First off, let me say if you only prefer the more traditional approach to steel guitar then let me refer you to many other videos I have and please do not watch the link below. Just so you know that I'm not a total rebel I am working right now on 2 other videos with the tunes "I Can't Stop Loving You" and "I'll Fly Away".
Okay now that the disclaimer is out of the way. As some of you know, I'm on a journey with this pedal steel guitar. I've pushed the envelope since I was kid and recently I have really worked hard to create several different distorted tones. Obviously, the key here is how to attack the strings. It's a fine balance just depending on the effect you are looking for. At any rate, the video here is a bit of my current exploration into some fairly progressive rock and blues. Check it out. Hope you enjoy it just as long as you are open to it.
Stunning!And a delightful listen.Zane,thanks again!
OK,so now I've got my thinking cap on.....I've heard steelers take on this kind of rock/bluesy/slidey/tapping stuff,with this kind of(stellar) result a few times before.Makes me wonder why the rock and roll and blues guys AREN'T ringing steel players' phones off the hook.
Thanks Josh and Nigel for commenting. I appreciate it!
Dave - that is honestly a great question and I'm glad you asked. I'll give my opinion here for what it is worth. First of all, I certainly believe the leading reason we don't see steel guitar being used far beyond Country is simply that in the early years of the development of the instrument (at least the pedal steel) was centered around Nashville. The very inventors of the instrument (again pedal steel) were musicians in Music City, USA. That, of course, still serves as a great foundation for the instrument to this day. Secondly, I think it has to do with what has already been done in past decades. To be very candid, I don't think there have been enough good players in the past who have stepped beyond what was making them a living to really take risks. I get it. I've done the same thing. Plus, many times where pedal steel has been given a chance on a large scale the artists/producers wanted it to sound "vintage" instead of progressive. Thus, we repeat the same cycle. Next, I would say it has to do with technique. To be honest, I don't think any one player has truly perfected a great distorted tone that rivals the electric guitar. However, that's not really necessary. It is its' own thing and that's enough. Then there's economics involved here too. I mean there's not many artists that can afford to have a steel guitarist regardless of how and what they play. As for the future, who knows, it is a strange world these days in sharing music, talent, and invention. The hurdle currently is simply overcoming the stereotype of what has been cast upon the pedal steel. YET, we are still EARLY in the development of this instrument. Shoot, more than half the world of people who actually buy music don't even know what the heck a pedal steel truly is. We are just getting started here.
Zane, I'd have to agree that the instrument has been pidgeon holed because of its history. There have been a few that have been playing rock on PSG like Joe Wright and Sneaky Pete. They haven't really noticed by the mainstream. Heck I didn't even who the FBB were until I was in my 30's ! The steel guitar wasn't noticed as a "rock" instrument until mr. Randolph became noticed. Even at that it's still pretty marginalized by the "hillbilly music" stigma attached to it. The instrument needs some torch-bearers to take it to the mainstream and to MAINSTREET ! Although I prefer those sweet country steel sounds, I'm not against it being used to play blues and rock. I used to play guitar in heavy metal and rock bands.....but you have got me thinking about good distorted tones for PSG . For guitar it centers around a good Seth Lover pickup from a '59 Les Paul and a tweed or deluxe amp (in the studio at least). I would think that the output ohms of a Fender 400 pickup would go better than the super high out put of the modern steel pickup,which is deigned to sound better clean. Maybe a humbucker no wound quite as hot ? Then a good tube overdrive unit or maybe an original or repro TS 808. Well that's my 2 cents of sense. I'm sure someone will chime in and tell me I'm wrong...LOL
It takes a long time for any instrument to break out of its original habitat, and in a world populated with beasts that are centuries old, the steel was only born yesterday.
Also it's hard to make it look hard. All the difficult stuff's in your head and there's not much scope for waving it about or going blue in the face. Even a church organist moves around more. It's tough for the audience to relate what they hear to what they see. How often do the TV cameras catch the start of the solo?
Even newer than the pedal steel, however is the internet, so there's no excuse any more for not knowing all about it.
For myself, I'm only a beginner but already I've got sidetracked from the E9 by the lure of the C6. Now thanks to Zane's inspiration I face getting involved with the drive channel on the amp, which I've managed to leave alone so far!
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs
very nice!!! I love your use of the synchopated rhythm to create the whole tone of this piece. Same for the bass line. Awesome playing!! keys, too!
Bill Fulbright
No Steel - yet (open to receive donation/mercy/pity D-10 - will pay shipping!), Roland FR3X Virtual Accordion, Benedetto Bravo, Eastman T185MX; Gitane DG500M; Ibanez Artcore AF85VLS, Yamaha SY-77, Goodsell Custom 33 hand built amp.
Logic Pro Studio, Adam AX-7 monitors, Omnisphere and Native Instruments plugins.
Skype: william.fulbright
Thanks for the comments guys! I've been thinking this week that maybe I am going to work on a steel guitar specifically designed for more electric guitar type tones. I've got some ideas on what might work. Let me know your thoughts if you have any.
