Call Me the Breeze on Pedal Steel Help Please

Jerry Overstreet · From: Louisville Ky

Not sure where to put this so please move as necessary.

The guys I jam with like to do Skynyrd's "Breeze". My buds and I used to dig listening to this song back in the day, but I can't seem to find anything worth a crap to play on it with the pedal steel.

I've tried both necks, the BC two frets down and some slidey things, adding dirt and edge, but nothing works very well. MOF, I just cringe every time they call it. I just want to go somewhere and hide until it's over. I try to sit it out, but the guitar player/singer insists I give him a break as he likes to stretch it out which just adds to the agony. I just feel embarrassment for my efforts on the tune.

It's a good tune to listen to, but a chore for me to play on the pedal steel. I could probably find some good rhythm parts to play on the Tele, but they kind of like me to stick to steel...I suspect some of you know how that goes.

I really think they do it too slow and I'm not sure the rhythm and bass they're doing is quite right. Actually, I like the original Cale much better, but he inisists on the Skynyrd cut.

I welcome any ideas.

Bill McCloskey · Posted 8 Nov 2022 8:02 pm

Here is how it should be played https://youtu.be/DPnDRarsCKo

Jerry Overstreet · From: Louisville Ky

Well, that's well and good and I'm familiar with that fine version, but that doesn't help with my steel situation. But that's nothing like the original JJ Cale recording and I'm stuck with the Skynyrd version with this band.

Anyway, I'm not interested in which version is the best, just some ideas to implement on the tune using the pedal steel.

Dave Grafe · From: Hudson River Valley NY

I hear you Jerry, one of the bands I play with does the Skynrd version (not my favorite) and I mostly do an Allman-style slide guitar counterpoint - sliding up to the third on beat 4 followed by the tonic above on the next downbeat, then repeated using the tonic below as an answer to the first, rinse and repeat. I would probably rag that sucker to death as a theme line throughout, more-or-less following each vocal line. No pedal work involved, just playin' the slide guitar, and let the lead guitar do all the fancy stuff. Less is more.

Talking the third of the tonic chord, not the third string, so this would be done on the E9 neck with strings 6>3 and 6>8 if pedals up, and/or strings 5>3 and 5>6 with pedals A+B. Sorry I'm not much for tab, so can't frame it that way, hopefully you know the riff I am talking about, you can hear Duane Allman do this in the intro to "Ain't Wasting Time" as well as some other potentially useful fills throughout the song - https://youtu.be/h2Ro7LLEaQQ

Don't know if this helps, it's one solution I have come up with for rock and blues when there's no rational place for much more than that.

Norman Evans · From: Tennessee

Here's a version with steel.
https://www.youtube.com/watch?v=-2_UXFSXaQc

Jerry Overstreet · From: Louisville Ky

Yeah, thanks Norman. I got that. I'm looking for something rather than the classic pedal steel phrases and licks though, not that there's anything wrong with what they're doing.

Thanks for those tips Dave. I'll give that a try next time I'm near the steel.

I guess if all else fails, I'll just pick up the lap steel instead. It's just that a proficient pedal steeler should be able to find something that fits the sound and mood of this tune better than what I have. I kind of hate to bail on it.

One thing I have trouble with is listening to the bass. It's basically those 3 notes in the tonic chord. Seems odd to me.

Like I said, it's a great tune to listen to... a good party and drinkin' song.

Fish · Posted 9 Nov 2022 10:00 am

Hi Jerry,

I hear your frustration regarding "The Breeze." Here is a suggestion, but it may be w-a-y out there, so bear with me and kick this idea to the curb if it doesn't fit.

I've always loved Dickey Betts' first solo on the Allman's live track "One Way Out." Betts's approach has IMHO a country "pedal steel" kind of vibe to it in places. If I were in your shoes, I would add a slight bit of edge or breakup (not heavy fuzztone) to my sound, then I would listen to Dickey on "One Way Out" and grab some ideas -- but not specific licks -- from his approach and try adding them to "The Breeze." Just maybe this will help keep you in the Southern Rock approach without simply going for Duane's slide style on that song.

If this doesn't fit, I would still encourage you to take on this song as a challenge and find some way to fit in, whether it be with an effect like a B3 type rotation sound or something that would actually make it fun for you.

Last but not least, I would ask the band to listen to the Skynyrd version to help them lock in tempo and parts to play.

Good luck!

Steve

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

I think I'd either go with some up-tempo R&B style on E9th, in the same vein as the lead playing on the record. (The same type of stuff you might play on "Matchbox Blues", "Kansas City", or "Night Train".) There's really no melody line you have to follow!

Or, I'd play some wild Chalker-type C6th stuff, chopping 7th and 9th chords with some descending scales and fast vibrato. This isn't rocket science or structured jazz. This is jam-type music, so just about anything goes. Cool

Larry Dering · From: Missouri, USA

Jerry, I found an old clip with several steel players taking turns. Some are pretty cool if you listen to the whole thing.
https://youtu.be/1UVkECrdaIk

Don R Brown · From: Rochester, New York, USA

Here's Henry Smith band, with Dave Heyward tearing it up on steel. https://www.youtube.com/watch?v=M1ITzIgMkzI&list=PLinWfDSc5OIK-gHCjZ9gUC5wp3tNagB4w&index=43
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Jerry Overstreet · From: Louisville Ky

Thanks for your response Steve. If you mean the ABB Live at the Filmore cut, yes, I have that. I generally try to mimic Duane's slide part. Hadn't really considered Dickey's great parts.

You might get that this era of southern rock and country rock was my impetus to try to start playing besides just listening to all this music, so I have a pretty good feel for that era.

The stuff that you all did there was just magical.

I also have all the tools mentioned in your post, it may be that I'm just not using them properly.

I'll certainly look into your suggestions and no, I'm not giving up just yet. Thanks again.

Scott Swartz · From: St. Louis, MO

Jerry,

How about playing something like that horn part that is under the piano solo on the orignal Skynrd recording, I always liked that, you could do segments of that as fills in various places.

The other thing that comes to mind is the groove of that tune reminds me a little of Sacred Steel, maybe check out some Campbell Brothers or Robert Randolph tunes for approach ideas. It wouldn't have to be the blazing 16th note stuff both those guys can do, the slower melodic stuff could fit also, i think its more the attitude and groove of their playing I am hearing fitting in with the tune.
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Tony Prior · From: Charlotte NC

Jerry, are you the primary "GUITAR" or are you complimenting the Lead Guitar who is playing the stock signature phrases ?
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Jerry Overstreet · From: Louisville Ky

No Tony. The guy who sings the song also does the lead guitar work. I do OK with just comps and rhythm parts under that which is what I think my role should be on pedal steel. That's all I really feel comfortable doing on this tune.

Problem is, there are several instrumental courses that he wants to do and since we're the only lead instruments in the group, he insists that I take a ride on an least one of them. They all seem happy enough with what I do, it's just that I'm not. Trying to fit something in that fits the mood of the music without just playing country licks is what I'm after.

Also, thanks everybody for the suggestions and links. I'll look at all those as time allows.

Fred Treece · From: California, USA

I feel your pain. I get handed a lot of this kind of stuff in the group I'm with. At least with Breeze, there's a distinct blues chord progression and a melody that holds together for all 24 measures. I would probably start with that, put some grime on the tone, and try to channel SRV's attitude of "playing like I'm breaking outta prison".

I also like Fish's suggestion. That is a great solo. Dickey Betts' improvisational style was that of a composer. The licks all flow together seamlessly.

Bob Carlucci · From: Candor, New York, USA

Wrong song for E9 country chicken pickin ... Way too many guys I have seen do that over the years, even some really good players...
I would use bluesy pents, with a decided "lap steel" feel.. Bluesy overdrive tone on the amp, and not constantly "pedaling into" the licks.. If I had both with me, I would use a lap guitar, OD and hopefully a tube amp... If I had only my E9 steel, I would do the "pseudo lap guitar" thing and think lower registers, not a lot of pedals, and less country, and more blues...
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C. Eric Banister · From: Scottsburg, Indiana, USA

During the verses could you play the fills Ed King plays (or a version of them)? In the original he didn't play any rhythm, only the fills.

Another solo idea might be to listen to the live version from Skynyrd's 1987 "Southern by the Grace of God" tribute tour recording where Charlie Daniels takes a fiddle solo on the tune. Might help to hear an instrument other than guitar or piano taking the ride.

Jerry Overstreet · From: Louisville Ky

Thanks for the replies. I think for now, I'm just going to use a G tuned lap steel for a lower register with a little edge for this. I'll practice along with the original on the pedal steel until I find something I can live with.

Sometimes, we might do a favor for friends etc. and play out. I usually restrict myself to just the pedal steel to avoid loading a lot of gear.

I should add that we do a lot of southern rock, country rock, classic rock along with other standard fare country etc.

I can get along OK with most of it. It's just this song that's giving me problems.

Kenny Davis · From: Great State of Oklahoma

Talk them into doing the Larry Cordle (Lonesome Sknyrd Time) version. It's a fun arrangement and you could play G lap or Dobro. Or, you could adapt the Dobro ride to your band's arrangement with a little fuzz on your lap steel.

https://www.youtube.com/watch?v=eQc0tarFtGA
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J R Rose · From: Keota, Oklahoma, USA

Jerry, I can't help you with any thing with playing that song but I can tell you a little story. I think it was the Ban Dar
Club in Ventura, Ca. many years back and I was working in construction their. The club was kinda small but was all ways a packed house seven nights a week. Very good house band with steel player as the lead. He could tear that song up. I would go up to the band and stand and watch him up close. It just amazed me. He was playing a Single Neck 10 string Sho-Bud.
I cannot remember his name or the band name, this would of been mid 80's or late 80's. It was a great show. Lots of country music their at that time. Thanks, J.R.
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G Strout · From: Carabelle, Florida

I solve that problem on a few songs. I pickup a 6 or 8 string lap and do a Duane Allman or Sacred Steel type solo.
Gary
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Bob Hoffnar · From: Austin, Tx

Forget about your pedalsteel and sing something along to the tune. Get up and away from all musical instruments and just sing a phrase that fits in.

Then go to your steel and play what you sang exactly like you sang it. No pedalsteel tricks. Only what you sang.

It helps to hear music in your head before playing. If you don't do that the instrument is playing you and the struggle is on.

Once you can play the simple phrase that you sang confidently try harmonizing it. Play the same exact phrase on 3 different parts of the neck. Pretty soon you will have a pile of melodic and chordal phrases that are part of the song and more importantly part of you.
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Dennis Detweiler · From: Solon, Iowa, US

Instead of working from AB pedals up position or AB down postion, work from the 6th position with B pedal down and Eb lever engaged, b7th chord. Then you can work your single, double or triple note grabs with 6th, b7th and 9th notes or chords incorporating A and B pedal. It's like a pocket on one fret. Get comfortable with that and move up or down two frets, which expands the pocket of single notes or multiple string grabs. There's a lot to work with in that pocket (rock, country or jazz). As in: key of A or Ab7th at 10th fret, then AB down at 12th fret and Ab7 suspended at 8th fret. Keep the 9th string out of it to start with. There's a bunch to do in that pocket. Add some crunch if you want to.
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