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Country Music Hall of Fame salutes Lloyd Green
By Ron Wynn, rwynn@nashvillecitypaper.com
February 17, 2006

Lloyd Green might be the most recognizable steel guitarist in country music history. He’s played on some 116 No. 1 hits, his signature, piercing sound featured on chart-topping songs from Faron Young, Charley Pride, Gene Watson, Don Williams, George Jones, Hank Snow and Ronnie Milsap among many others. He’s played on more than 10,000 sessions and been a key presence in Nashville recording since his arrival in 1957.

What: Nashville Cats: Salute to Session Player Lloyd Green
When: 2 p.m. Saturday
Where: The Country Music Hall of Fame and Museum, 222 Fifth Ave. S.
Cost: Free with museum admission ($16.95 adults, $8.95 children six to 17)
Info: 416-2001
Saturday the Country Music Hall of Fame and Museum is recognizing his achievements with “Nashville Cats: Salute to Session Player Lloyd Green.” Things begin with a 2 p.m. discussion at the Museum’s Ford Theater, followed by a 3:15 autograph session at the Museum Store.

“It’s a nice prestigious thing for me, but I’m happier about the fact that this may be the opening bell for more recognition of session players,” Green said. “There’s been a tendency to forget about the people who played on all the great country sessions. More instrumentalists should be acknowledged for what they’ve done behind the singers, and this might help get things started in that direction.”

From the mid-’60s on through the ’70s and into the ’80s, numerous classic country singles featured Green’s backing, breaks, riffs and solos. He remembers when things in the studios weren’t quite as polished or formal.

“There was no pre-set plan usually about what we were going to cut in those days,” Green said. “A singer or producer could have a raw demo, rather than a mastered demo like they have today. A singer would sit there and sing the song. The musicians knew the system (a musical numbering system for the Nashville studios) and after one or two run-throughs, then we’d decide who’s doing the intros, the backgrounds, and all that type of thing. We’d usually do three or four songs straight like that.

“The producers’ job then wasn’t quite like it is now. Today they make music in a more corporate fashion, with a formula that they don’t want you to deviate from very much.”

While he was an exceptional country session player, Green’s musical range also extended into other styles such as jazz and rock. The list of other great players he’s worked with includes Paul McCartney, the Byrds, Chet Atkins and Earl Klugh, and he pays special tribute to McCartney.

“Paul McCartney and Ricky Skaggs are the two musicians that I’ve worked that are true multi-talents,” Green said. “They are great players, fine singers, and they can conceptualize and organize in the studio. I haven’t met many people who can do it all, but those are two guys that really embody versatility and talent.”

Though he admits a fondness and preference for the classic country sound, Green pays homage to Alan Jackson, who he feels would be a star in any era.

“When we did ‘Remember When’ I thought I was only going to do maybe a chorus or two, or perhaps a solo. But Alan told me, no, I got you because I wanted the Lloyd Green sound and I played on the whole track.

“Alan Jackson would be a great country singer in the ’50s or ’60s, just like he is today, because he’s someone that really lives and loves the music. He’s one person that you can recognize immediately whenever you hear his songs. I can’t say that about everybody I hear today.”

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NASHVILLE CATS SALUTE SESSION PLAYER LLOYD GREEN
With its several pedals, thigh-operated levers and variety of tunings, the pedal steel guitar might just be the most difficult-to-play instrument going. Lloyd Green plays it as well as anyone ever has. During the ’60s and ’70s, Green was a Nashville Cat of the highest rank: he graced Johnny Paycheck’s wacked-out Little Darlin’ sides with a swelling and ominous twang that kept pace with the singer’s intense vocalizing. He also contributed to The Byrds’ landmark country-rock album Sweetheart of the Rodeo and played on Tammy Wynette’s “D-I-V-O-R-C-E” and countless other country classics. Green even had hits of his own, including an instrumental version of Johnny Nash’s “I Can See Clearly Now” in 1973. Now, after years away from the studios, Green’s back, offering his skills and apt phrasing to new generations of country acts. Fittingly, he’s the debut artist in the Country Music Hall of Fame’s new interactive series, “Nashville Cats: A Celebration of Music City Session Players.” 2 p.m., Ford Theater, Country Music Hall of Fame & Museum —DAVID CANTWELL

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