What's It Going to Take? Chapter ?

Randy Beavers · From: Lebanon,TN 37090

One of the "themes" of several discussions here is what is it going to take to move our instrument forward into another field of music, or just into a "brighter" spotlight. In my opinion, I think there needs to be more original songs written by steel players. There is nothing wrong with working up arrangements of old standards, but I don't think that will further our cause, no matter how much I like hearing them. Every instrumental "Artist" that I know of writes alot, if not all of their own material. And it is for this that they are best known for. So, what do we do about it?
Start writing! There are several "formulas" that are used to "build a solo" or write a melody. I'll be glad to share what I know, not that I'm an expert, and I'm sure others will also. I believe the reason more people don't write is they don't know where to begin.

I like to start with what's called "Phrase Imitation." That's where you take a lick or pattern, and you try to make it work in different parts of the song over a different chord. For example, you have a "catchy" line, and you play it over the 1 chord in a 12 bar blues. Try to work that same lick in when the song changes to the 4 chord. Now your off to the races. The phrase imitation can also be rhythmic. A rhythmic pattern that keeps reappearing throughout the song. If you pay attention to most any melody that is worth remembering, you'll hear phrase imitation. This is what makes some players solos more exciting. They take the listener along for the ride with them, even the non-musician listeners. It gives the song "symmetry", which makes the melody interesting, and keeps it from being just a bunch of notes that don't make since.

Remember, you don't have to be a great player to write great melodies. If you try this and you don't like what you come up with, you're still farther ahead than when you started. Don't expect a masterpiece at first. Just have fun and learn. You never know what you'll come up with tomorrow.

[This message was edited by Randy Beavers on 17 August 2003 at 01:25 PM.]

Stephen Gambrell · From: Over there

Good idea, Randy. How many more times do we need to hear "Remington Ride","Bud's Bounce",
or any of the other steel show standards?
Don't get me wrong, I'm a steel rookie, and I'M getting tired of hearing some of these tunes. Can't play 'em, but I'm tired of hearing them!
So if some well-known steelers would write more, and get a chance to perform their stuff in front of a wider audience, it might move the instrument along. Course, everybody who plays ANY instrument ought to write, IMHO. Builds improvisational skills, and makes for new material! Just make sure it's a shuffle, in F!
And man, Randy, I'm sorry I messed up your weekend.

chris ivey · From: california (deceased)

you are too an expert, randy!

Pete Burak · From: Portland, OR USA

How true!
The most recent example of equating song writing with success has to be Robert Randolph.
Most all of the song titles on his two CD's are followed by: words and music by Robert Randolph.

Miguel e Smith · From: Phoenix, AZ

Randy,

"Write On my brother, write on!"

chas smith R.I.P. · From: Encino, CA, USA

And if you want to get further out, the steel guitar has a lot more potential and is a lot more versatile than most people realize. You don't have to limit yourself to traditional forms, keep an open mind.

Jerry Brightman · From: Ohio

Randy,

I agree and that's exactly what I had in mind when I began my first solo CD, Back Again. Out of 10 tunes on the CD, 9 were originals that I wrote, and they presented the instrument in several different music forms that were not in the traditional sense. As I've said many times, that CD was about music, and not a series of hot licks going on and on. Not that we don't all appreciate good licks, it just wasn't the path I chose to do. Was it harder to do it that way, you bet, but it challanged me to create different licks and raise the thought process. I also believe that a very important word must remain as the anchor of this process, and it's called commercial. I was advised by many that I needed to do a more traditional CD for my first project, but I intended to present this instrument to many who were not familiar with the instrument...and it worked. I'm of the opinion thats there really two markets for this, the market of steel players, and those attached to it, and on the other side, a musicial market...The first project was directed toward growing an exisitng market, that purchases music, for music, and not neccesarly the instrument used to make the music.

The new CD, being released on Aug. 27th, has 5 originals, out of 10 tunes. Music I've recorded, but haven't released yet, because frankly, I'm not sure how the steel community would react...are being held until the steel market as a whole, begins to allow for expansion and acceptance of sometimes, out of the box thinking and ideas. Mike Smith has heard some of these and understands the intentions.

Well, this post is long enough, so I'll just sit back, and listen for futher comments...

Great topic!

Jerry
http://www.slidestation.com

[This message was edited by Jerry Brightman on 17 August 2003 at 08:31 AM.]

David Wright · From: Pilot Point ,Tx USA.

Right on Jerry !!!!!!!!!!!!!!!!!!!!!!!
I've listened to some of Jerry's orginial songs and they are well written. I agree with you that original songs are great, but what do you do with them? Put some words to them and get a singer to screw them up? Smile

I'm not sure where the market is or if there is one for steel instumentals. We (the steel guitar players) support each other that's obvious. However, look at the age the average convention attendee....our audience is going to get smaller and smaller. Without new approaches, inovative playing and provacative works, we aren't going to expand that audience to "the kids" of today. Buddy Emmons became a hit because he played differently than anyone else. In order for steel playing (or music in general for that matter) to progress, inventive, never-heard-before techniques can only be a good thing! Musical advances happen naturally. Maurice Anderson is a great example of this. His innovative approach to playing has left it's mark on steel guitar music. Jazz never sounded better than when M.A. plays! Paul Franklin, Lloyd Green, Hal Rugg, Sonny Garish, J.D. Manes should be given their dues for being stylist too. No one plays quite like them.

Playing something new with your own style can be intimidating. Look at the comments Robert Randolph's playing is receiving. While it isn't for everybody, it's definitely taken the steel to another level of awareness. It isn't mainstream playing, but he's found a niche. Lot's of folks find his music uplifting and exciting. And if you don't, that doesn't lessen his work. He's out there, playing what he "feels" and that's great. Jerry Brightman and Miguel Smith are doing the same. We can only hope that their talents will be appreciated for what they are; a new approach, and hopefully another advancement of the instrument we all love to hear and play.

(Ok, enough of the serious stuff. I meant what I just wrote. I just need to lighten the mood.)

So where am I going with all of this? Well, I too am hoping to bring inovative playing to the steel community. I will soon be releasing "All Nude Knee Lever Instruction or How to engage more than 3 knee levers with no hands". It will bring everything to a whole new level!!
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DavidWright.us
Sierra Guitars

Sierra S-12 9&7
Peavey-2000-PX-300

[This message was edited by David Wright on 17 August 2003 at 10:26 AM.]

[This message was edited by David Wright on 17 August 2003 at 10:28 AM.]

Bob Hempker · From: Goodlettsville, TN.

Randy,

You are so right on!! We have got to move forward. We have got to have some "pioneers" in other areas of music. I think it has to be people that have no Country or Hawaiian background, as to where they can be "stereo-typed." I haven't had the priveleage of listening to Mr. Randolph, but I sure love the idea. The younger players, and I'm sure there are some great ones out there, have got to emerge. It also has got to be good legitimate straight-forward playing, ability, and talent, and not just a "gimmick." Younger players have got to take up the instrument seriously, as they would any other instrument, and devote their lives to it. We've gone through the phase where players of other instruments have taken to steel guitar just because of the fascination with it. They think it can be a good gimmick or secondary instrument. People hear that in their work. I know the instrument needs exposure, but we've all dealt with the condescending attitudes of people in other forms of music, who have heard some steel player playing with bad tone and out of tune. That's usually the indicator of very little experience. I know it's unfair of people to judge the instrument by the player, but it's human nature for us all to form opinions of anything without delving into the real meat of the matter. I don't mean to sound mean-spirited, but there needs to be some young player to come forward, and yes they need to be fortunate to get the exposure, who just "blows the music world away" with their talent and ability. Sorry if I got on a soap-box, but I'm really concerned about the future of our instrument. Randy, you are so correct on the original tunes idea. With original tunes come original ideas and styles of playing we've yet to hear.

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Pete Burak · From: Portland, OR USA

"I intended to present this instrument to many who were not familiar with the instrument...and it worked."

Jerry, can you tell us more about the marketing of your songs outside of the steel guitar world "box"?

[This message was edited by Pete Burak on 17 August 2003 at 10:09 AM.]

Rich Weiss · From: Woodland Hills, CA, USA

If someone could get a catchy original steel instrumental on a movie soundtrack, that would do wonders. I can't really see it happening as a radio phenomenon. It would probably have to be the theme for a popular mainstream film - IMHO.

Randy Beavers · From: Lebanon,TN 37090

I've been out playing golf this morning and this subject has been on my mind the entire round. I have to blame my poor game on something!

Can anyone tell me the names of the people who restored the ceiling of the Sistene Chapel? Nobody will remember them, but they will remember the original, Michelangelo. Just because someone "covers" the original doesn't make them an "Artist." I can open a book by Mark Twain and copy every word in it, but I still won't be the author. Being an "Artist" is self expression, not the expression of someone else. These thoughts are not to criticize anyone, but maybe to open some minds.

As to "What's commercial?," my opinion of what's commercial is a melody that sounds familiar, or after hearing it a few times sticks in your memory. This is regardless of what style of music it's categorized as. We should strive to write melodies that are specific and non-specific to our instrument. A good song is just that regardless of what insturment it's played on. If I were an instructor, I would have required listening to certain artist's work for analyzing. I would start with Earl Klugh. Here is a "Easy Listening Jazz" artist that most anyone would enjoy his work. If you'll listen you'll hear how "commercial" jazz can be. I don't mean this in a degrading way to him either. He simply knows how to write great melodies.

As to the "steel guitar world" not accepting something new? I think we might be surprised. If it's presented in the right way I think they will. But that shouldn't be our goal. We have to get outside this box, and the only way to do that is to try something new. I had a friend who use to say, "I'd rather shoot for the stars and end up with moon dust, than aim for the ground and hit it."

Now that we've entered into the era of home recording, recording new songs has never been easier or more affordable. I've only used a computer to surf the web and do my business statements on. However being around Tommy Dodd is about to change that. As to what to do with the songs after we've recorded them? I don't have the answers. but I know we can't just give up! There are not many "Francis Scott Key's" around. We can't expect to write one song and it be a mega hit. Most of the songwriters here in Nashville have hundreds of songs in their catalogs that may never be cut. But they keep on writing.

To be continued, when I get my thoughts together.

Pete Burak · From: Portland, OR USA

I've heard that Kenny G is the most commercially successful Jazz guy (but I can't think of any songs by him).
I do however remember Chuck Mangione's big hit instrumental.
I wonder what the steel world would be like if Tijuana Taxi was recorded on Steel?!

Basically, we've yet to live down (or live up to?) "Sleepwalk".

David Mason · From: Cambridge, MD, USA

I think the "lite jazz" or new age markets might be ripe for some original steel compositions, Jack West and Curvature are barking up this tree. Or as you mentioned, movie or even TV soundtrack work. I have a feeling this is coming; producers actually are looking for new sounds for this stuff, and RR might open some doors. Another great boon would be a steel solo on a radio pop ballad by Norah Jones, Sheryl Crow or the like, but it seems as though there are no solos on radio songs anymore, much less steel solos. Even country records use alternating steel, b@njo, fiddle and guitar fills only instead of complete solos.

Jerry Brightman · From: Ohio

"As to "What's commercial?," my opinion of what's commercial is a melody that sounds familiar, or after hearing it a few times sticks in your memory."

Randy, I'm still agreeing with you

Jerry

Eric West · From: Portland, Oregon, USA, R.I.P.

I think it'll just take time.

The Piano had to wait for Mr Handy.

The Guitar had to wait for Les Paul..

The Banjo for Mickey Finn..

The Sitar for The Beatles..

The Panflute had to wait for Zamfir..

EJL

Mark van Allen · From: Watkinsville, Ga. USA

Some years ago, the "rock world" was bemoaning the dearth of (six string) guitar in the synth-driven music of the time... "Is this the end of rock guitar?" wailed magazines like Guitar Player and Rolling Stone- there was lots of great guitar music being played and recorded then but it took Eddie van Halen for people to notice it again. Stevie Ray Vaughan had made several great records before he played on David Bowie's "Lets Dance" and made Blues guitar a household word (again)... I think a lot of that can be chalked up to a very fickle consumer public who basically only know to look for what's fed to them. The internet and the new ways in which music becomes distributed may change that some. I'm not so sure that just "writing original songs" will lift Steel Guitar to new heights, the 60's and 70's saw quite a few Steel artist discs, many by masters such as Lloyd Green, containing "original steel tunes"- and other than being used as bumpers and D.J. signatures on Country Radio, I don't think any of those made much of an impact on the general listening public at all. There have been a few (very few) breakout instrumental hits by six stringers such as Steve Vai, Eric Johnson, and Joe Satriani, and although becoming massive rock radio hits, I don't think they affected the general perception of guitar much- that being that there are many great 6 string players in all genres. People in general know that there are great Jazz guitarists, great classical guitarists, great rock guitarists, country, blues, funk, bluegrass, etc. etc. I think this is why "guitar" doesn't conjure up one fairly narrow genre with the listening public, the way "pedal steel" does, if they know what it is at all. Without taking away from all of the great beauty and feeling in the many country and Hawaiian albums and instrumentals recorded by steelers over the years, "that" is the sound most associated with the sound of steel guitar, as opposed to the perception that a "regular" guitar can play anything and isn't relegated to just one form or style. If it were as simple as a couple of breakout pop songs with pedal steel, well, "Afternoon Delight" would have done it in the 70's. (I won't even mention "Teach Your Children"...er, whoops). I wish it were that simple- I just finished tracking two tunes on the new Indigo Girls CD. I'm sure millions of people will buy that one, but I'm guessing it's not going to make me a household name! Even on that session, they used the steel because they wanted to "country up" a few songs. The way I see it, when there are Steel Players at the top of the heap in every genre, Steel will take on a much more important role in the music industry with more work, recognition, and opportunities for all of us. There are already a great number of monsters of country steel- I'm talking about the "Larry Carltons, Eric Claptons, Chick Coreas, Stevie Ray Vaughans, Earl Klughs, Sharon Isbins, Eddie van Halens, Buddy Guys, Pat Methenys, Steve Lukathers, Andres Segovias, Jeff Becks, Tony Rices, John Williamses, T-Bone Walkers, and, yes, even the Yanni's and John Tesches of the Steel world. Where are they? James Burton was a butt-kick country guitarist, but he played "rock and roll" with Rick Nelson in everybody's living room. Guitarist John Jorgenson plays frighteningly good "county" with the Hellecasters and on the Delta Burke TV show, and turns around and tours with Elton John. Other than Paul Franklin's magnificent work with Dire Straits, I can't think of too many steelers who've done that. Paul and Robert Randolph are two big bricks in the wall of genre-stretching, but as long as steel keeps to a musical niche, it'll be regarded as a "niche instrument". Whos next?

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C'mon by and visit!- www.markvanallen.com
My Bands: Sugarland Kate and the Retreads Kecia Garland Band Shane Bridges Band Dell Conner Blues Band

Randy Beavers · From: Lebanon,TN 37090

I appreciate the points being made and agree, but this thread is starting to sound like all the rest of the "What's Wrong" threads. My intention was not to be critical and analyze, but to inspire creativity. I want to see steel players write songs again. If we can, let's turn this thread into something positive. Let everyone who can, share tips or methods for writing melodies that will benefit all. If this doesn't get the job done as far as moving our instrument into another field of music, we'll still be ahead of where we were.

frank rogers · From: usa

I agree. IMHO, One of the best ways to accomplish some musical diversity is to "woodshed" as often as possible with players of other styles. As of late, I have been working with Derico Watson, drummer with Victor Wooten and Jeff Coffin Mutet, and Violinist Alex Depue. As a result, several new original Steel Guitar tunes are in the works. Working with these guys whose musical legacy is outside of country music has been a big plus in re. to my composing. An example is our demo track of a tune called "Spanglish" on my website. Really, just a simple "scale type" tune, but Derico's agressive drumming and Alex's "classical rock" violin lift it to a differnt level. And it features plenty of Steel. Look for several new tunes as a result of this collaboration coming soon. Hear "Spanglish" at www.geocities.com/frsteel

Dave Van Allen · From: Doylestown, PA , US , Earth

go Frank!! GO!

you make it sound so easy...

frank rogers · From: usa

Thanks Dave! BTW, Most of my relatives are from Pa. Hanover/New Oxford area.

Bob Smith · From: Allentown, New Jersey, USA

Whats it gonna take? Probably more time. The last 6 string masterpiece, that was heard all over the world in a huge way was "Jessica" by Dicky Betts,1975 maybe? As far as Sleepwalk, im not sure when that was on the radio , but i know it was along time ago. Wasnt that played on a lapsteel? So maybe there has NEVER been a poular pedalsteel song that the general public would recognize? Hey, theres a first time for everything! Just my 3 cents. Bob

[This message was edited by Bob Smith on 24 August 2003 at 08:15 AM.]

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