Podcast appearances and mentions of buddy emmons

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This episode features music inspired by {{Miles Davis}}, {{Andrew Hill}} and {{Buddy Emmons}}, but also by the Amazon Forest and the rivers of the Brazilian North-East. The playlist features Bright Magus; André Roligheten [pictured]; Rich Hinman; Verneri Pohjola; Amaro Freitas; Ron Horton; Angelica Sanchez; Marike Van Dijk; Maria Grapsa. Detailed list at https://spinitron.com/RFB/pl/18155316/Mondo-Jazz (from "Long Legs" onwards). Happy Listening! Photo credit: Žiga Koritnik

Steel is a Fretboard Journal podcast that dives deep into the world of the steel guitar. On Episode 3, we chat with Steve Fishell, a pedal steel player, a Grammy-winning record producer, and the author of the biography 'Buddy Emmons: Steel Guitar Icon.' Steve held down the steel guitar chair in the '80s incarnation of Emmylou Harris' Hot Band and has recorded with the likes of Dolly Parton, John Prine, Sam Bush, and Linda Ronstadt. We discuss coming up in the 1970s California country rock scene, cutting his teeth in the recording studio, Buddy Emmons' impact on the pedal steel, and more. You can find Steve's book and samples of his playing at the links below: - https://www.press.uillinois.edu/books/?id=p086786 - https://youtube.com/playlist?list=PLvvtMAAyfWudoKf4GZ_E31rvU_CqQnKGp - https://open.spotify.com/playlist/16einqMwN2QkL5ZC7HutqF Subscribe to the Fretboard Journal magazine here:  https://shop.fretboardjournal.com/products/fretboard-journal-annual-subscription   

Six String Hayride Episode 27 Steel Guitar Spectacular. Hawaiian, Lap, Singing, and Pedal...Chris and Jim give an overview of Steel Guitar in all its forms. From the early Hawaiian styles to the technology of Levers, Pedals, and Talk Boxes, a look at the development of the instrument and the folks who make it sing Buddy Emmons, Red Rhodes, Pete Drake, and others. A back to campus drink with John Wayne and the usual fun with Chris and Jim.https://www.facebook.com/profile.php?id=100086513555749https://www.patreon.com/user?u=81625843

To Support the Channel:Patreon  https://www.patreon.com/AskZacTip jar:  https://paypal.me/AskZacVenmo @AskZac  Or check out my store for merch  - www.askzac.comBernie Leadon played guitar, mandolin, banjo, pedal steel, and sang harmony vocals on the greatest-selling album of all time, Eagles Greatest Hits, Volume 1. For many guitarists, he is known as one of the earliest exponents of the B-Bender, a mechanical device that allows the "B" string to be raised a whole step via a system of cranks and levers. His work on "Peaceful Easy Feeling" is an excellent example of the sound the device allows and is by far the most accessible and most often heard example of a guitarist using it.  Today we take a look at Leadon's work through the years, spotlight some of his session work, and discuss his original Pull-String equipped Telecaster. We also cover how he ended up on the History of the Eagles tour, and the spartan setup that he used for the 170 dates back out on the road with his old band.Buddy Emmons book - Amazon Affiliate link  https://amzn.to/3zHaqfyBernie Leadon Playlisthttps://open.spotify.com/playlist/72M...Gear Used:Crook Paisley with Glaser B-Bender1959 Harvard ampBoss CS3 comp, MXR Reverb, MXR LooperBass - Danelectro Bass 6Rhythm - Baxendale Kay Mandocello#askzac #bernieleadon #eaglesbandSupport the show

Ten Years After "I May Be Wrong, But I Won't Be Wrong Always"The Pogues "White City"Ruth Brown "It's All In Your Mind"Eilen Jewell "Silver Wheels and Wings"Tommy Tucker "Hi-Heel Sneakers"Adam Faucett "Day Drinker"Country Jim "Sad And Lonely"Buddy Emmons "Witchcraft"Twain And The Deslondes "Run Wild"Nappy Brown "The Right Time"Loretta Lynn "The Darkest Day"Furry Lewis "Casey Jones"She & Him "I Could've Been Your Girl"Bing Crosby "Where the Blue of the Night (Meets the Gold of the Day)"Otis Redding "Try a Little Tenderness"Bob Dylan "Floater (Too Much to Ask)"Oscar 'Papa' Celestin And His New Orleans Band "Didn't He Ramble"Valerie June "Shakedown"Jimmy "Duck" Holmes "It Had to Be the Devil"The Breeders "Saints"Tom Waits "Get Behind the Mule"Ella Fitzgerald "In the Still of the Night"John Prine "Often Is a Word I Seldom Use"Annisteen Allen "Fujiyama Mama"Fastbacks "In the Summer"The Replacements "Left Of The Dial"Bob Wills & His Texas Playboys "Milk Cow Blues"Gordon Lightfoot "The Wreck of the Edmund Fitzgerald"Clifford Brown & Max Roach "I GET A KICK OUT OF YOU"Elvis Costello & The Attractions "Every Day I Write the Book"ZZ Top "Waitin' for the Bus"ZZ Top "Jesus Just Left Chicago"George Lewis "Burgundy Street Blues"Webb Pierce "Slowly"Gang of Four "Armalite Rifle"J Mascis + The Fog "Ammaring"Gillian Welch "Tennessee"Lucero "Nothing's Alright"Drag the River "Tobacco Fields"Pretenders "Mystery Achievement"John Coltrane "Ev'ry Time We Say Goodbye"

Parker and Max slide along with the master of the pedal steel, Buddy Emmons.ContactEmail: themusiciansmusicianpodcast@gmail.comTwitter: @tmmpod_Instagram: @tmmpodFacebook: The Musician's Musician Podcast @tmmpodWebsite: www.tmmpod.comParker Speirs: www.parkerspeirs.comSupport the show

Thank you for tuning into "Starting Small Music." In this episode, I am joined by Read "Two Show" Connolly, steel guitarist for Zach Bryan and Charles Wesley Godwin. Hear Read's story of growing up in Pennsylvania, Buddy Emmons influence on the steel guitar, recording steel on "Something In The Orange" for Zach Bryan, and MORE!    Follow Read: @ReadConnolly Follow Justin: @JustinMcCormickMusic Follow Starting Small Music: @StartingSmallMusic

The Cave Singers "Gifts and the Raft"The Cave Singers "Black Leaf"Bob Dylan "Tangled Up In Blue"Eilen Jewell "Down the Road"Tyler Childers "Long Violent History"Patti Smith "People Have the Power"R.E.M. "Oh My Heart"Candi Staton "Wanted: Lover"Spirit Family Reunion "Time to Go Back Home"Mavis Staples "I Wish I Knew How It Would Feel To Be Free"The Rollers "Knocking on the Wrong Door"Professor Longhair "Everyday I Have The Blues"Professor Longhair "Tipitina"Arlo McKinley "Back Home"Frank Williams & the Rocketeers "Show Me What You Got"Swamp Dogg "Total Destruction to Your Mind"Sleater-Kinney "You're No Rock n' Roll Fun"Kitty Wells "You're No Angel Yourself"The Low Anthem "This God Damn House"Buddy Emmons "Bottle Baby Boogie"Lou Donaldson "Blues Walk"D'Angelo "Devil's Pie"Big Maybelle "Way Back Home"Micah Schnabel "Blame It On Geography"Delbert McClinton "The Jealous Kind"Little Milton "Monologue 1 / That's How Strong My Love Is"Earth, Wind & Fire "Keep Your Head to the Sky"Lucero "Sometimes"Dolly Parton "Heartbreak Express"The Devil Makes Three "For Good Again"Billy Joe Shaver "Honky Tonk Heroes"Wilco "Impossible Germany"Turnpike Troubadours "Easton & Main"Eddie Vedder "Long Way"The Hold Steady "Southtown Girls"S.G. Goodman "Teeth Marks"Roky Erickson "Don't Shake Me Lucifer"Steve Earle & The Dukes "Angry Young Man"Valerie June "Use Me"Eddie Hinton "Everybody Needs Love"Willie Nelson "Time of the Preacher"

In this week's episode we're featuring Melba Montgomery's complete Nugget Records sessions from the year 1962. Shortly after having spent almost four years touring with Roy Acuff's roadshow and marginally before being snapped up by United Artists, Melba was offered a chance to record for Lonzo & Oscar's newly-relocated Nugget Records in Goodlettsville, Tennessee. The result was ten sides which have largely been forgotten by country fans who focus instead on her duets with George Jones and UA solo material. Ten hard country nuggets (pun intended) all of which feature Shot Jackson on dobro and Buddy Emmons on steel. The two co-founders of the legendary Sho-Bud steel guitar company help push these Nugget recordings on a young, fresh and distinctive Melba Montgomery to the heights of honky tonk gold. Superb listening.

James McMurtry And The Heartless Bastards "No More Buffalo"The Low Anthem "Home I'll Never Be"Valerie June "Fade Into You"Candi Staton "Darling You're All That I Had"Otis Redding "Little Ol' Me"Golden Smog "Radio King"Laura Marling "Soothing"Johnny Cash "Jealous Loving Heart"Drag the River "forgiveness"Buddy Emmons "If No News Is Good News"Hank Williams "Howlin' At the Moon"Nick Drake "Pink Moon"Son Volt "Medicine Hat"Jolie Holland "Old Fashioned Morphine"James Luther Dickinson "Out of Blue"Trombone Shorty "Lie To Me"The Temptations "I Wish It Would Rain"Kitty Wells "Do Right Woman, Do Right Man"Matt Sweeney "My Home Is The Sea"Bonnie Raitt "Livin' for the Ones"Micah Schnabel "Gentle Always"Two Cow Garage "Let the Boys Be Girls"Micah Schnabel "Cincinnati, Ohio"Ted Hawkins "Sorry You're Sick"Eddie Floyd "Stealing Love"Big Mama Thornton "Sweet Little Angel"Otis Rush "Homework"Aimee Mann "Deathly (Remastered 2020)"Gillian Welch "I Just Came Home To Count The Memories"Otha Turner "Lay My Burden Down (Album Version)"Kendrick Lamar "The Heart Part 5"Koko Taylor "Never Trust A Man"Dr. John "I Walk On Guilded Splinters"Mavis Staples "I Wish I Knew How It Would Feel To Be Free"Bill Withers "Ain't No Sunshine"The Meters "Cissy Strut"Bobby "Blue" Bland "Ain't No Love In The Heart Of The City"Jerry Lee Lewis "Goodnight Irene"

Albert King "I Almost Lost My Mind"Bonnie Raitt "Livin' for the Ones"Old & In the Way "Midnight Moonlight"Doc & Merle Watson "Tennessee Stud (Live)"Doc & Merle Watson "Black Mountain Rag (Live)"Brown Bird "Danger and Dread"Eilen Jewell "Shakin' All Over"Taj Mahal "Slave Driver"Adia Victoria "Stuck in the South"Jason Isbell and the 400 Unit "Sometimes Salvation"Sister Rosetta Tharpe "Shout, Sister, Shout!"Wilson Pickett "I Found the One"Blind Willie McTell "Motherless Children Have a Hard Time"Little Richard "Rip It Up"Pee Wee King "Oh Monah"Loretta Lynn "This Old House"Waxahatchee "Under a Rock"Shovels & Rope "Hail Hail"Allen Toussaint "Just a Closer Walk with Thee"Willie Nelson "Stardust"Ruth Brown "Love Me Baby"Charles Mingus "Goodbye Pork Pie Hat"Marvin Gaye "Inner City Blues (Make Me Wanna Holler)"The Black Keys "Ten Cent Pistol"Bobby "Blue" Bland "Ain't No Love In The Heart Of The City"Sly Stone "Who Do You Love?"Charles Mingus "Wednesday Night Prayer Meeting"Craig Finn "Birthdays"Bob Dylan "The Wicked Messenger"LaVern Baker "See See Rider"Ella Fitzgerald "'Tain't What You Do"B. B. King "It's My Own Fault Darling"Albert King "She Caught The Katy And Left Me A Mule To Ride"Buddy Emmons "Four, Five Times"Carl Perkins "Honey Don't"Ted Hawkins "California Song"Little Willie John "I'm Shakin'"The Everly Brothers "Cathy's Clown"Lil Green "Why Don't You Do Right"Otis Blackwell "Daddy Rolling Stone"Bonnie Raitt "Everybody's Cryin' Mercy (Remastered Version)"Mississippi Fred McDowell "I Ain't Gonna Be Bad No Mo'"Ike & Tina Turner "Funkier Than a Mosquita's Tweeter"Otis Redding "A Fool for You"John Brim "Ice Cream Man"Johnny Cash "I Heard That Lonesome Whistle"Georgia White "Tain't Nobody's Fault But Yours"

Uhh Yeah Dude is a comedy podcast hosted by Seth Romatelli (born September 20, 1973) and Jonathan Larroquette (born August 7, 1977). Episodes have generally aired once a week since 2006, and run about an hour long. The podcast is described as 'A weekly roundup of America through the eyes of two American-Americans'. In this episode, part one of a series of two, all intro and outro songs from the 2021 episodes (#838 to #866) of Uhh Yeah Dude. Lineup: Neil Young, Tuxedomoon, Squarepusher, Norma Tanega, Captain Torkive, I-Robots, Steve Hillage, Sonya Spence, CAN, Michael Nesmith, The First National Band, PRISM, Susumu Yokota, Dorothy Ashby, Sonny Sharrock Band, Kuruki, Bill Laswell, Dan Curtin, Patrick Cowley, Sylvester, Eddie Hazel, COMPLEX, Dub Specialist, DJ Re Edit, Lena Platonos, Brian Bennett, Bonobo, Capitol K, Paul Blackford, Cerrone, Abba Gargando, John Beltran, CN, Bill Orcutt, Eddie Murphy, Buddy Emmons, Richenel, Bucky Barrett, Ashra, Dog Soldier, Terekke, Delaney & Bonnie, Davey Graham, The Action, Rodney Crowell, Hank Williams, Drifting Cowboys, Black Uhuru, Ahmad Jamal Trio, Intrusion, Rick Barranco, Grateful Dead, Takako Minekawa, Culture, Bohannon, Con Funk Shun, The Bar-Kays, Yarbrough & Peoples, Audience, Indian Ocean

Originaire de l' Iowa,( USA ) WC Edgar auteur-compositeur-interprète a commencé à se faire un nom en tant que musicien en jouant de la Steel Guitar pour Alan Jackson, Tim McGraw, Dale Watson, Ty England, Marty Haggard, Leroy Van Dyke, Jeff Carson, BB Watson, Johnny Lee et bien d'autres artistes. ll dit : " J'adore la musique country et j'ai décidé de jouer de la Steel Guitar, car c'est un bel instrument, en quelque sorte l'âme de la Country Music. J'apprécie la musique de Buddy Emmons et celle de Don Helms qui jouait pour Hank Williams. Comme Buck Owens j'ai voulu sortir du monde rural et aller tenter ma chance à Nashville.'' En 1989, WC Edgar émigre à Nashville avec le rêve qu'un jour il serait un auteur-compositeur-interpréte reconnu. Il s'ensuit alors une carrière professionnelle exceptionnelle et une expérience qui lui ont valu le surnom de ‘'Texan King of Honky Tonk Music''. Deux semaines après son arrivée il occupe un travail à plein temps en tant que musicien de Steel Guitar sur la tournée Canadienne d'un certain Alan Jackson qui va le mener jusqu'en Ontario au Canada.

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Maybe She by Arthur Russell on Love Is Overtaking Me (Audika) 3′32″ Loving Her Was Easier (Than Anything I'll Ever Do Again) (Album Version) by Kris Kristofferson on The Silver Tongued Devil and I (Monument Records) 7′07″ You Were On My Mind by Judy Roderick on Woman Blue (Vanguard Records) 10′27″ Love Me When You Can by Merle Haggard on I'm Always on a Mountain When I fall (MCA Records) 13′45″ Canción Mixteca by Harry Dean Stanton on Partly Fiction (Omnivore Recordings) 16′24″ This Day and Time by Rusty Kershaw on Cajun In Blues Country (Rhino) 23′13″ Where I Lead Me by Townes Van Zandt on Delta Momma Blues (Fat Possum) 25′53″ Waymore's Blues by Waylon Jennings on Dreaming My Dreams (RCA Records) 28′34″ I See the Want To In Your Eyes by Gary Stewart on Out of Hand (RCA Records) 31′06″ I Don't Want to Go Home by Sir Douglas Quintet on The Mono Singles '68-'72 (Sundazed Records) 34′12″ I Don't Want to Talk About It by Crazy Horse on Crazy Horse (Reprise) 39′25″ Going Down To the River by Mississippi Fred McDowell on The Alan Lomax Recordings (Mississippi Records) 45′48″ Free Man In Paris by Joni Mitchell on Court and Spark (Asylum records) 49′05″ It Ain't Fair by Ben E. King on Anthology (Rhino) 51′25″ Blue Jade by Buddy Emmons on Emmons Guitar Inc. (Emmons Guitar, Inc.) 55′42″ Reel Ten by The Plugz on Repo Man OST (MCA Records) Check out the full archives on the website.

This week I went through my jazz lp’s and selected a few familiar favourites. Well, at least familiar to me. I play some Rahsaan Roland Kirk, Bobby Hutcherson w. Eugene McDaniels, Shorty Rogers, Mose Allison, Buddy Emmons w. Lenny Breau, Big Miller, Nina Simone, David Amram, Charles Lloyd, and Tete Montoliu.

The Music History Project will be highlighting the steel guitar in our next two episodes. In this episode Dan, Mike and Ashley will be discussing the pioneers of this versatile instrument and going through its fascinating history. Enjoy interviews from iconic musicians Speedy West, Bud Issacs, Buddy Merrill, Gary Morse, Alvino Rey and Buddy Emmons, as well as industry legends Herb Remington and DeWitt “Scotty” Scott.

Don’t tell me…it’s theme time but with the negative bent. No, no, no, honey don’t. This week’s show takes on songs of which there is no reduced supply chain: songs that ask us ‘not to’. A somewhat obscure theme, no question, but it’s all about the message after all. We’ll hear a variety of genres this week, all with their warnings prefaced with the contraction “don’t”. We’ll hear from Elvis (a favorite of the idiom), Blue Lu Barker, Julia Lee, Charles Brown, Buddy Emmons, and those representing doo wop, country, early rock, and Americana. All of this coming your way on our last show of April 2021, broadcasting from the Cherry Street Historic District of Santa Rosa. Don’t get defensive, it’s all in fun.

On this week's show host Kyle Long pays tribute to steel guitar masters of Indiana. During the mid-20th Century Indiana produced several important steel guitarists who made significant contributions to the instrument's development. Kyle plays music from Herb Remington, Bud Isaacs, Johnny Sibert, "Sneaky" Pete Kleinow, Buddy Emmons, and The Harlin Brothers, who are credited with inventing the pedal steel guitar in Indianapolis during the 1930s.

Esta vez queremos mostrar la faceta más tradicional, la más apegada a las raíces. En muchos casos, es la cara menos conocida de una mujer que ha sido capaz de hacer de su versatilidad una de sus características fundamentales. El pasado miércoles fue el cumpleaños número 74 de Linda Ronstadt. A lo largo de su carrera, ha cantado temas de todos los estilos musicales imaginables, desde country a opera y comedia musical, pasando por folk, rhythm and blues, rock'n'roll, pop o música latina. En todos los casos, su voz ha brillado tanto que se ha convertido en una de las vocalistas femeninas de mayor prestigio. No busques la perfección en una voz que no sea la de Linda Ronstadt. Trístemente, el Parkinson la ha obligado a dejar de hacerlo. Pero hoy estamos dispuestos a rescatar esa voz insuperable seleccionando algunas de sus canciones más cercanas a la tradición. La mayor parte de ellas no son las que suenan habitualmente cuando se recuerda su carrera. Así, hemos abierto el programa con esta versión inédita de marzo de 1973 a “Lighting Bar Blues”, un tema de Hoyt Axton que Commander Cody cantaron de forma extraordinaria. La mayor sorpresa está en el hecho de que Linda Ronstadt tocaba el fiddle junto al también violinista Gib Guilbeau,que hizo también los coros vocales junto a Herb Pedersen. En 1956, Wanda Jackson grabó por primera vez una canción compuesta por Dick Reynolds y Jack Rhodes, que fue un éxito en el 62 por los Springfields, la banda familiar londinense en la que militaba Dusty Springfield. Era “Silver Threads And Golden Needles”, grabada más tarde por artistas de country como Skeeter Davis, Hawkshaw Hawkins, los Everly Brothers, Rose Maddox, Jody Miller o los Pozo-Seco Singers de Don Williams. En 1969, Linda Ronstadt la incluiría de esta forma en su LP de debut en solitario, Hand Snow… Home Grown. Decimos “de esta forma”, porque cuatro años más tarde, en el 73, realizaría una nueva versión, mucho menos enraizada, en su álbum Don't Cry Now. John D. Loudermilk fue bien conocido como compositor en los 50 y 60 dejando canciones para la historia como “Break My Mind”, que George Hamilton IV cantó por primera vez en el 67 y que Linda Ronstadt llevó a su disco de debut, Hand Snow… Home Grown, dos años más tarde. Al margen de un sinfín de artistas que echaron mano en alguna ocasión del tema, los Flying Burrito Brothers, con Gram Parsons al frente, también la cantaron, aunque quedó fue de sus álbumes oficiales. De aquel binomio mítico formado por Lester Flatt y Earl Scruggs resultaba evidente que este último estaba dispuesto a ampliar sus horizontes desde la separación de la pareja en 1969. Tres años después editó I Saw The Light With Some Help From My Friends junto a sus tres hijos, Gary, Randy y Steve, y una pléyade de invitados como la Dirt Band, Tracy Nelson o Linda Ronstadt, con quien realizó una versión sublime del clásico de Merle Haggard “Silver Wings”. Tras la publicación en 1968 del tercer disco de los Stone Poneys, Kenny Edwards dejó el grupo tras una gira y Linda Ronstadt se quedó sola con la obligación de grabar un nuevo Lp para el Capitol. Así, al año siguiente vió la luz Hand Sown… Home Grown, un trabajo de muy escasa repercusión. Pero las cosas parecieron cambiar con su siguiente trabajo. Linda consiguió la nominación para el Grammy con "Long Long Time", incluida en el álbum Silk Purse de 1970. Pero hoy hemos preferido escuchar la versión en directo que realizó en el Troubadour de Los Angeles por aquellas fechas. Su compositor, Gary White, es un tejano al que conocimos como bajista de Circus Maximus, una banda de Austin de la segunda mitad de los 60, en la que militaba Jerry Jeff Walker. Cuando Linda Ronstadt se lanzó a la aventura en solitario, comenzó a reclutar músicos del Troubadour para formar su propia banda de acompañamiento. Instrumentistas como Bernie Leadon, Glenn Frey, Don Henley y Randy Meisner pasaron a ser sus nuevos compañeros, de tal forma que a su alrededor se estaban gestando los Eagles. En Silk Purse había una versión de “He Darked the Sun”, una canción de Gene Clark y Bernie Leadon en el álbum The Fantastic Expedition of Dillard & Clark de dos años antes. Pero Linda realizó una llamada Nashville version, con un sonido más propio de la versión original que hoy hemos querido recuperar. Ha pasado medio siglo desde la publicación de Silk Purse, en 1970, su segundo disco en solitario. Su apertura era esta versión de “Lovesick Blues”, un tema aparecido en los años 20 en un musical al que Hank Williams puso en el mapa sonoro cuando empezó a actuar en el Louisiana Hayride y lo llevó al primer lugar de las listas en el 49. Grabado en los Cinderella Studios de Nashville, fue la única vez en su carrera que la artista de Arizona se acercó a la Music City para grabar sus canciones. En aquella ocasión, Linda contó con músicos de la altura de Bernie Leadon, Weldon Myrick, Buddy Spicher, Troy Seals o Kenny Buttrey. El legendario Troubadour de Los Angeles fue la cuna de un buen número de artistas convertidos en referentes de la música popular con el paso del tiempo. Aquel local de West Hollywood del que James Taylor decía que era “como un cenicero puesto boca abajo”, vio nacer al artista de Boston, además de a Buffalo Springfield, los Byrds, Jackson Browne, Bonnie Raitt, Linda Ronstadt o los Eagles, cuyos primitivos miembros estaban en la banda de acompañamiento de Linda Ronstadt. Con ellos editó su tercer álbum, de título homónimo en 1972, con un claro sonido country‑rock grabado entre California y Alabama con la producción de John Boylan. Como muestra de su versatilidad, Linda se acercó al honky tonk con una versión de “Crazy Arms”, el primer No.1 de Ray Price en 1956. La producción de John Boylan permitió también que otros músicos como Herb Pedersen, Gib Guilbeau, Sneaky Pete, Buddy Emmons, Jimmy Fadden de la Nitty Gritty Dirt Band o John David Souther participaran en el proyecto. Aquel disco fue, en cierta forma, la puerta para conocer también a nuevos compositores como Eric Kaz, Jackson Browne, Livingston Taylor o Eric Andersen, pero también recurrió a mitos de la categoría de Woody Guthrie, Harland Howard, Hank Cochran o Johnny Cash. Del Hombre de Negro, que llevó a la vocalista a su programa de televisión en sus comienzos, eligió “I Still Miss Someone”, una pieza de finales de los 50 que había compuesto con su sobrino, Roy Cash, Jr. y que conocimos cuando grabó en la prisión de Folsom. Una de las vocalistas favoritas de Linda Ronstadt es Patsy Cline, cuya primera grabación en el sello Decca, "I Fall To Pieces", pasaría a ser el mayor de sus éxitos, consiguiendo llegar por primera vez a la cima de las listas de country poco antes de sufrir un tremendo accidente de coche cerca de su casa de Madison, un barrio de Nashville. La explosiva facilidad de Linda en sus años de Capitol Records para interpretar clásicos como este sorprendió a muchos. En su tercer disco en solitario, con su nombre en el título y editado en 1972, dejó constancia de su respeto por la tradición y de su sensibilidad extrema. Linda Ronstadt comenzó a trabajar con John Boylan en un nuevo disco para el sello Asylum Records, al que se unió John David Souther, con el que mantenía una estrecha relación, antes de encontrar a Peter Asher -antiguo miembro de Peter & Gordon- en el Bitter End de New York. El álbum Don't Cry Now salió al mercado en 1973 tras un año de sesiones, 150.000 dólares invertidos y tres productores. Aquel disco era fantástico, pero nosotros hoy estamos centrados en canciones más tradicionales. Linda había fichado por Asylum, pero debía un álbum a Capitol por contrato. Ese disco que se tituló Heart Like A Wheel y fue publicado en el 74, mezclando antiguas canciones con nuevos temas, incorporando country, rock y rhythm and blues. De todos es recordada su versión al clásico de Hank Williams "I Can't Help It (If I'm Still In Love With You)", donde Emmylou Harris hacía las armonías vocales, la llevó al segundo lugar de las de country y a conseguir un Grammy. Pero esta versión de “Honky Tonk Blues”, también de Hank Williams, que contaba la historia de un joven granjero que deja la granja familiar para irse a la ciudad, fue grabada en octubre de 1974 de nuevo junto a Emmylou y quedó inédita durante 25 años. Es muy posible que Linda Ronstadt y Patsy Cline sean las dos vocalistas más sobresalientes de la historia de la música, con una versatilidad incomparable. Patsy sufrió un tremendo accidente de coche cerca de su casa de Madison, un barrio de Nashville, se fracturó la cadera y tuvo importantes heridas en la cabeza al salir despedida por el parabrisas. Fue hospitalizada durante varios meses y, apoyada aún en sus muletas, grabó una composición de Willie Nelson llamada "Crazy", que pasaría a ser su canción más vendida. Linda Ronstadt la recordó de esta forma en Hasten Down The Wind, un trabajo de 1976 que llegó tras publicar Prisoner In Disguise Ronstadt un año antes y donde eligió canciones de amigos y compositores cercanos. No olvidemos que la madre de Linda era alemana y, sobre todo que su padre era mejicano. Este último, Gilbert, cantaba con ella y sus otros dos hijos canciones de su tierra natal en los pocos ratos de ocio que les permitía la ferretería que regentaban. Nuestra invitada de hoy nunca olvidó aquellas raíces, no solo en los distintos álbumes dedicados íntegramente a canciones hispanas, sino a lo largo de toda su carrera. Como ejemplo, hemos escogido “Lo siento mi vida”, un tema propio, creado junto a su compañero en los Stone Poneys, Kenny Edwards, y a su padre Gilbert, para el álbum Hasten Down The Wind de 1976. En 1977, Linda Ronstadt publicaba su octavo álbum de estudio, Simple Dreams, convertido en una de las más altas cotas de su carrera y vendiendo más de tres millones de copias. Es el último de los discos en los que nos vamos a detener hoy para celebrar el cumpleaños número 74 de su protagonista. Aquel registro, además, fue el encargado de desplazar del No.1 de las listas de pop al mítico Rumours de Fleetwood Mac… y a Elvis Presley de la cabecera de las de country. Producido por Peter Asher, la fórmula fue sencilla: recoger algunas de las grandes canciones interpretadas por una de las voces más distinguida, arropada por los músicos más relevantes del momento, incluidos los Eagles. Para conmemorar los 40 años desde su lanzamiento, se reeditó el disco original con tres temas de bonificación grabados en directo en un concierto especial realizado por la cadena HBO en 1980. Entre ellas estaba "Blue Bayou", un tema de Roy Orbison que la vocalista de Arizona cantó en directo en inglés y castellano. Escuchar audio

In this week's episode, we're featuring a fiddle and steel framed return to form for Mark Chesnutt: "Thank God For Believers" (1997). After debuting in the first half of the nineties, Chesnutt's first four albums were a resounding commercial success: with producer Mark Wright, he enjoyed three platinum and one gold album right out of the gate, steeped in this Beaumont, Texas native's keen sense of tradition. In 1995 he teamed with Tony Brown, but the resulting "Wings" was a flop in relative terms. The choice was made to reunite with Mark Wright and the rewards were almost immediate. The title track went rocketing into the Top 2 and other singles had success also - but perhaps most notable about "Thank God For Believers" was the involvement of Chesnutt himself. Having not written much for his previous work, the Texan traditionalist had a hand in five of the ten tracks here. Along with veteran Oklahoma songwriter Roger Springer, many nights were spent on the tour bus listening to classic Haggard and Jones for inspiration. One such night, the Jones weeper "When The Grass Grows Over Me" inspired a Chesnutt/Leslie/Springer co-write in "That Side Of You", which Chesnutt confesses is his personal pick of the bunch. Such a reverence for tradition, along with Buddy Emmons on steel guitar and Larry Franklin on fiddle for the majority of this project makes "Thank God For Believers" a good example of what 90s honky tonk ought to sound like.

In this week's episode, we're featuring a fiddle and steel framed return to form for Mark Chesnutt: "Thank God For Believers" (1997). After debuting in the first half of the nineties, Chesnutt's first four albums were a resounding commercial success: with producer Mark Wright, he enjoyed three platinum and one gold album right out of the gate, steeped in this Beaumont, Texas native's keen sense of tradition. In 1995 he teamed with Tony Brown, but the resulting "Wings" was a flop in relative terms. The choice was made to reunite with Mark Wright and the rewards were almost immediate. The title track went rocketing into the Top 2 and other singles had success also - but perhaps most notable about "Thank God For Believers" was the involvement of Chesnutt himself. Having not written much for his previous work, the Texan traditionalist had a hand in five of the ten tracks here. Along with veteran Oklahoma songwriter Roger Springer, many nights were spent on the tour bus listening to classic Haggard and Jones for inspiration. One such night, the Jones weeper "When The Grass Grows Over Me" inspired a Chesnutt/Leslie/Springer co-write in "That Side Of You", which Chesnutt confesses is his personal pick of the bunch. Such a reverence for tradition, along with Buddy Emmons on steel guitar and Larry Franklin on fiddle for the majority of this project makes "Thank God For Believers" a good example of what 90s honky tonk ought to sound like.

Direct download link for the episode “If your imagination can go there, the instrument certainly can.” – Paul Franklin Check out Paul’s great online university, The Paul Franklin Method! Buddy Emmons – Raising the Dickens Stranger Things theme on pedal steel Modern steel – using steel in place of synths Travis Tritt – Tell Me […]

In this episode, we're featuring a Columbia concept album from "The Master" - Ray Price: "Love Life" (1964). Released after another highly successful thematic album in 1963's "Night Life", our feature album continues the tradition - this time, it's all songs about love. Loving, losing, heartbreak, euphoria, disappointment - the highs and lows of one of humankind's most relatable subjects - Price has a song for everyone's "Love Life" on this release, and he's fine voice to boot. Backed by some of the best Cherokee Cowboys that ever were - Johnny Bush on drums, Jimmy Day & Buddy Emmons alternating on steel and Tommy Jackson on fiddle - Price croons his way through this album without breaking a figurative sweat. Restrained yet soaring, his was one of the finest voices in country history and just why that was the case is demonstrated in abundance. Highlights include the Willie Nelson-penned "How Long Is Forever", the made-to-two-step-to "You're Stronger Than Me" and a tale of divorce in "All Right (I'll Sign The Papers)".. but as usual, there are no duds when it comes to mid-60s Ray Price.

In this episode, we're featuring a Columbia concept album from "The Master" - Ray Price: "Love Life" (1964). Released after another highly successful thematic album in 1963's "Night Life", our feature album continues the tradition - this time, it's all songs about love. Loving, losing, heartbreak, euphoria, disappointment - the highs and lows of one of humankind's most relatable subjects - Price has a song for everyone's "Love Life" on this release, and he's fine voice to boot. Backed by some of the best Cherokee Cowboys that ever were - Johnny Bush on drums, Jimmy Day & Buddy Emmons alternating on steel and Tommy Jackson on fiddle - Price croons his way through this album without breaking a figurative sweat. Restrained yet soaring, his was one of the finest voices in country history and just why that was the case is demonstrated in abundance. Highlights include the Willie Nelson-penned "How Long Is Forever", the made-to-two-step-to "You're Stronger Than Me" and a tale of divorce in "All Right (I'll Sign The Papers)".. but as usual, there are no duds when it comes to mid-60s Ray Price.

In this episode, we're featuring what many consider one of the best releases from hard country singer Darrell McCall: "Lily Dale" (1977). The most successful McCall album since his 1963 solo debut, his traditional country sound seemed to appeal to country fans around the time the Outlaw movement was catching on - and sure enough, on the title track McCall is joined by Texas' favourite son Willie Nelson. The result became a dancehall standard, and cemented Darrell McCall on the Texas circuit, where he later moved and signed to Heart Of Texas Records in 2005. This album though, finds the Ohio-native in fine voice, with distinct influence from his days as harmony vocalist/bass guitar for both Faron Young and Ray Price evident for the keen ear. Co-produced by steel guitar virtuoso Buddy Emmons, highlights include a tribute to McCall's adopted state of many years, "Tennessee"; a solid Roy Acuff cover in "Pins And Needles (In My Heart)"; "Dreams Of A Dreamer" and of course the famous title track, ensuring we're still talking about Darrell McCall's many talents to this day.

In this episode, we're featuring what many consider one of the best releases from hard country singer Darrell McCall: "Lily Dale" (1977). The most successful McCall album since his 1963 solo debut, his traditional country sound seemed to appeal to country fans around the time the Outlaw movement was catching on - and sure enough, on the title track McCall is joined by Texas' favourite son Willie Nelson. The result became a dancehall standard, and cemented Darrell McCall on the Texas circuit, where he later moved and signed to Heart Of Texas Records in 2005. This album though, finds the Ohio-native in fine voice, with distinct influence from his days as harmony vocalist/bass guitar for both Faron Young and Ray Price evident for the keen ear. Co-produced by steel guitar virtuoso Buddy Emmons, highlights include a tribute to McCall's adopted state of many years, "Tennessee"; a solid Roy Acuff cover in "Pins And Needles (In My Heart)"; "Dreams Of A Dreamer" and of course the famous title track, ensuring we're still talking about Darrell McCall's many talents to this day.

Trangenderism, Amputeeism, Absurdism, Post-Modernism, Critical Thinking Abandonment, Propaganda, HollywoodsReality Machine, Self-Evident, Nukes are Fake, The Bearded lady Sings, Pent-up frustrations, Trump Hysteria, The Cult of Secularism, 2 Minutes of Hate, The Walking Dead, Left Wing Politics vs, Right Wing Politics, Destruction of the Family Empowers the State, Public School Indoctrination, Social Engineering. Mason and Russ on the call. hoaxbusterscall.com Intro Hold Music Snippet: Bluemmons by Buddy Emmons

This week we have part 2 of my epic conversation with guitar legend and pioneer of TWANG, Duane Eddy. If you haven’t heard the first part of the interview, head on back and pick up episode 11 of the podcast and check it out. As I mentioned last week, he grabbed a guitar off my wall and kept it on his lap the whole time we talked and when the spoirit moved him, he plucked out some examples to illustrate his point. What you’re hearing is an electric guitar unamplified, and very casual! This week we pick the story up after he’s had some hits and we get into his further series of twangy records, how he got into the blues, working on major soundtracks and a classic country record he made in Nashville in the 60’s, "Twang a Country Song" and his reverence for the great steel player Buddy Emmons. It was such an honour to have Duane Eddy drop by and I hope you enjoy the episode. Be sure to subscribe to the podcast on iTunes!

Biographie : http://www.radiocountryfamily.info/doc/Bio-wc.edgar.pdf Originaire de l’ Iowa,( USA ) WC Edgar auteur-compositeur-interprète a commencé à se faire un nom en tant que musicien en jouant de la Steel Guitar pour Alan Jackson, Tim McGraw, Dale Watson, Ty England, Marty Haggard, Leroy Van Dyke, Jeff Carson, BB Watson, Johnny Lee et bien d'autres artistes. Il dit : " J’adore la musique country et j'ai décidé de jouer de la Steel Guitar, car c’est un bel instrument, en quelque sorte l’âme de la Country Music. J’apprécie la musique de Buddy Emmons et celle de Don Helms qui jouait pour Hank Williams. Comme Buck Owens j’ai voulu sortir du monde rural et aller tenter ma chance à Nashville.’’

Bienvenidos a Country Music la Aventura Americana a nuestra nueva temporada coen un mes donde nos a dejado Lynn Anderson y Buddy Emmons donde los recordaremos en nuestros primeros minutos tambien estara Marivi Yubero que nos hablara del concierto realizado por Read Beard el pasado 23 de julio en Madrid tambien recordaremos a The Everly Brothers como siempre con un poco de todo GRACIAS A TODOS

Greg Leisz is prolific, to say the least. For decades, the Southern California-based multi-instrumentalist has been a go-to guitarist and pedal steel player for musicians such as Eric Clapton, Buddy Miller, John Mayer, Bill Frisell, k.d. lang, Robert Plant and others. Leisz recently contributed a track to the wonderful Big E: A Salute to Steel Guitarist Buddy Emmons. On this week's podcast, we talk to him about the tune he performed on the tribute record (“Wild Mountain Thyme”), the impact Emmons' playing had on his own music education, his gear of choice and more.  In early 2014, Leisz will be the subject of a lengthy Fretboard Journal magazine feature, penned by producer and singer-songwriter Joe Henry. As always, subscribe if you'd like to get that issue delivered to your home. We have a lot more pedal steel and steel guitar coverage in the works, too.