Todays New Country with steel

Duane Becker · From: Elk,Wa 99009 USA

I spent about an hour yesterday listening to my local hot new country radio station. Although I did hear alot of steel, the music seemed for the most part to be the rock and roll sounds of the 1970's. I heard a lot of lead guitar licks that sounded like the Rolling Stones licks. The drums were mixed very loud in the songs and they jumped right out at you like, "Bang.. Crash...Bang...Crash". And the most important thing to me was the pedal steel. The sound or EQ of the steel seems to be different then it used to be. I really cant discribe it, but I know, I did not like the steel sound-I guess maybe it did not appeal to me. The steel lick using the 1st string F# to G# knee is very much over used. When I heard the sound of a steel guitar in 1968 when I first started playing, it grabbed me, it moved me emotionally so to speak. I just had to learn the pedal steel guitar because of it. The sound of the pedal steel today does not do that for me. Maybe I'm older, and into a generation gap, but sorry to say that if I would have heard the steel sounding and being played like it is today back in 1968, then I would not have the desire to learn the instrument. Does any one else have these feelings or am I just getting old, crazy, and set in my ways. Duane Becker

Rob van Duuren · From: The Netherlands

with respect, but the way you describe what you heard on the radio, suggests that the only instrument that actually went through some kind of "evolution" has been the
steelguitar.
Little effort, maximum effect. Isn't that a good thing for the people?
I agree though, the 'skill' i hear on old recordings is much more inspiring.

Bob Carlson · From: Surprise AZ.

In Flagstaff, we have an FM station that plays ALL classic county. I mean the real stuff, like Jones, The Hag, and all the rest of the good ol boys and girls.

I'd go crazy If I had to listen to the FM side all day. I feel the steel playing there Is, Is good, but we're to used to hearing that good old 3 and 5 string sound and that would be to country for today.
I stated In another post that my grand children have 25 to 50 CD's. When everyone that wants to hear the real country steel, all It will take Is for everyone to go out and buy a bunch of country CD's and there will be country, because these kids are buying this new stuff up like they ain't making It no more.

Bob Carlson.

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

Duane, there are a few here that are inclined to agree with you. The rest? Well, let's just be kind and say that it's unfortunate they weren't around then. It's just one of those times that you almost had to be there to appreciate it like we do. (Glad I didn't miss it.)

I can still remember the first time I went to Nashville...Country Music's "field of dreams". I was real young then, and it was raining and late at night. We drove over a hill, and in the distance, I saw the lights of Nashville for the first time, reflected in the rainy sky like like the glow of a million candles. The chill and thrill that went through me that night has never been surpassed.

I've been lucky...had a lot of dreams come true since then, but none has felt good as that.

That's what it used to be like.

Frank Parish · From: Nashville,Tn. USA

I hear a lot of steel guitar in todays recordings. I'm not as crazy about the type of country coming out of Nashville but the steel is still there. One of our members on the forum showed the No 1 hit country tunes in the 70's and I don't think half of them had a steel in them and weren't particularly country songs either. I never considered Barbara Mandrell country but she was hot then. Lately I'm hearing a few shuffle tunes and thank God George Jones is still on the radio, the greatest IMO. It's 8:12 Friday hear in Nashville and I just heard Tommy White play one of those skin crawling solos on There Goes My Everything on the Opry so things are good if you listen to the right station.

Ed Webster · From: Salem, Oregon -USA

I just got some old Spade Cooley, Tex Williams, & The Plainsmen tapes that have Joaquin Murphey playing steel, from the late 40's and very early 50's. This was my inspiration and role model for my playing the steel. Like so many on the Forum have already said, you used to KNOW who the artist was the minute you heard the first steel guitar notes of the record (like Roy Wiggins, Byrd, Tubbs, etc.) but thats not the case today. I agree with you Duane about todays steel and todays music. Tommy White is fantastic and I'm really thankful for what he does for country music, but he doesn't play on every country record and some of the stuff coming out of wherever just ISN'T country IMHO.

Mike Weirauch · From: Harrisburg, Illinois**The Hub of the Universe

Steel guitar is still in good hands. Buddy Emmons is still with us and plays as good as he did 40 years ago, just maybe not quite as fast but fast enough! We still have John Hughey, Hal Rugg, Weldon Myrick, Jimmie Crawford, Smiley Roberts (YES, Smiley Roberts!), Mike Sweeney, Bobbe Sizemour and a host of other greats that are still dedicated to the music that made steel guitar what it is AND now we have Tommy White who carries the torch as high as anyone ever carried it while playing as close to the roots of country music as anyone can without this "phoney baloney play what you want all through the song and crap". In less than one year, Mr. Nashville Sound will be back among us all, free to do and record as he wishes. He still has his sound, his style and his creativity that made him an icon in the studios in the late 60's and all through the 70's and well into the 80's. All in all, we're still protected from this new stuff that someone has taintively labeled "country" so go cue up a Paycheck record or a Loretta Lynn song or Ray Price or Ernest Tubb or Mel Street and listen with pride because that is what evolved the steel guitar to where it is today and not this new stuff.

Bob Carlson · From: Surprise AZ.

Any of you guys know of a Ray Price CD that has "Walk Me To The Door" on It? It came out In 62 or 63. It was written by Conway and hearing Ray sing It was the insperation to make him leave rock and go country.

It Is also the first Pay Price song I heard...that had that dang string section.

Bob Carlson.

erik · Posted 27 Oct 2001 3:09 am

Mike, is there an exact date on Lloyd Green's release? (release meaning ability to record, etc) Maybe we can mark our calandars.

Jack Stoner · From: Kansas City, MO

I'm on the "traditional country" side and think that most of the product is overproduced pop/rock, but I still hear some great steel on records today. Maybe not as much as we would like to hear and I'll agree that much of it sounds the same, but there are some great licks still coming out of Nashvulle.

The sound has changed over the years, just as the sound of other instruments has also changed. Many of us use newer steels with newer pickups and newer amps that all have different characteristics from the "vintage" equipment. I personally prefer the sound of my Franklin over the old Fender 2000 or even the 71 PP Emmons I used to have. I used to play through a Twin Reverb but now play through a Nashville 400 or a rack system. I played through two Twins last week - a blackface and a silverface - and couldn't find a sound that I liked on either.

Paul Graupp · From: Macon Ga USA

MW: While I was reading your post, Tom Brumley was on Live 65 playing first his version of PanHandle Rag and as usual he had his own little flair in there and then he went back and did an immaculate rendition of Jerry Byrd's version of PHR. Geez; I had goose bumps listening to him. Thank God he and Lloyd, and any we may have left out, are still with us !!

One other thing I heard yesterday on Live 65 was a cut of CRY. I had been told this was by Chuck Lettes but the credit line said it was Burke Carroll. There's a name I have never heard, or even seen on the Forum. The phrasing he uses on this cut is really good and for an unknown (to me...) is something special. Anyone having any information on him would be a big help to me ???

Best Regards, Paul

Dave Alfstad · From: Indianola, IA USA

Paul,
I was the one who told you that was Chuck Lettes on "Cry". I'm sorry, I told you wrong. It is, in fact, Burke Carroll. I just looked at the liner notes. I was confused before, don't know what I was thinking. Sorry about that!

Dave Alfstad

John Lacey · From: Black Diamond, Alberta, Canada

Paul, Burke Carroll is a Toronto-based steel player that appeared with me and others on the "Northern Steel" compilation CD.

Mike Weirauch · From: Harrisburg, Illinois**The Hub of the Universe

Erik, October 4, 2002

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

I agree that playing "color" on contemporary country music venues doesn't give as much satisfaction as playing all the intro's and turnarounds, but for me "less responsibility with shorter hours and better pay" is an acceptable compromise. (P.S. I forgot to add that the above only applies to "doing it", not "listening to it".)www.genejones.com

[This message was edited by Gene Jones on 27 October 2001 at 07:52 AM.]

Dennis Detweiler · From: Solon, Iowa, US

One big factor missing in todays session work is the variety of steel players that we were used to hearing in the past. All of the steel players that Mike mentioned above, were recording at the same time in the 60s and 70s. And many of the big name artists used their road bands to record.
What a great inspiring time period for upcoming steel players to live in. Those vocalists that didn't use their road bands for their recordings had several choices of steel players in the studios to pick from. And some, like Loretta Lynn, used the same steel player (Hal Rugg) to keep her distinct sound.
In other words, we were not used to hearing repetition of sound between the different artists as we do now.
And to further diversify the sound, "back then", the different steel players in the studios were CONSTANTLY coming up with new licks to stay on top of each other.
Very inspiring time period for Nashville and the fans.
Dennis

Paul Graupp · From: Macon Ga USA

Dave; No need to apologize !! Your effort in the first place tells me a lot about you.
Your consideration is surely appreciated and the music is still as wonderful as ever !!

Best Regards, Paul

richard burton · From: Britain

I too have noticed that modern steels lack the tone of 30 years ago, and I am convinced it is down to the pickups. Humbucking pickups, (even stacked humduckers), don't give the clarity of single coil pickups, (IMHO), and ,also, todays pickups are far too powerful. I have found, over years of experimenting, that weak single coils are the best for achieving good tone.

richard burton · From: Britain

That was a good job it was a D and not an F!

Ron Page · From: Penn Yan, NY USA

This subject is an oldie but a goodie here and I always have to participate.

I'm unmoved by 90% or more of what is played on today's so-called "country" radio. In a word, it SUCKS! Now, it might be good music, but as for consideration within the country genre it really SUCKS!

I might listen to country radio 30 minutes a week these days, preferring instead talk radio and CD's.

Alan Jackson pretty well hits it on the head with his "3-Minute, Positive, Not Too Country, Up Tempo Love Song".

------------------
HagFan

Johan Jansen · From: Europe

IMHO:
Today's steelguitars are better build then ever. Today's knowledge from builders can make every steelsound or tembre, that is wanted. But who wants it? Just some steelplayers that always say things in the past were better?
Music is an art, if taken seriously.
Art is a mirror of it's time, and so are the artists, making that music, with all their skills.
I love old "steelsounds", like the full sound of Don Helms, and the rich sound of Jimmy Day, but also the nice Emmons sound and the "golden edge"sound of Paul Franklin.
I love the old countrysongs, but also can enjoy the newer sounds. I'm not afraid to grow old, but I never hope to feel old, and can not enjoy the things to come when my kids or grandkids play their music for me.
I hope I don't insult , I do not have the intention!
But please, enjoy life, art, music and expressions from this time, at least, respect it!
Take your pick, enjoy, with respect!
Thanks for reading,
Johan

Joerg Hennig · From: Bavaria, Germany

Hey Duane, I think you´re not just getting old or crazy or set in your ways. If I had never heard the old steel recordings from the 60s and 70s and only been exposed to the new stuff, I doubt if I would ever have taken up the instrument. It sounded so alive, so beautiful. Nowadays, even if steel guitars are built better, on a whole lot of the recordings the steel sounds so sterile, almost kind of restrained sometimes. I don´t know if producers want it that way or what else is the reason. And I guess the amplification used by a large number of today´s steel players has something to do with it, too. (I know some will want to flame me for this!)
Back in ´68, I was just three years old, that means I didn´t start playing until much later (much too late if you ask me) but the "old" steel sound is the only one I can really identify with and I will keep on playing exactly like that and want to bring it to perfection. And I really don´t give a f#*+ if somebody says it´s obsolete or whatever. It´s good for my soul. These times we are living in are already hard enough.
Regards, Joe H.

Joerg Hennig · From: Bavaria, Germany

Hey Rayman, you reminded me there are - fortunately - some exceptions! We need more like Ricky Davis and Gary Morse! And guess what amps those guys play...?

Theresa Galbraith · From: Goodlettsville,Tn. USA

Johan,
You are correct. We need more appreciation for what we are hearing. No, it's not all the same stuff we heard from year gone by. That's been done. It's new refreshing and we are hearing more steel than back then. It's
to bad some have such a negative outlook on steel players playing on records today. It's still 4 or 5 guys working sessions.
By reading this forum, why would anyone what to pick up the instrument?

Larry Miller · From: Dothan AL,USA

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