The Steel Guitar Forum

Thought I'd put this out there even though the topic has been broached previously. After playing steel professionally for most of my life, I'm still amazed at how many people are unaware of the steel guitar and how many hits and genres it has appeared on/in. I myself have been guilty of not recognizing steel on some alternative recordings. The recent revelation for me (I feel ignorant)was that THE BOXER by Simon & Garfunkel featured a prominent melody played in unison on both pedal steel and piccolo. The mix had a lot to do with not recognizing it but still......
It's amazing how many mainstream recordings have featured steel and yet most people were unaware of what they were listening to. A few examples would be Gordon Lightfoot's "The Wreck of the Edmund Fitzgerald," Judy Collins' original pop release of "Someday Soon," Bob Dylan's "Lay Lady Lay," The Carpenters' "On Top of the World," and on and on. Most recently the hugely popular rock band 3 DOORS DOWN has Paul Franklin on two cuts of their latest cd "Time of My Life." Of course Paul is no stranger to playing on many recordings that would be considered alternative for most steel players. Who could forget his work on the Dire Straits cd? Sheryl Crow featured steel on "All I Wanna Do" and I've barely touched on the many examples.
So my question is....what can we do as steel players to get the instrument more recognized and have greater awareness and visibility outside of the steel community? I for one would like to see Guitar Player and other magazines feature more articles on steel. Robert Randolph has brought more focus on the instrument recently but it seems as if we're still just scratching the surface.
We're in an era now in which many lead players are taking up steel as a secondary instrument. I for one think that's a good thing in terms of exposure. Perhaps it's time to capitalize on the expanding role of the steel guitar and find ways to further it's awareness. Speaking from a personal standpoint, it's my sincerest wish that the instrument continue to grow and prosper long after my days are through on the planet. Any thoughts?

Gary, I think the best thing we can do as a community is to remain open minded with regard to inclusion of the steel guitar into any and all styles of music. Try to exploit the range and sonic capabilities of the instrument.

So many traditional players resist change to the point of complaint and ridicule of steel guitar players working outside the "box".

This, to me is our greatest challenge. To have our own to either encourage new and different ideas or at least not protest them.

Very interesting topic.
Speaking from own experience, I reckon that producers/arrangers for bigger sessions should somehow be made aware of the existence of the steel, and how it could be used to add to the flavor of the session. The artist names mentioned are big names in the industry, and I'm sure the producer for any of those sessions would not dare to upset the artist by saying he does not want the instrument on his session.
Looking at it from the steel player's view.....would he/she be able to provide a viable contribution to a session that's not a main stream country type session?
Yes, a few players have successfully crossed the 'divide', but for the instrument to become more prevalent in 'everyday' music the musicians (perhaps)need to be open minded and explore different approaches/styles/sounds to a bigger range, or genres, of music.
Imagine a ripping overdrive guitar solo, supplemented with a ripping overdrive steel solo....! Sounds like fun.

In the final analysis I reckon the ball is in the steel player's court......maybe do a demo, adding a tremolo steel with an existing Motown recording (Macy Grey style), and go knocking on studio doors!
We need to prove that the steel is a versatile instrument...... nobody will come to you to ask if the steel is versatile enough to use on XYZ's session.
Just a few thoughts!!

Hey Jerry,
While I was pounding away at the keys, you quietly posted a neat wrap-up of my sentiments....

One band I play in does quite a bit of oldies (60's type - you know, where almost every song sounds the same with their 1-6m-4-5 progression or a variation of it.) as well as rock tunes by Stevie Ray (OK Blues), Youngbloods, Byrds, Glen Frey, Santana, Grand Funk Railroad, as well as some Mowtown. This mixed with Country makes for a well rounded night of Music.

Gary, what a great thread!
Our own Susan Alcorn dares to walk where no man dares to tread. She is exposing the pedal steel in a totally unheard-of dimension. I wish I was able to understand her music better in order for me to give her half-intelligent comments and encouragement.
Then we have Mike Perlowin with his classical pedal steel music. What great players indeed!

You mentioned Edmund Fitzgerald, with my friend Ed Ringwald on steel(Peewee Charles).
This off-the beaten-track piece of steel backup was done some 30 years ago!

Talk about a classic piece of steel backup in Someday Soon! This kind of music embeds itself in your memory. I remember where I was, what time of day and the year that I heard that song for the first time. Still love it. So simple yet so beautiful.

I believe theres a world of music yet to be played on a steel guitar.Really no two steel players sound the same,as do guitar players.I think yall hit the nail on the head of how do we get it front and center.There sure is an audience for it.

Gary, do I recall correctly that it was you who played the Steel Guitar Concerto with the Nashville Symphony Orchestra a few years ago? If so, I'd love to hear that. Do you have a recording of it, I hope? That's a good example of reaching a broader audience.

At the end of this month, I will be playing with opera singer, Lynnen Yakes, in a recital featuring just voice, piano and steel guitar at an Art Museum. We'll definitely be bringing steel to a whole new audience (high end art dealers and collectors). (Whether it will 'stick' or not remains to be seen, however. )

Play music/appear in contexts where steel isn't expected. Stretch the tonal palette; explore loops and beats, play with vocalists in rock, hip hop, electronica etc.

BJ Cole is a player who does this. Red Neck Jazz Explosion did this too, but never broke through.

There just needs to be a lot more...open minds...exploration...experimentation...

So much potential

Hi Gary - Our friend Chuck Back played a gig for a few years and after he left Tuscon a few years ago he gave the gig up and I sub-ed for another guy.

The owner of this club introduced me just coming back from a show (the Dallas steel show) and introduced me as the keyboard player - I started looking all over my Desert Rose for keys - at break I ask him how long the club had been in his family - basically since WW II - he had always had a steel player in the country band but did no know what it was - so the next night he called it a table guitar because he forgot. There was another steel player there and he asked the same question you did and I told him that I had a guy conviced a few weeks before it was a cheese slicer design that some people made to play music and he was happy with that.

It beats me - we try to get that point across for the Phoenix steel guitar show and I have invited people that come up to me and say "so that is a pedal steel guitar" - and 2 of the couples had seen me playing in a club the weekend before.



I just smile and shake my head.

Joe Naylor
www.steelseat.com
plus Road Cases and other stuff too

what can we do as steel players to get the instrument more recognized and have greater awareness and visibility outside of the steel community?

At my session on Monday night, the bass player, after noticing that I built all my guitars, told me that in one of the schools in North Hollywood, the entire physics class is making lap steels and apparently, his father is supplying all the wood they're going to use.

Great thread for sure.... Gary In the 80s I used to play in bands around Texas with our mutual friend Terry McBride. We played country, rock, blues and even some jazzy tunes... Terry always encouraged me to play on everything.. I'v also played for bands that wanted me to lay out of anything but country stuff... (I never lasted to long with those bands)

One huge advantage Robert Randolph has is the he is the singer/frontman so he controls the material that he plays.. Maybe more steel players need to start their own bands and pick the material they want to play...

I'm sure you guys have seen this but I think we could all learn a thing or two from this lady about showmanship, it couldn't hurt? http://www.youtube.com/watch?v=H2KTJNKo ... r_embedded

All through the 80's and most of the 90's, I played steel on a regular basis. Sometimes 5 nights a week at various venues, mostly clubs and concerts and some great studio work. Only the musicians, who played "country", because that's what I mainly do, knew the instrument and what it sounded like. They didn't understand "how" I got that sound, but, they recognised it. Most everybody else had no idea what it was or realized where "that sound" was coming from. Even some of the more well heeled studio musicians were ignorant of it's actuality. They've heard the sound somewhere, but, they've never seen one up close. Believe me, when I say that, I spent countless hours educating the unkown to the masses. Sometimes I saw the light go on and mostly I heard "OH! That's where the whiny sound comes from". I must confess... In all my years of playing the steel, I've really never ventured into other venues other than country, country rock or western swing. So, I guess I haven't done my part to further the advancement of the steel guitar, but, I've tried to explain to whoever was interested, the history and the provenance of the steel to the music they were listening to, at the time. I guess you could say, that, I've pigeonhold the steel into what I prefer to play, but, there are others, who, are more adept at advancing the pedal steel into other venues, of which, the pedal steel can rise to the top and be a more universal instrument.

Yes....I did perform the Concerto for Pedal Steel at the Ryman with the Nashville Chamber Orchestra. It was written by Michael Levine from Los Angeles and was a very complex piece of music. In spite of its complexity it was a thrill to perform. Unfortunately the orchestra was too short of funds to make a recording of the concert. The NCO is no longer active due to lack of funds.
It's been fun to read everyone's comments here. Always good to see posts from old friends and acquaintances!!

Hey Gary...good to see you posting here again!!!

Well it just so happens that I've actually got a paying gig ( )this weekend with some cool musicians playing as a 90% Joni Mitchell tribute band, with the other 10% Miles, Sting, Bob Durough, Mose Alison and even one by the Sylistics.

Betcha By Golly Wow!!!

The reading is a little intense for me, but I think I'm ok with it. Greg Leisz doesn't get all the fun!

If anyone is interested, the place is "Ki's" in Cardiff (N.San Diego) from 8:30-11PM Friday & Saturday Oct. 14-15

Interesting topic and comments.

To paraphrase the late Jeff Newman's comments about steel players, it's not the sound of a steel guitar that is ignored, it is the image of the player.

In the music culture, no camera is going to focus on a stonefaced, rigid, fully focused player of his instrument, when everyone else on a bandstand is jumping around, smiling, and doing outrageous things like smashing guitars etc.

Engineers can and do include the steel guitar on shows and recordings because it enhances the product, but they usually don't acknowledge them.

Remember Waylon's song lyrics asking why do they always show his hands on tv, but not his face? That's an example of a steel players public exposure. He just ain't photogenic or exciting enough.

The bottom line is that steel players have to be be satisfied with the acceptance and acknowledgement of their peers, and accept the realism that they will never be recognized by the public.

This is just one steel-players opinion from 60 years experience.....other opinions are incouraged and respected.

I spent years playing in what's loosely called the "Jam Band" scene, and I got to play with all kinds/styles of artists including The Allman Brothers, Jimmy Herring, Vassar Clements, Buddy Miles, Mike Gordon, Bruce Hampton, Warren Haynes and Government Mule, Guy Clark, Peter Rowan, Leftover Salmon, John Cowan, Zac Brown, Donna The Buffalo, Jim Lauderdale, and many more.
Possibly because of previous exposure to Buddy Cage and Jerry Garcia, I found that a large percentage of the band members and fans recognized and loved pedal steel guitar, often more so than in many of the country bands I've played in.
Although there are a few notable steel players on the Jam circuit, my experience is that there is a complete acceptance and appreciation for steel there, and plenty of room for more players. All it takes is open-minded acceptance of the stylistic and musical possibilities.
As in the "Country" genre, I think the only reason many more "Jam" bands don't carry steel players is financial- when you have bass, drums, several guitarists and singers, or mando, banjo, and other acoustic soloists, the road $ run out.

I hope I've been doing my part by writing snide yet yearning letters to the editor of Guitar Player, Vintage Guitar and Premier Guitar magazines about their inane coverage of artists who DO play pedal steel... they'll go into great depth (some may say extreme-) about what strings they use on their six-string guitar, what pawn shop they found that great old Strat in, what guitar picks they use and all, and absolutely nothing about the brand of pedal steel, the tunings, influences... Premier Guitar had a cover writeup on Daniel Lanois with a cover photo of his beat old Les Paul, and even through he spent the whole article talking about how much he loved playing steel I still know nothing more than before. He said he uses "his own tunings"....

Gearheads being what they are, I think you could hook a bunch more if you emphasized how complicated a pedal steel is, not dumb it down. Present it as a secret, arcane cult activity and they'll be beating down the doors. "I'd like to tell you more about it, but you haven't been cleared...."

Gene Jones wrote:Interesting topic and comments.

To paraphrase the late Jeff Newman's comments about steel players, it's not the sound of a steel guitar that is ignored, it is the image of the player.

In the music culture, no camera is going to focus on a stonefaced, rigid, fully focused player of his instrument, when everyone else on a bandstand is jumping around, smiling, and doing outrageous things like smashing guitars etc.

Engineers can and do include the steel guitar on shows and recordings because it enhances the product, but they usually don't acknowledge them.

Remember Waylon's song lyrics asking why do they always show his hands on tv, but not his face? That's an example of a steel players public exposure. He just ain't photogenic or exciting enough.

The bottom line is that steel players have to be be satisfied with the acceptance and acknowledgement of their peers, and accept the realism that they will never be recognized by the public.

This is just one steel-players opinion from 60 years experience.....other opinions are incouraged and respected.

Yes, I'm rather stoic when I play my steel. It doesn't matter if it's on stage or just playing for enjoyment. I guess I'm so intent on listening to my steel and how it blends with the music, that, nothing else matters. But, I think that's the M.O. for most steel players and that's probably why you only get to see their hands and not their faces on TV. BTW- I was asked to smile more, when, I was playing some Patsy Cline shows. I did and I guess it was OK for them.

Some players come across as exceedingly self-confident. I don't believe that it would be necessary to name drop. My point is this; the cameramen can avoid focusing on that type of personality the way viewers have seen them do many times. The audiences in the immediate staging areas can compare what they've seen, to reruns at a later date. The antics of some steel guitarists are quite unforgettable. For that reason, the cameraman will eventually come under public scrutiny in due time.

Hi Gary. I sold the white MSA that I traded to you and you then you sold back to me. I used the money to get a Millennium that turned up on E-bay, which by coincidence is also white.

I think there are several reasons why the steel doesn’t get more exposure.

First, most of us work as sidemen. People pay attention to the singers. How many of us are trying to be artists in our own right?

Second, most of us make recordings that are designed to appeal to other steel guitarists and not the general public. When the original cassette of my Firebird Suite recording was reviewed in Steel Guitar World, the reviewer said that it “did not meet the needs of the steel guitar community.” It never occurred to him that I was trying to reach other people besides steel players.

Third, too many of us work with canned accompaniment. Drum machines, BIAB, etc. These things are good for sketch pads, jam sessions, busking etc, but not for recording CDs (except to use as click tracks,) or performing before the public in any kind of serious situation. This includes making videos with BIAB and posting them on You Tube. The only people who are interested in seeing them are other steel players.

Forth, Too many players are still playing old stuff like Steel Guitar Rag and A Way To Survive. However much people in our community may like those tunes, they are old and tired, and the average person who does not play steel wants to hear something more contemporary.

It should be noted that the 2 steel guitarists who have received exposure, Robert Randolph and Susan Alcorn, are both are taking the steel to new audiences, playing new and different kinds of music that appeals to other people besides steel players. (I’m trying to do the same thing.)

If we want more people to be exposed to the pedal steel guitar, we need to expose it to them, and we need to do it by being artists rather than sidemen, and by playing the kind of music the people we are trying to reach, want to hear.

We’re not going to win over the jazz, or new age, or rock, or classical music audiences by saying “Here’s an old country tune called ...”

Mike your right on target!!!

It takes a lot of focus to make this thing work well, to be able to split your brain into a piece that makes smile and song and big show happen at the same time is a special talent. The well-known video of Sara Jory singing, leading a band and an audience singalong while changing a string and coming back in in time to take a ripping steel break comes to mind...

In the Pacific NW of late the pedal steel is highly visible both in clubs and on recordings in both traditional and non-traditinal ways. With Ron Rogers & Co. my little Pro-I is EXTREMELY well-exposed in a music video currently topping the playlists in Northern Europe, but here in the USA what you see and what you hear are mostly about the face singing the song and selling the merch for the big boys. Still, if you check out YouTube there are more pedal steel videos than you could ever watch...

We see steelers in the shadows and we hear a note or two between the guitars and the synths on the awards shows and such, and once in awhile an artist will make a point of featuring a steel player in a notable television appearance, as Johnny Mathis did recently with JayDee, but it's still the newest instrument on the block and it's really okay if it takes a while for the word to get out, it's an organic process.

I believe that the same qualities that have led us all to a lifelong fascination with this instrument are the best insurance that it will outlive us. As thinking musicians everywhere discover the unique possibilities that only the pedal steel guitar can afford the finest will say, just like Johnny Depp did on Leno not long ago, "I mostly want to learn to play the pedal steel guitar!".

http://www.youtube.com/watch?v=Ta_9WCC3 ... e=youtu.be

Thats cool stuff Dave...

This is an interesting topic, and I would like to say that if we want to project a non-stoic appearance on stage, and get some action going like Nikki D, then we need to get Joe Wright on national TV somehow for a good hour and let him show how entertaining a steel guitar player can be.

Dennis