The Wisdom of Leon McAuliffe

Randy Beavers · From: Lebanon,TN 37090

Growing up in Tulsa Oklahoma I was exposed to Leon's music as well as playing in bands with his past band members. The first time I met Leon I was 10 or 11 years old. Even at that young age he would give me advice. Not about music but about the business. I can still remember him telling me, "Form your own band! You'll never be anything but a sideman if you work for someone else."

His wisdom was wasted on me. I was around Leon more times than I can remember, but I don't think there ever was a time when he didn't tell me the same thing. Even in his later years when I would see him at St.Louis he would always take me aside and tell me to start my own band.

He understood! Think of the differences that might have been if other steel players would have followed his advice.

Al Marcus · From: Cedar Springs,MI USA (deceased)

Randy-That was good advice especially for Steel Guitar players. Way to go.....al

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My Website..... www.cmedic.net/~almarcus/

Brad Sarno · From: St. Louis, MO USA

That made me think of some other wisdom I once heard, and from whom I can't remember. The advice is that once you've decided to start your own band, make sure you're the worst player in your band. That way it will elevate your music instead of drag it down. And it will also make you a better musician just by being around the level of talent.

Brad Sarno

Billy Wilson · From: El Cerrito, California, USA

Leon must of gotten to Tom Morrell on that subject. A dozen or so CD's and a zillion gigs later think of all the fun Tom's been having. Working with all those killer players AND getting to have a big hand in exactly how it gets done. Responsibility is power! Has any steel player done as much as Tom in the band leader arena? Keep it comin' Mr. Morrell. Bill W

Jim Cohen · From: Philadelphia, PA

Well, I took Leon's advice (even though I never met him), and look where it got me... I still need my day job!

Morrell is a better example, for sure! Oh well, I'm havin' fun anyway.

John Bechtel · From: Nashville, Tennessee, R.I.P.

I tried to form my own little trio, just to play mainly Instrumentals or Dinner-Music or something similar to a Piano-Bar, however; try to find someone willing to get together and work up a presentation!!! The first question I always received was: “How much work do you have lined up?” This is not the type of chore that is done on the spur-of-the-moment! Nowadays, no one wants to put forth the necessary effort to do something of that nature! When I lived in Honolulu, Jerry Byrd helped me to pick a name for the group. "Keoni Nui" and the “KANES”. Which simply means "Big John" and “The MEN”. When I returned to the Mainland, I was all Gong-Ho with the idea, and even had business-cards printed! I was just going to play steel, backed by Rhythm-Guitar and Up-Right Bass. But, as I mentioned; No one wanted to rehearse without a job to rehearse for! So, I just took up making my own home-made cassette recordings of instrumentals, just using my Baritone Uke or Flat-Top Guitar for Rhythm back-up, and I've just been sharing my results with any friends willing to listen, since about '88. As much as I'd like to, that's probably as close as I'll ever get to having my own CD! “Big John”

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“Big John” Bechtel
http://community.webtv.net/KeoniNui/BigJohnBechtels

David L. Donald · From: Koh Samui Island, Thailand

Well I am trying to do that right now.
And taking Brad's path too, good players.
I am recording the tunes with the main players and getting cd's out for the festival season.

When the bookings come in, I can book the players and rehearse them a bit, but they will have the cd's and have played the parts before. So it won't be unknown music.
Most are studio musician level, so they can do it fast and will be listening to their own parts.

I am looking at next spring and summers gigs, but a few tune ups over the winter.
After that it will be a band, and can work as it fits scheduals.

I just put a studio band together to back a singer, we recorded an hour of music in 5 days, with almost no advance clue to the music beyond a folk guitar/voice tape and some chord charts on note paper. The singer is quite pleased and so am I.

There is now talk of doing some concerts with the group.

I expect to use many of the same players for the festivals if all goes well.

Randy Beavers · From: Lebanon,TN 37090

Not everyone who picks up an acoustic guitar and sings with holes in his jeans will have the success of Allen Jackson, no matter how much talent he has. But we do still need to try. There again, I'm not willing to try. I'm having too much fun doing what I want to do right now. Robert Randolf is though. I just would like to see more people trying. Of all the steel players in Nashville I don't know of one. Everybody has to make a living.

Just a thought. If Bela Fleck can take a banjo and do what he's doing, and get the acceptance he does, why can't someone get that same kind of acceptance with a steel guitar? I believe our insturment is much more versatile.

[This message was edited by Randy Beavers on 03 December 2003 at 02:00 PM.]

Bobby Boggs · From: Upstate SC.

Randy, I like Robert Randolf. But where do you feel he would be right now if he could not sing and his showmanship was no better than 90% of the steel guitar players we all know and love?? He would be down in the trenches with the rest of us.Robert's a fine player.But it's not his playing that got him where he is.It's the fact he can sing,dance and play.Just my opinion of course........................bb

Randy Beavers · From: Lebanon,TN 37090

Bobby....How true, how true. That's another question in itself. Why is it the majority of steel players do not sing? The person with mike gets the most attention or publicity. Would Eric Clapton have been as famous if he didn't sing? I know of many players I think are better than him that don't get a second glance because they don't sing.

Franklin · Posted 4 Dec 2003 6:03 am

Jeff Beck doesn't sing, talk much beyond a thank you, or dance, and neither does Bela, Eric Johnson, Chick Corea, Steve Vai and most of the Jazz stars. If a steel guitarist performs meaningful music with a band outside of Country he has a good shot at fame. Country fans are pretty much lyric oriented and don't usually offer any support to instrumentalists. Jazz, Classical, New Age, and Blues fans do. The instrument itself spawns curiosity in these settings, even when played poorly. I imagine someone playing at Beck's level on the PSG could go all over the world playing for thousands at a time, as he does????

Paul

Bobby Boggs · From: Upstate SC.

Fellows don't get me wrong.For 30 years I've wanted to see this happen.And Paul I thought you'd be the guy to do it.You have the talent.You're the best all-around (meaning all styles of music included), steeler in the world.So what's holding you back?I know you don't need the money.And your session gig is one we all envy.So,is this by choice?? Sincerely Bobby

[This message was edited by Bobby Boggs on 04 December 2003 at 07:42 AM.]

Randy Beavers · From: Lebanon,TN 37090

Paul... I agree. Anyone playing steel at that level musically should have success in those styles. I envision steel on "Easy Listening Jazz" stations, and touring the college circuit. I'm refering to the style of music like Fourplay, Kirk Whalum, Earl Klugh, etc.

I too thought you would be the one to take steel to its next level, of acceptance. I don't blame you a bit for wanting to stay home to make a living. I made the same decision, although I'm not in the music business. I have no regrets, and I enjoy the insturment more now than at any other time in my life.

Just for fun. I believe you have a better understanding of where our insturment is, and what it would take to get it to the next level. Given that the playing ability is there, what would be a game plan? If you were the manager of someone that had that level of talent, how would you direct them?

Bobby Boggs · From: Upstate SC.

Randy, You did a much better job of getting your point across than me.My post came off as maybe a challenge to Paul.Not my intent.

Paul I too would be interested in hearing your thoughts on Randy's last question...bb

Gene Jones · From: Oklahoma City, OK USA, (deceased)

One of my fondest memories is once when "Leon" appeared as a single on our show, he checked out my triple Fender and said he didn't need to bring his in, he would play mine....mine was tuned the same as his!
www.genejones.com

Alvin Sydnor · From: Boothwyn, Pennsylvania, USA

What do you think of this idea? A few years ago I was researching the Eddeie Alkire
E-Harp history and found that there were two major driving forces promoting the E-Harp. One was the Everett Deming Studio and the
El-Rey music center. To make a long story short these two studios independently formed E-Harp bands.
The Everett Demming Studio had a 17 piece "Hawaiian Band" which consisted of 7 E-Harps, 9 according players and 1 guitar player. This band entered the Illinois State Fair guitar contest playing as soloist, ensembles and a full E-Harp band.
The El Rey studio had a 10 piece band called the "El Rey Serenaders" which consisted of 8 E-Harps, 1 bass, 1 guitar player. In 1954 this band took first place in the ensemble guitar contest at the Illinois State Fair.
I thought the above exanple would prompt someone to form a steel guitar band. Just thing, 8 steel players, 1 bass, a couple guitars, a fiddle and a good drummer.What a band that would be.
Keep on Pikin
Alvin

Bobby Lee · From: Cloverdale, California, USA

I have a CD called "Cello Submarine" - Beatles songs played by a band of cello players. I actually like the sound of a cello, but some ideas are better left undone.

I think that a steel guitar band is also one of those ideas.

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Bobby Lee - email: quasar@b0b.com - gigs - CDs, Open Hearts
Sierra Session 12 (E9), Williams 400X (Emaj9, D6), Sierra Olympic 12 (C6add9),
Sierra Laptop 8 (E6add9), Fender Stringmaster (E13, A6),
Roland Handsonic, Line 6 Variax

Bob Hoffnar · From: Austin, Tx

O0ps

[This message was edited by Bob Hoffnar on 04 December 2003 at 11:47 PM.]

Bob Hoffnar · From: Austin, Tx

I was doing some new music steel guitar shows for a bit. The response was very good. I had some problems keeping the musicians together because of road work. And then things started picking up for me and I just haven't gotten back to it. I've started writing some new stuff so I'll make another stab at it pretty soon.
The thing Paul said about the steel player not even needing to be very good is certainly true in my case. People are way into the steel out in the rest of the world (outside of our little steel guitar ghetto). Commitment and courage seem to be at least as important as chops.

Bob

[This message was edited by Bob Hoffnar on 06 December 2003 at 12:16 PM.]

Andy Greatrix · From: Edmonton Alberta

When Buddy Emmons recorded
Cannon in D major,
he dubbed all the parts.
A lot of us know how good that sounded.

To play the same arrangement live, would require quite a few steel players.

I think an all-steel orchestra would fly
with the right players and the right material.

[This message was edited by Andy Greatrix on 05 December 2003 at 10:47 PM.]

Chris Scruggs · From: Nashville, Tennessee, USA

In todays modern world, recording is everything. Being a "recording artist" is everything, if you want acceptance from the masses. In my humble opinion, these are some of the reasons that hold the steel guitar back from "solo" acceptance.

1. The steel guitar is closely associated with country music. Instrumentals have not been played on country radio since the mid 1970's, so there has been no initiative for steel players to to be frontmen.

2. It is hard to front a band and entertain the masses when you are sitting down behind an instrument that creates a "barrier" between you and the audience. Plus the fact that you must look down at it while playing, as opposed to a guitarist who can run around tha stage and make eye contact with the crowd while playing.

This is one the reasons Leon McAuliffe didn't go to pedals. He thought it would be impossible to front a band sitting down.

On top of that, the steel guitar is a difficult instrument to play while singing, and people in general prefer songs with lyrics.

3. This goes back to the first thing on my list. I know this is a touchy subject, And I mean no offense to anyone, but hear it goes.

After country instrumentals where removed from the radio(and the public eye), the only people left to listen to steel instrumentals where(for the most part) fellow steel players. And since steel players listen to steel records just to hear the steel guitar, it became an "insiders" thing. The sounds of the records did not cater to the majority, because it no longer needed to.

How many steel instrumental records out there today have poor sound quality and drum machines? Alot of them. Why is that? Because it costs alot to go into a high quality studio and pay a drummer, bassist, pianist, guitarist, fiddler, producer, and two engineers to make a 10 song record. Especially when your record isn't going to sell 1,000,000 copies, and the devoted people that buy them (fellow steel players) just want to hear the steel anyways.

Remember the days when Bud Isaacs and Speedy West had Capitol recording contracts, and Jerry Byrd was on Mercury? Those records have HOT back up bands! What happened? What happened to the swingin' upright bass and archtop guitar? And when did the square jangly acoustic, and stiff rimshot drumming enter the picture? Now don't get me wrong, I don't think we should all make records just like they did back then in the "good ole days", but what happened to the lively, exciting rhythyms you used to hear from the days when steel guitarist held major recording contracts?

So what's the solution? I geuss the only logical thing to do now is to make some records with real hot bands, start our own radio stations, and learn to play standing up.

Chris Scruggs

P.S.
Another thing. Paul Franklin is right that the mainstream is "lyric oriented" in their thinking. Truth is, they always have been. But in the days when instrumentalists where making records for the majors, the main format was 78's and 45's. Most people have the attention span for anything if it's only one or two songs, instrumentals included. But after the 1960's, the long play records became the main product, and people bought their music 12 songs at a time. and Joe Average country fan didn't have the attention span or finances to buy 45 minutes of Jerry Byrd, Chet Atkins, or Floyd Kramer, when he'd rather hear somebody tell him a story he could visualize in his head.

People like a sing along chorus. Always have, always will. Evidence of that includes Merle Travis's lyrics to "Steel Guitar Rag", and the verse to "Steelin' the Blues" (written by Fred Rose, much to Jerry Byrd's dismay).

Jody Carver · From: KNIGHT OF FENDER TWEED

quote Chris

2. It is hard to front a band and entertain the masses when you are sitting down behind an instrument that creates a "barrier" between you and the audience. Plus the fact that you must look down at it while playing, as opposed to a guitarist who can run around tha stage and make eye contact with the crowd while playing.

Chris Buddy Rich did this for years,he had a platform where he was front and center.

Leon could have done the same..however Leon was opposed to pedals for other reasons.
His style didnt lend it self to the style of Leons that he was known for and the pedal technique was not the sound Leon wanted after all those years.....Take It Away Christopher

[This message was edited by Jody Carver on 06 December 2003 at 07:28 AM.]

Herb Steiner · From: Briarcliff TX 78669, pop. 2,064

Jody Carver · From: KNIGHT OF FENDER TWEED

I played with a 12 pc orchestra years ago.

11 Violins..the violinists were very skinny.
The sound was too thin. Touche

[This message was edited by Jody Carver on 06 December 2003 at 09:50 AM.]

Rick Collins · From: Claremont , CA USA

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