The Steel Guitar Forum

David Mason wrote:This will go a lot easier once somebody tells me which country band was as popular as Led Zeppelin.

Obviously, Crosby, Stills, and Nash.

"What's the big deal with Someday Soon"? It (the song and Buddy's steel) is beautiful in many people's eyes (ears). That's what a lot of musicians are trying to achieve. And it exposed that potential of the steel guitar to an audience (me at that time included) outside of the "country" sector.

Those who want impressive instrumental acrobatics won't be as enthralled.

Vernon Dalhart sold 7 million copies of The Prisoner's Song in the twenties. But no pedal steel.

Sleepwalk.

First it was “On The Beach At Waikiki" for years on vaudeville.
Then it was "Guitar Rag" 1920s
Now it‘s "Steel Guitar Rag" 1936
It seems to me that it would be more appropriate to call it “On The Beach At Waikiki".
Besides what could be better as the end all song for PSG than the original Hawaiian version of "Steel Guitar Rag"
So from now on let’s all play “On The Beach At Waikiki"
P.S. Leon's playing "Steel Guitar Rag" wasn't by todays standards that great.

My vote would be a tie between Sleepwalk & SGR.
These two seem to be the result of most requests we get.

Well, call me a sell out... I have resisted learning Sleepwalk for years, but finally gave in. My guitar player usually plays it and the band has been hounding me for 5 years to learn it. Well, in a moment of weakness, I learned the song and played the first half (guitar took the second) for the first time in my life last night. It was actually kinda fun. Go ahead, call me a steel guitar whore. But, 2 or 3 more times playing it will kill that fun feeling.

On the Judy Collins album is another song (actually two), on which Buddy Emmons does an intro where he plays chimes. It is very easy and a lot of fun to play, since it's in E.
The song is "I pity the poor immigrant" and it's never mentioned.

Late to party, but, my interpertation of the original questions’ intent:

Does the steel guitar repetoire have a “Swan Song” type piece, similar to what “Stairway…” represents within the rock genre?

I’d have to say RP’s original “Night Life”

That’s certainly, not meant to minimize the hundreds (maybe, thousands) of other iconic steel riff’s.

I suspect this is what the OP is shooting for?

Well, when I started this thread clearly I wasn't contemplating the hokey/overplayed aspect of stairway to heaven. No matter, I think the point got across and I have a lot of listening to do, so thanks for all the suggestions.

Clearly, however, I think it is now evident that I should have chosen a different song as an analogy, one more likely to garner acceptance in such a place as this. I would like to rename the thread as follows:

"What is PSG's 'Foggy Mountain Breakdown'?"

"Clearly, however, I think it is now evident that I should have chosen a different song as an analogy, one more likely to garner acceptance in such a place as this. I would like to rename the thread as follows:"

"What is PSG's 'Foggy Mountain Breakdown'?"

Based on the above quote, for me it would surely be Steel Guitar Rag... Even though I'v heard some great arrangements and playing on this song... It always amazes me when I play the chorus of this song that sometimes the crowd will stand up and clap... It's got to be the easiest thing to play on the steel guitar..

As musicians we all have to learn that if we play for money that we can easily play over the heads of our audience and sometimes or bosses (the artist we work for)...

It may be off topic but one thing that I have always loved about Buddy Emmons playing is his ability to play any style and still sound commercial... Its called taste....

Michael, I don't feel that you have erred at all. There are many eras of steel guitar styles and sounds. I chose the TYC song as a parallel due to the time of popularity.

Since the Zeppelin tune was popular in or about 1971, it was near the time of the CSY hit. Along with Carpenter's Top of the World and several others. I believe these pop songs sort of defined that era of steel guitar in prominent music.

I don't believe you can narrow it down to one tune anymore than you can with say, guitar, piano or saxophone.

Different periods had memorable examples of a particular instrument's influence, many that have been mentioned in this thread.

Judging by the response to your topic, this is a subject of great interest and I would expect much further discussion on the topic.

What is the significance of "Foggy Mountain Breakdown"?

As long as the rhythm guitar plays Em, it bugs me. It's E in the rhythm, Em in the melody.

But it ain't much of a steel song.

b0b wrote:What is the significance of "Foggy Mountain Breakdown"?

Trying to be funny, naming a banjo tune, seeing as banjos seem to be derided (in good nature, of course) around here a lot.

As musicians we all have to learn that if we play for money that we can easily play over the heads of our audience and sometimes or bosses (the artist we work for)...

I can pretty much play under their heads too.

For those who are familiar with the song 'Stairway to Heaven', which part of the song comes to mind when you think of it? Which part of the song is the part that everyone is familiar with and expects a guitarist to know how to play?

The introduction? (Acoustic guitar, fingerpicking segment)

The middle part? (Twelve string guitar, strumming partial chords up the fretboard and a little riff on the bass strings)

The up tempo part and solo at the end?

Leslie Ehrlich wrote:For those who are familiar with the song 'Stairway to Heaven', which part of the song comes to mind when you think of it?

Leslie the part of the song that comes to mind is also my favorite part "the last dying note".

Funny, that's my favorite part of "Foggy Mountain Breakdown". I guess the two songs do have something in common.

b0b, my take is that both STH and FMB have become clichés in their respective genres. Same with SGR.

So, we would be OK if we played "Stairway to Foggy Mountain" or "Steel Guitar Breakdown"?

I'd say they both crossed beyond their genres to become the broader culture's caricature of banjo music and 70s pretensions rock.

Lane Gray wrote:I'd say they both crossed beyond their genres to become the broader culture's caricature of banjo music and 70s pretensions rock.

My candidate for the iconic popular conception of banjo music is "Dueling Banjos," by Weisberg and Brickman, visually represented by that unfortunate creature with the family tree that doesn't fork in "Deliverance."

The big breakthrough for FMB was as the chase music in "Bonnie and Clyde," though it was the inferior 1960's version. Earl's 1950 cut on Mercury was the best, and the first. And sold the least.

Of course, who amongst us could forget that Lester and Earl's other significant contribution to our culture was "The Ballad of Jed Clampett." The Beverly Hillbillies, basically a Snuffy Smith cartoon played by live actors, was the redneck Gilligan's Island. Or did "Green Acres" fill that niche? Hmmm... I don't recall banjo on "GA," so I'll go with the Hillbillies.

So, until the Osbornes hit with "Rocky Top," when the regular civilian heard a banjo, he thought 1) the Keystone Kops were chasing somebody; 2) Granny and Jethro were out by the cement pond, or worst of all 3) somebody's being told they've got a "pretty mouth," and y'all know the rest.

As to pretentious rock, I'm not conversant enough with the genre to have an opinion, although I'd have to say that ACDC's "Shook Me All Night Long," has to be up there, based on having to play it every night in the 1980's in a country cover/dance band.

While working in a music store during that period of time, the songs most wanked upon by every pre-pubescent-through-late-teen kid who had to play every freakin' guitar in the store were "Smoke On The Water," "My Sharonna," and "STH."

As a side note, Rocky Top wasn't supposed to be the hit. It was the B side of a gorgeous harmony vocal number, My Favorite Memory.
I have much more fondness for the A side.