Interview with Junior Knight

On the Road with LeAnn Rimes

by Sam Swan -- February-March, 1997

I've always admired Junior's playing and was very excited about interviewing him. I spoke with Junior and his family a couple times on the road with LeAnn Rimes and by phone. I had a great time touring the bus and hearing Junior talk about his life. As a way of introducing Junior to you, I asked several people close to him about their relationship with Junior and what they feel about his playing ... Here is what a few of them had to say:

Lloyd Green:

"...I trust you are enjoying ... the musical adventure you are on ... Since I know you are playing to large audiences, thank goodness they'll get to hear how the steel should sound and be played. There are few, if any, players on the road who are the quality player of you and John Hughey. Play what you feel emotionally and I guarantee that the people listening will be equally moved. ... It encourages me that the steel won't disappear when just 1 or 2 players of your caliber, who look at playing the steel as an art form rather than something to just play notes and chords, keep that legacy alive. Kindest regards, Lloyd Green." (Used with Lloyd's permission; taken from 2/28/97 letter from Lloyd to Junior).

Jeff Newman:

"Junior Knight is one of the very few natural players I have ever met. There are many players who can play as well, but very few like Junior who can play at whatever level is required. Most pedal steel players practice and memorize everything they do. Junior can hear it one time and know exactly what to play without ever having to work it out. He knows his guitar, maybe better than anyone in the business. I sat in a jam session once with Junior Knight and saw him come up with songs out of the past which no one had ever heard, or could even remotely remember. I think Junior has a photographic memory for tunes. He has never heard one he can't play and recall in an instant. That is a rare thing to have. Another odd thing about him is that he always plays just as good as he has to. If the standard of playing is not all that high, he doesn't push the envelope. If he is thrown in with a bunch of monster players he can respond with brilliant and creative playing. I don't think anyone can know how good he may be, he has never been thrown into a situation in which he was outgunned. And, on that point, we must say that Junior does not compete with any player. He is just ... Junior. He doesn't have to compete. He knows what he can do and he delivers it with ease. It is his style and it is tough to beat. It is always ... the melody. Junior knows the melody to every song ever written. He can hum it, play it, and tell you who wrote it. I hate people like that. Junior always has something to say, and it is worth listening to. That sums it up pretty well. I think most people who know Junior Knight's playing feel that way. He is the consummate pro. There are no wasted notes. Junior was invited to play the last June Jam here in Lebanon, Tennessee, in 1996. He was the only 'out-of-Nashville' player to be invited. Everyone on the jam agreed: he was quite capable and always offered something new and interesting to every set. Like I said, Junior always plays just as much as he needs to. That's sort of a lazy man's approach, if you ask me. Just one time, I would like to see him blow everybody off the stage. But he won't, he doesn't think like that either."

Maurice Anderson:

"Junior Knight is one of those rare individuals whose exceptional character is at the same high level as that of his playing ability. I have had the privilege of sharing music with him over the years. I have always admired and appreciated his musical ability, humility, honesty, and dignity."

Bud Carter:

"I've known Junior Knight for many years. I've seen him grow from a 14-year-old good guitar player to a monster musician: great guitar player, very good bass player, and super steel player. Even as a very young guitar player, you could hear the musicianship in his playing. Junior always has had the ability to play what was needed when it was needed ... and anything he wanted to when he had to. There are lots of good players around; however, there is an ingredient in Junior's playing which sets him apart from other players. That is something that just cannot be bought, copied, or even taught ... some may call it 'touch' or 'feel' ... I call it 'heart'. Whatever you call it, his playing is a signature of his expression and interpretation of the tune being played. Junior has his own style and plays it very well. Throughout the years, we have played at various times on the same bandstand and I have enjoyed a great friendship with Junior and his wonderful family."

John Hughey:

"I've known Junior for over 25 years. He's a great player and person. The first place we met was at Dewey Groom's Longhorn Ballroom, while I was working with Conway Twitty and Junior was in the house band. A few years later, Junior said he'd been so scared that he could hardly play. However, it did NOT show in his playing. Junior didn't know that I was just as nervous ... I'd not yet been around any great steel players ... 'Junior, I love you, brother; hope to see you soon.' Your friend, John Hughey."

Tommy Morrell:

"... Some guys play okay guitar and real good steel. Some play real good guitar and okay steel. But, Junior ... he is real, real good on both. As good as I've heard. Not only country, but jazz and blues, as well. How do I know? I remember when his dad used to drag him around to the clubs and tried to make us let him sit in, plus I've played with him (guitar and steel) on many jobs for many years. He's always done a first-class job, no matter what. Can you ask more of a musician? I think not!"

Gary Hogue and Marty Stuart:

"It only goes to show you that if you hang in there long enough, good things will come your way for people who deserve it ... and Junior Knight is one of those people."

Charlie Norris:

"... I have had the honor of producing 10 albums [of Junior's]. Junior is a musician's musician. He can go into any studio and supply backup on steel, guitar, bass, banjo, mandolin, and even ... vocals and dobro. Junior can enhance any singer or band by doing any of these, never copying anybody's style. What comes out is ... Junior Knight and nobody else.... He can put strings on a frying pan and make it sound good. Junior ... can strike up a conversation with anybody and make it clear that he cares. If you want an honest answer, ask him. If you don't, Junior will not force his ideas on anybody...."

THE INTERVIEW WITH JUNIOR KNIGHT:

How did the road job with LeAnn Rimes come about?

Well, I'll give you the shorter version. The longer version may be more interesting but it'd be another article in itself. I first met LeAnn around 1990 while I was playing with the Mesquite Opry on Saturdays (and the Mesquite Rodeo on Fridays). She was only about 7, but even then it was clear that she had a special talent and gift which attracted people to her. When her career began to take off, the regular steel player, Milo Deering, didn't want to be on the road so much. I was offered the job. My wife, Saran, knew this was what I'd always wanted and I never thought really existed. She encouraged me to take the job, which we consider to be a God-given gift. On July 22, 1996, I took the job.

What has the experience being on the road with LeAnn Rimes been like?

Hectic, but great. LeAnn's father, Wilbur Rimes, is her co-manager and co-producer. There's no drinking and no drugs anywhere on the tour, and it's definitely a "clean" act. The band, "Blue Country", is made up of wonderful people who are a pleasure to be around.

Who else is in LeAnn's "Blue Country" band?

Jerry Matheny, lead guitar; Glen Fleming (our newest member), acoustic guitar; Fred Gleber, drums; Curtis Randall, bass; and Kelly Glenn, keyboard.

LeAnn Rimes recently has been on the David Letterman and Jay Leno shows, the Grand Ole Opry, Rosie O'Donnell, Prime Time Country, American Music Awards, and 48 Hours. Were you nervous?

Actually, not at all. And I don't want to sound cocky or overconfident, but the band had already played together for many, many hours by that point.

How many people live on this tour bus and what is it like to live on?

About 12-14. As you can tell, it's cozy -- probably like living on a submarine. We're a close group and it's been our second home for several months now. Wilbur has ordered another custom bus which will give us more room.

What do you like best and least about being on the road?

Best: is getting to play with such talented musicians and getting to know them on a personal level. They truly are like family to me. In fact, I even feel comfortable bringing my daughters along on the bus when they want to go on part of a tour. And it's nice getting to travel and see new things and places, which I wouldn't normally get to see. Except I'm always wanting to stop and look, but our schedule doesn't allow much sightseeing.
Least: being away from my family. We're a very close, Christian family, and I miss them a lot. I know I have my family's full support in this, but sometimes that doesn't make things any easier. It's tougher than I'd imagined.

Which steels have you played over the years?

Several of each of these: MSA, MCI, Mullen, Zum, Emmons, and Carter.

What do you play now?

I have two Carters. I use my burgundy D-10 Carter on the road. My other Carter is a black D-10, with dual George L's E-66 pickups.

What is the deciding factor for you in selecting a steel?

From the time I first played my Black MCI, which was a previous Bud Carter design, I have always compared every guitar with it. Even to this day, I still compare every guitar to my old MCI ... it played so well. I like the Carter I play now even better than my MCI. It plays better and it sustains and sustains and sustains! And I almost never have to tune my Carter. The folks at Carter Steel Guitars (Bud, John, and Ann) have been fabulous over the years ... and their encouragement and support is very much appreciated.

I understand that LeAnn is cutting another album and using her road band instead of studio musicians. Did you mike an amp or go direct through the board? What effects did you use?

Yes, we've cut 6 songs so far and hope to finish the album in June. For the studio setup, I used my Peavey ProFex II which fed directly into the board. That way I still felt I had a little control. On 1 or 2 songs, I used a little stereo chorus, but most of the steel parts were recorded with just a little reverb, 3-band EQ, and delay. Very basic stuff.

How does this differ from your stage setup?

My ProFex is used on stage, also, except it's fed into a Peavey DPC 1000 power amp which feeds 2 custom speaker cabinets (by Pacific Woodworks), each containing a Peavey 15" Black Widow 1502. It's a nice system. For practice, I use a Peavey Vegas 400 or a Session.

What parts of your musical experience have you found humorous or inspiring?

Inspiring Moment:
An 8-year-old girl backstage wanted everyone's autograph. I signed her paper, as I usually do, "God Bless You, Junior Knight" and she was overjoyed, as she had been with each autograph she received. That little girl looked up at me and in an adoring voice said "God bless you, too."

1 out of 2:
My 2 goals were to have an opportunity to play with Ernest Tubb and on the Grand Ole Opry. In the early '80's, Lynn Owsley called to ask me to fill in for him playing with Ernest Tubb for a week. Without even thinking, I said, "Yes!" But, alas, Dewey Groom would not let me leave the Longhorn Ballroom to go play with Ernest Tubb. Ernest passed away soon after. So, technically I guess I did achieve both of my childhood goals: I've played with LeAnn on the Grand Ole Opry, and, of course, I did have the "opportunity" to play with Ernest Tubb (I just didn't get to!).

Funny now, not then:
Until about February of 1997, I actually could not find one particular lick in "Blue". Finally, I asked Milo Deering to show me the lick. Milo replied, "Really? I stole those licks from you!" And, so Milo showed me my own lick ... now, I finally can play "Blue" "right". Thanks, Milo, sometimes we need reminders of what we already know!

Getting fired by Ray Price:
When I was 19, I went on the road with Ray. After 6 months, he found out I could not read music and he fired me right away. Now, thanks to Jeff Newman, I do read tablature!

Do you read music?

I use the Nashville Number System mainly, especially to learn new songs. But I can see the advantage in learning to read music. It would be time well spent.

What led to your decision to take up steel in the first place?

When I was 7 years old, I got into music when my dad bought me a used acoustic Gibson for $45 at a pawn shop. I still play that guitar at church, by the way. My dad was very supportive and the driving force behind me in my desire to be a good lead guitarist and then a good bass player. I took up steel in 1967, when I was 17 years old, I bought my first steel, a used 8-string Fender, which I kept at the side of the bandstand and played on slow or easy songs. When my dad heard me play steel, he said: "Son, the good Lord might have cut you out to be a steel player but He didn't sew you up that way." That is, my steel playing "sucked" as far as he was concerned! That is what made me determined to be a good steel player! I teased him: "I'm going to make you eat those words." What's sad is before he could hear me play steel professionally, he passed away in 1969 ... and that was one of THE turning points, a "deciding moment", in my life.

Who were the, say 6, most influential steel players in your life and why?

Richie Dell:
My dad liked this guy. Richie had a BIG effect on me at the age of 12. I was just a "snotty-nosed boy playing lead guitar on TOP of everybody " in the Van Ray & the Western All Stars band. Even when the steel player, Richie Dell, was playing, I played right along with him. One day he looked at me and said "Punk, I handle the intros and endings. I'll tell you when to play." That's how I learned how to play lead guitar the correct way. I played with this band for 7 years.

Bud Carter:
Was and still is my mentor and friend. The friendship and closeness we have shared over the last 30 or so years is something I am very grateful for. I taught myself to play by watching and listening to Bud play. So, when Bud said recently to a mutual friend: "Junior has his own style of playing. He's not too much of a 'copy-bug'. He's the only guy I am aware of who can play fluently on E9 steel and turn around and play exactly the same thing on a Bb setup," that was really something to hear from a guy who I admire so much! Now, as friends, Bud and I share something very special ... including a friendship that has lasted many, many years.

Maurice Anderson:
Was and still is an idol to me. I learned to play steel by listening to and watching Reece play. Also, I played his Bb Universal tuning for years and have been very fortunate to have him nearby to learn from. I was very honored to have him pay me the compliments he did in Tom Bradshaw's Steel Guitarist when he wrote something similar to what John Hughey had told me years before.

Lloyd Green:
always admired Lloyd's clarity and exceptionally fine, soulful playing, which is a direct input from his God-given talent and has inspired me greatly. Lloyd is a one-of-a-kind player and a tremendous person.

Buddy Emmons:
I was inspired by his approach on the slower music he played in the '60's. Also, I love his high-energy playing.

John Hughey:
Here's something I will never forget: In 1972, when I was 22 years old, I had been playing at the Longhorn Ballroom for about 6 months when Conway Twitty was booked into the club. I was playing one day and happened to glance to the left of the bandstand railing to see John Hughey standing there watching me play ... and that " shook me up quite a bit!" As the bands were switching, John Hughey said to me: " I really enjoyed your playing. How do you get so many chords, Western Swing, out of that E9 tuning?" I told him: " Thank you very much for the compliment. The reason I get all those chords out of the E9 tuning is because it is NOT an E9 tuning. It's Maurice Anderson's Bb Universal tuning." Then, John Hughey said to me: " I've never heard anybody get an E9 sound like that out of a Bb, jazz, tuning." I'll carry that with me to my grave. It made me feel really special! That is the neatest thing that ever happened to me, considering myself a nobody in my early 20's, and having this come out of nowhere ... I was totally unprepared for it ... it definitely caught me completely by surprise.

You worked at the Longhorn Ballroom in Dallas, Texas, for over 10 years. What was that like?

I have many fond memories of the Longhorn. It was owned by my father-in-law, Dewey Groom, who means a whole lot to me. I was even married there to his daughter, Saran, with whom I now have 2 lovely daughters, Shannon & Shelby. I have also have 2 grown sons from a previous marriage, Hayden and Michael. I worked 5 nights/week with various bands, playing Western Swing and top 40, and had the chance to back up many name acts.

Besides LeAnn, who else have you been on the road with?

Ray Price (lead guitar), Wynn Stewart (bass & front man), Tony Douglas (steel), and Gary Stewart (steel).

What kinds of session work have you done?

From 1975-85, I was considered the "low man on the totem pole " for doing sessions and I was still doing 4 to 5 sessions a week, sometimes 4 sessions a day! My session work in which I often played both steel and lead guitar on 85 or so gospel albums, included a gospel album with Hee Haw's Lulu Roman. I played steel on Tony Douglas' album "Thank You for Touching My Life ". I did a demo session with Jerry Abbott, on which I played rhythm and steel. This demo with Abbott, who wrote the song itself, was called "Play Together Again, Again " and we worked real hard on it. The steel track alone took 3 hours! Anyway, it was sent to Buck Owens, who flew down to Pantego Records here in Texas and recorded his voice on our track! Then they played that tape on Hee Haw! I was like a kid watching his favorite cartoon when I saw that on T.V. When Buck recorded this on a record, his band even used all of our ideas ... making it sound like "Together Again ". I also did a number of commercials, on which I usually played both steel and lead, including Dairy Queen, Pearl Beer (a Texas beer), and one with Charley Pride for Blue Cross/Blue Shield. I even appeared on an episode of the TV show, "Dallas ".

Speaking of Dallas, in addition to the Texas Steel Guitar Jamboree, what other steel guitar shows have you played?

Let's see, I've played at several, including Scotty's St. Louis Convention, Jeff Newman's June Jam in Lebanon, TN, Stoney's Smoky Mountain Jamboree in Knoxville, TN, Ronnie's Steel Guitar Show in Hot Springs, AR, Tim's Cajun Classic in Hammond, LA, and the Oklahoma Steel Guitar Convention.

Congratulations on your latest T.S.G.A. awards. What were they?

Yes. I was so surprised ... again! On March 9, 1997, in addition to the President's Award, I was inducted into the Texas Steel Guitar Hall of Fame. I am deeply honored to receive such a prestigious award. I was also named Player of the Year in 1985 and 1991. I want to thank everyone associated with the T.S.G.A. for their support over the years, particularly Charlie Norris.

Any closing comments?

I would like to thank all the people who have supported me throughout my career, especially my family. I just got back from our 3-week Australian tour and I missed my family a great deal. Long trips and long distances: it's just part of the game. A special thanks to all the steel players who come out to visit with me while I'm on tour -- I really enjoy "talking shop " with them. Thanks again to all those who've helped and supported me along the way! God bless you all!

Reprinted with Permission from Steel Guitar World Magazine
Volume 6, Issue 32, 1997

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