Chris Stapleton CMA Awards
Posted: 10 Nov 2023 4:04 pm
Paul's got the overdrive pedal on, playing slide guitar licks and doubling Stapleton's leads!
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Chris Stapleton CMA Awards
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Posted: 10 Nov 2023 5:04 pm
Great to see Paul, just wish he'd been given some solo time!
Posted: 11 Nov 2023 9:04 am
I didn't hear much of the country music I love on the CMA this year. I found it difficult to watch the whole show in fact. Too bad. Just my two cents. NM
Posted: 11 Nov 2023 7:58 pm
Looks like the only thing missing was Gene Simmons, and Ace Frehley? 
Posted: 13 Nov 2023 9:14 pm
I’m glad Paul got his face out there anyway.
One thing to think about going forward, 30 years from now Country Music will not have a 30-year-old Rock Music style to fall back on. Could be a good thing.
One thing to think about going forward, 30 years from now Country Music will not have a 30-year-old Rock Music style to fall back on. Could be a good thing.
Posted: 14 Nov 2023 1:49 am
So did Jelly Roll, from the audience!Fred Treece wrote:I’m glad Paul got his face out there anyway.
~Lee
Posted: 14 Nov 2023 4:47 am
Lee Baucum wrote:So did Jelly Roll, from the audience!Fred Treece wrote:I’m glad Paul got his face out there anyway.
~Lee
There is a milk carton out there that needs a face?
Posted: 14 Nov 2023 8:50 am
Tom, I know you are the promo guy for MMM on this forum, and certainly know more about what you’re doing than I do. I hope this clip reaches someone here, because we all know Paul Franklin is one of the greatest players to ever sit behind a steel guitar as well as a respected teacher, and that video is not a good representation of his artistry.
Posted: 15 Nov 2023 5:56 pm
Hi Fred-
I'm definitely the promo guy for Modern Music Masters, I founded the company.
If the clip of Paul playing pedal steel in a Country Rock setting on the stage of the 2023 CMAs is not to your taste, consider that it could be worth a listen for any younger players on this forum. In the past couple of years we've seen a major change in the age of new PFM students: younger and younger.
They tell us they are interested in learning how to play correctly and apply their skills to the music their peers are making. They ask if it's possible to play other roles than the traditional ones. They are interested in how to approach an instrument so often tied to a specific era in a specific genre and how to make it more appealing to modern ears while keeping its unique sound.
Paul's presence on modern country records with artists like Chris Stapleton, Ernest, Hardy, Morgan Wallen and more traditional newcomers like Jake Worthington is bringing the sound of the pedal steel to 20 and 30 year olds. Lots of converted 6-stringers are enrolled and learning how to play. One of Paul's young students was also on stage that night playing pedal steel with "The War and Treaty".
Every fan of traditional pedal steel should check out Vince and Paul's latest album "Sweet Memories: A Tribute to Ray Price and the Cherokee Cowboys". You'll hear Paul's interpretations of the classic sounds of Buddy, Jimmy, Lloyd, Don Helms and Jerry Byrd in an amazing band setting, with one of the finest singers ever. We are in the final stages of editing Paul's companion course, "Texas Country", where he teaches every intro and solo from that record note-for-note.
I may have a broader definition of the term, but in my opinion, Paul's artistry is well-represented in this clip. It's another example of his versatility, his musical curiosity, his ability to play stylistically appropriate and emotionally/technically proficient parts in any setting, something he has done continuously over many decades.
Finding a meaningful part in a band with two electric guitar players is a skill that goes all the way back to his days with Dire Straits and creating complimentary parts to play on all of the songs that had no steel when first recorded. It's something modern players are going to be asked to do. Here's an example of how they might do it.
I'm definitely the promo guy for Modern Music Masters, I founded the company.
If the clip of Paul playing pedal steel in a Country Rock setting on the stage of the 2023 CMAs is not to your taste, consider that it could be worth a listen for any younger players on this forum. In the past couple of years we've seen a major change in the age of new PFM students: younger and younger.
They tell us they are interested in learning how to play correctly and apply their skills to the music their peers are making. They ask if it's possible to play other roles than the traditional ones. They are interested in how to approach an instrument so often tied to a specific era in a specific genre and how to make it more appealing to modern ears while keeping its unique sound.
Paul's presence on modern country records with artists like Chris Stapleton, Ernest, Hardy, Morgan Wallen and more traditional newcomers like Jake Worthington is bringing the sound of the pedal steel to 20 and 30 year olds. Lots of converted 6-stringers are enrolled and learning how to play. One of Paul's young students was also on stage that night playing pedal steel with "The War and Treaty".
Every fan of traditional pedal steel should check out Vince and Paul's latest album "Sweet Memories: A Tribute to Ray Price and the Cherokee Cowboys". You'll hear Paul's interpretations of the classic sounds of Buddy, Jimmy, Lloyd, Don Helms and Jerry Byrd in an amazing band setting, with one of the finest singers ever. We are in the final stages of editing Paul's companion course, "Texas Country", where he teaches every intro and solo from that record note-for-note.
I may have a broader definition of the term, but in my opinion, Paul's artistry is well-represented in this clip. It's another example of his versatility, his musical curiosity, his ability to play stylistically appropriate and emotionally/technically proficient parts in any setting, something he has done continuously over many decades.
Finding a meaningful part in a band with two electric guitar players is a skill that goes all the way back to his days with Dire Straits and creating complimentary parts to play on all of the songs that had no steel when first recorded. It's something modern players are going to be asked to do. Here's an example of how they might do it.