Jimmy Day - All Those Years (1977)

the full 'All Those Years' album by the legendary Jimmy Day, released in 1977. transferred from vinyl, pops scratches and all!
Crazy Arms (0:00 - 2:45)
My Shoes Keep Walking Back To You (2:50 - 5:33)
Heartaches By The Number (5:37 - 8:29)
City Lights (8:33 - 11:06)
Pick Me Up On Your Way Down (11:10 - 13:28)
Whiskey River (13:32 - 16:40)
A House Is Not A Home (16:42 - 19:34)
Am I Losing You (19:38 - 22:30)
Lonely Street (22:35 - 26:00)
Heartbreak Avenue (26:04 - 28:52)
Window Up Above (28:56 - 31:07)
Sad Songs & Waltzes (31:11 - 33:43)
liner notes by Buddy Emmons:
I've known Jimmy Day since 1955 and in that length of time we have shared everything from new licks to jobs to ten dollar checks from the musicians union. That's not too unusual when you are speaking in terms of long friendships but it gave me a lot to relate to while listening to the tape copy of this album. It brought to my mind the periods in which these tunes were originally recorded. The jam sessions, road gigs, good times and bad. I don't expect it to touch you in quite the same way but Jimmy's sound is one we all can relate to in one way or another. He makes a slow tune sound like he's just lost someone he loved very much. I've heard it on records and I've heard him in person and it's one of the most touching experiences I've ever known. As for his pedal style, the one thing I can always predict is that it is totally unpredictable. That, along with the incredible feeling he is capable of projecting, sets him apart from any other pedal man I know.
One of my favorites on this album is "When Your House Is Not A Home." When I firts heard the turnaround on the original recording, I flipped to say the least, and would always ask Jimmy to play it for me whenever we had our steels set up. I'm glad to see he included it in this album. It contains all the augmenteds and bar slants plus enough other surprises to make you back up your needle several times. "Lonely Street" is another favorite tastefully done with that unpredictable treatment I spoke of earlier. Take special note of the first bridge. Another side of the coin "Whiskey River," which is indicative of the funkiness Jimmy is capable of.
All in all this album represents a musical trip from Jim Reeves to Willie Nelson, provided by one of the greatest vehicles for expression in the world, the pedal steel guitar, and no one drives that vehicle any better than Jimmy Day.
I just wish he wouldn't call me Bud.

[@laurenbroido9]

I played in a country swing band with him that played every Thursday for about two or three months at Muhlenbrinks Bar on the West End of Nashville in 1977. I stood to his right and he would fall asleep sometimes so I would poke him gently with my Tele and tell him to, "wake up, Jimmy, it's time to play" and he wouldn't miss a beat and then play something to chills up my spine. His playing always felt like mercury to me. Liquid. I knew him as a sweet and gentle man if I can say I knew him at all.

[@larrydering1598]

I was a faithful attendee at Scotty's for 28 years. Seen all the great players. Bought a steel around 86 and began my struggle to play like the pros. Still at it now at 73 and so glad to have witnessed the masters. Bless Jimmy, Buddy, John, Herby, and Scotty's for making this happen.

[@donmarlon5924]

I've been a Jimmy Day fan since about 1957 and saw him in person, along with songwriter and electric-bass player at the time Willie Nelson, in the Ray Price band, at an appearance by Ray in the Baltimore area in 1960 - then again with Ray Price in 1965 in Baltimore. I have several of Jimmy's albums, but this is the first time I've heard this one. Thank you so much for posting it.

[@louislamonte334]

Jimmy Day is the greatest! He's a huge inspiration to me as a pedal steel player!

[@jandeband]

Did he play on jim reeves, highway to nowhere ?

[@t4texastom587]

R. I. P. Jimmy Day

[@countryboywilliams6755]

NOTHING LIKE THAT ''CRYING STEEL''....LOVE IT

[@MarinCipollina]

I could listen to this all day long.

[@johnrussell2874]

The greatest steel album of all time in my opinion. House is not a home is my favorite.

[@blcatlady]

Jimmy Day and his rendition of Coconut Grove sold me on steel guitar music in 1967 or about. Spent 20 years trying to find out who and where the sound was so I could purchase it! Love it to this day!!!

[@wardculver]

One of.the.best

[@davidkellymitchell4747]

One of the best pedal steel albums in my collection. Inspired a lot of musicians.

[@charlesarnold8337]

Beautiful playing !!

[@davidb.simmons9695]

I have this album and have always always loved it. He was my friend Charlie’s favorite pedal steel player.

[@peppers776]

Woohoo!

[@Melvvynfirmager]

Thank you so much for posting this. I have been wanting for so long to hear a Jimmy Day album. Long admired through the years, as with Buddy Emmons. of course. Beautiful subtle playing, smooth controlled, in the best possible way, yet full of emotion. All steel players should gain much from this recording, hearing how it's done..... I personally found the bass guitar a little too obtrusive on the first half. And the bass in the second half just a tad too subtle - (probably upright bass), yet much better. The voices subtly enhancing the recording, thank goodness, as normally at the time they would be overbearing. That's a relief! I will be playing this over and over, and trying to learn what i can of his pedal technique. Oh, and thank you so very much for linking the tracks to the time line, taking so much trouble, so a boon!!! Much appreciated. Hope to hear more Jimmy Day please..........

[@bazookajoethompson3407]

listen to anything on Starlight Records. He was the house Axe for years. Starlight has a website. Armadillo Killer has more ol jukebox 45s than almost anyone out there. Remember... Jimmy set the standard by sheer attrition. Yes- you've heard it before... It was Jimmy.

[@Melvvynfirmager]

@@bazookajoethompson3407 Hi Bazzooka Joe, many thanks for taking the trouble and time. I have hunted for Startlight and found one label in London, another in Italy, and one in New York, none relating to country or Jimmy Day, nor would expect them to. But, wondering could it be you mean Starday Records!? I seem to remember in the distant past knowing there was a connection. I can't land on Starday at this moment, a computer issue, so as wanted to connect with you before i forgot again......

[@bazookajoethompson3407]

@@Melvvynfirmager Yes sir Starday Records Nashville. My auto correct changed what I was writing and I got excited and didn't edit!!! MY BAD. Check out the Armadillo Killer also. Great record collection

[@Docsjeff]

My first steel player was influenced by Day.His steel was set up Day setup not Emmons setup.He played just like Jimmy Day.His name was Jimmy Edwards in Waco Texas. I bought a Mullen Pre-RP from him before he passed.I fronted the band,& like you stated,he would play something so nice that I’d forget the lyrics I was supposed to be singing. He also played a lot like Hughey and Moon. I really miss Jimmy Edwards.He taught me alot about the beer joint and honkytonk scene.

[@jandeband]

AWESOME ❤❤❤

[@archibaldnicol5838]

Still got this on vynll. One of my faves.

[@davidfleishman2275]

Say and listened to Jimmy at Scottys in St.Louis 1977 and 1978.He looked just like on the album cover.

[@MrPatdeeee]

I was there too. And I could not hear enough. Jimmy made a PSG sound; like emotion's vocals in many cases. And why he and Buddy Emmons are the players; that began that "Nashville sound"; regardless what others say. May Jesus rest their precious souls.

[@davidfleishman2275]

@@MrPatdeeee Thanks for the reply.There was something about Jimmy's playing.If you really listened you could hear and feel it.I remember sitting in on the live Emmons album.I think 1978.In 1978 I ordered an Emmons Legrande D10.I got serial number 006L.Sold it many years ago.Wish I didn't.

[@MrPatdeeee]

@@davidfleishman2275 Thanks David for replying. It was '77; where Buddy blew us away; using his "E-Bow" on "Mansion on the Hill" and "Once upon a time in the West". And I was one of the few, that knew he did that. For I was at a Music convention; when he bought two of them. That was in the spring of '77; and Buddy did it first on that '77 convention in St Louis on labor Day holidays. Yes, I bought my first Emmons PSG in '69. It was a Push/Pull; and Black and Silver. Because Buddy loved "Harley Davidson" Motorcycles that were only Black And Silver at that time. So Buddy told Ron Lashley Sr; he wanted his first Push/Pull to be like HD's "Black and Silver" Motorcycles. And that was the first "B and S" PSG ever built, in '65. Again thanks David. May Jesus bless you and yours always.

[@davidfleishman2275]

@@MrPatdeeee Buddy played with the Echo Plex also.Created a great sound.I had a friend that had a Emmons push pull.Had a great sound.It did need some TLC to keep it true.Thanks for the memories In Christ always.

[@johnbuckles3300]

Mr. Smooth, and cool. Love his rendition of whiskey river. You havent heard anything unless you heard him live. Many steel players have been copied, but, ive never ever heard any other steel player that was able to copy this mans style. Now i understand why DAVE RICH said what he did about Jimmys playing. 18:34

[@c.s.mcleod7383]

Buddy Emmons 'Wild Mountain Thyme'!

[@Kan-o-tex]

JD and LDG; that’s steel guitar to me. What a great record.

[@MrPatdeeee]

First: Bud Isaacs ("Slowly" and Web Pierce 1954) tore up 30,000+ Steel Guitar players; all over the world. And we haddah have "that sound". Then a few years later; 2 "Loving Punks" 👨‍🌾🧒 AKA: Jimmy Day and his dearest friend Buddy Emmons; tore those 30,000+ SG players even more. I know, because I was one of 'em. Dadgum "punks"; that can play the FAR out of it; and we caint figger "HOW" in the "Pluperfect Hallelujah" they got that Dadgum "sound." Dadblame 'em. "I'd 'jes luv tah hit 'em; in the middul of thar noses"!. 😛 Not to mention; that "THEY" were the ones that invented; the "Nashville Sound"🎼. Regardless of what ANY one says. And Buddy was the one that "Split" Bud Isaacs' "ONE pedal change; with 2 Pedals changes. And those two pedals are the "Signature Sound" 🎶 of the PSG; to this day. But, Buddy did not tell Jimmy how he setup the pedals. So Buddy's was A and B. With A pulling 2 strings and the B pulling 1 string. So Jimmy reversed (not knowing) the pulls to B and A. And 90% of ALL PSG's have those setups today. So the manufacturers asks how the player wants it before they ship it: "Jimmy Day" setup or "Buddy Emmons setup"?. On researching, before I wrote a book "The Evolution of the Pedal Steel Guitar"; most manufacturers said. "about 80% choose the Emmons Setup"; until this day. I said the above to say this: When they did this, just about EVERY "producer, "director and singer" WANTED that sound 🎵. And in many cases; they would tell their SG player; that they MUST have a PSG and play; "like Jimmy Day and Buddy Emmons! Or you can leave and we will hire someone that CAN do it! (in NO uncertain terms! 😝😈 End of Story. May Jesus bless the souls of Buddy Emmons and Jimmy Day. 😇😇 (Buddy was a dear friend; but I only met Jimmy one time.) But I LOVED both of their playing expertise; but my favorite was Buddy. Who I believe is the Greatest SG; there will ever be. And that includes "those unborn!".👶👶👶👶👶👶An AD-Infinitum! 🤠

[@MarinCipollina]

Thanks for that insightful and informative reply, much appreciated. What did you think of Tom Brumley as a steel man?

[@MrPatdeeee]

@@MarinCipollina Thank you. Tom Brumley was a dear friend also. I rate him; as one of the Greatest PSG players ever. For, he was the "driving force" that put Buck Owens incredible career on top for yrs. For Buck was One of the greatest country singers of all time. For Tom did something way back on Buck's' "Together Again"; that even Buddy Emmons took a note; what Tom did on that classic Song. And MOST SG players did not know how Tom got that awesome "lick". And some thought Tom used a "knee lever". But, as Tom said more than once, "It would have been a real trick; to play that lick using a knee lever; on my Fender PSG. Because it did NOT have any knee Levers! And I was honored; that Tom had told me how he did it, shortly after the recording came out in Miami FL. Yes, it CAN be done with a knee lever; but it doesn't sound like Tom got on the recording. May Jesus rest Tom's precious soul. I shall never forget him. One of the nicest men I ever met. And He gracefully played on my SG convention; in 1997 in Atlanta. He got 5 encores when He played "Together Again"; and when he played "Buckaroos!". The crowd just kept screaming: "More, more and more!". But Tom had to catch a plane; to go back to his home. Thanks kind Sir; for replying to my comment. And may Jesus bless you and yours, always.

[@Melvvynfirmager]

@@MrPatdeeee Ok Pat, been meaning to ask you, and finally got to it. Can you relate how Tom did that lick please. Will understand if the mists of time have blurred!🙂 Many thanks, Melvyn My favourite break is of Paul Franklin with Vince Gill and the Time Jumpes playing Together Again. For me it surpasses everything. Brought to house down at the Station Inn, if I remember rightly.

[@SteelguitarLane]

@@Melvvynfirmager, he dropped from 7 to 6 while adding the B pedal, so the third string stayed constant while dropping the 5th. Modern steels, of course, just drop 5 to A#

[@MrPatdeeee]

@@Melvvynfirmager The "lick" was easy; but nobody had done it. So it knocked us off, trying to do it. OK: most of the strings on E9th; were 3 and 5 on that song. And the song was recorded in the key of C#. Unusual, but it fit Buck Owens musical range; and he often used it. Now the lick: Is pick 3 and 5 string at the 4th fret. AND while they sustained; Tom moved the bar to the 3rd fret. BUT...he raised the 3rd string; so that string would sustain. But the 5th string would drop a half tone at the same time. And THAT makes an unusual G#7th sound. But Tom MADE it so awesome; the song made the song "classic" forever. Believe it or not! It takes a long practice (AND the vol pedal) to get it the song just like Tom did it. Now listen: MANY steel guitar players thought Tom did it; by adding a 5th knee lever that was used; by pushing the knee up. But Tom did NOT do that. And he couldn't...IE: Because Tom's PSG was a Fender 1,000 (with ONLY 2 8 necks and 8 pedals and NO levers). Now however, and many years later, Tom DID do that with his newer Steels. So, when he played it solo the first time; he would play it the first way above. But the next "turn around"; he would use the up Knee D to Db (going down to the 3rd fret). A bit of trivia. I learned how Tom did it, right after the recording came out. For Buck came to Miami, FL and I came to see it; but mostly to see Tom. I was going to ask Tom; how he got that lick. But he said quickly, "Pat you want to know how I got that lick! For SG players all over are asking me". And I'll show you how I got it. And He did it. Wow I will never forget that. Many yrs, I went to see Tom in Brandon, MO at his home. And riding in his truck, I said, "Tom, many SG players are telling me you got that lick with a 5th lever!". And Tom laughed and said, "They tell ME I did it that way too. But my steel had NO knees at all on that guitar!" End of Story. May Jesus rest Tom's precious soul❤.

[@mrpoolplayer6379]

I like Jimmy Day's Pedal Setup very Much. It's a natural movement, whereas the Emmon's Setup requires surgery &/OR time in Grade, to even begin to get used to , IF YOU EVER DO. But, Hey, that's why they make Chocolate & Vanilla... Make mine Jimmy's... Don't get me wrong, Buddy Emmons was better than Great...

[@mickalbeckmusic4292]

Anyone know who the fiddle player is on this? Great playing.

[@rscottmurray]

Tommy Jackson and Buddy Spicher

[@mickalbeckmusic4292]

@@rscottmurrayThank you!