Jerry Byrd Hi-Fi album review in 1994 Vintage Guitar Magazin

Jack Byrd · From: Kalamazoo, Michigan

The following review of Jerry's Hi-Fi album appeared in the Spotlight column of the 1994 Vintage Guitar Magazine and was written by Jim Hillman.I ran across it today doing some reasearch on my brother and thought maybe some may have never seen this article.

If I wanted to I could really make this month's “SPOTLIGHT” column very brief. For instance, I could write, "Jerry Byrd is a STEEL GUITAR GOD. Everything he plays is done so tastefully, so impeccably, with exquisite touch and tone. (He could play the phone book and make it sound terrific.) This record is no exception. If you don't have a copy--- you should!" However, I don't think that kind of “SPOTLIGHT” would suffice for regular readers of this column. And of course, that kind of “SPOTLIGHT,” although in my opinion, accurate, wouldn't adequately do justice to a Steel Guitar Hall of Fame Member and one of the all-time greats of the steel guitar.

During the 1940's and into the 1950's Jerry was THE steel guitar player and appeared on an impressive number of swing, pop, country, and Hawaiian records. He backed pop artists like Patti Page, Rosemary Clooney and Guy Mitchell. And country artists like George Morgan, Red Foley, and Hank Williams. And singing cowboy Rex Allen. He was a member of a terrific group of players called “The County All-Stars” which include Chet Adkins, “Jethro” Bums (mandolin), "Homer” Haynes, George Barnes, Dale Potter (fiddle) and others. (The Country All Stars played some very hot versions of swing, jazz and pop tunes.) And of course, he recorded under his own name. (One of Jerry's recordings, “Steelin' the Blues”, from circa 1949 on Mercury single 6175, has become a steel guitar standard/classic. This great tune features a big vocal from singing cowboy Rex Allen.) Jerry could (and still can) coax an absolutely amazing variety of sounds from his straight steel guitar. (His extensive use of radical bar slants, pushed straight steel guitar technique significantly forward. I'd listened to Jerry for a while before I discovered that he played a straight steel. Not a pedal guitar.) His silky smooth attack as well as his total mastery of touch and tone gives his music a signature sound. Or as Chet Adkins describes it, "Unquestionably some of the prettiest music on the steel or any other instrument."

Starting in 1937 and continuing well into the 1960's (at least), Jerry was a Rickenbacher/Rickenbacker steel devotee. He played pre-war Bakelite B6 (6 string) and Bakelite B7 (7-string) lap steel models (with chrome plates) for many years. Check out the cover of Hi-Fi Guitar and you'll see Jerry holding a 7-string model. (I'm still blown away by the incredible tone/big sound he got out of these little things!) During the late 1950's Jerry was the company's highest profile steel guitar endorser. And based on Jerry's design/input, Rickenbacker produced and marketed Jerry Byrd Model console steel guitars.

Jerry is an acknowledged master/expert on Hawaiian music. (He currently lives in Hawaii.) Some of his earliest influences were Hawaiian style players and through the years, many of his albums have featured Hawaiian music. Some of these LP's included Nani Hawaii (Mercury 10" LP MG 25077), Hawaiian Beach Party (RCA LP LPM 1687), Byrd of Paradise (Monument LP SM14003), and Burning SandsIPearly Shells (Monument LP SLP 18081). Released in about 1958, Hi-Fi Guitar features a variety of songs-most of which showcases Jerry's non-Hawaiian side. And these tunes cover everything from waltzes to Hawaiian style to uptempo “movers” to blues to Latin-flavored. (Now that's variety!) And as a bonus, this album features an all star supporting cast of standard 6-string guitar pickers; Grady Martin and Hank Garland. (If that lineup doesn't interest you, you're definitely reading the wrong column!)

“The One Rose (That's Left In My Heart)” is the opening track on Hi-Fi Guitar-and is a great way to introduce those of you who haven't heard Jerry, to his “big, buttery tone.” This is a nice delicate song featuring some fine harmonics. “Steelin' the Blues” is a very fine instrumental version of Jerry's 1949 Mercury recording. Jerry makes great use of his volume control to get a cool “wah-wah” effect. This tune also features a nice bluesy guitar solo from Grady Martin. “Come A Little Closer” is a fine, slow ballad. Once again the trademark Byrd touch and tone is the highlight of this one.

Wrapping up Side one and leading of Side two are two “killers”: “Slippery Elm” and “Memphis Blues”. These two cuts are my personal favorites. “Slippery Elm” (written by Jerry and fellow steeler Walter Haynes) is an exceptional “mover” Jerry works the melody expertly and effortlessly. (Boy does he “glide” on this one! What tone!) And if that isn't enough, this tune features and unbelievable guitar solo from Hank Garland -- one my all time favorites by Hank. This solo defines “TOTALLY HAPPENIN” for me. It's like a mini composition. It's got a beginning, a middle and an end. It starts off really cookin' and when you think Hank is going to wrap it up, he pulls out an ultra cool run that really turns the whole thing around. Then he perfectly turns it back over to Jerry. Jerry ends this one with some ultra tasty harmonics. “Memphis Blues” gets a very lively treatment. Jerry rides this one all the way from start to finish. And there's some cool "chugging" electric guitar backing provided by Grady and Hank on this one.

“Remington Ride” (co-written by, I believe, Herb Remington and Hank Penny) is a fine version of another steel guitar classic. This one moves along briskly. “Dance of the Goldenrod” features some very subtle and tasty work from both Jerry and Hank Garland. They make this melody sound sophisticated, yet still charmingly simple. Jerry employs more fine harmonies and harmonies on this one and Hank Garland contributes a nice guitar interlude as well. Jerry couldn't do an album without at least one Hawaiian -flavored tune and “The Moon of Manakoora” is included. A shimmering treatment of this very melodic song shows why Jerry is a master of Hawaiian music.

Rick Collins · From: Claremont , CA USA

I didn't think that anyone liked Jerry's playing as much as myself; but this writer comes close.

Rick

Ray Montee · From: Portland, Oregon (deceased)

An excellent contribution Jack. THank you!

Charles Beshears · From: Leesburg, AL, USA

I have that Hi Fi Album.Bought it when
it first came out. Nothing compares.
The album Admirable Byrd is the second
best! He is the master of the steel guitar.
Charles Beshears

Jussi Huhtakangas · From: Helsinki, Finland

Jim Hilmar is a great guy, he KNOWS his stuff. He's done similar spotlight reviews on Bud Isaacs, Speedy West, Buddy's "Steel Guitar Jazz" and others. Not to mention all the articles about six stringers.
Hi-Fi Guitar, of course, is a must have.

Tele · From: Andy W. - Wolfenbuettel, Germany

..and he also did a great review on you my friend

Andy

Jussi Huhtakangas · From: Helsinki, Finland

Tele, well then I guess everyone has his weak moments,even Jim

Dave Zirbel · From: Sebastopol, CA USA

Out of my thirty something steel records(both pedal and non pedal), Hi-Fi Steel Guitar is my all time favorite. In my opinion, it's the definition of steel. DZ

[This message was edited by Dave Zirbel on 11 January 2002 at 02:38 AM.]

Don Walters · From: Saskatchewan Canada

The One Rose was playing when I proposed to my first (and only

) wife in 1958!

Ray Montee · From: Portland, Oregon (deceased)

If I'm in error, please correct me, but I do believe that Jerry uses the TONE CONTROL to make that signature "Wah-Wah" affect, rather than the volume control as stated above?

Jack Byrd · From: Kalamazoo, Michigan

I believe you are right Ray but that is how the article stated it. Can't change that.

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