How do you find something new and original to say about the worlds
foremost virtuoso of the steel guitar—a guy who is so great that all the
complimentary adjectives have already been used by others in describing
Just a few years ago the steel guitar was considered a taboo
instrument on recordings of any type material except a few pure country
songs. Then in the mid-sixties came “The Lloyd Green Era”. The new and
original stylings of this young man were the prime factors in the
evolution of the steel guitar as an instrument acceptable in all fields
of music, and fast becoming the “In Thing” with today’s pop-rock groups.
Having various titles like “Mr. Nashville Sound” and “Mr.
Steel Guitar” bestowed upon him has not seemed to change Lloyd Green.
He just goes right on creating new sounds on the steel guitar.
This album contains a good variety of those sounds—country,
sophisticated, and uptight. They’re all here.
Liner Notes from the 1993 Double 10 Records 28C-9006
This proved to be my third and last
instrumental album for Chart Records, although I was still leader and
played on all the records Chart made for many years to come.
R.C.A. had done substantially well with my second Chart album
so they asked for another one in the same year, 1969. I was getting lots
of airplay and selling pretty good for an instrumentalist and had won a
few awards so we obliged.
I called the musicians for the recording dates, Tuesday,
September 9th at 2 P.M. to 5 PM. and Tuesday, September 16th from 2 P.M.
to 5 PM., both at R.C.A. Studio `B' in Nashville.
But a funny thing happened on the `way to the circus.' The
musician I had booked to play electric guitar on this album failed to
show, due to a mix-up in his booking. Perplexed, I was pondering how to
resolve this dilemma when Charlie McCoy, who I always hired on my
sessions because he could play virtually any instrument and possessed
the best recording intelligence of any musician doing sessions, said,
"no problem, I'll play the lead guitar." He did and that's who you hear
Electric Guitar on this entire album. Again, one of the many
times my friend Charlie McCoy came to the rescue for me.
This album was re-mixed on Thursday, September 25th, 1969 at
10 P. M. to 2 A.M., R.C.A. - Studio "B." The engineers for both the
recording and re-mix were Al Pachuki and Tom Pick.
The Musicians: Electric Guitar & Harmonica - Charlie McCoy,
Acoustic Rhythm Guitar - Billy Sanford, Drums - Buddy Harmon, Piano -
Hargus (Pig) Robbins, Bass - Joe Zinken
The Background Singers: The Nashville Edition - Hurschel
Wigenton, Delores Edgin, Louis Nunley and Ricky Page.