OK,then, when TO play and what?

James Cann · From: Phoenix, AZ

Bobbe's newsletter is always worth the read, and this week's comments on laying out are no exception. However, I don't think I've ever seen any commentary on laying in (unless I missed it all!).

So, what about when--if at all--and what actually to play when behind the lead element, i.e., singer, or other lead section player? When you consider how certain elements (drums and bass?) never seem to get a break, is it possible laying in too much comes from a sense of not doing enough of one's part in light of those of others?

Charles Davidson · From: Phenix City Alabama, USA

Knowing when to play and when NOT to play is one of the most important things you can learn,When I first started enons ago as a young whippersnapper,thought I had to play EVERY lick [was playing sixstring] I knew over EVERYTHING,A couple of the old timers set me straight IN A HURRY. In other words do it right or HIT the road,kind of hurt my feelings,but I took the advise,THEY WERE RIGHT. DYKBC.
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Hard headed, opinionated old geezer. BAMA CHARLIE. GOD BLESS AMERICA. ANIMAL RIGHTS ACTIVIST. SUPPORT LIVE MUSIC !

Barry Blackwood · Posted 9 Apr 2009 11:12 am

James Cann · From: Phoenix, AZ

Thanks, Barry. I do have a pretty good feel for it and have been complimented once of twice as one who does it. I'm curious about ideas like when might anyone feels it necessary to do it, what sort of patterns or licks they might use--you know, the cerebral stuff.

Charles Davidson · From: Phenix City Alabama, USA

The best way to learn when to play and when NOT to is listen to a good bluegrass band,If the mandolin,banjo,dobro,guitar,fiddle,is playing a lead ride,the rest are just backing him [or her] up,NOT playing OVER him. The same should go for ANY band,jazz,country,blues,or whatever. same with backing up a singer,play between the lines,the old guys call it PLAYING in the holes. DYKBC.
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Hard headed, opinionated old geezer. BAMA CHARLIE. GOD BLESS AMERICA. ANIMAL RIGHTS ACTIVIST. SUPPORT LIVE MUSIC !

Bill Moore · From: Manchester, Michigan

Some people don't get it, and never will. If you are in a band with someone like that, you have 2 options, sit there without playing most of the time, or turn up the volume and play loud whenever you think is your turn. If you just sit there, someone will ask you why you aren't playing,usually it's the person that's hogging all the lead parts. They just don't get it.

Chip Fossa · From: Monson, MA, USA (deceased)

Like Charles said, you've got to really listen to the other's in the band. After a while you can tell when somebody else is taking a ride. So you back off and "comp", or do nothing. Comping is maybe plucking away on 3-note grips, usually in the low register; but at times maybe in the higher register (depending on the style of song).
Slow ballads, I'd stay low. Flying bluegrass or uptempo swing, you could vamp on some high register chords - just keep it down.

As far as fills behind a vocal, it may take time to get used to the "dead spots" in a vocal. That's where you jump in. But you sure don't want to be playing a lot of stuff over the vocals ("less is more" here, is true) What you play - well, that comes with taste; a whole other issue. Of course you can always play the INTROS, ENDINGS, and TURN AROUNDS. These areas are usually a band decision; unless you come up with something that is hard to ignore.
I still think one of the beautiful benchmarks of the steel is disappearing for a while and then coming back out of nowhere with a brilliant phrase or line or fill or whatever. This is tough to pull-off, many times. The song has to be just right, and so does your phrasing and timing. Everything's got to mesh just so.

But hope this helps you a bit.
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Chip
Williams U-12 8X5; Keyless; Natural Blonde Laquer.

Steve Alonzo Walker · From: Spartanburg,S.C. USA (deceased)

It's a "Feel" type of thang! Just fill the holes in that the singer leaves. Play with the steel's volume lower that the vocals volume, then turn it up when it's your time to play the break or turn-around and always play the break or turn-around just like the songs melody!

Ron Randall · From: Dallas, Texas, USA

Rule number one....Play whatever the boss wants.

There should be someone you can take cues from. But I have played gigs where nobody really cared when I played. More of a free for all.

If there is a hot telepicker with a huge amp and bigger ego, just wait for him to get tired and look at you.

If it is a concert, a job where the audience sits rather than dance, talk, and drink, charts and someone to take cues from would be nice.

A good rule of thumb is, no cymbal crashes, and no instrument "rides", when the singer has his/her mouth open.

my 2c
R2

Chris LeDrew · From: Canada

I usually don't bother playing steel at all when the singer is singing. All he/she needs at that point are the rhythm and beat. The most I'll do is chunk along on the low notes in a certain rhythm. Then the lead instruments will take turns doing fills in the vocal holes and solo spots. It's all about consideration for one another on stage. I find that lead guitarists are the worst for this sort of thing. They can't seem to just chunk along with the rhythm. Annoying. Nobody will miss the lead instruments when the singer is singing. That's the lead at that point in the song. Get out of the way!!

I've heard of steel players reading the newspaper between fills and solos....probably to just prove the point that there is a time to just sit there, and there's a time to play. As Jeff Newman said, "Just sit there and watch the pretty girls dance." I think it's cool to just sit there. It gets people curious as to what you're up to, and when you do come in, it makes the effect all that much better.

Donny Hinson · From: Glen Burnie, Md. U.S.A.

There's always an "other side of the coin"! Cool

http://www.youtube.com/watch?v=cIfgghHVyWY

Note how the steelwork and singing can co-exist if it's done properly (especially in the last 20 seconds of the clip). I respect what Bobbe'e trying to say (and I know exactly why he's saying it), but there's more than one way to play music. Reserved playing has it place, but so does doin' some ass-kickin' in-your-face playing once in awhile!

I also especially like the steel tone in this clip. Not so much because it's a good tone, but because it's so different! You can hear a thousand steelers playing today and you will never hear that tone.

I miss the old days, when everyone could come up with their own sound and licks. Just like singers nowadays, most all of today's steelers are all going for the same tone and sound.

Gets boring after awhile. Muttering

Mike Neer · From: NJ

It takes a lot of critical listening to really get a grip on what makes the great music work. I suggest to anyone having this struggle to sit down with a pen and paper and take notes on what's happening in the context of the song, from intro to verse to chorus, etc. Learn to listen where the kick drum is, what is the bassist playing, etc. Listening is the only if you want to do it right.

It's also important to note what the player playing the fill is playing between vocal lines. It has to be something that enhances the song, not detracts from it.
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Links to streaming music, websites, YouTube: Links

Chip Fossa · From: Monson, MA, USA (deceased)

Thanks Donny, for that link.
That sure was some sweet steel, alright.
First time I heard "Hello Trouble" was The Desert Rose Band's version (Chris Hillman & Jay Dee Manness).
Never realized till now that Buck wrote the song.
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Chip
Williams U-12 8X5; Keyless; Natural Blonde Laquer.

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