The Cost Of Attaining Successes

[Jim Phelps]

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[Jim Phelps]

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[Bill Hankey]

Chuck,

Thanks for your kind words. I know that I missed a lot of entertainment by not traveling to the RISGA Show last year. It's quite a drive for me from Western Massachusetts. I attended a show back in time at Lucas' Music Store in N. Providence, R.I., when Buddy Emmons was the featured player of the day. J.D. Walters, Scotty, and several excellent steel guitarists provided an afternoon of enjoyment. I know that Doug Beaumier, who resides in Western MA, and always rates high as a crowd pleaser, was in attendance at The RISGA Show. There will be shows to attend in the future, according to reports made by elected individuals of various steel guitar events. Your presence at RISGA, last year, will certainly help to create a wide range of interests; among those who share in the promotion of the steel guitar.
Every precious moment of the lives of those with musical interests, can be enriched; by looking forward to visits such as yours to RISGA.

[Bill Hankey]

The cost of assimilating a twist of originality is rewarding, especially if in acquiring those inexplicable differences, a lifetime of pondering by others fails to reveal the true nature of the riddle. Riddles are created by nothing more than slightly different uniformities in behaviorial practices. Certainly, those who fall in line as is seen in the animal kingdom, may never experience the joys of creating the so-called riddles; that baffle the heads of the classes. I'm sure that first time discoveries have been made by most of this forum's membership. I recall an instance many years ago of discovering a perfect 5 point star at the core of a tree that had been cut for firewood. The rings of growth are the most common markings to prove its age. Unusual discoveries are found unexpectedly, whenever we include exploring new areas in music, crafts, or adventure.

[Charley Wilder]

The two things that stopped me from committment rather than involvement are laziness and a low boredom threshold. I, like one of the other posters, seem to enjoy learning rather than playing the same arrangements over and over. I can't stand to play arrangements period. That is what you have to do to make it. You have to play it just like the record when your band is touring. That would drive me up a wall after about two shows! I think I have the stuff if I was ever to really work at it but I have no regrets. I was lucky enough to play behind a singer for most of my shaky amateur career who didn't give a damn what I played as long as he could hear a bit of melody. Music to me is a way to express myself. It has nothing to do with doing it for a living or making money. I recall reading an interview with Earl Scruggs where speaking about Josh Graves he said something like, "Lester and I never told him what to play. We just let him play what he wanted to and it always sounded good". I'm sure Josh realized how lucky he was!

[Corky Anderson]

This topic has had me thinking all day about success, and I think the truth is everything has a price. I am getting divorced after 25 yrs of Marriage, and yes music had a little to do with it, but I can't really complain too much about my life this far. I quit the road in 92' when my son was little and started doing clubs and sessions around town. I was able to spend almost every day with my little boy. We would just hang out, or go to the park etc. I was able to take my son to Europe last year for three weeks and he got to see Switzerland, Germany, Austria, Holland and Denmark. He got to see just why I do this. I am taking him to Europe again this year for the month of Aug. I didn't plan things to go this way, but am I successful?.....I guess I am. I have been very fortunate that music has been, and still is very good to me. This wonderful contraption we all love so much has taken me to many places, and there's more to come. And I sincerely hope all you guy's find "Success".....whatever that may be for you!!


Carter D-10 NV 1000/400 Lexicon Mx 200

Tele................twin..........boss pedals

[Bill Hankey]

Both replies written by Charles and Robert tend to exemplify contextual significance, by conveying the magnitude of unforeseen changes, that represent the cost of success. The interesting lifestyles of both writers, left me wishing to delve further into the familiar complexities, that touch the lives of many, who have set their goals early in life. Waking up to any unwelcome changes, that summon a new perspective in thinking, could detract from "business as usual" with costly consequences.

[Al Marcus]

Bill-Your Posts on this forum have always been stimulating and thought provoking. This one is a Good example. The players have made many excellent observations in their replies.

Very interesting, and not insignificant, but not surprising to this old veteran of more than 70 years of loving the Steel Gitar and contributing to the advancement of it whenever I can...It is always good to see your posts and thanks for posting again...al.:):)

[Bill Hankey]

Al,

Thanks for the kindness you've shown, and for addressing the efforts of others, with sincere professionalism. After reading your reply, I spent some time reading, and viewing the pages of photos that signify your mastery of the steel guitar. Your awareness of the skills of Alvino Rey, is consistent with a wide range of studies, involving true masters of the steel guitar. The third decade of the twentieth century, according to written reports, yielded an upswing of interests in the raised half round, placed at the "nut" of a standard guitar. Heydays of true masters, including yourself, "Little" Roy Wiggins, Alvino Rey, and Gibson's assigned musicians, were actively pursuing the concept of adapting new methodologies. The 2nd World War, started at the same time that innovators were making great strides in producing the lap steel guitar. After the surrender of Germany in the spring of 1945, and the Pacific surrendering to General Douglas MacArthur in August of 1945, the manufacturing of nonpedal steel guitars moved into full-blown status. Alvino Rey, coat hangers, Multi-Kord brass chains, dominated a short period of experimentation, to be followed by the inception of ideals by one Bud Issacs. Something triggered his insight to focus upon moving from a one chord to a four chord, and a bit of pedal splitting circa 1952. Builders far and wide turned on their heels, to hone in on every aspect of the new concept. After three decades of manufacturers producing the nonpedal steel guitars, Leo Fender moved quickly to produce one of the most stable pedal steel guitars ever manufactured. His Fender 1000 was popularized by the most adept players in the fifties and sixties. The Sho-Bud steel guitar production, managed by Shot Jackson, and Buddy Emmons, produced a multitude of instruments to choose from, after Leo Fender's multitudinous successes in sales of precision instruments. Through all of the manufacturing of quality instruments, including MSA, Emmons, Franklin, Z B, and many more, you've remained true to the instrument as well as the musicians who play them. I wish you the very best in years to come.

[Donny Hinson]

...to be followed by the inception of ideals by one Bud Issacs. Something triggered his insight to focus upon moving from a one chord to a four chord, and a bit of pedal splitting circa 1952.

Bill, begging your indulgence (and hopefully not visaged as one objurgating or aiming to inculpate). As temporal and technical accuracy are essential in the historiography of significant pedal steel occurences, it hehooves me to elucidate slightly, lest the minutia become convoluted. Mr. Isaacs famous "one to a four chord" manipulation was first recorded in November of 1953, and that subsequent recording was released in January of 1954, while the "pedal splitting" contribution was done soon afterward, and accredited to Jimmy Day.

[Bill Hankey]

Donny,

Thanks for pointing out how important the keeping of accurate records has become to the music industry. "Circa", was the key word that should stir the individual with the inquisite mind, to seek further imformation that would translate the very second that ideas materialized in thoughtful minds. The whole matter of accuracies regarding the inception of pedals, in accordance with Winnie's Publication, clearly accredits Alvino Rey as the founder of the concept. Please notice, how carefully I managed to date the war endings, as they were assigned to dates of important recordings. If I could have the pleasure of interviewing Bud Issacs, the narrowing down of events to minutes and seconds, would be assured for posterity. For whatever reason, the manufacturers of fine guitars, chased after pedal and knee lever changes with extreme gusto. Imagine comparing the simplistic, but amazing change that Bud Issacs produced, to the culmination of double twelve steel guitars, equipped with 8 pedals and 10 knee levers. Just as amazing are players who dance on those pedals. Players such as Buzz Evans, and Buddy Emmons, are an absolute joy to observe at close range. Donny, thanks for the wake up call in reference to assigning proper dates to important events.

[Dave Mudgett]

I don't think it matters what field of endeavor you want to talk about - the price of real achievement is focus and sacrifice. There are a lot of ways to factor this, but at some point, one needs to find a way to focus very intensely for a long enough period of time to get it done.

For me, a major challenge has been to avoid cutting such a wide swath of ambition that I get swamped with way more than I can handle. I think I've just had too many things that I've wanted to achieve. IMO, there's a lot of cultural pressure to be all things to all people, and that IS impossible.

I also agree with Bob H. that there are many ways to do this. I think that if one thinks creatively in a disciplined way, it's possible to pick and choose what one sacrifices to a large extent. I have seen a lot more failed relationships or marriages from strenuous Ph.D. programs, college professor tenure struggles, or corporate executive rat races than from focus on music. Most of the problems I've seen in the music biz were lifestyle, not music, issues.

[Charley Wilder]

Well said, Dave!

[Donny Hinson]

In light of what Dave has said about strain put on relationships from outside influences, my view is that any successful relationship is based upom finding that special "someone" who is willing to share you with your passion.

[Dave Mudgett]

Donny - I think that's one way. Another way is to find someone who will share your passion with you. I've seen both work. The best jazz guitar player I know is married to a woman who is probably the best jazz piano player I know. They play together all the time, and it's magic. Of course, there can be pitfalls with this type of arrangement also.

What tends not to work well is a partner who becomes jealous of that passion, to the point where they either consciously or unconsciously sabotage it. That is a common and major problem - at least I see it a lot.

[Del Bonn]

I concur with everything that has been said by those who achieved success and also by those who did not aspire to fame. As for me, it always has been, and still is a most enjoyable hobby. That was why I bought my Eharp in 1945.
Of course, in my youth I played around town in our little string trio, then my life changed and it became a now-and-again hobby. But some of the major changes came from the steel music scene which switched through the years from Hawaiian to popular, to country and gospel, and now culminating in a burst of competitive imitating on elaborate pedals.
If tenacity is one of the chief requisites for success, then personal satisfaction can be attributed to enduring interest. As for me, it's still the same little ole lap steel guitar..only the aging steelist is changed. - Del

[Bill Hankey]

Whenever two gifted writers induge in matters of the heart, the incidentals are swept away, much like the dry fallen leaves of Autumn. Dave M. and Donny H. possess abilities to confront verbally, those deviations from pure logic, by utilizing their inherent writing skills, combined with commanding insights. The preceding articles are intelligible and provide accurate details, leaving no doubt in this readers mind, that their intellectualisms are forces that resolve critical issues. Their authoritative responses have enrichened this forum's purpose to enlighten the joys of playing, and by studying the enigmatic twisting of steel guitar progressiveness.

[Bill Hankey]

Del Bonn,

I enjoyed reading about your faithful adherence to the E Harp that you purchased in 1945. That was a great year, as our military units were heading back to the safety of their homeland. Reading from the photo that you've presented, awakens new interests in the lap steel. There has been a newfound interest in straight steel flourishing here in the Berkshires of late. "Scotty" of the Steel Guitar International Convention is a master on the "Frying Pan" lap steel, and he is known for his expertise throughout the world. His knowledge is a treasure chest of songs ideally suited for the Jerry Byrd style of playing. It would be most difficult to approach the levels of expertise heard in Scotty's, and the late Jerry Byrd's performances. Through a pattern of curiosity, I've delved into the basics of a lap steel. I've learned that various melodies present a variety of advantages and disadvantages that may require serious practice sessions. The fewest contrivances attached to the original steel concept, elucidates the skills of the individual, by way of adaptabilities to difficult prerequisites.

[Gary Glisson]

i'am going to put my two cents in on this subject;
i started playing steel in 1978 , took lessons for 3 + years twice a week at 20.00 a lesson, you do the math. bought the best equipment money can buy, several times played in countless garage bands. finally made it to nashville and played professionally for two years lived it nashville for 4 years no health insurance, no steady work, had some good jobs but lost them for staying home with my steel , 2 bank ruptcey's i have quit playing 4 times during this period for a few years, 54 and no retiarment, and i still can't quit playing the steel guitar everytime i think i've kicked it the steel call's me back
and so i've finnally given in and i'am playining it for the rest off my life
and let me say to all its a good thing and i love the insturment and always will
gary

[Bob Doran]

It seems to me that the only musician marriages that survive full time travel are ones like Paul McCartney's where the spouse (Linda) traveled full time with the partner. Smart lady!
But what happens when you then have kids?
An impossible dilemma.
It also seems like the very successful that attain superstardom are very vulnerable to the old saying by Machiavelli that absolute power corrupts absolutely.
All in all, great success is a double edged sword...
I fell very lucky-my band plays when and if we are in the mood and no more, and just for the love of the music.
Bob

[Bob Doran]

Lord Acton said that about absolute power, not Machiavelli.
Bob