was Mooney's playing a defining Bakersfield Sound trait? (

Teddy Ray Bullard II · Post by **Teddy Ray Bullard II** » 5 Apr 2013 9:50 am

did he play on all the wynn stewart and buck owens records?

chas smith R.I.P. · Post by **chas smith R.I.P.** » 5 Apr 2013 9:54 am

Yes. Way back, Wynn told him that they needed to come up with something that would set them apart, so he came up with the "bouncing" style that became the Bakersfield sound. When I asked him about it, he said, "I was just doing my job." Which I thought was profoundly modest.

Joey Ace · Post by **Joey Ace** » 5 Apr 2013 10:10 am

Ralph Mooney's playing is considered the defining sound of the Wynn Stewart recordings, but there were many other Steelers who recorded with Wynn.

The info below is from an old post by Doc Rickles:

Starting in Feb 1954 Recordings
1 Ralph Eugene Mooney
2 Carl Pouncey (Carl West)1958- 59
3 Ralph Mooney 59-65
4 Jimmie Collins OCT 66-67
5 Ralph Mooney Jan 68-70
6 LLoyd Green 71
7 Mooney 72-73
8 No Steel on cuts in 74 (recordings)
9 Stuart Basore April 75
10 Sept 7 1976 Russ Hicks overdub on Sing a Sad Song,Its Such a Pretty World
11 Sonny Garrish 1977
12 James Millard Vest 1978 (Big Jim Vest)
13 Junior Boyer 69 Demo
14Ralph on most others

Alvis "Buck" Owens played guitar on many of his earlier records. Merle played guitar on some of them,and Clarence White
on some of them.

Moon also wrote Crazy Arms and Fallin for You

chris ivey · Post by **chris ivey** » 5 Apr 2013 10:38 am

as for it being a defining trait of the bakersfield sound, probably. especially due to the 59-65 era with wynn, which was a hot time for country and merle and buck. it was a popular sound and , as such, became another main tool in all steel players boxes. as much as the licks were a style, the tone ralph created set it apart. much of the tone he got during the waylon years was just incredible.

chris ivey · Post by **chris ivey** » 5 Apr 2013 10:43 am

tone, tone, tone...
ralph mooney, john hughey, buddy emmons...

of course you all will want to expand this list, and rightfully so, but you can't deny these pioneers.

chris ivey · Post by **chris ivey** » 5 Apr 2013 11:03 am

oh man..tell me to shut up and go away. you know how your mind goes on a bender and you have to hijack a decent thread? sorry. i'm done after this.

lloyd g., rusty y., tom b., and curly.

their unique tone sets them all apart...making them very special. you could tell who was playing after just a couple of notes!

ok....jaydee too, of course.

chas smith R.I.P. · Post by **chas smith R.I.P.** » 5 Apr 2013 1:45 pm

Merle played guitar on some of them

My understanding was, Merle played bass and the story I heard was, apparently Wynn had some "alcohol issues" and Merle was singing, Sing A Sad Song, when there was a Label guy in the audience. Wynn gave the ok for Merle to record, Sing A Sad Song, and the rest is history.

Donny Hinson · Post by **Donny Hinson** » 5 Apr 2013 5:57 pm

I think Moon's playing with Wynn was certainly important, but it wasn't everything as far as the "Bakersfield sound" was concerned. There were other singers, like Johnny and Jonie Mosby, Tommy Collins, and Buck Owens. There were other steelers, like Fuzzy Owen, Jay McDonald, and Dusty Rhodes. And lastly, there were the lead players, like the aforementioned Buck and Don, along with others. Bakersfield music was a big movement, a genre unto itself. And much like British rock, you can't say it all came from one person or group, or even a few. Dozens of artists and musicians were contributing to the sound that railed against the oohs, aahs, and polished strings of Gnashville pop.

Paul Norman (RIP) · Post by **Paul Norman (RIP)** » 6 Apr 2013 4:05 am

Part of Mooney's different sound was tuning. He had a modified E tuning. You can practice his beat all you want to, but with a regular E9 tuning it will not sound like Mooney.

Joey Ace · Post by **Joey Ace** » 6 Apr 2013 5:32 am

Nobody will sound exactly like Moon, no matter what their tuning, but it is possible to get so close, with standard E9, that I can't tell the difference.

These clips I shot of Al Brisco prove the point:

On a vintage Fender 400:
https://www.youtube.com/watch?v=gSWzeh7uYgU

On a Modern ETS:
https://www.youtube.com/watch?v=pvC_CCApEG4

Lee Baucum · Post by **Lee Baucum** » 6 Apr 2013 5:36 am

Don't forget this one, Joey:

Click Here

Ransom Beers · Post by **Ransom Beers** » 6 Apr 2013 6:22 am

http://youtu.be/SK9ukhOtKiI

Donny Hinson · Post by **Donny Hinson** » 6 Apr 2013 10:55 am

Paul Norman wrote:Part of Mooney's different sound was tuning. He had a modified E tuning. You can practice his beat all you want to, but with a regular E9 tuning it will not sound like Mooney.

I think that's a rather common misconception. Some players automatically assume that if they can't do something with a particular tuning, that nobody else can, either. Probably 98% of everything Moon ever did, from the start of his career to the end of his career, is right there on a standard 3+2 E9th.