But the excitement died down after listening to a gazillion retakes and overdubs so we borrowed Buddy’s car and went sight seeing. I asked Buddy to show me a lick he’d played on some Price record and he showed me what he remembered of it.īuddy had a session later at the House of Cash and he took us with him, and we got to see a real live Nashville session. Ron dug through a trash heap out back and found one and sent it to Buddy. He really liked the way the guitar sounded, and decided it was because of the changer, so he called Ron Lashley in Burlington and asked if there were any like that lying around the factory. I watched him work on Chuck’s guitar and the first thing he did was chop most of the springs in half. This was in the mid 70’s, shortly after Buddy had moved to Hermitage, just outside of Nashville, from California.īuddy, who was wearing a dark blue Emmons T-shirt, had a project going out in the garage, putting an elbow lever on a guitar. I really didn’t know much about Buddy, but when I found out that was him on so many of those great Ray Price shuffles I became an instant fan.īuddy had a cousin, Chuck Drew, who played a very early Emmons, a black D-10 with no knee levers, and he invited me to go along with him to Nashville to get Buddy to put knee levers on it. At the time I was only familiar with Hal Rugg, from watching the Wilburn Brother on TV, and Lloyd Green, from an album I bought during a late night trip to a grocery store in Indianapolis. A lot of the guys I was picking with had worked with him, and he was a god to them. I played my first steel guitar gigs in the bars around the South Bend/Mishawaka area in Indiana the mid 70’s, and I heard a lot about Buddy Emmons, who grew up there, too.
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