So many players, that are gone now!

[C Dixon]

Well Pedal Steel Guitar players;

"YouTube" video: came on me this morning: It was about Pete Drake! Thus, I wrote a comment, about him...Here's the video...

https://youtu.be/hYrqU4Yt-kU

Here's the comment...

Pete Drake: took 2 pedals of his "Pedal Steel Guitar"; and brought beautiful tones! But. that tone came: from "Bud Isaacs": of Web Pierce's "Slowly"! And He just bounded: of those 2 pedals. And it set out music; and that NEVER been, EVER in the world...

Thus, Pete new this: so he just made: many Country Singers; wanting in their records. And immediately: Directors, Producers and Singers; wanted Pete's Too. And the records: went out of the sky And made Drake money, money and money. UNTIL...

"Buddy Emmons and Jim Day" came out! With split: of their 1st and 2nd pedals. That gave another new tonal incredible Music, NEVER heard. Then Pete knew that! So he had to do something else. And he did it with: his a (Talkin' with "Electrons"); and that worked a while. But it was NOT enough: to beat because Emmons and Day*, made a Quintessential!...

To Summarize: Pete Drake made more money: of ANY other Pedal Steel Guitar players. But He really did NOT play Guitars good. He just found things: that made New Music; for a while. And then...Jesus rests his Soul: and it's all over, Amen!❤

* Buddy and Jimmy: caused other Pedal Steel Guitar players; But never beating Emmons! For He is the GREATEST Player, Forever. And I praise: Jesus rests his Soul, AMEN!❤
-------------------------------------------------------------
c. Dixon

[scott murray]

all due respect, pretty silly to declare that Pete didn’t “play good” and most players will agree, including Paul Franklin.

I challenge anyone to come up with an intro and turnaround as good as what Pete played on Tammy Wynette’s Apartment #9 which is but one example of hundreds of things Pete played.

some of the greatest producers in Nashville and beyond sought Pete out for his deceptively simple yet absolutely perfect steel parts, with Billy Sherrill right at the top.

he may not be your favorite player, but Pete deserves respect for the parts he played and the role he played in helping so many steel players in their careers.

[C Dixon]

all due respect, pretty silly to declare that Pete didn’t “play good” and most players will agree, including Paul Franklin.

I challenge anyone to come up with an intro and turnaround as good as what Pete played on Tammy Wynette’s Apartment #9 which is but one example of hundreds of things Pete played.

some of the greatest producers in Nashville and beyond sought Pete out for his deceptively simple yet absolutely perfect steel parts, with Billy Sherrill right at the top.

he may not be your favorite player, but Pete deserves respect for the parts he played and the role he played in helping so many steel players in their careers.

Dear Scott Murray,

If you had been back: in the Great Steel Guitar Players times; you would say something like this...

"Drake" couldn't play even: "Steel Guitar Rag"; if asked to in St Louis Convention; where Scotty begged Pete to play that Song. And begged over again. But He would NOT play it!!!

And untold Steel Guitar Players: were laughing all over the Auditorium! And saying, "He can't even the Steel Guitars"! Thus, I was there and doing Scotties recording: all of most of the players.

Now I hate for Pete Drake: after he's gone; because he had untold records. But the truth, "He can't play good; like all the others"! Sorry and rest in his soul. AMEN!

c. Dixon

[Jerry Overstreet]

Greetings Mr. Carl. I sincerely hope you are doing well.
I have kept up with your posts concerning your health and goings on as of the last few years and I'm glad to see you active here again.

Concerning Pete Drake though, with no disrespect intended, I have to disagree with your statement that he didn't play well. I guess everybody has a different idea of what "well" is though and that's your privilege.

It also depends on the era that one comes to being influenced by the instrument. In my case hearing Pete on Dylan's Lay Lady Lay, and on Gary Stewart's She's Acting single, I mean his work there, among many others, was very inspiring to me.

Re: Refusing to play Steel Guitar Rag, I doubt that he wasn't able to play it, he likely just didn't want to. It's a tune that I decline to play myself most of the time I get a request and substitute something that I personally like to play better.

I hope we can agree to disagree as I have the utmost respect for you and your involvement with steel guitar shows and I know you have a genuine love for the instrument. Wishing you all the best.

[scott murray]

I'm well aware of Pete's limitations in comparison to other players, but there's a reason he was called to play on so many records and it wasn't just because he was a nice guy.

I'd love to hear your rendition of Pete's intro to Apartment #9, but even if you learn it note for note it's not a part you or any other player would have ever invented... it is uniquely Pete Drake.

Pete was known for adding a temporary change to his guitar in the studio in order to add something truly one-of-a-kind to any given record he was on. I don't think there's too many other players who added that kind of personal touch and special attention in the studio.

Pete made a wonderful career with the pedal steel and played some truly legendary parts that will be copied as long as steel guitars are being played. that's something that can only be said of a handful of players.

[scott murray]

Re: Refusing to play Steel Guitar Rag, I doubt that he wasn't able to play it, he likely just didn't want to. It's a tune that I decline to play myself most of the time I get a request and substitute something that I personally like to play better.

I have no interest in playing Steel Guitar Rag either. it seems like the only request I ever get other than Sleepwalk which I don't mind as much, but I will refuse to play SGR

[Rick Campbell]

I'm with Scott Murray, and Jerry Overstreet 100% on Pete Drake. He played on some of the biggest hits in country music, and the one that many consider to be the greatest country song of all time: "He Stopped Loving Her Today". Billy Sherrill was producing the biggest artist and biggest hits in Nashville. He could have chosen any player he wanted. Obviously, he wanted Pete. Supposedly, Billy said something about Pete being the best player in Nashville for playing what the song needed and not get in the way of the singer.

In the studio, you're there to make the singer sound good so they will sell records. Hot steel licks are for instrumental albums and steel shows. The playing has to fit the song, not compete with the singer. Pete was obviously good at that.

Yeah, I understand that other steel players want to hear hot, fast licks, etc.... but that's not what makes hit records. The great fiddler Scotty Stoneman said: "If you're only playing to please other musicians, you'll starve to death".

As for playing SGR. I don't blame him for not playing it. SGR, Sleepwalk, that Hawaiian Wedding Song, and a few others..... I've heard enough to do me for a long time. LOL

RC

[Chris Templeton]

I had a lesson with Weldon Myrick and he invited me to a session that resulted in the "Slide" record/tape, honoring Pete Drake.
The players who recorded were, Jimmy Crawford, Paul Franklin, Lloyd Green, Weldon Myrick, Hal Rugg, Bill West, John Hughey, Doyle Grisham, Jeff Newman & Larry Sasser and produced by Pete.
Pete was sitting at the mixing board with an oxygen tank.
That was a session I'll never forget and inspires me to this day.

[Franklin]

Pete Drake never played at Scotty's steel show...Pete attended only once with an oxygen tank and wheel chair. I know this because Jeff Newman and I prompted Pete to attend the year he was being inducted into the SGHOF...Something for players to consider... the steel parts Pete played on Lynn Anderson's "Rose Garden" require as much technical proficiency to play as "Steel Guitar Rag" does and he easily created and nailed those parts....Pete was a "Creative" musician and never approached the songs trying to impress steel players with how much or what he could play...Pete was always looking for an emotional hook that would sell the song...

Buddy and Jimmy split the pedals first when Pete lived in Atlanta...Day and Emmons ruled the earliest 50's period recordings because of the genius split pedal concept and their mastery of the volume pedal and bar slants...There were none better.

Then in the late 50's Elvis happened so steels and fiddles were being dropped from Country songs for a more Rock sounding edge...Then Pete Drake entered the studios in the early 60's playing C6th (Not E9th) on Carl and Pearl Butlers "Don't Let Me Crossover" (A massive Across The Board Hit) for a fresh steel sound on recordings.. His "For Pete's Sake" instrumental was the Opry theme until the late 90's....Pete found that new C6 sound that would popularize the use of steel over this 3 or 4 year period 60- 64...the C6 brought Pete to the studio forefront and the steel back in vogue and his work with Dylan cemented the "hip" factor...By the mid 60's Pete, Lloyd, Weldon, and Hal became the cornerstones and really got the ball rolling stylistically during my favorite traditional Country period ...Day moved to Texas with Willie and Buddy moved to LA playing bass with Roger Miller and worked on some incredibly well received recordings. In Nashville between the mid 60's thru mid 70's Pete, Lloyd, Weldon, & Hal did the bulk of the work. Brumley, Mooney, Jay Dee, all were carving a huge path of creativity know as "The Bakersfield" sound...There are always notable successes that should be acknowledged in any region like Curly's work with Lefty, Hank Thompson. And Walter Haynes, Bobby Garrett, & Ben Keith, Sonny Garrish w Bill Anderson, Buddy Charlton, and a few others I may have left out....during that same mid 60's to mid 70's period.

Pete's focus was to advance his musicianship into all types of recordings....Pete was a brilliant musician, check out Dylan, Elvis, George Harrison, Ringo, Brenda Lee, and on and on...He also helped so many fellow artists get their chance on the world stage...Pete hooked up Ben Keith w Neil Young when he got the call and the rest is history...Pete hired me on my first Nashville sessions...Got Chalker signed to Columbia and produced "Big Hits..." Signed David Alan Coe, Linda Hargrove (Cowriter On Tennessee Whiskey) There is so much more....Here's the thing, Nobody gets that far as an average musician.

[Earl Briggs]

Very Well Said, Paul,My same Thoughts Also. Earl B.

[Rick Campbell]

Thank you Paul. That's a good summary of the steel guitar activities of that era. It's my favorite time of traditional country as well. The music of that time seemed to beg for steel guitar, and the players you mentioned certainly filled the bill, as you have in the more recent years.

I guess that story about Pete refusing to play SGR at St. Louis must have been one of those urban legend stories of steel guitar. I thought it sounded a little weird. Thanks for the info.

There's other stories floating around about people secretly changing fretboards and copedants as a prank. I never took them seriously. Messing with someone's guitar, and complicating their playing efforts, is not something that I think anyone would do. People like to spread amusing stories like this, but most of them are without proof.

RC

[Chris Templeton]

Thanks for the summary, Paul.
Aside from Scotty's '81 on, I'd hear you and Brent Mason at the Hall Of Fam Motor Inn.
I remember Phil Baugh playing there as well.

[C Dixon]

Well, this September 09, 2025: I put this on the "Gone Home"! And I could not find it. So I went almost "Board Index": and putting on this "Steel Guitar Topics, And this is having many Posts. Thanks steel Guitar players. I Love it...

Keep it going for the fun with me. And may Jesus Bless you and Yours, AMEN!

c. Dixon

[J D Sauser]

I’m so glad to see my—may I say “old”—friend Carl Dixon posting here again!

Carl is now well over 90 and was personally acquainted with legends like Jerry Byrd and many others. He’s been part of the steel guitar world for over 80 years and truly "was there" back in the days.

I believe what Carl is alluding to is that, while Pete Drake was a successful producer and a prominent figure in the Nashville country music scene, he may not be regarded—at least among some steel players—as being on the same creative or technical level as top-tier players of his era like Buddy Emmons, Lloyd Green, John Hughey, Doug Jernigan, and others.
To this day, I don’t personally know anyone who has modeled their playing after Pete Drake. That’s not to deny his success or contribution, but rather to distinguish between his impact as a musician versus his influence as an executive and producer.

Buddy Emmons told us here a story about Drake asking him into his studio for what turned out to be a request to show Pete Drake how to play an intro or solo to a new tune he was to play on. According to Buddy, there wasn’t much appreciation shown afterward. Others have echoed similar experiences, suggesting that Pete—being a Music Row executive—may have felt entitled to such "favors," even when he didn’t offer credit in return. Understandably, that left some session players and road musicians with mixed feelings.

While Buddy Emmons told the story without overt disrespect, one could read between the lines that he didn’t hold Pete Drake in especially high regard as either a player or a person. Carl Dixon—who deeply admires Buddy Emmons—likely shares that view, and I respect that.
At Carl’s age (way beyond Thumper's age *), with his wealth of personal experience and a lifetime dedicated to the steel guitar, I believe he’s earned the right to share his honest perspective.

That said, Pete Drake did play on some major hits, often in a style that suited the songs very well. He clearly had good musical taste and some technical ability. But much of what made him stand out was “novelty” material—like the “talking steel guitar” effect using a plastic tube, which had actually been pioneered by Alvino Rey some 20 years earlier. Drake also recorded some “Steel Guitar” albums featuring mostly basic pedal work and what could be described as "modern steel sounds" for that era.
Would Starday Records have featured him so prominently if he hadn’t also been a Music Row insider? It’s a fair question.

Similarly, we could ask: did Don Helms play great? Most of Hank Williams Sr.’s studio work featured Jerry Byrd, not Helms. Still, Don is undeniably a historic figure in the steel guitar world—arguably more influential than Drake. I know I started by playing along to Hank Williams records, learning both Helms’ and Byrd’s licks. I also believe Helms composed many of his solos himself, which speaks to his influence. But again, was his playing truly "great"? That’s a legitimate and open question.


... J-D.
* Thumper the puppy bunny in Disney's "Bambi" being reminded by his mom: "If you can't say something nice, better say nothing at all"

[C Dixon]

Hi, to my awesome friend "J D Sauser",

I'm 93 yrs now: and next April 5; it will be 94 yrs. And I love it. And I believe into Jesus: to His verses...Matthew 22:36 Master, which is the great commandment in the law? Matthew 22:37 Jesus said unto him, Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy mind.

Matthew 22:38 This is the first and great commandment. Matthew 22:39 And the second is like unto it, Thou shalt love thy neighbour as thyself. Matthew 22:40 On these two commandments hang all the law and the prophets.

So, I obeyed of those: last 10 yrs ago. And I prayed: Jesus in...John 3:15 That whosoever believeth in him (Jesus) shall not perish (to Hell), but have "Eternal Life". (Thus, my life now is "Joy-filled and Happiness": every day! And I Love every one day: and Pray Jesus every day!

And J D...know that I love you; to the "NTH" degree's AMEN!

patDee and my DixieDee

[J D Sauser]

Hi, to my awesome friend "J D Sauser",

I'm 93 yrs now: and next April 5; it will be 94 yrs. And I love it. And I believe into Jesus: to His verses...Matthew 22:36 Master, which is the great commandment in the law? Matthew 22:37 Jesus said unto him, Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy mind.

Matthew 22:38 This is the first and great commandment. Matthew 22:39 And the second is like unto it, Thou shalt love thy neighbour as thyself. Matthew 22:40 On these two commandments hang all the law and the prophets.

So, I obeyed of those: last 10 yrs ago. And I prayed: Jesus in...John 3:15 That whosoever believeth in him (Jesus) shall not perish (to Hell), but have "Eternal Life". (Thus, my life now is "Joy-filled and Happiness": every day! And I Love every one day: and Pray Jesus every day!

And J D...know that I love you; to the "NTH" degree's AMEN!

patDee and my DixieDee

We love you too, Carl.
Keep on rockin'!




Many (many!) years ago — back when the forum still looked like a dark blue forest of posts and replies — I was a freshly minted (and very proud) legal resident in the USA.
One day, I posted something that, in my mind, was perfectly harmless. Unfortunately, what I thought I wrote and what I actually wrote must have been two very different things. As Victor Borge would’ve said: “It’s YOUR language, I’m just trying to use it!”
Anyway, I somehow managed to ruffle the feathers of a very famous steel guitar player — whose name, I must confess, didn’t mean much to me at the time (because it wasn’t "Buddy Emmons", "Jerry Byrd", or "Speedy West"). A few flame thrower bearing forum regulars let me know exactly how they felt talking back to "So'n'So"… and one kind soul even suggested I should just “be quiet.”
That was their misfortune, though, because another gentleman — whom I didn’t know then but later became good friends with — jumped in with a stirring reminder about why Americans fought wars for freedoms like free speech. From the historical times and the age that invokes, all can have a pretty good guess who that gentleman may be.
In hindsight, it was all rather funny, and a little humbling. I later realized just how famous that steel player was, grew a lot of admiration for him, bought and studied his course, and now often mention him in my analyses and I understand, we don't want to upset the ones which can share so much with us!
So, to that great player thank you for the lessons and all you've been sharing (As Patton screamed at Rommel's battlefield "I Read Your Book!" ), the music, and for being part of one of my earliest “Welcome to America” moments on the forum.

Respect to two great Gentlemen.

... J-D.

[Gary Hoetker]

Of all the great ones, I probably connected more with Pete emotionally.