The Steel Guitar Forum

A lot of influences will affect the future of the steel guitar; recording trends by national recording artists, some inde. artists as well as steel players themselves and the subsequent demand (or lack of it) for the instrument being just a few. But at a grass roots level of influence is what each of us does, especially when we play live somewhere. I remember having my local heros when I started playing and they still hold a very high place of honor for me. They also affected my future whether it was some key technique they taught me or their personal execution of a lick or their tone… it could have been many things. Likewise, each of us can affect someone in a big or small way, even unknowingly
Obviously, a handful of star players will set trends that many of us will follow, especially those of us just now picking up the instrument. But without making this a topic to express who our favorite players are and who played the coolest chords or fastest licks, or the lack of venues that hire a band with a pedal steel, I’d like to know what you see your contribution being, at whatever level, to the future of the pedal steel. Remember, the future is just a moment away so this very much includes the here and now.
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Miguel e Smith on 02 December 2002 at 06:35 AM.]</p></FONT>

What I try to do is get out there and play as much as possible. I also do my best to take all the non-pedalsteel type gigs that I can. Today I've got an early bar gig playing Sinatra type tunes and then a late country gig bowling for notes with some drunk guys at some other dive in Brooklyn.
Every gig has something I can learn from and I never know who might be wandering by.

Plus its fun and i don't know what else to do with myself !

Bob

I think our Instrument is sleepimg and soon to be awaken..

Like her or not, Shania put the Steel out front on her newest tune, Terry Clark has one fine Steel player out front on her new tune, Lloyd Green on TV with Alan Jackson..
If we had another Country Music based movie like Urban Cowboy again , who knows what could happen..Just look at what happened to Bluegrass with "Oh Brother..."

I think the future is positive..

tp

I agree with Tony. The future of steel guitar is going to be great.

When you get the right guitar, and it is working good, it is the most personal versatile instrument there is.

It's long range future is assured....al

Man ,you guys are optimistic! And that's great!
Personally things don't look quite that bright to me. I went to the PSGA show in Conn a fews weeks ago & I think I might have been one of the few, whose hair hasn't gone gray. Where are the new players going to come from? Watched the CMA awards, yeah, I saw some Steel players BUT, MOST of the bands did not have one. Maybe I'm alittle out of touch being up here in N.Y.S but there are just a handful of us steel players around here & most work very little. It would be nice to see some kind of steel guitar revolution take place but......<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Todd Kapeghian on 01 December 2002 at 02:39 PM.]</p></FONT>

Great post Mike! The steel guitar's future is very much alive and well...it might not be what my personal tastes prefer, but hey, is it a violin or a fiddle? I thank God for people like Robert Randolph along with players like Pete Drake....taking the guitar into new venues outside of the box we might try to corner it into. Personally I don't play the steel anymore, just didn't have the time and was always getting called to play bass...but I enjoy my steel pickin buddies (and pray for them)lol. I think the best 2 things a player can do is encourage and learn to tolerate. You never know...the kid you are talking to or giving away tips/licks that took you hours to learn...that one could be the person who takes the instument to another level of creativity. And as I get older, learning to be tolerant is becoming more relevant. I think of watching Bill Monroe at the opry and knowing what a "purist" he was in his heart...but he showed tolerance for others creativity within the music style he penned. Thanks Mike for the encouragment when I was learning to play...whenever you went through Mpls you always made yourself available to jam...and that same spirit continues in our relationship today. Just wished you lived just a little closer!

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"basso profundo"

I know this is a tired old saw, but I hope that every steel player out there who cares about the instrument and it's future should think of themselves as a "promoter" for the PSG. If someone shows interest, do whatever you can to help them along. For example, the first steel I layed hands on was a old 8&4 loaner that I was allowed to keep for a couple of months, and I was hooked. We can't make the record exec's put more steel on the radio, but we can influence things at a personal level.

I'd like to hear PSG in some of the newer hard rock music. It would definitely make that stuff more interesting to listen to.

Hey Todd
All those guys you saw at the PSGA show use
"Just For Men" you know the stuff that washes
the gray away. I tried it and now I look 36 years younger. Their hair may be a bit gray,but there's still a lot of coal in their
furnace. You can bet your sweet bippie on that.

Miguel,
When you were with the Gatlin Brothers I remember seeing you setup on a riser above the other musicians. I think it was a TV show or something. Anyway, you were in good view to be seen by all. My point is that most bands will put the Steel at the back of the stage and out of view from the crowd or TV camera. On the latest CMA show last month, George Strait’s Steel Player was hidden behind the acoustic guitar player. There are times that I’m hidden behind speakers and/or the bass player. I’ve been on some big production stages that put back stage instrument on risers. It’s nice to be on the same level as the other musicians. I think the Opry should put all steel players up higher, especially Tommy White. I think that standing out on stage as well as being creative with our playing are key elements about the Pedal Steel Guitar.

Al B

I rarely get called for the 'country' stuff since there are so many other players here in the Valley, JD, Bovine, Mike Johnstone, Greg Leisz et all, who truly excel in that genre. So, except for the occasional swing gig, I end up, and enjoy being in the "other" catagory. I've been involved in/used the steel guitar for "art music" since the '70s, I've played in and out of 'context' on feature film scores for the past 17 years, from "Light of Day" and "Invaders From Mars" to, most recently, "Road to Perdition" and "White Oleander" and I'm currently playing/recording with a metal/noise band.

The steel guitar has an enormous potential beyond the stereotype and that is what will keep it vital.

Hi Mike,
Great POST,i hope that we make a "NEW JUMP"
like in the mid&end '70,s .All the TOP C&W steelers had there lot of (studio)JOBS and the GREATEST Buddy Emmons showed the music- world how it sounds the steelguitar in the POP-JAZZ-BLUES (& all there GIANTS) on the highest level!!
It inspired us overhere in EUROPE that time
allkind producers did used the steel,Andre Sommer was a sort of Loyd/Paul overhere in the studio and brother Koos played on the North Sea Jazzfestivall and did make a jazzLP with ao Toots thielemans ,,,both STOPT
more or less,,,,,,(mid 40)

But i think we need (EX?) Steelplayers as producers as the BEST OPTION.
<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Jelle Biel on 02 December 2002 at 02:11 AM.]</p></FONT>

Nice post MS.

I play my butt off at every gig trying to excite people to listen to the that (ironing board). I teach for free. I help others find equipment etc.

I get it all back 100 times over by their friendship,it NEVER fails. I win, they win, the future of steel guitar looks brighter, what a great deal. I might even get a couple to play in church, now we are talking.

Larry Behm

Bright. Very Bright.

The music market is floundering everywhere, looking for new ideas. Mostly now it is hashed and rehashed hits from the 60's/70's. Not much innovation from producers, but still lots of talent out there.

The steel has yet to cross into new areas, which, I believe it will do. I also believe "country" music will revert more to traditional sounds. Look at the success of "traditional" sounds being recognized: O Brother Where Art Thou (bluegrass), Alan Jackson (not totally traditional, but uses steel and dobro prominently).

There just aren't enough traditional acts right now. Why? Because the producers are stuck in their production grooves and committed to their current contractual agreements. So if a "hat act" has to sell "x,000,000" records, they have to "produce". Consequently the hat acts and their "owner/managers" are forced to stick to the format that made them popular. They all have a lot invested in keeping that act on the road.

I believe more contractual agreements for artists with traditional oriented sounds will not only prosper the music business as a whole, but put the focus where it ought to be... on the music and entertainer, not the "show" to cover the lack of it.

Hopefully, a purer form for all styles will emerge once again.

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Bill Fulbright
Mullen D-10 8x5; Gibson ES-165; Peavey Vegas 400; ICQ# 2251620 My Music Site<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Bill Fulbright on 02 December 2002 at 07:41 AM.]</p></FONT><FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Bill Fulbright on 02 December 2002 at 07:42 AM.]</p></FONT>

In a word, VERSATILITY! We have to demonstrate that the steel guitar is not just for certain types of music. That does NOT mean that the more the steel does not sound like itself, the better! The anti-classic country steel bigots are just wrong as those who do not like other forms of music--you know who you are!

I have said this before, but I thought it was important that Mike Johnson (your good friend) was the music director during that run of the TNN talent contest series because he used steel (himself) on tunes that most other music directors would not have.

Some of the best stuff Mike did (IMHO) was on the rock/pop type tunes and he NEVER used distortion. An example of his approach is on my music page: http://frankestesmba.us/music.html on the Aaron Tippin clips. Even though that tune is not really a rock tune, Mike really used some great rock lead-guitar type licks that gave me those "steel chills."

I regularly play in church and we have a great job on Saturday nights playing for a bunch of energetic line dancers. Not one of those "granny grabber gigs!" Just a great non-smoke, non-alcohol job--7:30 to 10:30 PM. Hey, and no keyboard player! Yeah!

Anyway, I almost never do the slide-guitar thing on steel. It works on some things and I can do it, but I would rather add chorus effect and do cool lead guitar riffs on steel. I also double on lead guitar and when I want to do the distortion thing, then I use my LP copy guitar for that.

So, my contribution to the future of steel guitar is that I use steel on various styles of music. For example, if we do a song like "Suzy Q" then I will turn on my chorus and do electric keyboard type of chord/rhythm licks and I can take a steel solo on that tune that is not a bunch of cliche' country licks nor is it a bunch of lame-distortion-noise-pretending-to-be-a-slide-guitar either!

I really like the jazz music performed by our top pro steel guitarists and cannot relate to the people who want to walk out of a steel show when something other than "A Way to Survive" is played. I get more excited hearing Buddy play "Freddie the Freeloader" and the like.

We also need to support these steel shows, clubs and other events and that means that we need to see more top pros attend these shows as well--and that means you too, Mike Smith!

BTW, Mike Smith's approach to speed picking has been very influential on all of us. "Brown Baggin'" as tabbed out in Scotty's book was one of the early tunes I tried to learn. What a great "modern example" performed way back in the 70s!

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Frank Estes - 1978 Emmons D-10 8+7 #2441D

I'm diggin' the variety of comments. It's great that many players are going outside of the normal boundaries that many of us have grown up in. I'm not saying that this is for everyone. I think it's ok to go in whatever direction you are inspired towards.

I also like the statements about supporting the events, clubs and such. No, we all don't have the same tastes and that's just the way it be homeys. But, the diversity in what we play will expose and promote our instrument to other crowds (remember, this is about our instrument, not our preferences in music).

The world's a changin' rapidly and, although I don't have a crystal ball, I too feel very positive about where the pedal steel may go. One thing I've found out is that musicians are fascinated by the steel (sort-of of how we all got here right?)and I've found that to be true in music styles far, far away from what I grew up in. I played on an alt rock bands project awhile back and the simpliest little thing they would scream about. It was amazing too the things they would ask me to do...things that they didn't realize couldn't be done. In the face of utter humility,you'll find out how to do the impossible...or at least think outside of the former 'box'.

<SMALL>whenever you went through Mpls you always made yourself available to jam...and that same spirit continues in our relationship today. Just wished you lived just a little closer!</SMALL>

Sorry Pat,we got him here in Az. now and we're gonna keep him.
Ray

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Steeling is still legal in Arizona

You are inspiring Mike!
Theresa

what am I doing for the future of steel guitar...?

I try to play as well and as spontaneously as I can at every gig, trying to demonstrate the expressiveness of the instrument, and trying to 'compliment' the song being played; I answer every "what is that thing called, love?" with a smile and short explanation; I am fortunate to play with a regionally popular band and at every gig I get several such questions and compliments.

I try to be as helpful to newbies and wannabe's as so many other players were to me when I started...
The steel guitar "Golden Rule".

MIGUEL, you sure know how to cause a fellow to get seriously introspective. What I am trying to do,is to swallow my Country & Western pride and play whatever complements the current musical style or artist I have to work with. I also try to avoid being a "purist" with my instrument or my sound. I try to maintain an open mind;one which is open to new musical sounds,styles,& possibilities. I would rather play one well-placed glissando that enhances the mood of the music,than 64 rapid-fire 32nd notes that do not fit the musical composition. Though I sometimes fall short,taste and creativity are my on-going goals. If you make someone else sound good, you will have gained a fan and a friend. ~~W.C.~~

I play only restored vintage steels. I have
two ShoBuds and a ZB Custom. They talk to me when I play them. I swear. I need a vacation!<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Kevin Hatton on 02 December 2002 at 08:15 PM.]</p></FONT>