The Steel Guitar Forum

Jim Sliff wrote: I guess my point is that the "major label" qualifier/time warp is irrelevant IMO - it may (or may not) eliminate too much good music from consideration..

Agreed Jim, BUT here's the rub, you and I and the members of this forum are not the yardstick by which record companies judge popularity, It's SALES and public image that count, I think the qualifier SHOULD exclude leased and self financed "PROJECTS' I say projects because in the REAL world of recordings, that's all they're considered, projects or glorified "Demo's".
Artist don't have to PAY a record company to release an album as you say, record companies pay the performer for their services.

The 20 year span, '59 to '79 merely represents a period of time that (I feel) was quite possibly filled with errors in judgment, on the part of those involved in producing instrumental albums.

Thanks Bill - that makes perfect sense.

Whoa - I just said Bill made perfect sense. I better get a brain scan....

Baz - I agree with you, I was just commenting on the nature of today's "instrumental album" distribution as opposed to that of decades ago (remember surf music and the millions of instrumental major-label releases in '62-'65?)

but....

Artist don't have to PAY a record company to release an album as you say, record companies pay the performer for their services.

If only that were the reality! As I'm sure you know, by the time the record company subtracts advances, studio time, promotion budget, whatever salaries they can tack-on to an artist's "payroll" and such, an artist (individual, band, whatever) can either tour to earn a living or sit around trying to figure out how to spend sixty-seven cents net income.

Somethings gone wrong with the "Forum" we all seem to be in agreement.

Yep ! Basil , I agree
Cheers Frank Bloomfield. Corfu

One of the main priorities is trying to "break the ice" with stalwart members who profess refinement in every phase of steel guitar activity. Steering clear of psychology, and avoiding subject matter that quickly moves to comparable issues is desirable to avoid needless controversy. A walking ice cube will chill you, whereas a social alliance will warm the spirits. No sane person would spend an unreasonable amount of time on the outside looking in. There may be a calling for a technical division that would engage in problematic issues, that could be dealt with by simple common sense approaches. Science is far superior to the most knowledgeable pickers, in terms of solving physical and mechanical problems relating to the steel guitar. The abandonment of unresolved issues leaves much to be desired. Issues such as proper pedal adjustments in terms of relationships with knee levers, is a wide open area to explore. Selecting proper string gauges is another meaningful route to follow in quest of mechanical issues. Comparing the usages of "thumbpicks" and "fingerpicks" would prove that there are musicians who can't decide which choices are advantageous to a particular style of attacking the strings. Proper alignment in relation to a player's perspective, is a matter of importance. It's true that these small differences are mere encumbrances to the advanced players, who thrive on their abilities to make playing steel look easy. Footwear is an absolute complex issue, remaining unresolved to this day. I asked a friend if he was seated close to B.E. during the great 70's show in Boston, MA. After a brief pause, and a twinkle in his eye, he said, "I could see the mud on his boots." I drew from that a trend from slick boots to sneakers, occuring during the eighties (I'm guessing) the actual transition was rather sudden when the best in the business showed up at major shows wearing the magnificent creations. I'm disinclined to follow along with that trend. Restricting the ankles by subjecting them to unyielding materials does make a difference by resisting efforts to bend. It may sound like nonsense to the average ear, if someone pointed out that toe tapping is a waste of effort and energy while performing. If you consider that a half dozen bad habits made visible to an onlookers mind formabilities of technical skills, ratings as an entertainer could vary, in each instance. I've scrutinized the adeptness of the steel guitar greats, as they with a polished dexterity adjust their fingerpicks hundreds of times during performances. This in my mind is unacceptable. There simply has to be a better way to eliminate the habitual energy drain, and conscious efforts made to avoid losing the picks during performances. The Santo and Johnny hit song called "Sleepwalk" remains as one of the challenges for musicians who may some day emulate the original sound with perfection.

Here is Danny James's version, recorded on a Multi-Kord.
http://www.horseshoemagnets.com/b.mp3

Danny: I hope you don't mind me posting this. I was very impressed by it.

It also shows that you CAN use a Multi-Kord to change chords during the number, contrary to commonly-voiced statements to the contrary.

Thanks to Frank B. in Greece, and basilh for for their generous support. I was truly amazed by reading accounts of Gordon's one pedal change. How very interesting!

Vicariously testing the waters of a murky stream with the feet, is equivalent to offering unwelcome advice. Things that may be portrayed as helpful can easily be misconstrued. Perhaps Teddy Roosevelt was true to form sagacious, when he suggested, "Walk softly, and carry a big stick." At times, I think the colonel had the right idea by keeping his secret recipe locked away. So much for concepts, ideas, and related thoughts that fizzle out soon after they go into print. There is no greater reward than to acknowledge a trace of appreciation in the eyes of the enlightened individual. When truth breaks through a wall of ignorance, the sun will come shining through. Much like the words of a song.