The Steel Guitar Forum

I received two CD's from Bobbe this past week. "Soulful Steel" and "Bobbe Seymour's Masters Collection". I haven't opened the second yet, but I will later this evening (or tommorrow).

I opened the first. I like to play a "good" new CD repeatedly till I soak it all in.

"Soulful Steel" is aptly titled. Bobbe's expertise on the instrument has long been recognized. But playing expertise and soulful playing are two very different things.

I am thoroughly enjoying this CD. Before I mention Bobbe, let me say that the guitar players are smokin'.

But Bobbe really shines. His personality really shines through in his playing:

Ballsy, aggressive, willing to "go for it", ready to stick his neck out like the greatest jazzers. Extending his phrases till you expect him to fall on his face, but he pulls it off gracefully.

My favorite qualities in a musician are the willingness to stretch... to take risks. To play off the cuff... off the top of the head. Bobbe exudes these qualities in abundance.

Add me to the list of Bobbe Seymour Fans!

We are in need of thorough documation of this steel guitar artist's thought processes. Not only how he plays what he does, but also why he makes his musical choices.

We are in dire need of as much of this type of info about all the legendary players as possible, because there will come a day when these pioneering artists will be gone and we will be the poorer for it.

We must do all we can to document their accomplishments in taking this great instrument to it's limits.

My association with Herb Ellis has been most rewarding, some of it published by Warner Bros and some of it yet to be published in the next year as I finish the project.

Herb is well aware of the danger that the art of "real" Jazz Guitar may die with him and Barney Kessell, Joe Pass, Wes Montgomery, Kenny Burrell, George Benson, Sal Salvador and numerous others.

Herb is sincere in his efforts to pass this knowledge on to future generations. His love of jazz guitar is true and it pains him to consider that this art form may be relegated to the history of the mid 20th century.

The same can be said of the wonderful pedal steel guitarists from the heyday of the instrument. None of us want to see the art form perish.

There is a plan in the works to document the talent and inventiveness and stylings of Bobbe Seymour. Hopefully that plan will come to fruition.

But, BACK TO BOBBE'S CD:

Outstanding recording with about twenty tracks. Well worth the money. Highly recommended listening and addition to the hip PSGuitarist's collection.

Regards,
HH

It's "acceptable"!

Harry; Several of my peers here thought I overreactted when I first heard Soulful Steel but I didn't think so then and not now either. I had the same knee jerk reaction you did and I don't know if you can wear out a CD but I am surely trying. I keep going back to it for one more listen.

I too liked the other pickers on the album and Bobbe says that one of them (Can't recall his name..Senior moment !) is now playing Pedal Steel so that told me something about their talents.

Surely the Steel Guitar album of the year.
And now that I think about it, I haven't heard any of it on SteelRadio.com. That is not a complaint because I'm surely hearing enough music there. MY STATION !!

Regards Paul

I think we have all of Bobbe's albums and Soulful Steel is my favorite, I've already worn out his "Live" album from Las Vegas.

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B#

Harry, That is TOMMY WHITE on lead guitar.
Yes, a GREAT CD.

Steve Hinson and Curt Ryle, both steelers too

The name of the guitarist I couldn't remember was Mike Toppins and at that time he was playing steel with Pam Tillis. He is heard on cut #18 right after the cross fade.

Bobbe said when they finished the song, they realized they hadn't given the lead guitar a ride so they faded it out and came back in with him on the returning song.

Regards, Paul

It's a great CD, and bargain priced too!
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<small><img align=right src="http://b0b.com/b0b.gif" width="64" height="64">Bobby Lee - email: quasar@b0b.com - gigs - CDs
Sierra Session 12 (E9), Williams 400X (E7, D6), Sierra Olympic 12 (F Diatonic)
Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6)

Bobbe sent me this CD.It is truly a greatt collection.And Bobbe has such a wonderful way of expressing himself on these cuts.
Thanks again Bobbe.

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Keep on Steelin
Carter 4/k 3/p

I want to thank all of you for the nice things you have said about my efforts on this CD. As most of you know, I always wanted to play steel guitar very badly and now I do! I used the greatest studios in Nashville (that were free), the finest musicians that this town could offer,(that owed me big favors),The finest equipment(that I could borrow),and got out to do it thanks to one of the finest Judges that money
could buy!
Yes, I'm very lucky to have friends like you guys,(the checks are in the mail).
Keep the cards and letters coming.

Bobbe "Soulful Steel" Seymour!


Multikord-D-6
Magnatone Twin eight speaker amp
Ecco plex-(the gray one)
Kelly thumb picks
Spelling book by "Gregg Galbreath"
Strings by Black Diamond
Lapsteel by "Nailor of Portsmouth"
Bars by the Sheriffs dept.
Encouragement by Scotty and bOb
Vocals by Posey and Strayca (dog-cat)
Cartage by Paul Franklin

You kill me bro! That sign off will never be toped.--------bb<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Bobby Boggs on 07 October 2001 at 08:54 AM.]</p></FONT>

I don't give you much encouragement, Bobbe!

<SMALL>We are in need of thorough documation of this steel guitar artist's thought processes. Not only how he plays what he does, but also why he makes his musical choices</SMALL>

Not too likely I think. When one considers the number of accomplished players that are on the Forum, and how LITTLE information they give with respect to how their thought processes work, I doubt that we'll get this information from the monster-type players like Bobbe. Why should he do it when no one else does? And I DON'T mean information like copedents, or what chords they play on what frets. What I mean is serious stuff on how they play their jazz stylings, what scales they use and where they play them, how they apply musical theory on the steel, picking patterns, what pedals are used for what sounds, some good tab to illustrate these things, etc. etc. The only thing for public use that I have ever seen that gives some in-depth information on this was Buddy Emmons "pockets" articles. How long ago was that? I think if some of the players that are constantly contributing to the banter on the Forum did this, then I could see some possibility of getting some of this from the icons as well. Otherwise, I doubt it.<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Jeff Lampert on 07 October 2001 at 05:05 PM.]</p></FONT>

Wow Jeff,This is very deep , and serious,I didn't know anyone was thinking this way here on the forum. This opens a whole new way (or direction),of a type of posting I may indulge in. Educational instead of humor, I may like this concept,seems like I always got arguments when I tried before now.
Lord knows iv'e had them,you know , where everyone has to choose a side(well Paul, I'm with you on this one). I'll re read your post and see what we can do about this great idea , (that I agree with)of yours!
Thanks for the great input Jeff
Bobbe

Jeff, after rereading your post again, I think I'll try to put into words, my thought processes and why I make certain choises when I produce my CD's or any sessions I produce. It has to do with "putting myself in the listeners shoes" to start with. I'm not really playing for me, I'm playing for you! I think this needs to be posted on another thread. Is anybody else really intrested? Does anyone care? If you are, I'll try to do it. This will be explaining the process from the inside out, not the outside in. Let me know.
Bobbe

I always prefer educational topics to humor. I think most Forum members agree with me. I didn't start the Forum to be entertained; I started it to help distribute knowledge about the steel guitar. The humor I get at home is a lot better than anything I see on the Forum (with the exception of Earnest Bovine's one-liners, which always slay me). My little granddaughter cracks me up more than any of you guys do. The Internet isn't very funny compared to real life.

Moving right along...

So for starters, Bobbe, how do you approach the steel when you're using it as a MIDI string section, like in "For The Good Times"? How do string section harmonies differ from what you would normally play on the steel?

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<small><img align=right src="http://b0b.com/b0b.gif" width="64" height="64">Bobby Lee - email: quasar@b0b.com - gigs - CDs
Sierra Session 12 (E9), Williams 400X (E7, D6), Sierra Olympic 12 (F Diatonic)
Sierra Laptop 8 (D13), Fender Stringmaster (E13, A6)