Robert Randolph...an issue?

Franklin · Post by **Franklin** » 15 Feb 2004 10:58 am

I believe Robert's success is good for the steel guitar, period. I believe John Steele's post is closer to the reality of this scenario, "Does fame have much influence when linked to the steel guitars growth?"

I believe this instrument is too hard to play and no matter how many buy one, only a small group will grow into working steel guitarists.......I believe any kid with a small amount of musical talent can be taught to play "chopsticks", a single stroke roll, or a 2/4 bass line in a matter of an hour or so of practice. The steel takes a few weeks of hard determined practice for the same result. Does our awestruck youth have the attention span its going to take to become a real player of any instrument let alone the steel guitar?

Conversion players is where I believe Robert's fame will hopefully mirror Rusty Young's success. Guitarists who want to play another instrument is whom Rusty really appealed to. Does anyone remember seeing Rusty play distorted and leslie sounding solos tipping his guitar on its end? That was so exciting and it appeals to the high reckless energy of a rock guitarist. I'll bet Robert's kicking his stool away and dancing has the same effect.

I believe the greatest accomplishment that might help certain instrument players lies in Robert's gigging successes. He is making bucks for his manager and booking agent and hopefully soon he can recoup the labels investment (which will take alot more than 200,000 sales to cover the videos, ads, production costs). If he continues to be successful financially fronting a band I suspect more folks might get a chance to be managed into fame. Robert's financial success is the key.

I do not believe playing like Robert or even heading in his direction will catch the major train of success. He has this direction cornered.

I believe steel guitarists looking to gain acceptance, world recognition, and musical respect could do so by playing the steel in the direction of musicians like Jeff Beck, Roben Ford, Steve Lukather, Steve Vai, Corea, Hancock, Pat Martino, Segovia, etc. and if being a star is the goal, playing music with a wider commercial appeal is a good place to start......Paul [This message was edited by Franklin on 15 February 2004 at 11:17 AM.]

chas smith · Post by **chas smith** » 15 Feb 2004 11:33 am

Its also a reflection of CHARACTER

Kevin, I agree with you. Perhaps he has an over-inflated view of himself, which is very unusual for a rock star.

What I would prefer to focus on is the phenomena of a steel guitar out front and the exposure associated with that rather than the possible personality shortcomings of the phenom himself.

Mark van Allen · Post by **Mark van Allen** » 15 Feb 2004 12:20 pm

As already mentioned, it's obvious from the amount of posts and "heat" that Robert is drawing some serious interest to steel from a new direction. I'm always fascinated by the mindset that says "if you don't see it like I do, then what you do/say isn't valid". It's a good thing people like Galileo, Bach, Picasso, Buckminster Fuller, Bill Monroe and Bob Wills didn't let that stop them... I'm not saying Robert's another Picasso- but with the amount of exposure and marketing he's getting, there will definitely be many folks exploring deeper into the steel world than they otherwise would. There are still people out there who think that Jerry Garcia is the 'best steel guitarist'... but most of the musicians and even many of the casual listeners who "discovered" steel through Garcia, Cage, Young, or any of the other "alternative" players found out about Buddy, Lloyd, and the deeper history and palette of Country, Hawaiian, and Western Swing players and styles. Besides RR, there is a large groundswell of interest and useage of steel in the Americana and Jam band scene, with more and more steel sneaking into music not traditionally country. "Jam Bands" can include far more than simplistic rock styles, incorporating jazz, funk, blues, bluegrass, americana, swing... and the "scene" reaches many thousands of fans every month through large concert venues and festivals. Opportunities abound for steelers to get great fun gigs and lots of exposure in the "Jam Band" world, Robert's just adding to that fire. As far as the logo thing goes, if we weren't there, I don't suppose we know exactly what went on. Robert's steel tech is a pal of mine and I'll ask him next time I see him about that- if he even knows... I just can't see why anyone would think for a moment that all of that exposure won't help all of us who play or build in some way. Last I looked this wasn't the "1977 Nashville Country Steel Only" forum...

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Stop by the Steel Store at: www.markvanallen.com

kevin ryan · Post by **kevin ryan** » 15 Feb 2004 1:05 pm

I can't tell you how thrilled I was to see Robert on the grammys. What a bump for our instrument.
The players that PF mentioned are most of my musical heros, many of which are guitar and keyboard players... I would include Larry Carlton also to that bunch for sure..
The steel heros for me are JD, Buddy, Paul, and Mike J, you to MR.Smith..and now Robert Randolf, not so much for what he is playing (I do Dig it) but what he and all those guys have done for our instrument. Wow!
When Samuel Jackson said at the grammys "and now on pedal steel guitar ...Robert Randolph"
I got goose bumps! Way to goooooooo
just my 2 cents..k

Craig A Davidson · Post by **Craig A Davidson** » 15 Feb 2004 5:41 pm

Well said Mark Van Allen. That is the point I am trying to convey.

Kevin Hatton · Post by **Kevin Hatton** » 15 Feb 2004 9:06 pm

You know, I think I could be wrong on this in a macro sense. There are too many of you guys that are seeing it different than I am. Chas, I understand your point.

David Doggett · Post by **David Doggett** » 15 Feb 2004 11:18 pm

Okay, so Jimi Hendrix backed Little Richard on guitar, who is a first cousin of Katie Jackson, who sings with Chuck Campbell, who taught Robert Randolph. Seems like there is some destiny involved here.

Bob Stone · Post by **Bob Stone** » 16 Feb 2004 7:39 am

More on the country connection.

Since 1992, I have interviewed dozens of House of God steel guitarists. Many have told me how they would watch every episode of Hee Haw just to see a few seconds of pedal steel solo. All but the very youngest have spent plenty of time listening to country steel. Their headquarters church is in Nashville and many try to get to Bobbe Seymour's store when they are in town for the annual General Assembly. In earlier years it was Sho-Bud.

Robert Randolph knows plenty of country licks. So does Chuck. Glenn Lee said he studied with Terry Crisp briefly in Nashville. As part of Glenn's legacy many of the House of God steelers in Florida include country-style licks and phrases--sometimes whole tunes--when they play in church.

I believe Lonnie "Big Ben" Bennett played pedal steel in a country band for a while. His dad, a House of God minister, loved country music (and opera). He insisted that Lonnie play "Great Speckled Bird" (a la Brother Oswald)in church every Sunday. So much for sterotypes.

That said, the House of God steelers are determined to play it their way. They have their own styles and their own steel guitar heroes within their tradition and are proud of them.

Craig Stock · Post by **Craig Stock** » 16 Feb 2004 5:18 pm

Please, At Least listen to 'Soul Refreshing'on Robert's new album(CD) Unclassified, It is very satisfying, Country ...R&B isn't it really all the same, different people and different experiences, but it has soul..

Me and my daughter's, six and 6 months were dancing in the living room to that song and the Baby started humming...when she does that, it is reaching her soul. Robert is doing that to alot of people, and that's what it is all about.-craig[This message was edited by Craig Stock on 16 February 2004 at 05:19 PM.]

Matt Williams · Post by **Matt Williams** » 17 Feb 2004 11:41 am

"I believe this instrument is too hard to play and no matter how many buy one, only a small group will grow into working steel guitarists......." -- Franklin

Being what I guess is a conversion player Is this true for myself? What kind of timetable might I be looking at as having 20 years playing experience but only a month or two under my fingers as a PSG player (27 years old). Obviously, I want to grow into a working player as well, be it in my own original groups or even the occasional C&W or jazz gig. Any thoughts fellas?

Bob Blair · Post by **Bob Blair** » 17 Feb 2004 12:27 pm

Matt, at 27 years of age, I don't think you need to worry about having started too late. I think a lot of us who started in the 70's were in our 20's - I would have been maybe a year or two younger than you are now, tops. It took me maybe a year before my first gig, but my learning curve was disrupted by a move accross the country and all kinds of other things. Good luck!

Danny Bates · Post by **Danny Bates** » 18 Feb 2004 3:19 am

Reading this thread, I can't help but wonder how Hawaiian guitar players felt (many years ago)when they found out their beloved "Hawaiian" guitar was being used in country music. Anybody know?

Jim Cohen · Post by **Jim Cohen** » 18 Feb 2004 5:36 am

I'm sure it led to the demise of civilization.