Das Mischpult SILVESTRIS – Ein Vollröhren-Mischpult für ... - EMSP

Abschlußbericht Mixed Signal Baugruppen 2008/9 Mischpult SILVESTRIS (Teil 1) Einführung
So when he called you for the Comeback Special, was that something you did happily?
“Yes, well there again, after he came out of the Army he was still doing a lot of movies, and I had a
recording studio in Nashville; D.J. here was living there, too, doing sessions. So when he called us to
do the – well, it wasn’t the Comeback Special, it was the Christmas Show originally – it was fine, it
really was. He was just like he was in the very early days; he asked us to come out to his house and
have dinner. And for all his fans over here, I’d like to let them know that he called D.J. and me aside
then and asked us if we’d be interested in doing a European tour. We told him we sure would, and
he said, ‘Well, I really want to do one.’ Of course it never happened, but he definitely wanted to do it.
“The only reason I can imagine is – again, going back to the management and the bottom line –
that he went into the Vegas thing. But I’ve heard him quoted as saying that one of the reasons he
didn’t come was because they didn’t have a venue large enough, because people would want to
come from all over Europe. But I don’t quite buy that. I think something big could have been found –
a cow pasture or something like that!”
Of your own playing with Elvis, what were your favourite, most memorable things?
“Well, I don’t really have a personal favourite. There’s so many things that after we recorded them we
never played them again. And if I had to play them today, I’d have to get off in a room with a record
player, probably for a couple of hours and learn them.”
But when you hear some of the songs, you must think, ‘That really worked; yes I’m glad that I had that
bit of inspiration there’?
“I suppose I’ve been kind of labeled with the Mystery Train riff…”
Hören Sie hierzu von der Begleit-CD:
Track 46: Elvis Presley Mystery Train 1955
Did you invent that? Was it just out of thin air?
“Yes. Of course it’s faster than the Junior Parker version. I never tried to copy those guitar players, but I
tried to steal it and kind of change it a little bit”
You play with a thumb pick and fingers, don’t you?
“On a lot of the stuff. But I was kind of forced into that because it was only bass and guitar and I was
trying to do as much rhythm as I could, but stab a few notes in here and there to make it sound like
there was more than there really was. But the thumb and fingers was not where my head was at,
really, even though I was a great Chet Atkins fan, and Merle Travis and all those guys. But gosh, I was
listening to everybody, jazz guitarists like Tal Farlow…”
I suppose your playing is kind of country, but with a jazz sound.
“Well, I always thought I was just trying to be abstract, in some form or fashion, just trying to get
something different. I always looked for the sounds; whether it was musically correct or not didn’t
bother me, but it had to have a certain sound to it.”
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