Robert Randolph Reviews

Jeff A. Smith · From: Angola,Ind. U.S.A.

Bob, I'm glad you brought that up. I've been thinking of the comparison to electric guitar also. Compared to all the subtle intricacy of Chet Atkins, (which still of course would have only provisional value to Segovia,) blues and rock guitarists are judged according to a very different set of standards. I won't say that there is no common grounds for evaluation at all, but obviously the intent is far different.

I think most of us accept it as a valid art form when somebody plays guitar in the bottleneck slide style. Or consider B.B. King, who rarely plays chords at all. But, no doubt these approaches would not have been accepted by many at a certain time in the past. Comparing these blues guitar styles to Chet Atkins, (Chet is just a good example by the way,) may be much like comparing all the subtle, harmonically complex work of the past (and present) masters of pedal steel with the more "no nonsense" soulfulness of the sacred steel style.

I didn't take up the guitar because of blues and blues-based rock, but without later exposure to those styles, I never would have become as deeply involved with music. My deepest roots certainly are there. Maybe if I grew up in a different environment, I would've taken up the steel much earlier and played strictly country, I don't know.

I'm sure that many will be fed by this "new" style of steel playing that wouldn't be reached by other styles, just like has been the case on guitar.

Maybe it is true that the steel world is undergoing a similar transition to what the world of guitar has undergone. Great observation, Bob Stone.

bob drawbaugh · From: scottsboro, al. usa

Well I don't get it? What was all the hype about?

David Rupert · From: Mesa, Arizona (via Mahopac, NY & Missouri).

bob drawbaugh · From: scottsboro, al. usa

This reminds me of a story. When I first started playing steel one of the super pickers was going to be on TV. The story was he was going tp play some hot C6th. I was waiting with baited breath. The night came I was in front of the TV on the edge of my chair no less. The camera pans to him and I think here it comes. What does he do he sangs. What a let down.

Good luck Robert! I'm glad the steel is getting exposed to the masses.

bob drawbaugh · From: scottsboro, al. usa

David...Why is it when I disagree with some of you people I'm closed minded. Is my opinion not as correct as yours? After all they are just opinions. One is not right or wrong just an opinion. Maybe my standrads are higher than yours and you are open to anything that comes along? Just my opinion.
There are a lot of musicians that you guys think are great. Some country players and some are not. That does not make them great just because you think so. It does not make a player great just because I think so. We all have are opinion of greatness. I think some of you guys are to quick to resort to name calling because someone has a different opinion than you do. Maybe, just maybe you are the one that is closed minded. Guys open your mind and see the truth, the truth shall set you free. Be sweet now.

Johan Jansen · From: Europe

Got a call from a radio-station today; wanted to know who is R R.!! Even here in Europe he will be moving some ass.
His playing gives me goose-bumps, the same as John Hughey's, or Paul Franklin's, or Lloyd Green's playing does....
He also has emotion.
After reading a lot of postings , 105 by now, it seems (to me)a lot of people are measuring things... Music can't be messured, maybe skills like speed or clear tone or amount of country-related licks...
What counts to me is:
THIS GUY IS MAKING HIS OWN MUSIC, while most of us are copying licks from the masters or a Jeff Newman course on stage and/or in bedrooms. Nothing wrong with this, but isn't this the musicians dream? To me it is!

Go for it, Robert, and concer the world!!
JJ
firejacket on.....

[This message was edited by Johan Jansen on 23 August 2001 at 07:36 AM.]

Frank Estes · From: Huntsville, AL

Actually, there are TWO issues here. One is the promotion of steel guitar and the second is the idea that what is happening is going to change the way we play steel guitar forever. The hype is in the latter one.

I think the promotion of steel guitar is great, so I agree with that and wish Robert all the best. Go for it!

I do NOT agree with those who think that this "new" approach will change how we play steel guitar.

Unfortunately, some here seem to think that if you do not agree exactly with them that this is the future of the instrument, then somehow you are against the promotion of steel guitar. They are the narrow-minded ones who are trying to be the thought police, again.

Ironically, many these same people try to be the thought police when we discuss non-steel related issues on the Off Topic Board.

Things that may you go Hmmm...

nick allen · From: France

I've never heard RR, and probably shouldn't be getting into this

but I've read a lot about him, here and elsewhere, and there is one thing that many (though far from all) contributors to this thread seem to be missing:
As a *musician*, the "steel guitar" is not the point... to paraphrase a well-known American "It's the MUSIC, stupid!".
Example: a few years ago, I saw David Lindley and Ry Cooder in concert. Lindley was playing his Weissenborn on one number, and Cooder the regular guitar. One of Lindley's strings broke... he put down the guitar, while Cooder continued playing alone, picked up one of his 8-string bouzouki-type instruments, and carried on playing the song... Different tuning, different technique... and I'm sure he played some different notes, but the point is he was playing the MUSIC, not the INSTRUMENT.
And it seems to me that the essence of all this is not the "pedal steel players" will in the future be playing (or have to play) RR-type music, but that producers/performers of that type of music will be more open to pedal steel. Country players will play country, jazz players will play jazz, blues players will... etc etc... and the greater the choice of instruments on which to perform ANY kind of music the better
All IMHO, of course

Nick

Mike Perlowin · From: Los Angeles CA

Picture this scenerio. Robert Randolph has the first steel steel guitar instrumental hit record since "Sleepwalk," and subsequently the pedal steel guitar, played in the Sacred Steel tradition has achieved unprecidented popularity.

Some record producer wants a steel player who can play that style on his records. You get the call. What are you going to do? Play E9 country licks?

Nobody is suggesting that we all abandon the styles we already play, but I submit that we had all better learn how to play at least some things in the sacred steel style of playing in addition to what we alread know so that if/when the need arises for us to play in that style, we can rise to the occasion.

Dan Tyack · From: Olympia, WA USA

Mike, the number of guys on this forum who will get a session call where the producer asks him or her to play in the Sacred Steel style is very, very small. So on the one hand it is very true that this style of pedal steel playing isn't going to affect the way most pedal steel players do their thing (in the living room or on stage). It's not like the great shift towards pedal steel in the 50s and early 60s, where everybody who played steel felt the need to change directions. That was a paradyme shift within country music, this on the other hand is bringing the pedal steel to a new audience. Not that you won't hear Sacred Steel influenced sounds coming out of records from Nashville (it's pop music, after all), but I would imagine in most live bands the guitar player will cover them, if the steel player isn't comfortable with that style. But it won't affect most steel players to any appreciable degree.

On the other hand it will greatly affect the instrument, and the way future players will approach the instrument, if this style continues to increase in popularity. It will also reduce the number of confused expressions kids will have when they see the thing on stage, if they have already seen it on MTV. And it makes it a whole lot easier for me to do 'non-traditional' steel parts on pop records, in that Robert has done the work of getting the pedal steel in front of the producer's line of sight.

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www.tyacktunes.com

James Winwood · From: New York, New York

I saw R. Randolph last nite at the wetlands in Nyc. I walked out midway in the second set. I was impressed with his speed. And yes, I do believe I detected emotion there too. But overall, the thing was a circus. Blues scale diarrhea is what that is. All his songs were way two similar, all based on basic little blues riffs and then the same repetitive phrasing as the last song for 20 minutes. I have some nasty ringing in my ears because randolph insisted on continually hitting notes way up on the fretboard with an ear-bleed volume level that you only made me cringe. Once he got into the second set and he realized that he had run out of ideas, he would screech inaudible notes around the 24th fret and then descend in a blues pattern that I heard 15 times earlier from him. His whole jig is playing high-energy stuff that seems to thrive only on the energy and not on continual creative improvisation. I don't want to burn him too badly because there is some talent there. But all the hype is just that, hype. Nothing to worry about. It seems to me that this guy cares more about the "show" thats going on than the notes he's spitting out. Man, I would have left after the second song if I knew they were all going to be the same. I'm just glad that I now know what I'm missing. Blah!

Rick Garrett · From: Tyler, Texas

Im new to the PSG BUT, I think Robert Randolph is great! Anybody that is that powerful on the PSG cant do anything but further the enjoyment of the instrument and that aint bad. I guess some of the old timers might not like the change but hey us new guys are lovin it. Hope Im always open minded enough to accept change. I was thrilled to hear how he plays that thing and I've loved the Steel all my life in all kinds of music. You just gotta appreciate a God given gift like he has.

Rick

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

Re: Mikes comments above. When and if Robert achieves a nationally recognized "steel guitar instrumental hit" that people begin to request the band to play, be assured that I will be one of the first to learn it.

But in the meantime, he has my best wishes for continued success and I am perfectly content to let him "do his own thing" without feeling any need or compulsion to "cover" his material.

I am a musician, not an entertainer.

CrowBear Schmitt · From: Ariege, - PairO'knees, - France

well i might as well put my 2ç on this 1 !
thanx to RRs site i managed to hear some of what he is playin'.
( he ain't about to play over here !)
well i definitly like what he is doin'.
Now like some Forumites have allready mentioned:
what + how were we playin' at 24 years of age ?
i find RRs Musikal context somewhat loud and agressive and lackin' chord changes.
it does sound like a Jam band.
So what ? the Boy's gonna get better...
i love Blues, wether Delta or Chicago as well as Black Gospel.
So i dig what RR is puttin' down !
i prefered the NPR interview cause he gave a much better X-ample of his Steelin'!
nicer tone , chord changes, more depth.
But what i consider the most important aspect of RRs Musik is that it is Sacred Musik.
Now i know (and prefer) how it is in church, considering the Holy Communion goin' on there.
Well you can't be goin over in the devil's house the same way.
that's why i believe Robert is a very courageous and blessed person.
i loved "Crossroads" (the movie)+ Ry Cooders Musik. (i never thought it could get better than that.)
well Lord have Mercy ! we're back at the Crossroads + there is Robert !
Steel standin' that Ground

Bill Fulbright · From: Atlanta, GA

Incredible playing.

I have not read all the posts and I do not care to. This guy has the energy and the soul. He is a comet.

No, he does not fit the country mold. Why should he? He is on the edge of his own style which is real, expressive and professional.

As a blues guitarist of over 30 years, and a student of all the blues greats from Robert Johnson to Buddy Guy and every one in-between that ever bent a string, I am impressed.

Go to his website and just listen to the first cut he has put there from his show at the Wetlands.
http://www.robertrandolph.net/main/in2.htm

If that don't get you out of your chair, you ain't a picker. I am listenting to it now, and can't spell.

Where is the setup for that tuning!!!???

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Bill Fulbright
1998 Sierra U12 7x5; Gibson ES-165; Peavey 50-410
ICQ# 2251620 Bill's Launch Pad

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

I see two camps here. One says..."What's the big deal?", and the other says..."Isn't it great!". Both have some validity, and we often have to bow to style.

Style sells...ability doesn't. Now that's a generalized statement, but it's true in many art forms. Music isn't any different. If you were to put Robert on stage beside a top player (like Tommy White), Robert would outsell him---hands down. Now, some of us may not like that...but it's true, nevertheless. And Robert would probably be the first to admit that Tommy can play rings around him. But popularity and ability don't always go hand-in-hand. They're just two different animals.

Purists, players with lots of ability, and their fans, sometimes resent it when less than "world class" players recieve "world-wide notoriety". And, I suppose that's some of the reason for the popularity of sports. In sports, you have to be the best to get the fame and notoriety. In the arts, and the entertainment world, you only have to have the fans...ability is related, but not necessary. Often, in these fields, getting people's attention is what counts, and Robert is sure doing that. It's not going to "revolutionize" the instrument, or the way we play it. But, it may bring a few new players into the fold (like Garcia did), and they may turn out to be great.

I, being a little weird in the first place, can straddle the fence on this one. Yes, I'm very happy for Robert Randolph, but I still feel sorry for Julian and Curley.

Mike Perlowin · From: Los Angeles CA

For whatever it's worth, I think a lot of what RR and the sacred steel guys can be done in a standard tuning, or at least on my Universal.

RR and the sacred steel guys are more or less following in the musical footsteps of the old bottleneck guitar players like Robert Johnson and Fred McDowell. I played that style of blues guitar for many years, and about 2 years after I took up pedal steel, I realized that the style works perfectly on a lap steel. (Note- you have to use the same tunings those guys did. A C6 won't give you that same sound or yield the same licks.) Eventually I was able to adapt the style to the pedal steel and add pedal licks to it.

My style of playing rock and blues on a pedal steel is quite similar to what RR is doing. You don't need a second instrument with a separate tuning. You might not be able to do exactly what RR is doing on a standard tuning, but you can come close.

Bill Fulbright · From: Atlanta, GA

OK, I admit that I am more blown away by RR's style than by sheer technical prowess like Tommy White's. No comparison.

But being a big blues, soul and R&B fan, this is a great addition to the fold.

Look, at least he is committed to the Pedal Steel Guitar, and is using it as his primary instrument. If he gains notariety for it, just think of the spotlight gained by the PSG.

I like his tone. Fat, darker than the always bright PSG, mellow distortion. Whatever he is doing, he definitely makes it scream.

It is not as polished as the top jazz / country players we all know, but it is full of energy and it is fresh.

No one has done it as a Front Man either like him in the blues / gospel / sacred world.

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Bill Fulbright
1998 Sierra U12 7x5; Gibson ES-165; Peavey 50-410
ICQ# 2251620 Bill's Launch Pad

bob drawbaugh · From: scottsboro, al. usa

If you like what RR is doing on the steel check out guys like Bob Brozman or Arlen Roth. They are both know for their bottleneck/slide guitar but both play lap steel in the stright ahead blues style.Have you every heard Paul Franklin on his lap steel. He can get down with the best of them, and he has the tone and technique to boot. What about Jerry Douglas know for his Dobro playing but put a Strat or lap steel in his hands and he rock with the best of them. There was a blues guy from the 50's, Big Bill Broonzy, he played lap steel on one of his records in the style of RR. I don't know how he tunned his guitar.

Dan Tyack · From: Olympia, WA USA

Mile Perlowin said

Steve Stallings · From: Houston/Cypress, Texas

You know, Dan Tyack plays some pretty wicked rock/blues chops himself...

As for RR, I am for anything that helps to promote pedal steel to a wider audience. How many young people walk out thinking..."I've got to get me one of those things"! I think it is great.

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Steve Stallings
Bremond, Texas
Carter/Emmons/Zum
Evans
Martin D35
Forum Host: The Unofficial Martin Guitar Forum
http://pub55.ezboard.com/btheunofficialmartinguitarforum

Michael Holland · From: Nashville, Tennessee, USA

Bill Fulbright said:

Junior Knight · From: Eustace Texas..paddle faster..I hear Banjos...

Nobody has asked....but here is my 2 1/2 cts,
steel guitar is no diffrent than drums, bass, guitar,piano, banjo...sorry!!!!..It can play ANY kind of music!!!! It will go as far as the person sitting behind it will take it! I have not heard of Robert Randolph,
and I know he has never heard of me, but thank God he is taking our beloved steel guitar to diffrent places. The more.the BETTER! Thanks, Junior.

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Bb is where it's at!

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

The oft used term "form as opposed to function" comes to mind!.... But then, I concede that we are discussing "subjective" rather than "objective" perceptions.

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

Junior-
You have said it so right. It's all music.

When I was playing before WWII and shortly after.
We played everything. Blues, Cowboy, pop, old standards, Hit Parade, jazz, Polkas, Waltzes, some semi classical, Western, country , Hawaiian ,as played then without pedals, later with pedals, this was all done on Steel Guitar.

They didn't pidgenhole you in those days to just one type of music.

You were expected to play anything and we did!

If Robert R gets the public to realize that the Pedal Steel Guitar is more than just pushing Pedal A and B, he will have done a big service for the Pedal Steel Industry....
......my 1 & 1/2 cents worth...al

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