Fourteen Carat Mind Fills?

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

My 70 year old brain is having a hard time figuring out the chorus fills to Fourteen Carat Mind. Can anyone shed some light?

The fills in question happen around 00:59 and 02:09

https://www.youtube.com/watch?v=vofIZBgnyoA&ab_channel=GeneWatson-Topic
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 54 years and still counting.

Bobby Hearn · From: Henrietta, Tx

If my 53 year old brain remembers without sitting at my guitar, if playing key of F, I think going to the 5(C) on fret 20 strings 4 & 5, then to fret 15 pedals down, then fret 13 pedals down, then fret 11 A/F then strings 5&6 w/A pedal, then slide to 12, then 13 for the 6m. I think. Lol
Btw, when sliding up to 6m, strike strings 5&8 at fret 11 with A/F and let off F lever as you slide to fret 12 to 13.

Bobby Hearn · From: Henrietta, Tx

Richard, after sitting down at guitar, it’s fret 20 pedals up, 18 pu, 15 pd, 13 pd, 11 A/F, then you can either hit 5&6 W/A pedal and walk to fret 13, or 5&8 A/F. Not sure if that’s how Sonny played it but it works for me. Hope that helps.
Also you can start at 15th fret with strings 3&4 but I think 4&5 at 20 sounded more authentic to the record to me.

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Thanks. I'll check it out.
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 54 years and still counting.

Tiny Olson · From: Mohawk River Valley, Upstate NY

Richard & Bobby: Hope you folks are well.

I was in the control room at the studio when the song was cut. For the part you're talking about Sonny stacked the fill (which he did often). So what you're trying to emulate is actually two parts. I never asked Sonny how he played parts on Gene's recordings as I liked figuring them out for myself. Stupid pride and a young man's confidence I guess. Sonny is one of the nicest, most sincere people you could ever meet and would share anything. I have super high regard for him as a person and a musician.

To imitate the stacked parts while playing shows in those days I often used a two-finger grip alternating with the thumb to add the extra harmony note on top. Sometimes I'd play the original part the first time through the passage but then the "stacked" part the second time through. It depended on the song and the mood.

Regarding the "kick' to the 6m chord at the end of the lick it should be the 12th fret to the 13th fret in the key of F with the A pedal. If you notice, the electric bass (Joe Allen on the session) hits notes C# to D going into the 6m. To match that you want the one fret move up to the 6m. Otherwise, you're on the right track.

There are several ways or positions, strings, pedals to get the exact same notes. Use whatever is comfortable for you.

Hope this helps. I'm using my almost 70 yr old brain so who knows ??!!

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

Tiny... Thanks for chiming in. I got to meet Sonny in 1983 when my band was in Nashville for the 1983 Seagram's 7 International Battle of the Bands finals (which we won). One of the prizes for winning our regional contest was getting to record a 45 at a studio in Nashville. We recorded a great little 4/4 shuffle that our guitar player wrote. I did the intro, turnaround (solo), and ending. When we were done, the producer or engineer (not sure which one) came into the studio and asked if I could play my parts EXACTLY the same way again. I said "yes. I play it the same every time we perform it." So, I'm thinking "was I out of tune?", "did I screw up?". Turns out that Sonny was in the control room for a session he had after ours. He wanted to see how it sounded double tracked. After recording the 2nd time, Sonny came in the studio, introduced himself, and explained the whole theory behind double tracking. Because we had a girl singer, I had to learn a bunch of his stuff on Judds songs as well as many others. Meeting him was one of the steel guitar highlights of my life.
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 54 years and still counting.

Ron Funk · From: Ballwin, Missouri

Hi Tiny

Thanks for your Posts on The Forum and valuable insights.

Your playing live behind Gene Watson is some of the best (fullest) tone Ever.

Glad there’ll still available on YouTube

Best regards
Ron

Richard Sinkler · From: aka: Rusty Strings -- Missoula, Montana

I gave to agree with Ron 100%. Tiny is awesome.
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Carter D10 8p/8k, Dekley S10 3p/4k C6 setup,Regal RD40 Dobro, Recording King Professional Dobro, NV400, NV112,Ibanez Gio guitar, Epiphone SG Special (open D slide guitar) . Playing for 54 years and still counting.

John Macy · From: Rockport TX/Denver CO

Sonny was a huge influence on me (I own his Emmons that he used on 14 Carat)and I got very adept at double tracking back then. I used Sonny on some of the sessions I produced, and at the end of the day I would collect the charts and kept noticing someone writing key lyrics on their chart to play something to reinforce the words-it was Sonny! And what a sweet and humble cat, too.
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John Macy
Rockport, TX
Engineer/Producer/Steel Guitar

Tiny Olson · From: Mohawk River Valley, Upstate NY

Richard and Ron... Thanks for your kind words guys !! That's a cool story Richard. And John Macy is spot on about Sonny's charts and the kind of person he is. I remember that Emmons of which you speak well John... Satin Rosewood with Black wood-neck inserts. I think Sonny had 9 & 6 on it back then.

In late '82 Gene started using us, The Farewell Party Band on all his recordings. We worked the songs up from demo tapes at the sessions, writing our own chord charts just like the A-Team guys did. I stacked a lot of parts, following Sonny's footsteps. The producer, Russ Reeder (Gene's manager back then) would give me just one shot at it. I had to get it right the first time or move on. They were trying to keep recording costs down as much as possible. I was determined though !! Sometimes I stacked a harmony part then had to try to duplicate that when out doing live shows. Doing those recordings was a blast. I absolutely loved it. Getting to watch and hear Lloyd then Sonny and the rest of the great A-Team players on the sessions prior to doing the recordings myself is one of my greatest memories from the music business. What a learning experience as well!!

Sonny's recording prowess speaks for itself. A stupendous musician and (like John said) a cool and humble cat !!

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