking
equipment. You’re reminded that they are all the best in the business.
The friendliest “grin” seems to come from the steel-guitar man and it
sure makes you feel a lot better.
He asks if you’re nervous, and you lie and say no, but you
can sense yourself relaxing a little. You feel a bit less like running
out the door.., just because somebody cares. That somebody is Lloyd
You’ve got to care in Nashville. The competition is tough and
the pace is fast. The world’s best singers and musicians flock here
itching to add their parts and ideas to the “Nashville Sound.” And one
“big break” is just not enough. You’ve either got to put out or get out.
“Whatever happened to...?” is a common question here.
Lloyd Green has been consistent in quality and original in
ideas for countless sessions over the past several years. I’ve never
done a recording session without him, and I hope I will never have to.
Taking that long walk to the mike is a lot easier with Lloyd’s quiet
good looks, easy smile and cool steel standing by.
I only wish I could do as much to help Lloyd with his record
as he’s done to help me with mine. But all I can do is cross my fingers
and hope the Lloyd Green “cool” comes through for you.
from the Double 10 Records 28C-9004 Re-Release:
"Cool Steel Man" was the second of my three Chart Records albums and
was recorded at RCA Studio `B' in Nashville at 10 P.M. to 1 A.M. on
Thursday June 26th and Friday June 27th, 1969. 1 re-mixed the album on
Monday June 30th, 1969 at 6 P.M. to 10 P.M. at RCA- `B'.
The recording engineers were Al Pachuki and Tom Pick, both
RCA Victor engineers.
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.
I had not yet invented the Lloyd Green padded model steel
guitar. It's invention was about two years into the future. By the time
I recorded "Cool Steel Man," RCA-Victor was handling and distributing
the Chart Records product, so this great stroke of luck gave me a much
wider potential audience and market because R.C.A. was, of course, one
of the five major record companies in the world. This was indeed the
best of my three Chart Records albums, and on this project one song,
"Halfway To Paradise" proved to be the seminal direction which my
playing style was to evolve, utilizing the fourth and eighth strings on
the E 9th tuning.
The musicians were: Piano - Hargus (Pig) Robbins, Electric
Guitar - Wayne Moss, Accoustic Rhythm Guitar - Ray Edenton and Harold
Bradley, Drums - Buddy Harman, Bass -Jr. Huskey, Harmonica and Vibes -
Charlie McCoy, Bass Guitar & Tic Tac - Pete Wade.
The background singers were: The Nashville Edition - Hurshel
Wigenton, Delores Edgin, Ricky Page and Joe Babcock.