The Steel Guitar Forum

What could his style be defined as? I REALLY love the foot stompin, chicken picken fast stuff, but don't know where to find any. Anyone have a clue where I should start?

I remember reading, back in the 1970's, about the "bouncing, bubbley steel guitar of Buddy Cage".

Ian,and Sylvia's "Trucker's Cafe" is just great,I really don't know how to describe Buddy's style except that I love it!

Powerglide

I have every NRPS album, and can't wait for my new Fessy, so I can start to learn all the licks..

Buddy Cage was one of my early influnces back in the, bump-the-needle-back-on-the-record day's. I came to the steel via country rock and spend many hours working out his use of positions and how he connected the dot's between them. Time well spent!:)

I emailed Dick Meis about prices of coustom tabs, and expressed an interest in having the NPRS stuff tabbed, I'm anxious to see what he says..

William, The best that I can figure out is that Buddy Cage just sort of made it up as he went along. He just plays the hell out of the steel and leaves caution and tradition to the wind. It's kinda like what I try to do everytime I sit down at the backside of the beast. I just can't play anywhere near that fast...yet.
Duncan

It was listening to the bouncing steel of Buddy cage which decided me to play pedal steel guitar.

Here's a cool link, some great stuff by BC. The highlight of my steel career( for what it's worth) was playing Panama Red out live for the 1st time, and acually sounding pretty good!
Check out Pure Prairie league," I'll fix your flat tire Merle", John David Call. More reckless abandon.

Cage did some cool stuff, didn't he!
JP

Hey Jim,
Exactly where is that cool link? I'd love to hear you tackle Panama Red.
Duncan

Oop! Try this:
http://www.newridersofthepurplesage.com/new_riders.wmv

I always felt that Buddy Cage, at least in his best solos, was the premier country rocking steeler, mainly because of his phrasing. He had a bag of tricks when it came to playing pedal mashing lines. Solos, fills, and comps from Panama Red and Hello Mary Lou demonstrate just how inventive he was. He has a swinging mindset, often starting a line or comp on something other than the "one" of the measure. He was also a fantastic palm-blocker. And he apparently did not come from the school of thought of "don't play when the singer is singing". His non-stop playing through the verses and choruses of some songs was extremely effective and augmented the orchestration without ever getting in the way of the singer.

Now, I know that Buddy has been playing longer than I've been alive, but I have to respectfully disagree and say his playing TOTALLY gets in the way of the singing on that version of "Truck Drivin' Man". The breaks were brilliant, but if I played like that on a gig or session, I am sure I would be asked to play less... or play a "solo", so-lo that no one could here it...

Before I get flamed to a crisp, I should say that his tone was cool,timing, phrasing, intonation, everything he played sounded great, I just think he played on top of the vocal too much.

Buddy is like listening to Stevie Ray. Jump on and
hang on. Can I get a Yee Hi.

His live setup certainly added to his sound, the year was around 75 0r 76 and it was a push pull D 10 into a two Showman heads with the power tubes removed (pre amp only) into 2 large Crown power amps driving four open back cabinets (two were deep, and two were shallow) and they all had either D 130 or D 140 speakers or a combination. The grill clothes were tie dyed so I think it was Alembic stuff. No mics setup in front of his amps, it was wild and very powerful, never forget it, even went out and bought an Emmons

1978: Watched NRPS from 15 feet away all nite long... unforgettable!

Check out the Tom Brumley videos playing behind Buck Owens lead singing on You Tube. There is nothing wrong with playing steel behind a singer as long as its done tastefully. Tom Brumley did it all the time with Buck Owens, and also with Rick Nelson. Cage did it all the time also. Its a different mind set. As for me, Cage was a musical gymnast who took no prisoners. If you notice he never played over Nelson's solos. I would have a problem if he had done that. His steel lines behind the lead singer were typical of the California west coast sound. He was the fuel for the fire. That west coast bouncy busy style is exactly how I try to play. Screw chords.

I'm very glad to number Cage among my pals today. When I bought my first steel (Sho-Bud Maverick), I joined a band the same day. They had a gig that weekend, and at the first rehearsal, the first song they pulled out was "Lyin' Eyes". No problem, I could just skate along with the chord changes and keep up. But then the second tune was "Panama Red". Bastard.

I can listen to Buddy Cage's playing on She's no Angel, Long Black Veil and Panama Red all day long.

Buddy's playing turned more "heads" onto pedal steel than anyone else. A whole generation of "dead heads" and there are still hundreds of thousands of em out there, first heard the steel through NRPS and Buddy's bubbly playing. Even Jerry Garcia got the steel bug. I know the first time I saw NRPS back in 73 in Central Park I didnt even know what instrument the guy with the long hair sitting down was playing but what I heard changed my musical direction forever and am playing steel because of Buddy Cage. What a rock pioneer!Thank you Buddy.You broke down so many walls for pedal steel!

Yee Hi! Somebody asked for it. I, too, think Buddy is the "SRV" of the steel guitar.
How would you like to have heard he and Sneaky on the same stage?

Phred

How would you like to have heard he and Sneaky on the same stage?

I saw the Burritos and NRPS on the same bill at UCLA in the mid-70's, and reportedly some time on that tour everybody was on stage for a few closing songs. THAT is a boot I would like to find!

It's amazing how both Buddy and Sneaky could play steadily through songs and not bury the singer. Clarence White could do the same thing on guitar, but players like that are very, very rare indeed.

I have to respectfully disagree and say his playing TOTALLY gets in the way of the singing

Haven't heard Truck Drivin' Man, so I can't comment. Do you disagree in principle, or do you feel that he overplays in the studio versions of Panama Red and Hello Mary Lou, the two songs I refer to, which IMO are classics of the era and brilliantly orchestrated by Cage.

If so, do you feel that Rusty Young overplays when he plays over the vocals on Poco songs?

Do you feel Lloyd Green overplays when he plays over Charlie Pride in the Live At Panther Hall version of "The Last Thing On My Mind" during the chorus?

Do you feel that the steel is overplayed in live version of I'm The Only Hell My Momma Every Raised" by Johnny Paycheck.

Or that Buddy Charleton overplays as he often would play while Ernest Tubb sang. Just curious.

And Gerald, I have a different experience from you. I REGULARLY played with bands, for many years, who don't see the steel as simply a "fill" instrument, but rather something that they want orchestrating the song. And in the studio, I have found the same thing. Not everyone feels that way, but a large percentage do. A lot of times, the singer isn't aware of what can be done, and if there is some really cool stuff happening behind the vocal, they dig it. Of course, YMMV.

Love him. Great player.