And until the record came out, I didnt even see the producer until after I finished the session. It has a deep, full body sound, with amazing resonance. If you think about that era, I was in the mid-Sixties conundrum generation where you had a generation gap and a draft. Greg Leisz (born September 18, 1949) is an American guitarist, plays lap and pedal steel guitar, guitar, mandolin, bass and Dobro. My friend Brian Blade played drums on it. They did two version of that song. He was doing a record with her. If you take a look at the music recorded in the last 30 years, theres a good chance youll come across the name Greg Leisz. I didnt meet Taylor or either one of the people from the Civil Wars. He was inspired to pick up the pedal steel after hearing Sneaky Pete Kleinow and Buddy Emmons. Theres so many little things that happen when you make records. [Laughs] He was like, Heres this carrot. And its interesting to me that youd think of that. Hundreds of pages of practice, instruction, and reference materials for E9 pedal steel. Going back here, can you talk about playing with the Smashing Pumpkins on Mellon Collie and the Infinite Sadness? Alot of T-Bone Burnett records have Greg playing steel. Copyright 2023 Penske Business Media, LLC. I worked on a bunch of stuff with her, including a bunch of stuff that was never released when she got dropped from Warner Bros. To jump ahead, youre on Right on Time on Car Wheels on a Gravel Road. Leisz grew up in the garage band culture of mid-1960s Southern California. Lets start with Roxette and their hit It Must Have Been Love. My understanding is he uses a '66 bolt-on push/pull for most of his studio work. Sometimes you just kind of go, Why did they pay me the money? Once you start using the low C# tuning on the lap steel, you have completely different instrument than an 8 string tuned to G E C A G E C A. While he was mixing, he had a conversation with her and she said, Theres a song in there called Right in Time. When we recorded it, I wanted to have a 12-string guitar go through the whole song, but they talked me out of it.. No matter who I play with, I try to integrate what Im doing with what Im hearing. She wanted something focused on every song. It complements it so well. Up to an additional 30% off shop-wideEnjoy weekend savings on Fender, Gretsch, and moreShop now, View similar gear from other sellers on Reverb. I knew right then it was all up to me. You probably know the history. Does he mostly play E9? There are so many great recordings with him playing, and listeners have plenty to treat themselves to. Honestly, though, I hardly play it as I've been really focusing on C6 (and E6). I just went in and overdubbed on one song. Nonesuch Records 2001 . Leisz has an amazing ability to generate sounds that the pedal steel isnt usually associated with. He basically gave me a banjo. I play on two songs [Not to Blame and Borderline] on that record. Its crazy. Its actually playing really specific and dedicated, punctuated lines, which is what they were looking for. He spent time at the Ashgrove, the Troubador, and clubs on the Sunset Strip . He came back and I said, Want to hear it? He goes, Later, but Ive got another song. And then they put on this Gene Clark song Through the Morning, Through the Night. I did that and I just put it together with the engineer.
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