Here is a pic of Wakely's group in 1940. I haven't heard all of it, but I don't think it featured steel. As Billy says, Pete Martinez was later on steel with Wakely--by 1946. I can't recall ever seeing a picture of Pete, but I liked his style on things like "Oklahoma Hills" and "Home In San Antone". Wakely later used Noel Boggs as well. I think Martinez is still alive, possibly in Texas? He reminds me a little of Joaquin--you wouldn't mistake him for Joaquin, but he was a highly competent western swing player.
Michael, there seems to be a fairly definitive answer in the second link that you posted.
"In 1953, pedal steel pioneer/Country Music Hall of Famer Bud Isaacs ushered in the modern pedal steel guitar sound on the Webb Pierce track "Slowly," by manipulating the instrument's strings individually. Issacs was also the first on record to use the signature pedal steel technique: moving its pedals while the bar is in motion and the strings are ringing. "It wasn't by accident that I found that sound," Isaacs recalls nearly 50 years later. "It took years of work to try to create [what] I was looking for. I listened to the sounds of Bob Wills' band, with three fiddles, and I wanted to be able to move the notes on other strings while sustaining one note."
This is only a secondary source and I would love to read the original interview but the direct quotes are there. According to this interview the heritage of the PSG sound lies in the string arrangements of Bob Wills. My immediate question is whether those are head arrangements or there is a particular arranger involved.
This is not to discount Mr Tonnesen's recollections of Dick Roberts. As can be shown, the sound of the stationary string and the moving string can be generated on the NPSG. This may well be demonstrated in Dick Robert's style. The issue of pedals is another question which is at odds with many written opinions. I would not challenge Billy's recollections but I would love to hear some of Dick Roberts playing.
I think those quotes from Bud answer your question, Guy. Although others had previously used pedals in various ways, Bud had a sound in his head from fiddle harmonies that he wanted on steel. He worked with the pedals until he found it, and then refined the technique to get a lot more (the harmonies sometimes move without one string staying the same). Webb heard him play and wanted it on his new songs. It captured something fiddlers and vocalists had been doing in country music for a long time. So when Slowly hit the airwaves it was a familiar sound, but done in a striking new way on steel. It caught everyone's ear and grabbed their heart. It is very understandable why Webb struggled so hard to keep it as part of his music.
At the same time, Bud Isaac's had a Western Swing no-peddler background. So much of his playing maintained that quality, even after Slowly.
I have always thought that George Jones' singing style, and Floyd Cramer's piano style were directly influenced by the PSG's evolution and use ocurring during this period (early 1950's), as their careers were just beginning.
1970 Marlen D-10, 1971 Professional, 1973 Pro II, 1977 Marlen D-10, 1978 Marlen D-10, 1980 Marlen D-10
Yeah, but listen to Don Rich. Chet Atkins described him "a guy with a pedal steel in his voice". And speaking of Chet, Bud Isaacs is all over on Chet's first 12" LP Session With Chet.
Guy:.
I did not mean that Dick Roberts style was anything like what Bud Isaacs came up with. It was just that he was using what sounded like a pedal change being part of a melody line. I think what he was doing was going from one major triad to another with all three strings changing. I'm just speculating. Let's put my post on Dick Roberts to rest.
I think the question is left open due to lack of evidence, Billy. It would seem that the music of Happy Perriman is as scarce as hen's teeth. This is all I could find and I dumped my record player some years ago!
I'd still be interested if anyone has access to recordings.
Guy Cundell wrote:
Chet is the producer of the early 50s RCA Isaacs recordings.
Yes, and he also plays lead guitar on them.
Guy, here are pictures of Bud's famous "Slowly" Bigsby. Note the rod & plunger changers on the keyheads. This is how the first Bigsby pedal steel changers were.
As you progress with your playing you will probably gain some interest of the early years of the Steel Guitar.
Mr Tonnesen was right, may he rest in peace. I have enjoyed a fascinating and deep dive into the early years over the past twelve years with undiminished curiosity.
But I have also kept my word to Mr Montee (RIP) and have finally made it around the mountain, on Sunday completing my first 4-hour gig as a PSG player. A great plain of new steel guitar endeavour stretches out before me. Life is grand!
The guy that Chet Atkins described as having a pedal steel in his voice was DAVE Rich, not Don Rich, however not taking anything away from the great Don Rich.
