Speaking of James Burton....

[Roger Rettig]

Here's James with Jonathan Edwards - gotta love JB's nut-bend harmonics!!

I don't think any other player has influenced me as much as James,

https://www.youtube.com/watch?v=vCnm6lISXjc

[Fred Treece]

That song is probably the first time I ever heard that bend technique taken to such a level. And of course I had to try it! I also remember seeing Ricky Skaggs on ACL when Ray Flacke was still with him, and Ray pulled one up a full 4th, released back to the 2nd and ended it by pulling back up to the major 3rd. I think it was on Heartbroke. I was all, “What the WHAT!”. It was on regular TV at the time so no rewinding and watching again to confirm what I thought I must have only imagined.

James Burton was certainly a game changer for country guitar. Once you heard him play, you never thought of it quite the same again.

I also had forgotten what a great singer was Jonathan Edwards. I was a fan back in the early 70’s. This one features his excellent range. Cool song.

[Roger Rettig]

I have come to see James Burton as the most influential Telecaster player of all time.

Jimmy Bryant predates him, but Bryant - while he was a busy studio player - didn't get the exposure that Burton got. James' associations with absolute top-line acts meant that we not only saw him (Ozzie & Harriet), but we heard him on the chart frequently.

Rick(y) Nelson, Bob Luman, Emmylou, Jerry Lee, Haggard and Owens (in the studio) and, of course, Elvis.

He was innovative, accomplished and inventive - and he got all the very best gigs.

I agree, Fred: once you'd heard him, it influenced how you approached the Fender Telecaster.

[Joachim Kettner]

He was also in the charts (playing finger-dobro).
It was on John Phillip's Mississippi.
Do it to me James!

[Per Berner]

I agree, Roger. There are many awesome players out there, but no one quite as tasteful as James Burton. He's like the Lloyd Green of regular guitars – both can play anyone's socks off blindfolded and handcuffed (exaggerating ever so slightly), but rarely see the need to show off, always opting to play exactly what's right for the song. Just listen to his work on Emmylou's Blue Kentucky Girl album – mostly very simple lines, but absolutely perfectly executed, could not be bettered.

[Roger Rettig]

I won't forget seeing James for the first time.

Emmylou was appearing at the New Victoria in London and a bunch of my friends asked me to book the tickets. I believe there may have been a dozen in our little party.

These were very close friends or family, so I was happy to lay out the money on their behalf, the plan being that they'd reimburse me on the night.

The night was November 15th, 1975. It's a noteworthy date in London's musical calendar because it was Burton's first-ever UK appearance. It was a Saturday night - every guitar-player in town, it seemed, had declared himself 'unavailable due to prior commitments'. At least one guy whom I had asked to sub for me had said: 'Sorry - I'm already working.' I saw him in the foyer and we exchanged embarrassed glances.

We had seats in the front row of the gallery. Taking our places, my friends enthusiastically pressed the requiste sums of mony in my hands.

Then the show started. Opening was solo performer, Louden Wainwright 111. Now, my group were predominantly country music fans and ALL of us had fallen under Burton's spell from the first time we'd heard him on 'Susie Q'. Loudon, bless him, was a bit of a let-down. They pretended to glare at me as if I was responsible for the support act! In a pantomime, I was passing their money back to them and much merriment ensued.

Then came intermission; Emmy's guitar-tech (I now assume that was the irrepressible Maple Briny; I toured alongside E and the Hot Band a few years later) started to prepare the stage.

================== IMPORTANT SUB-PLOT============================
NB: There was constant doubt about Burton's availability for these dates. Presley had first-call on his services. Much anxiety - like a cloud - hung over us all.
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Then, out came the Paisley Telecaster. I was able to pronounce:

'James is here!!'

The first two song in her set are seared in my memory!! She open with a driving 'Cash on the Barrelhead' then, with barely a pause, Hank DeVito hit the opened licks to 'You're Still on My Mind' on his PP Emmons. It was pure excitement and, as the vocal started, extra money was thrust into my hands as my friends added a bonus to what they owed me!


Emmylou captured the feel of the night during her band introductions. She name-checked Rodney Crowell, John Ware, Emory Gordy, Hank DeVito and, when it was time for her lead-guitarist, she just said:

'You all know more about this guy than you do about me!!!' The rapturous cheering went on for what seem like minutes.

A great night of music. At last, I'd watched James Burton play!

Fast-forward a few months and Gerry Hogan and I met at the stage door of the Hammersmith Odeon. Another Emmylou date, but we wanted to talk to the guys - JB and Hank. We watched sound-check then ventured onto the stage. Gerry spoke at length with Hank while I bent Burton's ear. They seemed to appreciate the fact that we were players ourselves. I asked if I could try James' Tele.......

"Why, of course!" I got to try the fabled Paisley Telecaster (through a then-new MusicMan 210x100 combo). Then I asked:
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Edited: thanks, Fred Treece, for correcting me!! I got the song-title wrong.
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"Who plays the top line on "Amarillo"?" They were still 'getting off' on playing it, clearly, because JB said: 'Hank!!! 'Amarillo'!!'

They demo-ed the intro right there in front of us! The whole encounter was a magic 30 minutes in my life, indeed. I can't claim to know James Burton, but he was approachable and very kind to me.

Happy memories. James is My Hero.

[Jerry Overstreet]

Cool story Roger. Thanks for sharing that experience with those icons. I was a big fan of James Burton's playing back in the day way before I even knew who he was.

[Joachim Kettner]

Was Loudon to humorous for their British sense of humour, Roger?

[Roger Rettig]

Not at all.
.he sounded ragged and somewhat unprofessional.

[Joachim Kettner]

But it's not always about perfection I believe

[Roger Rettig]

Of course it isn't (although, to be honest, it is for me), but he was in the wrong company that night.

I don't have to tell you, I imagine, but I can't take Bob Dylan at any price, despite his intelligent lyrics.

I di feel you're diverting this thread.

[Per Berner]

I can't take Bob Dylan at any price, despite his intelligent lyrics. .

At least Dylan is a much better singer than a harmonica player

[Joachim Kettner]

I hope this is not diverting the topic again, Roger
This record cover was signed by him.

[Fred Treece]

That’s pretty cool, Joachim!

[Jim Fogle]

Look at how small Emmylou's name is in the photo. Joachim that is a cool photo of a cool record cover with a picture of a cool guy and the autograph of a wonderful guitar player.

[J Fletcher]

The two Gram Parsons records , GP and Grievous Angel , are my favourite James Burton recordings . My favourite Emmy Lou too ! Two great LPs . Love that guitar solo on "Streets of Baltimore ".

[Per Berner]

The two Gram Parsons records , GP and Grievous Angel , are my favourite James Burton recordings . My favourite Emmy Lou too ! Two great LPs . Love that guitar solo on "Streets of Baltimore ".

...too bad that Gram Parsons ruin them both with his "singing".

[Fred Treece]

Gram Parsons had a vocal quality and delivery that could make you feel what he was singing about - which is the whole point of singing. The band on those two solo albums was a perfect match. James Burton was a very busy man in the recording industry at the time, and he had the Vegas gig with that Presley guy, so he didn’t join up with just anybody. Gram and Emmylou were magic.

[Joachim Kettner]

+1 Fred!