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Topic: Hot Burritos |
Eric Jaeger
From:
Oakland, California, USA
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Posted 24 Nov 2008 11:05 am |
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Something finally convinced Chris Hillman to go on the record with his story of the FBB. I can't say that it really breaks any new ground, except that its existence makes the point that there were several people critical to the FBB, and they weren't all named "Gram Parsons".
There are a couple of sections of interest to steelers. Here's one of my favorites:
"A true eccentric, Kleinow was nonetheless the key ingredient needed to bring Hillman and Parsons's grand musical concept to fruition. He had a distinctive sound and playing style all his own. As the lone lead instrumentalist in the first incarnation of the Burrito Brothers, he broke new ground for pedal-steel players everywhere. 'He added so much to the sound,' says [Chris] Ethridge. 'It was unbelievable. He could sound like a whole symphony orchestra on that little one-neck steel. He could do everything. You couldn't really call Sneaky a country player.'
Part of what made Kleinow's playing so innovative was his own unique approach to the instrument, as Bernie Leadon notes. 'In steel guitar there is this sixth tuning which is actually a C chord but with a sixth in it. That was the kind of Bob Wills and His Texas Playboys tuning. Pete had an eight string Fender cable pull steel. By the time the Burritos began this E9 tuning had started and there were a lot of country guys, especially in Bakersfield, playing that tuning. In the key of E the dominant chord is B, so instead of tuning the sixth tuning to C6, Pete tuned down to B6, which allowed him to play easily in the key of E with everyone else. So he played E stylings out of a B6 tuning with weird cable pulls that nobody else did. It was all ass backwards.'
Kleinow's choice of instrument had a futher effect of his playing. 'Pete played a steel that barely had pedals on it, from the pre-pedal era,' Leadon notes. He was one of the guys who invented ways of doing that. So he invented his own tuning, his own cable pulls, and then played the B in the key of E, having to think backward. There was no way you could wrap you brain around what his brain was doing. He was coming at it from an impossible angle. It's so unusual. So you had to laugh sometimes. It was like watching an acrobat. "How the hell did he do that? How did he make that leap from there to here?"'
Another of Kleinow's innovations was his use of fuzz tone. 'I had used a fuzz tone for a long time before that first Burritos album,' he later recalled. 'I had been piling up gadgets I could get that would work with the steel guitar. I started hanging outboard equipment on my steel way before that even when I was playing the clubs. I tried to be as innovative as possible. I always felt the steel guitar was an instrument that could be very repetitive and boring so I wanted to get as much variety into the sound as possible.' Finally, according to Al Perkins, who would later replace Kleinow in the Burritos, 'One other thing that made Sneaky's sound unique was his use of an echo unit to compensate for the low sustain factor plus his use of a large diameter steel bar.'"
All told, not a bad book, with some good stories.
-eric |
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Dave Mudgett
From:
Central Pennsylvania and Gallatin, Tennessee
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Jason Odd
From:
Stawell, Victoria, Australia
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Posted 10 Jan 2009 4:51 pm
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Not unlike Bobby Black, Pete was coming from a western swing background, and straight up honky-tonk as swing began to lose favour.
Both also made the switch to rock and roll in the early 60s, Pete in particular joined a band that played rock and country called the Norm Raleigh Band, which became Sir. Raleigh & The Coupons and played a Beatles-Brit-Beat blend of U.S. garage and pop.
They actually recorded some great garagey to pop-rock material for a couple of labels and relocated to the Northwest for a while.
So you had a cat who had played some fairly distinctive and different material, from sweing to rock and country, not to mention his playing at least one session with the Ventures.. then he gets the opportunity to play with a rock band who want to be a country band.
Perfect! |
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Donny Hinson
From:
Glen Burnie, Md. U.S.A.
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Posted 10 Jan 2009 6:05 pm
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| My own belief is that Pete essentially made the group...and their sound. Without his unique style and the innovation of no blaring (but typical) straight guitar, I don't think that the group would have become nearly as famous. Everyone I knew who liked the FBB was drawn by Pete's sound, not Gram's singing. Once Pete left the group, their spark was largely gone, in much the same way that Buck Owen's sound faded and lost it's spark after Don Rich died. |
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Skip Edwards
From:
LA,CA
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Posted 10 Jan 2009 6:59 pm
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I agree with Donny. Three factors in the Burritos formula... they had great songs, they were the first band to play country with a rock attitude, and Pete's unique sound.
I haven't read the book yet, but it's on my short list. |
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Kevin Hatton
From:
Buffalo, N.Y.
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Posted 10 Jan 2009 7:48 pm
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| I'll agree with that also. I opened for "The Last Of The red Hot Burrittos" in 1971 when Al Pekins was playing his Fender 1000. It changed my life and is the reason that I play steel guitar today. I stay in contact with Al to this day. I also got a chance to see Sneaky with a later iteration of The Burrittos with Skip Batten. They were just a shadow of their former self, but the one thing that sttod out was Sneaky's unorthodox style of steel playing. Absolutely unigue, and I didn't know much about steel back then. He had an artistic allure and a cool sounding name. |
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Jim Cohen
From:
Philadelphia, PA
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Posted 10 Jan 2009 8:15 pm
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I've been reading this book lately (courtesy of co-Forumite, Chip Fossa; thanks, Chip!) and find it quite interesting, though somewhat redundant in telling the same story from multiple viewpoints that don't really add insight. But it's a good read nonetheless for anyone who came in through the country-rock door, as I did. Also has good stories about JayDee Maness, Rusty Young, Richie Furay, David Crosby, and a host of others. I'm quite enjoying it.
_________________
www.JimCohen.com
www.RonstadtRevue.com
www.BeatsWalkin.com |
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John De Maille
From:
On a Mountain in Upstate Halcottsville, N.Y.
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Posted 11 Jan 2009 3:57 pm
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| I had the great fortune to open up, twice, for the "FBB", back in the early 80's. We were playing at the "Lone Star Cafe" in NYC and the stage was really small, so Pete let me use his two Session 400 amps. I had never met such a gracious person. We talked for a while about music and steel playing. He was a man, who, was really ahead of the mainstream thinking about electronics and effects. Some of the stuff he was saying was above my head, so,being in awe of one of my hero's, I agreed with everything. He was truly a joy to meet and converse with. I'll never forget that episode of my life. |
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Ed Iarusso
From:
East Haddam, CT US of A
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Posted 14 Jan 2009 1:04 pm
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I'm about half way thru the book and it's an excellent read. Jim is right that it does tell the same story thru the eyes of many different folks from that time and scene but I really enjoy it. Chris Hillman comes across as very honest in his recounting of the story. He praises and damns various individuals as he sees it. And comes across as honest in his assesment of himself, both good and bad. I also liked the Neil Young book "Shakey" and the Steve Earle story "Hardcore Troubador" Now, that is some story. I've been an Earle fan since Guitar Town. It's amazing he's still around.
Ed |
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Chris LeDrew
From:
Canada
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Posted 15 Jan 2009 2:37 pm
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| I'm just about through this book as well, and also really enjoying it. I always looked up to Chris Hillman as the guy who got things done in his bands. He always seemed to be the no-nonsense, non-hypocritical kind who just wanted to make good music and wasn't in it for the schmooze. It's nice to see the Gram Parsons balloon being burst once and for all. I like some of Gram's stuff, but Hillman is right in saying that he got too much credit for the Burritos largely because he died. The myth and legend, according to Hillman and others, are overblown. I think that needed to be said in print by someone who was there. |
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Jim Cohen
From:
Philadelphia, PA
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Chris LeDrew
From:
Canada
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Posted 16 Jan 2009 12:02 am
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| Jim Cohen wrote: |
| Chris LeDrew wrote: |
| The myth and legend...are overblown. |
I also just found out that Paul Bunyan wasn't as big as they say he was... |
Did Gram ever happen to have a beard??
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Donny Hinson
From:
Glen Burnie, Md. U.S.A.
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Posted 16 Jan 2009 2:19 pm
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Al Borland?  |
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Chip Fossa
From:
Monson, MA, USA (deceased)
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Posted 17 Jan 2009 11:53 am
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I agree.
A fantastic read. Redundant, perhaps.
But with Chris Hillman's quotes popping up thru-out the read, just seals the short bitter-sweet episode in the coming-about of what has become known as "country rock".
It was a huge influence on my musical sense.
I always dug Chris Hillman ever since the Byrds. You never knew anything about him, and I presume he wanted it that way. He's way cool, and an outstanding musician.
I found out early in the book, that Ritchie Furay worked at one time for Pratt & Whitney in CT, and lived for a while in Wilbraham, MA while working there. Wilbraham is the next town over from me.
Anyway, we always wondered where the name Buffalo Springfield came from. How'd they come up with that one? So then we heard a rumor that some of BS lived in the Springfield, MA area and others were in Buffalo, NY. As the grind of traveling between both cities
wore on, the members would gripe about Buff-Spfld, Spfld-Buff, Buff-Spfld, back and forth - and so you can fill in the rest. I still don't know if this is the reason, but when I read of Furay actually living in the Springfield area for awhile - well, could be true. Trivia, I know. But, ultimately, what isn't?
Jimbeaux, glad you're digging the book.
I got about 15-20 pages to go.
_________________
Chip
Williams U-12 8X5; Keyless; Natural Blonde Laquer.
Last edited by Chip Fossa on 18 Jan 2009 1:22 am; edited 1 time in total |
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Russ Tkac
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Posted 17 Jan 2009 2:18 pm Springfield Ohio
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Near Yellow Springs Ohio where Richie grew up.
This roller, Construction Number 14795, was built in 1928 by the Buffalo Springfield Roller Company of Springfield, Ohio.
Get Richie's new LIVE CD. John Macy recorded it and it's great. No steel but Richie's voice is ageless.
Russ |
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Pete Finney
From:
Nashville Tn.
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Posted 19 Jan 2009 2:11 pm
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| Just borrowed a copy and started reading it last night. I was surprised at one early glaring error because I'm pretty sure both authors (and surely Hillman) know better: Clarence White is credited with playing the steel on "Notorious Byrd Brothers"; of course it's definitely Red Rhodes on that album, on 4 or 5 songs... I've never heard of Clarence ever playing steel, has anybody? |
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Bo Borland
From:
South Jersey -
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Posted 19 Jan 2009 2:51 pm
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HEY that's my DAD! seriously |
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Chip Fossa
From:
Monson, MA, USA (deceased)
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Posted 19 Jan 2009 3:31 pm
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Pete, I've never, ever heard where Clarence White played, or even attempted playing the steel (but, did he really hafto?)
On the other hand, I question Red Rhodes. I think it was Lloyd Green.
Sure sounds like Lloyd on "Change Is Now". Lot of heavy electronic "artificial energy" to confuse the sound; but not the steel. That's what made the steel cut right threw all the hype-oh sound.
If I'm not mistaken, I don't believe any extra musician credits were given on NBB.
How are you so sure about Red?
_________________
Chip
Williams U-12 8X5; Keyless; Natural Blonde Laquer. |
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Jim Cohen
From:
Philadelphia, PA
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Posted 19 Jan 2009 3:43 pm
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Pete, what page is that on? I'm a little more than 200 pages into the book and I don't recall coming across that statement (at least not yet). I think I would have remembered such a statement, had I read it. (But then I do some of my reading just before nodding off to sleep...)
_________________
www.JimCohen.com
www.RonstadtRevue.com
www.BeatsWalkin.com |
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Chip Fossa
From:
Monson, MA, USA (deceased)
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Posted 19 Jan 2009 4:41 pm
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Yes, Pete...
Where is that in the book? 
_________________
Chip
Williams U-12 8X5; Keyless; Natural Blonde Laquer. |
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Pete Finney
From:
Nashville Tn.
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Posted 19 Jan 2009 9:12 pm
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| Quote: |
| Where is that in the book? |
Page 45... After a paragraph all about Clarence White the next paragraph states:
"The group's next album, The Notorious Byrd Brothers, took the country-music excursions further. White was brought in once again to add pedal-steel guitar on tracks such as "Wasn't Born to Follow", "Change is Now" and "Get to You". "
I ain't making this stuff up, honest!
As to why I'm so sure it's Red Rhodes...? Let's see; it's come up several times on the forum by people who know more about it than me; it doesn't sound like Lloyd to me and was recorded in L.A.; and most recently the book "So You Want to be a Rock and Roll Star" which details each session day by day, and credits Red once again for all the steel on the album. Here's a very recent thread with lots of details about that:
http://bb.steelguitarforum.com/viewtopic.php?t=149435 |
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Jim Cohen
From:
Philadelphia, PA
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Mark Eaton
From:
Sonoma County in The Great State Of Northern California
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Posted 19 Jan 2009 9:47 pm
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I have a buddy who has a metal sign plaque (it's probably about 12" x 20" if memory serves) off a piece of Buffalo Springfield heavy equipment that he has hung on the walls in the various music rooms of his homes, since the early 70's. I have no idea where he got it, but he did work for the big utility company in Northern Calif., Pacific Gas & Electric, in the 70's - so maybe he "removed" it from one of the machines.
I never thought about those other reasons for the name - I just assumed they got the idea from the heavy equipment company, I always figured that Furay, Stills, et al. must have "removed" one or more of the plaques themselves!
_________________
Mark
Last edited by Mark Eaton on 20 Jan 2009 8:20 am; edited 1 time in total |
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Chip Fossa
From:
Monson, MA, USA (deceased)
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Posted 20 Jan 2009 4:16 am
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Fair enough, Pete. My mistake. 
That's gonna be my next book - "SYWTBARRS".
_________________
Chip
Williams U-12 8X5; Keyless; Natural Blonde Laquer. |
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Jason Odd
From:
Stawell, Victoria, Australia
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Posted 24 Jan 2009 6:32 am
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Lloyd Green played on the Byrds Sweetheart of The Rodeo, nothing prior to that. (I don't imagine they really needed a Nashville cat as they never considered their earlier country-rock and psyche-country as anything other that Byrds' songs.. unlike the Sweetheart LP, where they embraced it as a concept and a medium).
On Notorious, there's steel players Red Rhodes, Carl West (who never gets credited for his one song contribution), Jim Gordon on drums, and Clarence White on guitar. No pedal steel for Clarence.
There were others, someone played moog, Crosby was on some material, he was replaced by Gene Clark, who didn't enter the studio before leaving the band in 1967. The Byrds' drummer Michael Clarke quite before the album was finished, leaving just Hillman and McGuinn, which led to them hiring Kevin Kelly and Gram Parsons. |
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