Put-downs And Squashed Performances

Bill Hankey · Post by **Bill Hankey** » 12 Dec 2009 1:50 pm

Compliments are the seeds that great performances stem from. Critical put-downs may disrupt the thought processes of a performer's best abilities. Distractions at close quarters can produce the same effect. Are there ways to avoid such enigmas?

Bob Farlow · Post by **Bob Farlow** » 12 Dec 2009 2:23 pm

Bill Hankey wrote:Are there ways to avoid such enigmas?

Yea--stay home!

Bill Hankey · Post by **Bill Hankey** » 12 Dec 2009 3:59 pm

You be one of them?

Georg Sørtun · Post by **Georg Sørtun** » 12 Dec 2009 4:17 pm

Building up self-confidence and a certain insensitivity and discrimination with regard to input from others before, during and after performance, will help. Those who don't easily get high on compliments, tend to withstand put-downs and other distractions reasonably well too.

Ray Montee (RIP) · Post by **Ray Montee (RIP)** » 12 Dec 2009 6:08 pm

I've always lacked confidence with regards to my playing.......and early on I had quite a few local musicans of-the-day, letting me know that what I played was "too simple", "anybody could do it"....."nobody plays melody".........etc.

They of course, were of the early day Joaquin Murphy
fan club.......... They possessed that 'get up on the stage and impress the world attitude' that I sorely lacked.

It hurt then and still haunts me after all of these years. I had no one to reassure me that after all, I was the one that was working with the top bands of that era here in Portland and at the best dance hall in the area, doing the radio and ultimately TV Shows.

In contrast they were at our shows all of the time, hanging on, wanting to play my guitar, etc.

One just has to acquire a thick skin and some clear logic along with a growing measure of self-confidence. I can't help but recall how a bunch of negative conversations about JERRY BYRD/his playing right here on the Forum........really hurt his feelings. He was really dismayed........

Charles Davidson · Post by **Charles Davidson** » 12 Dec 2009 6:28 pm

I don't let that crap bother me. If you are picking in a club and a HOT shot picker is in the crowd that may put you down. You have the last laugh,You are getting PAID to be there,He PAID TO BE THERE. I'm just a half-assed picker but have kept gigs for the last fifty years,WHY ? I'm never a no-show,allways on time,Alway sober and drug free.DEPENDABLE,and have NEVER quit a gig without giveing a notice. I treat EVERY gig as a job,not a place to party.I know a few guys that can play ten times better than me,BUT are guilty of everything above they don't get many calls. YOU BETCHA,DYK?BC.

Jody Sanders · Post by **Jody Sanders** » 12 Dec 2009 7:56 pm

Great post Bama. For over 60 years I have been able to always find work because I always used the KISS method. AKA Keep It Simple, Stupid. Always remember, you are playing to compliment the singer and the band and to satisfy the customers, not the musicians in the crowd. Anyone who thinks Jerry Byrd was not a genius, try playing some of his licks with all the forward and back slants and be right on key. Merry Christmas to everyone. Jody.

Rick Schacter · Post by **Rick Schacter** » 12 Dec 2009 8:15 pm

Critical put-downs may disrupt the thought processes of a performers best abilities.

In the Portland,Or. steel community, I have never, ever heard anything but encouragement from the more experienced players and I certainly am not a polished player by any means.
I keep playing through with shakey hands and all.

Thankfully the steel guitar community is very supportive (at least it is in Portland, Or.)
So far, I have never heard any steel player here in town bash any other steel player.

Distractions at close quarters can produce the same effect. Are there ways to avoid such enigmas?

Well...I'm tryin' hypnosis and Inderol.
I'll let you know how it works after tommorrow night.

Rick

Ronnie Boettcher · Post by **Ronnie Boettcher** » 12 Dec 2009 9:17 pm

I'm with you Jody. Don't let anything get to you. Back in the 60's, I was playing banjo a lot. At this club we played at, a very excellent banjo picker, that played for a well known Opry star, would stop in, and do a set or too. Every time he came, patrons would tell me after the evening was over, they liked my style better, because I played the song, so it could be recognized. I don't try to impress people with way out frills, and counter melody, that does not add to the song being played. I play steel the same way. Good country sound, that sounds like the song, so people can relate to it. And I do not try to imitate the original artists, on any song. I play it the way I feel it.

Jack Ritter · Post by **Jack Ritter** » 13 Dec 2009 12:18 am

Well said, Jody, Ronnie. I agree with ya all the way.
I try to follow the same format and keep it simple and just play decent fills behind the singer and try to make him sound as good as I can and play the melody so the song can be identified while we are doing it. Jeff Newman taught me this long ago. I still get a "white knuckle" situation once in a while, but I imagine even the best players do, also. Bill, There will always be a distraction now and then, but try not to let it bother you. Just play it your way the best that you can and just relax, and have a good time.----Jack

Jack Francis · Post by **Jack Francis** » 13 Dec 2009 4:49 am

I worked with a bass player in Reno that had a buddy that was a well regarded steel player.
He told me on a break once that he'd rather play with me cuz I wasn't much of a player....he said you don't know enough to get away from the melody...I like that! $:\$

Bill Hankey · Post by **Bill Hankey** » 13 Dec 2009 5:10 am

Clawing, biting, and scratching to get a handle on the pedal steel guitar is more or less typical in the thick of making preliminary advances while adjusting to the awkwardness of learning to play the instrument. To complicate matters beyond ungainly attempts to play recognizable melodies, it becomes most common to experience tone deaf bystanders reciting their long lost association with perfect pitch, much like a damaged record. They may play out their lack of genuine interests in perfect harmony, by offering a sort of lackadaisical distraction. The beginner's quandary, involves primarily the uniqueness of the physical demands placed on each trial effort to bring it together.The issuing of flimsy criticism just slightly beyond the beginner's familiar starting point, should be moved to the back burner. The benefits derived from others who are able to read beyond common put-downs, makes the learning experience one of extended years of musical enjoyment. Perhaps little digs have been a common practice among the haves, and have not categories for quite some time. It could be more widespread than first thought, in the artistic endeavors.

Roual Ranes · Post by **Roual Ranes** » 13 Dec 2009 6:33 am

I sure like what Jody said.
I have to use the KISS system because that is all I can do!

Barry Blackwood · Post by **Barry Blackwood** » 13 Dec 2009 8:32 am

Bill, when it comes to disparaging remarks, always consider the source.

Drew Howard · Post by **Drew Howard** » 13 Dec 2009 8:59 am

The creative process is a fragile thing. Enter producers, managers, record companies, publishers. Nowadays we have the technology to please ourselves endlessly. The business has changed.

If you are a sideman and sessioneer you will get directions, comments and occasional put-downs. Take it stride.
What doesn't kill us will help us.

Bill Hankey · Post by **Bill Hankey** » 13 Dec 2009 9:15 am

Barry,

Most assuredly, I do! Therein lies the problem. Good performances occur frequently, and it is most likely happens when all fronts are cleared of urges to detract. Those who haven't recognized the lead player's efforts to "get" it right, may contribute to a stationary and fixed drag on performances.

Mike Perlowin RIP · Post by **Mike Perlowin RIP** » 13 Dec 2009 9:46 am

Sadly, there are some people who feel in necessary to put others down in order to bolster their own image. There is word for these people: LOSER. But the things they say can still hurt.

I had the misfortune to play in a band with such a person. This was about 3 or 4 months before I started playing steel, and I was one of 2 guitar players. This guy really was (and I assume still is) an excellent lead guitarist, considerably better than me, but he never let me forget it for one second. He not only put me down while we were off stage, he made a few derogatory comments on stage over the mike. I left the band because of this guy, but shortly afterward the bandleader called me and told me he fired him and asked me to return, which I did.

3 or 4 years later, I found myself playing a casual with this same guy, but this time I was playing steel, which he could not play. He started to say something and I simply asked if he played steel, and the guy freaked, and didn't say another word. I knew that he felt really bad not for having been such a jerk, but because I could do something he couldn't do.

Playing steel was in this case, revenge. I'm ashamed to admit it, but I enjoyed seeing him squirm.

Bill Dobkins · Post by **Bill Dobkins** » 13 Dec 2009 10:34 am

After 45 years of playing six string lead( other than family and friends) I remember getting one compliment from a pro and that was Dave Kirby.
But after doing my first Steel show in Mount Vernon IL I got so many compliments and incouragement from a lot of the pro's. It sure makes you feel like improving your art to have some one like Ron Elliot or Doug Jerigan tell you that you sound good.

Bill Hankey · Post by **Bill Hankey** » 13 Dec 2009 10:41 am

Mike,

Thanks for your honest reply. Nothing is more refreshing than to read the words written by a steel guitarist who has the ability to speak the truth with no uncertain terms. There isn't a trace of scant misinformation, as becoming calculatedly noncommittal or evasive on matters relating to unfair practices. I'd prefer a similar course of action in the event of a comparable situation.

James Cann · Post by **James Cann** » 13 Dec 2009 12:53 pm

Getting compliments is always an opportunity to keep perspective. My way is to return sincere thanks with a smile and advice not to watch me at basketball!

Bob Simons · Post by **Bob Simons** » 13 Dec 2009 1:38 pm

I just turn my guitar up louder until I can't hear them!

Kenny Martin · Post by **Kenny Martin** » 13 Dec 2009 4:04 pm

Hey Bill!

Compliments or put downs for me, are good if they come from an experienced player and or a pro!
Other than those it doesn't matter!

Most put downs i've had has been from singers! That usually stems from them being distracted by a lead ride and or fills that they just didn't like!

Down South when the put downs continue for more than 5 minutes and after 5 Crown Royals, we usually take the critic out back of the club and show them some Southern hospitality!

I have recently been slammed by some body on youtube that went on for a week! All i ask them to do after all the put downs was to post a clip that showed me how much better they were! Last i heard from them!

I was told by one of the top players around that when somebody puts you down, just let your playin do the talkin and keep on smiling!

Put downs or compliments doesn't matter to me but honesty and integrity do when someone makes any comment!

Charley Wilder · Post by **Charley Wilder** » 13 Dec 2009 5:55 pm

I played non-pedal well into the pedal era and never hurt for work. I played like Jody stated and had a couple of situations like Jack described. Lead singers telling me in essence I wasn't as good as other steel players they had in the band but they could understand what I was doing. I never stepped on them, I played pretty simple and stayed on or near the melody. I was getting calls well into the 80's when by then there were pedal players all over the place.

Charles Davidson · Post by **Charles Davidson** » 13 Dec 2009 7:46 pm

In the early 60's was playing a little bar in El Paso,was playing six string. A little Mexician guy kept yelling Hey man you play like chet,made me feel good. On break found he did'nt speak english too well. His S'S sounded like C'S. He was telling the truth, my playing sounded more like s--t than Chet. YOU BETCHA,DYK?BC.

Rick Campbell · Post by **Rick Campbell** » 13 Dec 2009 9:48 pm

Charles Davidson wrote:In the early 60's was playing a little bar in El Paso,was playing six string. A little Mexician guy kept yelling Hey man you play like chet,made me feel good. On break found he did'nt speak english too well. His S'S sounded like C'S. He was telling the truth, my playing sounded more like s--t than Chet. YOU BETCHA,DYK?BC.

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Put-downs And Squashed Performances

Put-downs And Squashed Performances

Re: Put-downs And Squashed Performances

Put-downs.................do hurt!

Shakey Hands