The Steel Guitar Forum

I am just learning steel, been a musician for 15 years though (only 26) and have no intentions of going to Nashville to be anything. a few gigs a month in Stl will have to do as I got bills to pay.

But Nashville music scene has always interested me a great deal. I know there are all kinds of great musicians in Nashville and to actually gig full time playing with an artist is tough no matter what instrument you play. But as I have started playing steel I have noticed how rare a steel player seems to be. Now, I know any of them that want a full time gig will congragate to the Nashville area, but would it be a true statement to say that you wouldn't have to be as great a PSG player as you would a guitar player or drummer or fiddle player to land a full time gig with someone just because of the lack of numbers in that instrument? Or do I totally have it wrong?

Can't speak as a steel player in Nashville ...BUT...I have a best friend in Branson who did'nt get a call back this year because he only played steel....I doubt his 'utility' replacement could carry his guitar but once again it's all about money. Furthermore, I think playing only fiddle would be a tough gig to find/keep...once again, I have a friend in Branson who is first a fiddle player but also does mandolin, acoustic, dobro, sings harmony and is never out of work, sometimes working as many as four shows. As for Nashville, most acts would favor a keyboard player over a steel......it fits the crap they're putting out, don'tcha know.... i.e., it's a better rock and rock instrument than steel..unless you consider Joe Wright..now there's a lad, if you want some R & R,who can deliver the goods. As for country music, by traditional definition, Nashville doesn't seem to know or care what it is...just my opinion and it should be yours.

When I had my store in Nashville,Players would come in and ask for a couple phone numbers to help. I would give them Berry,s Pawn shop {they bought Steel Guitars{ and the Salvation Army{They had free meals} and told them they probably would need one of them in a couple weeks.I also told them to go get a "Temp" job and go downtown Nashville each night and watch what was happening. ED Naylor Steel Guitar Works.

I was just contemplating last night how it used to be back in Pa. in the ’50's and ’60's. It applied to almost any instrument that anyone played. If you landed a position with one band, you ‘belonged to them’ exclusively! If someone had the nerve to call you to play a job for one occasion, you were expected (actually required) to contact your band-boss and ask if he minded if you worked one of your 'many off-nights' with someone else. Back in those days, everyone knew who you worked for and it seemed that all groups were very competative about their image of being considered the 'best band around' and didn't want to take a chance of losing their status in the area! (I guess you would call it 'Professional Jealousy' of a sort.) Nowadays it is less likely to be the case, because; there are probably many more bands than jobs! Unfortunately, here in Nashville, the musicians that have one main-gig usually are in demand and pick up all the odd-jobs too. Therefore there is not much sharing of the work around here! I've been here 37-yrs. and it's always been this way. If you're busy, you work all the time and the rest don't have half-a-chance! If you leave town temporarily, “gone, but; not forgotten” does not apply! When you return, you start all over from ground-zero.

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“Big John” Bechtel
’49/’50 Fender T–8 Custom [X2]
’65 Re-issue Fender Twin-Reverb Custom™ 15”
click here click here

I've got some semi-literary meanderings on my web site about picking in Nashville. Actually, I got my first artist gig, with Stonewall Jackson, when Big John left him. www.calsharp.com

C#

Great story Cal.

As I appreciate all the info as I have just really been intrigued at the "real world" of a musicians life, the true questions is would a steel player have a better "shot" than other types of musicians simply because of the rarity factor of a steel player. Again, I know in Nashville they aren't rare, but I as there are probably 20 guitarists to one steel player in that town, maybe more, you would think the odds would be in better favor. But maybe there are 20 guitar jobs to everyone 1 steel job. I don't know.

And I loved the info on Branson though. Being from MO, I visit every year. The guys who play multiple instruments are in demand. At country tonight, one guy played keyboard, guitar, banjo, bass, and sang harmony.

Steve, its been my obsevation that there are alot of good steel players in Nashville, and finding steady work is very competitive.

Steve
The bad news is that steel players are rare in most places; the worse news is that jobs for steel players are an ever greater rarity.

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Herb's Steel Guitar Pages
Texas Steel Guitar Association


<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Herb Steiner on 03 December 2004 at 08:05 AM.]</p></FONT>

John, how true your statement is.

I would suggest any truley aspiring steel guitarist should be required to read Nashville steelman Howard White's fine book
"All Roads Leading Out of Nashville". (I hope I got that accurately.)

Howard played with many of the day's top recording artists, perhaps most notably, Hank Snow and Don Gibson. In fact Howard and I shared the same stage way back in the 1960's when his Opry Tour came thro' the Pacific Northwest.

I'm one of those guys that attempted to learn every new steel guitar instrumental that hit the airwaves. I could play most of the current player's hits, note for note; guys like Noel Boggs, Speedy West, Billy Robinson, Jerry Byrd, etc., etc. I learned what I believed to be a well rounded "Back-up" ability. In my heart, the Grand Ole Opry and a big name band appearing there, was my DREAM. I envisioned being the "selected replacement" for any steel player that just might quit the likes of Carl Smith; George Morgan, etc. I sensed an Opry "talent scout" was in each and every audience for which I played.

Now, some 60 years later, I can't even get a job playing in a "beer tavern". Howard's book will open your eyes and hopefully your mind about what playing music for a career is really like. Especially the road musicians. Never heard that term until a few years back.
In review, I was making more money per week "net", (at that time)playing weekends with a full-time day job, than some of the guys working full time with the really big Nashville stars out of Nashville.

Granted, they got to experience the presteige
of the bright lights; got to see the world in a big bus; got to play with some other great musicians;and all of the other stuff that goes with it, however, don't forget, it is the vocalist that was the star. The sidemen merely made it happen. And after playing twenty years with one star vocalist, how many tunes can you imagine they got to play other than their employers two dozen "hits"?
That DREAM kept me energized; I've enjoyed the music, the friendships, the limited travels involved "as a local", the musical knowledge I've gained and the technical musical skills I've learned and developed...........but now, that bubble has burst and I'm asking myself, was all that time, money and effort really a worthwhile investment. I've seen guys with a dull, dead end job get further ahead financially and yet, there was a certain amount of "glitter"
that only a musician can really weigh out and deeply appreciate. I've had a good musical life and a fair amount of dissapointments.
Go after whatever it is you're seeking but don't be greatly disappointed if it successfully eludes your best efforts. There's an equally good chance you might make it, so GO FOR IT!

Hello Guys,got me to thinking,in the 70s i was at SHO-BUD getting some work done,i ask a good friend while there,about playing in Nashville,he said man go home,this is a rat race up here.Best advice i could have ever gotten.Had a great friend who was a good writer,move there,never got one song recorded,he painted houses until he died.I also talked to a great steel player,no names,who was playing with a big star,he got 300. per wk.bus to sleep on and 2 meals a day furnished,gone from home all the time. no life for me!!! farris

Tough you bet. one chance I had in Nashgrass with a band out of San Jose Ca. with a deal with big Jim Brown . and when it came to recording they said all we want is the singer the rest of you go home. We use our studio cats exclusivly. That told me alot .. you must live the life and be a resedent then wait your turn.
I have been successful as a Guitarist and Steel player with a bit of Mandolin and Dobro as back up on the local circuit here in Calfornia. I still have my own
Electrical contractors licence and just play 3 or 4 times a month. Occationaly I will go out on tour for a month or so , hard nose on the Steel road .. but I would not trade the good times i have known.

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Mullen S12 Almost Mooney
71 Tele, Regal 45
Sho Bud S10 NP
Line 6 Flextone 3 + JBL D130

..it's always been true.....the life of a road musician appeals only to the young and optimistic musician.....for everyone else it is a grinding and unappreciated existance, acceptable only to those whose "name is on the bus"!

It is a tough life for anyone not motivated!

www.genejones.com

Well guys,

I assure you, I am in no position to run down to Nashville and see if I can "make it". There will always be a dream of an "alter-life" of being a full time musician, but that is totally unrealistic for this one. I just like to know how it all works. Right now, I got a mortgage, a wife, a job that pays twice as much as any musician job my skills would ever be worthy of and it pays my medical and contributes to my 401k. I am too realistic for any of that. I just think it is cool to know whats going on down there. On this thread, I was just simply curious if it was any easier for a PSG player than a guitar player. I assume not.

"I was just simply curious if it was any easier for a PSG player than a guitar player."
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As Herb said, steel players are a rarity. Most of the good ones are scattered around Texas or jumbled in a heap here in Nashville. So... anywhere but Texas or Nashville it might be easier to get a gig, if one were available.<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Cal Sharp on 03 December 2004 at 10:52 AM.]</p></FONT>

Most of the replies about Nashville remind me of what a jazz guitarist told me about living in New York City. Paraphrasing...

"It's great living in NYC because you can hear and jam with some of the best musicians in the world. But, you've gotta leave town if you want to play any gigs!"



SK

Yeah, a lot of those guys _had_ to play out of town because in trying to emulate Bird, they got caught with drugs and lost their caberet license and couldn't work in NYC.

<SMALL> But, you've gotta leave town if you want to play any gigs!"</SMALL>

Ironically, that is exactly the same advice that I heard back when I first started playing.....and that is, if you want to play music, the first thing you have to do is leave Oklahoma
City". That comment is credited to either Charlie Christian or Howard Roberts?

www.genejones.com

Simple answer, if you play great you will work a little in Nashville, if you don't,,,,,,,,,,, you'll work even more!<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by BobbeSeymour on 03 December 2004 at 08:20 PM.]</p></FONT>

"You've got to save your money up for those good jobs!"
Quote -Rompin' Ronnie Hawkins

I never tried the "big city", but took a smaller step and played a Branson show for 2yrs. And had the opportunity to work with some great musicians. During that time, I also worked as much as I could renovating my house and hanging wallpaper for extra income through a local paint store in Springfield. When my two boys were born, I realized I would be missing out on their lives if I continued with this life style. I would be working during the day and leaving for the show gig around the time they would be getting home from school (5pm) every day and on the road alot in the winter. So, I packed it up and went back to Iowa and played weekends, play the area's annual Steel Jams/Shows, watched and coached my kids and others in sports and started my own business. I own a home, new car and out of debt completely. Regrets?...None.
DD

I enjoy my life as a full time musician. I don't have many of the trappings of success but I do have something that money cannot buy that I can't seem to live without.


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Bob
intonation help


<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Bob Hoffnar on 04 December 2004 at 09:24 AM.]</p></FONT>

playing in Nashville is not only about how good you are.If you have a nice personality,you are dependable and you can copy few licks of the CD`s you will have a job.Thats for the guys working with the "stars".In town you can make some money, if you call $20 in tips a job.I call it a hobby.My wife spends more in drinks for those 4 hours than what I make playing.But there is a one thing,I have a day job,so I don`t care how much I make on the gig,While other guys are spliting pennies I pack my steel,pay my tab and go home to bed.I play when I want to and with whom I want to.And that means a lot to me.When ego`s start growing I`m gone.Good set up would be to own your PA,lights,nice Van and treiler and put together your 4 piece band.Then you can go on the road,play clubs,casinos or wherever you want,what you want (pretty much) and if you pick a good set of guys,you`ll even have a good time.I think at this point,that sounds like the best idea to me.If I ever do it again that is how I would do it.

Db

ps

tip for the guys moving to Nashville, get a day job first and leave ego at home.At home you were a big fish in a small pond but in Nashville you are small fish in the ocean (full of sharks that will eat you for breakfast)

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"Promat"
~when tone matters~

The Nashville scene..........I was there a year and a half ago, and I got this impression: There are a lot more musicians in, and around Nashville looking for work than there is work for them. I saw a lot of good to great road musicians that were working for tips just cause (like all of us) they want to pick. They work for name acts (Joe Diffie, Alan Jackson, Toby Keith, so on, and so on.) and they can land some choice gigs with the BETTER pickers. The NEW COMER stands a very slight chance to work there, but can usually get a chance to expose himself (Especially if they sing) by setting in with some of the many acts on Broadway, or in Printers Alley. Now I hold nothing against the road picker getting some of these gigs, but come on guys, YOU are recieving a steady paycheck. There may be some darn good pickers out there that could use some financial assistance, and are willing to work for it. I won't say who, but I saw some guys that probably knock down a real healthy weekly paycheck (Salery) taking up some spots that could have been filled by some very capable NEW GUYS that I'll bet needed the $. I found Nashville (this time) to be friendly enough, and accomodating, but I did hear a lot of BEGGING for tips from various bands. Speaking of begging, I bet I was approached twenty times or more from BUMS wanting a handout. (I gave it the name: Tiajuana Tennessee) Some had enough pride to at least do something for the money (Shine shoes, Sing, do a Willy Nelson impression) but a lot of them just asked for money. All in all, Nashville has changed a little since I lived in the area in 1976, and a lot since I first visited it in 1973. BUT! that is where I guess you go if are wanting to be discovered. Good luck if you go.

I woke up one nite when I was approached by the friend of mine who is great lead guitarist down town asking me for 5 bucks for a beer.That was my cold shower.I`m awake now.

Db

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"Promat"
~when tone matters~

now i do remember,there was lots of beggars on the streets!we went in to eat at one place,and the owner was throwing one guy out by the seat of his pants,and kicked him as he went out!!gosh,that was probaly a musision huh. sure hope he got a hit,besides the one he got that day!!!!
farris