The Steel Guitar Forum

Stuart I don't want to speak for Herb but when you rebuild something you always have parts left over. Just throw them away.

Bill Hankey wrote:b0b,

I for one was pleasantly surprised this morning when I opened the link and heard your arrangement. It's something that interests me. You play some catchy note patterns, that proves you know your way around on the instrument.

When you do something almost every day for 40 years, you tend to get good at it.

b0b, those of us who are in that age group also realize just how quickly 40 years can slip by. At least it seems that they've gone by as if to slip away without notice. A young player whom I became acquainted with, has played many shows here in NEW ENGLAND. He's a trucker, and a class A steel guitarist. His name is JIMMY ROULE JR. When he was about 15 years old DeWitt Scott heard him play in Wallingford, Ct. I remember Jimmy playing LLOYD GREEN'S popular instrumental, "BARS OF STEEL" at that time. SCOTTY said something to the effect that it wouldn't be long until he could play on the big stage at ST. LOUIS. To my knowledge, he appeared only in the talent search room there. My point is that JIMMY had a "handle" on the pedal steel guitar at a very young age. When I presented a steel guitar show at THE AMERICAN MUSIC FOUNDATION in Lenox, MA., one of the highlights of the day, featured Jimmy playing the "ORANGE BLOSSOM SPECIAL". That was the show that
presented five steel players in a row playing LEFTY'S, "GONE,GONE,GONE". A must hear to all steel guitarists.

Bill,You do know that Jimmys Mother gave me a letter saying I was his guardian when I took him to Nashville for a two song session..I don't think a night went by that someone didn't have him play the OBS..Another thing is with Jimmy because of School days never rehearsed with us,But he would know the kick offs and the songs just as if he had recorded them..I also first heard him at the wallingford show,Jim Smith was with me at the time and he wanted us to play his set with him so my whole band did a set..I believe he was 14 tho because he was 16 when he came to work for me..He calls me Pepay (french for Grampa)..He also is a great six string player..Smiley was working the Reel dreams club up near trinity lane between hendersonville and nashville and I took him in there one night..And he sat in on Smileys steel..He had a Job offer after he left the stage..Dick Curless was there that night and he kidded me about hiding him for myself...For obvious reasons everyone thought he was 21..(terry the Owner was a friend of ours)In nashburg Kids don't hang around a bar.. I take pride that his father had me use his Rig to teach him to drive,I use to make him back up and turn around in the old Fairfield mall..Iwas the first one to take him on the Road with it and he drove it through new York and up to Syracuse where we bought a load of Salt Skids for the Ride home..I sure miss the kid..So did a lot of Country Music fans...

Joe,

I'm not fully aware of all the good times that you and Jimmy shared together. It was a good thing to happen for both you and Jimmy. You are both top professionals in your fields of endeavors. To say that you gentlemen are country music entertainers, would be putting it mildly, as if to understate essential points concerning true professionalism. Just as FARON YOUNG recorded the song, "SHE WENT A LITTLE BIT FARTHER", teaming up with Jimmy as you have always done, always assured the audiences that the vocals and pedal steel guitar would also be taken quite a bit farther. Thanks Joe, for the great entertainment, and for your generous support in past years.

Bill working your Shows was always a two way street..The first one I think I did was with Jim Smith,When Jim moved to Texas he left a big hole to fill..Not being from New England I was beginning to get aquainted with musicians and clubs and his playing and his reputation opened a lot of doors for me the almost three years we worked together..I think he fits in the one of the best catagory..Then in another hour of need of steel, you hooked me up with Peggy Green and She traveled 90 miles each night to play until it got too much with her day Job..Another great player..Jim and Peggy showed up in St. Louis at the o3 Convention I think it was and surprised me..Your bashes not only helped out the regions steelers ,they helped at lot of us Singers find missing parts..LOL..lets do it again,I think I have one more in me..I think I'd be remiss if I did not mention the greats Doug Beaumier,Terry Sutton,Paul Manning,Sammy Gibson..All great players who had their own thing going but filled in with me at times..And not last by any means Smiley Roberts..What a great run in Mass I had..

Joe,

I will always miss those friendly gatherings of featured steel guitarists, the singers, and all the support musicians. I regret that those happy experiences can only be enjoyed through memories. How very sad that we couldn't have taken the show to the next level. We were viewing peak performers who were standing at that great plateau of excellence, but too many hindrances made planning difficult. Nancy passed unexpectedly at the HOME CLUB in Hinsdale, MA., and the BLUES CAFE' (formerly THE LOG CABIN) burned to the ground. Last year in the month of May, you did a great job, as MC at the helm, but it's hard to replace old acquaintances. I surely miss those friendly hosts of the past.

Seems Bill as usual is making the proverbial mountain out of a prairie dog hill concerning the tune Under the Double Eagle.He seems to imply it takes a gargantuan effort to learn.When in fact it's a VERY simple tune to learn.If he has trouble with this one,then he needs to follow HIS own advise about putting in a LOT of practise. YOU BETCHA,DYK?BC.

Alan,

I've been trying to select a suitable descriptive phraseology in becoming more assertive in terms of characterizing how you and Charles tend to beset others by overdramatizing with frequent bedazzlement of simplistic issues. It's for certain that possible newcomers weighing the possibility of purchasing pedal steel guitars, and following through by seeking lessons, could be dissuaded by the clamor for an indefinite period of time. Hardly a single soul would care to listen to a broken record.

Bill,I'm sure any beginner will understand your comprehenive,succinct post free from elaboration and superfluous detail. AND BULL-S.It's REALLY nice of you to explain everything in laymans terms.Sure that helps all the newbies out there. YOU BETCHA,DYK?BC.

Yes Bill,Print slower..

Joe,

When Charles can recite every note on the steel guitar's fretboard at random requests, then he can perch on a split rail fence and commence crowing. That is one of the prerequisites to maintaining a stance of critical behaviorism; one that showers complaints on elementary students of the pedal steel guitar. There are many other prerequisites that could place an individual in a position to critique through fallacious reasonings. It is always best to distance oneself from such demeanors, and move closer to proven techniques in musical studies. The self-taught method of learning has been known to produce excellent results.

On the topic of " Attracting New Players ", new players, especially young players ( at least in my world ) are either interested in the classic sounds or want to fit the steel guitar or dobro into their original music.

If you know of a young player, mentor them so that the music can live on.

Drew,

The majority of those who are molded into classic rock(n)roll are just that. Trying to introduce any type of country music to them, can be frustrating to say the least. Thousands of "rockers" have slipped into country music bands from coast to coast. They can be easily identified by their baggage. Their big thing is showing up with a dozen or more special effects. You've heard of "trick photography", their big thing is trick electronics. You can't build a good country sound under those circumstances.

Bill,I CAN name each note on each string at each fret on the pedal steel,Dobro,sixstring guitar,mandolin,five string and tenor banjo,uke,and notes on a keyboard.The fingering for notes on a tenor,alto,baritone,C-melody saxphone.WHAT'S THE BIG DEAL ABOUT THAT.I'm sure MANY here on this forum can do the same thing,[CAN YOU ?] YOU BETCHA,DYK?BC.

There are a lot of people who can't do that, Charles. Most steel players, in fact, don't even know the names of the chords that they're playing.

Bill Hankey wrote:Drew,

The majority of those who are molded into classic rock(n)roll are just that. Trying to introduce any type of country music to them, can be frustrating to say the least.

Hmmm...I've always found it frustrating to introduce country musicians to any type of rock and roll.

Rick

Here in Sonoma County CA, rock, country, blues and folk music are all mixed up together. I guess that's what they mean by Americana.

So by that analogy, I guess all the steelers that show up with racks or pedal boards that are full of effects like delay, reverb, tremolo, chorus, phasers, steel drivers, dobro simulators, overdrives, etc are to be classed as ex-rockers. VERY interesting......
What does this have to do with attracting new players???

Bob,I did'nt say EVERYONE could do that,But I'm SURE MANY forum members can.YOU BETCHA,DYK?BC,

Alan ,Take your Meds..

I'm convinced, there are no ifs, ands or buts when the subject of who's "country" comes right down to facts, figures, or otherwise. Plain and simple, you're not going to find knowledgeable country singers who know the good "stuff" at every bend of the road. That becomes a quirky issue when country steel guitarists waltz into a band that is made up of half country, and half rock(n)roll musicians. Oh sure! Folks like Charles, who with all his expertise will argue till blue in the face, about memorizing all the note positions on a great many instruments, much like rock-oriented players throw together melodies that fit into chord changes, but you would be hard pressed to recognize the tune at random. The fact is, they are hearing the song for the first time in many situations. I'll admit the fact that most "rockers" will take a shot at anything the band throws their way. There is no substitute for following your heart. Depending on a box full of gadgetry, like a professed gadgeteer, doesn't appeal to me.

Bill Hankey wrote:Drew,

The majority of those who are molded into classic rock(n)roll are just that. Trying to introduce any type of country music to them, can be frustrating to say the least. Thousands of "rockers" have slipped into country music bands from coast to coast. They can be easily identified by their baggage. Their big thing is showing up with a dozen or more special effects. You've heard of "trick photography", their big thing is trick electronics. You can't build a good country sound under those circumstances.

I'm not speaking of perpetuating country steel guitar necessarily, that is a bit of a losing game, I'm speaking of exposing younger players to steel guitar in the hopes that they pick up the instrument. What they chose to play on it is up to them. Trick electronics? I use a pedalboard with effects. And I play rock 'n' roll, klezmer, bluegrass, etc. Perhaps your complaints are dating yourself a bit.