Music or steel guitar?

Dave Alfstad · From: Indianola, IA USA

The latest issue of Guitar Player magazine has an interview with guitarist Jimmy Herring. The article has a paragraph that hit close to home for me, and I thought I'd share it. Jimmy, talking about his penultimate recording titled "Lifeboat" says:
"...[w]hen recording Lifeboat I knew that I didn't want to make a 'guitar record'--one on which the instrument that I happen to play was more important than the music itself. Bruce Hampton would do these comparisons all the time, like saying 'Music or guitar?' And if I replied that music was more important he'd say, 'You're lying.'"

I want to preface the next few comments by saying that I LOVE steel guitar! I love the sound, versatility, and history of the instrument. I have a vast collection of "steel guitar" music, and still buy almost everything steel guitar related that I can get my hands on. I quit playing steel for about 6 years from 2004 to 2010. I also quit going to the shows and quit listening to steel guitar music. I guess I sort of got burned out.

I started playing steel again in 2010, and I am really enjoying it. I have gone to a few steel guitar shows, and have bought some more music. However, I still feel like most of it seems self-indulgent and bores me. When I read this article this morning, I had an epiphany.

In my opinion, the shows and most of the recent recordings are about the steel guitar--not the music. Many very recent steel guitarist recordings contain most of the same old songs that have been done ad nauseum, and although they may feature sublime steel guitar playing, they often lack creativity anywhere else. This approach focuses so heavily on steel guitar that every other instrument becomes secondary and incidental.

I read posts about how great a steel player's new cd is, and then I buy it and I find that except for the steel guitar everything else, including song selection, is just mediocre. I am not talking about how well the other players on the recording play. I am talking about the presentation of the whole song. In other words, if you removed the steel guitar from the recordings, would there still be a reason to buy the cd or go to the shows? The answer, I find over and over again, is a resounding "no."

When producing an album or performing on a show, I wish steel players would ask themselves, "Music or steel guitar?"

Joachim Kettner · From: Germany

Somehow it's hard for me to answer your question Dave.
There is a recent thread in Music (What a rip- off...)
that says how annoying the canned aplause is on certain records. But still I try not to pay to much attention and rather listen to what's actually played.
If it's a solo steel album, where the backing is provided by a synthethic rhythm, it spoils it for me. Otherwise if it's a backing track that comes with a course I don't mind at all.
I guess I'm "spoiled" by the many well produced albums I've heard before steel albums Confused

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Jim Hollingsworth · From: Way out West

I too have taken sabbatical from steel on several occasions - and when I do I invariably return to to jazz guitar. The fact is, guitar is in some respects more adept for blues & what is considered "serious music". Steel can overcome those hurdles - but only thru tremendous effort. But I arrived at something profound during the process that led me back to steel guitar: PEOPLE LIKE SONGS. They like to hear singers tell stories & move their hearts (or feet!) What they don't care about is that the guitar player went to Berklee & can play Lydian Dominant scales over sequences of altered dominant chords. They want to FEEL. This relegates every backing musician to just that - BACKING. Being a fan as well as a player I can say with surety that folks love a hot solo in the middle of a tune. If it is not overly long & self indulgent - because it adds to the song. During violin concertos the solo violinist - the featured player - doesn't get to play all the time. And wisely so.

During the 80's & 90's I all but worshiped jazz guitarist Pat Metheny. But as I listen back to his work, it has lost much of it's emotional impact. He is still arguably the greatest guitarist on earth - but I now love his skills as a composer - not his 10 minute solos!

It should be the emotion of the storyteller that gets first billing. The vocal. The rest of us backup players should do all within our power to make their song work. Anything that doesn't make the song work is "noodling".

By the way - Jim Cohen's album is very good because he wisely allows space for all of the great players to have equal time at soloing. And he too limits himself to playing the head and 1 solo.

Jim Hollingsworth

Mark van Allen · From: Watkinsville, Ga. USA

Dave, may I say a really great post! I feel many steelers do get lost in the pursuit of "the ultimate Nashville sound" or the best version of "I've Just Destroyed..", but frankly, if it satisfies them and their listeners, is it "good music"? I find it hard to believe that anyone is really satisfied with a recording with mechanical or boring backing tracks... even if the solo playing is engaging. I just attended a steel show where most of the attendees were aging, and so was the song selection... but it was impossible to miss the crowd's appreciation for the quality of the back-up work (within the style and genre) that the band provided. I've been asked to play that show again myself, and I find myself wondering if that crowd will appreciate one of my bands where the steel is an integrated part of the whole, playing original music with a blend of influences and no "steel instrumentals" whatsoever.

I toured in Jimmy Herring's band in 2006, so the article and your comments strike close to home. On that tour, Jimmy was specifically trying to create a "Song" structure, where solos and instrumental bits supported and elevated lyric and melodic songs. It was a joyful experience for me, as we would split up complex chords into shared diads and triads, harmonize chord stacks, and otherwise arrange "parts"- but on the bandstand his legions of guitar fans, and the drum mavens there to watch Jeff Sipe, demanded lengthy improvisations and highlighted improv. While Jimmy is a man in pursuit of tone and harmony, his deep mastery of guitar pyrotechnics, like Steve Morse before him, draws the technique-obsessed gunslingers like moths to a porch light. I really do think he finds himself somewhat at the mercy of a "hot dog" mentality that his own study and mastery has created.
Just about all performing and recording musicians get caught somewhere on the wheel between self-expression and commercial viability. Like you, I relish performances/recordings where the steel is part of and synergistic with the larger musical trip. Mike Daly's recent "Rock Of Ages" is a great example. In a completely different genre, the Emmons/Pennington big band collaborations, Buddy's "Live at International Steel Convention '77" or any of the Time Warp Tophand's Swing recordings are just sublime in that regard.

Something for all of us to think about in our pursuit- thanks for the nudge!
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Donny Hinson · From: Glen Burnie, Md. U.S.A.

If you want the biggest audience (sales) you go for what sells. And, in the world of steel guitar, you get a lot more listeners (and buyers) if you focus towards your biggest audience. Fact is, most people picking up a steel album like what you do not, so you have to decide if you are going for mainstream steel guitar, or some other genre, when you do your CD. I think most players would like some return on their investment, or at least to break even. I think an "unconventional" steel album would have to be exceptional to do that.

As to the area of creativity, truly creative players are quite scarce, and the truly creative pedal steel albums that have been released, and have achieved popularity, can probably be counted on both hands. IMHO, playing songs that haven't been done just yeilds variety, not creativity. (Creativity comes wholly from the player.) And, as to removing the featured instrument and still having a good amount of music left, I feel that only Buddy's "Steel Guitar Jazz" would make the cut. Neutral

After almost 50 years, it still sounds fresh and different!

Curt Trisko · From: St. Paul, Minnesota, USA

"Pedal steel guitar is a lot like a movie soundtrack in that the more you notice it, the less effective it is."

http://ericheywood.com/eric_heywood_no_depression.html

This seems to be the philosophy for most "modern" steel playing. Personally, I think psg's resemblence to the human voice makes it perfect for what the Jim was saying: FEELING and not so much attentive listening.

Alex Cattaneo · From: Quebec, Canada

I was watching the movie "Heart Of Gold" yesterday, which is a Neil Young concert filmed at the Ryman, and Ben Keith's playing is incredible. Minimalist, sparse, perfectly compliments the songs. 3 pedals, 1 lever which he barely uses, and a lot of taste. There will always be work for someone who can play like that, use the lyrical and dynamic qualities of the pedal steel and blend with the rest of the music. Plus, it helps that Neil Young is one of the most amazing songwriters ever. Anyhow, that seemed to me like a great example of putting the music first and the opposite of self-indulgence.

David Mason · From: Cambridge, MD, USA

I'm pretty sure I've always tended towards music and not steel. As do the players I admire most, Perlowin, Easley, Alcorn, anybody who's discovered it's such a great way to make notes appear and have a taste for the outside. You do need some steelism just to learn the darn thang. But there was one steel album out there in particular, the player used what sounds like that stock Band-In-A-Box "instruments" to put horns and strings all over his album - this guy (initials B.B.) was a top pro playing country-rock in the 1970's. It made me kind of wary of the steel albums in general.

And there are others in the jazz side of things that have fiddle solos, guitar solos, bass solos all over the thing, but the biggest turn-off for me is that the keyboards and rhythm guitar are so prominent I can't hear the steeler's approach to chords. I'd rather listen to the steel guitar cover more ground. It's a tough nut to crack - very few instrumental CD's of any sort are being sold to anyone except us perverts.

I bought Jimmy Herring's first CD, and it seemed very bland to me. He's often stated his resistance to being a bandleader, and... well, some people just are sidemen, that's all. I though his best playing to date was in the version of "Phil and Friends" that also had Warren Haynes - they really sparked each other in a way I enjoyed (and they played very little Dead! Laughing

) And coming from a dedicated guitar fiend like myself, this is hard to say, but:

The genre of solo instrumental guitar hero is vastly overcrowded.

And all of these guys start to form quasi-bands, Chickenfoot (Satriani) and the Aristocrats (Guthrie Govan) and Flying Colors (Morse). IF the CD sells, they tour some. I'm lucky that through this forum, I was exposed to what's called "post rock." There are a number of instrumental bands that do put the music first, and never attempt a shredfest to prove something. Pelican, Explosions in the Sky, Scale the Summit, and the steel-heavy Red Sparowes are examples. This thread may be instructive:
http://bb.steelguitarforum.com/viewtopic.php?t=208507&postdays=0&postorder=asc&start=0

http://www.youtube.com/watch?v=f8p8WMlOVZo

Curt Trisko · From: St. Paul, Minnesota, USA

It's insightful to note that the volume pedal is darn near considered part of the pedal steel itself. I got a feeling it wasn't just intended to hide string attack.

Les Anderson · From: The Great White North

Being a stage musician and back up musician for near 60 years, I have always maintained that a back up instrument is just that; “a back up instrument”. All of the backup instruments are to blend in where, on occasion, one or two instruments would fade in and out in a manner that would add to value of the lyrics or melody. (mind you, I have played behind some vocalists that it would take more than a good steel player to add to their lyric style)

My classic example of a professional steel player’s back role would be to direct a musician to Basilh’s session work with Daniel O’Donnell’s, “My Donegal Shore” or “I’ll Take You Home Again Kathleen” http://www.youtube.com/watch?v=ogXOCvj0-hA&feature=related. In both examples his backing work was, in my opinion, to the highest standards of a professional backup musician. The audience could not hear him specifically, except for the fade ins; however, his steel work gave the songs a much greater expression and a much deeper emotional overtone. His steel work fit the emotion of song to the highest extent possible.

To many steel guitarists want their instrument to be heard constantly. That is not a back up musician’s role. I play a steel guitar and have long ago accepted that my instrument is a back up instrument unless I am asked to do a solo.
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Dave Alfstad · From: Indianola, IA USA

I knew that the original intent of my post would get lost in translation. I knew that the "it's what sells" issue would be brought up, and I knew that my comment about the non-steel guitar instruments would be misconstrued.

Regarding the "it's what sells" issue--that may be so, but it's not going to sell to me anymore. I refuse to purchase any cd that contains "I Love You So Much" or "I Just Destroyed The World" or any of the same old rehashed stuff. By the way, I love those songs--I just don't care how well somebody does them anymore.

I recently purchased a cd that has just been released by a pretty big name steel player. I actually bought the cd without looking at any of the song titles because I like the player so much that I was just excited to get it. I was disappointed to find that 7 of the 11 tracks on the cd are worn out standards that have been done thousands of times. (By the way, I could have counted one more, but I gave him the benefit of the doubt.) I gave the cd one run through, but it will probably never make it in the rotation again because, like I said, I simply don't care how well somebody can play these tunes anymore.

Concerning the background players, I did not mean to insinuate that I want to hear more of the background players, and I hoped that my original post would convey that feeling.

Here is what I'm talking about:
John Hughey's "On And Off Stage" far surpasses all of his later releases. The music is more real, and way less mechanical. There are not more background instruments, it's that the music was made with the MUSIC in mind more than the steel guitar, even though the steel is the focus.
Robby Turner's first cd "Man Of Steel" is a much better cd than anything later, because the focus is on the overall presentation of the music.
All of Hal Rugg's recent cd's pale in comparison to "Alter Ego" for the same reasons as mentioned above.
In my opinion, this list just goes on and on except for a few players. Lloyd Green's recent stuff is great and there is a lot of musical value beyond the steel guitar. More players should take a lesson from him.

I have also heard (and purchased) some of the cd's that sound like BIAB or a bunch of sequenced garbage was used for the rhythm section. What an abomination! BIAB is a great tool for practice and making YouTube clips, but not for a cd that I'm dishing out $18 for.

Of course this is all my opinion, and I'm sure there will be disagreements, but I have to keep myself from hitting the same wall that I hit a few years ago because I truly love Country music and I love the steel guitar.

Robby Springfield · From: Viola, AR, USA

Thank you Dave for your post. I have felt the same way for years now. Could this be the reason why the steel shows are not drawing crowds anymore, or why CD sales at the shows are down. Everyone tries to blame it on the economy but I think your logic behind the same ol same ol is dead on.

I know that economics plays a part in CD production quality but too many players are cheating buyers and themselves in the process.
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Franklin · Posted 21 Nov 2012 9:34 am

I don't think anything has changed......Looking back, whether its today or back in the 60's....Steel guitar CD's are no different than guitar or fiddle instrumental recordings....They feature the focus of the instrument, not necessarily the songs needs.....Commercial music has always focused on the overall song using various instrumentalists complimenting the song which covers that listening desire....I believe there is more steel available as a complimentary addition to great music across genre's and in every decade than most players could ever afford to purchase.

Paul

Mike Neer · From: NJ

I thought I had an easy response to this, but after thinking about it, it's much more complicated.

I'm all about the music first. However, I've come to realize that I don't want to play anything anymore other than want I want to play--I don't want to play backup in a band, or Western swing, or anything else usually associated with the steel guitar. I want to play Jazz on it, because it is what I enjoy. Let me just say: it was much easier when my playing was less self-conscious.

The most difficult reality to deal with, though, is that no one cares. Jazz musicians don't take it seriously, neither do listeners, and not even steel players really give a damn. Still, it doesn't stop me from working towards the goal of playing legitimate modern jazz on non-pedal. I haven't heard the instrument played the way I want to play it, and I may never hear it. So, while I'm all about the music, the challenge of the instrument is always somewhat of a barrier. Maybe 20 years from now I won't have the same problem, I don't know.
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Alexander Stepanenko · From: Moscow, Russia

Sorry for machine translation. In any case, two versions of translation))

I think that for a professional musician (who lives at the expense of the ability to play an instrument) music question or guitar (Steel guitar, clarinet, trumpet, violin, drum, etc.) do not exist. The game is the work of a musician. And for his work should be rewarded. (Money). So of course it's the music that you play on your instrument, and thus earn a living.

I think that for a professional musician(who lives due to the ability to play an instrument)issue music or guitar(steel guitar,clarinet,trumpet,violin,drum, etc.)not there is. Game musician-it is work. And for their work, to receive the reward.(money). So, of course it's the music that you are playing on his instrument,and make thus their living.

Daniel Morris · From: Westlake, Ohio, USA

Back when, I found Red Rhodes' VELVET HAMMER IN A COWBOY BAND album to be a fantastic listen. Still do.
I don't know if that's exactly what you're looking for in replies, Dave, but even though I was just learning pedal steel, I still thought that LP was much more about the music than just one instrument. I recall that at the time ('70s), I wanted to hear (and learn) stock steel sounds, but Red (and Sneaky Pete) showed me that pedal steel had a LOT more to say.
Yea, Red Sparowes also caught my ear for the same reason - very cool music with pedal steel.
I also love harpsichord, but harpsichord in Bach's music seems an apt analogy - very cool music with harpsichord.
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Franklin · Posted 22 Nov 2012 5:35 am

Dave,

I see your point......Its not so much the song choice for me, its the musicality and the imagination of the players performance that appeals to me musically. I do believe composition is the true sign of hearing who the artist is, so I'm usually drawn to new material over cover material.....Having said that, studying steel guitar, I get a deeper insight into the creative mind of great players when I hear how they all interpret the same melody.

Paul

Bill L. Wilson · From: Oklahoma, USA

Having never bought a steel guitar album, I received a free CD, at the Dallas show, with the purchase of Geo.L's cords. The Sho-Pro Steel CD is very good, but my favorites on the album, are Tommy White, (The Girl Who Waits on Tables), and Eddy Dunlap, (Old Country). These songs have probably been done to death, but I love the way these men play'em! They'll blow your hat in the creek!!!! It's all about tone and execution.

Ned McIntosh · From: New South Wales, Australia

I'll do my best to put the music as a whole ahead of my steel-playing, every time. I work in two bands and probably play about thirty percent of the time at maximum. If I can't contribute to the music, I don't play! (I get paid the same as the rest of the band, I just don't work as hard!)

I recently listened to a recording of a concert I did with one band and realised I could just hear my steel behind the rest of the band - and that sounded pretty much spot-on. I wasn't being intrusive, yet when there was room for it, the steel did add a little something.

I think putting the music first is a sign of good taste. After all, are we not trying to be good and true servants of the music?
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