Harry Dove wrote:With the band I was in, the perfect bluegrass song had no more then three chords and they were all major. A 7th was living on the edge and a minor was over the top. If I talked about anything beyond that they looked at me like I was speaking a foriegn language.
If you're going to play the style, play the style, otherwise don't play the style It's all about expectations.
Last night at Pucketts in Nashville, I played with Jason Wyatt and his special guests the Kelly sisters who are know as The Purple Hulls and we had a blast doing Foggy Mt Breakdown and a bunch of other bluegrass songs, Yes steel fits great with any kind of music.
Buddy Emmons played steel on a mostly bluegrasss record with Benny Martin, Lester Flatt and John Hartford in the seventies, with magnificent results. One of my all-time favorites.
Don't Forget Buddy Emmons with the Dillards on Wheatstraw Suite and Copperfields. Buddy's playing on those albums got me hooked. Later Peter Grant played with the Dillards.
For what it's worth, I practice at home by playing along with bluegrass radio. It's a great fit IMHO. But you might want to look somewhere on the west coast for a live audience that would agree with me.
I've played a lot of bluegrass on the pedal steel, notably playing in a band with the banjo genius Danny Barnes that mixed George Jones country, bluegrass, and AC/DC. Bluegrass on the steel worked great, but needless to say, there weren't any bluegrass purists in those audiences.
Many bluegrass purists will object to the pedal steel, but don't worry about it.
I was pleased that Stephen Silver mentioned Steve Spurgin - I first encountered his music at a Bluegrass Festival where he was playing a solo singer/songwriter set (he had previously played at the same festival, I gather, with some of the "California" guys). He got away with doing a distinctly non-blugrass offering, perhaps because they knew him from before, as I get a sense that that particular festival tends to be kind of traditional. What a great writer, singer and performer! His cd "Distant Faces" is one of my favourite records.
As I recall, forumite Bryan Bradfield was at that festival that year, playing with the "Dirty Hat Band".
It was mentioned before, but I'll repeat: if you get any worries about adding pedal steel in bluegrass, just remind them to listen to The New South's first album.
There's drums and steel, and even the most conservative bluegrass purist will have to give a BIG nod of approval to how well it all works!
It's worth pointing out that Country Music was still an all-acoustic form of music, without drums, until the introduction of the steel guitar. Jimmie Rodgers's steel guitarist played an acoustic Hawaiian guitar. It wasn't until the late 40's that things started to change. Maybe Bluegrass, which I consider to be a branch of Country Music, never went through the metamorphosis that the rest of Country & Western went through, but it's difficult to separate the two. Since they both originated from folk music, and they both have basically the same structure and instruments, when is Bluegrass really Bluegrass ? I was always brought up to believe that Bluegrass was a hotted-up version of Old-Time Country Music, originated by Bill Monroe. A lot of the groups now considered Bluegrass are not really playing Bluegrass. The New Lost City Ramblers, for instance, were playing Old-Time Country Music. Most of Flatt & Scruggs's music is not Bluegrass.
Last edited by Alan Brookes on 14 Aug 2011 8:26 am, edited 1 time in total.
At the International Steel Guitar Guitar Convention in St. Louis I have done my best to feature all kinds of music. I've always said that the Steel Guitar would fit in all styles. That is true but it doesn't mean that everone will like it. Especially the people dedicated to keep their music original. I think that Doug Jernigan should be given more publicity for playing Bluegrass Music. He has recorded many Bluegrass tunes. Orange Blossom Specail and Black Mt. Rag are among his most popular tunes. I had a friend that I taught direct from the bandstand, now passed away, Jim Scott from Pacific, Mo. He played with Jim and Jessie. And don't forget that Buddy Emmons recorded Flint Hill Special years ago! When I was on the road driving a North American furniture van I would hear the tune as the disc jockeys across the US was using it as their theme song. Don't quote me but it must have been in the 1950's.
One more thing. I was doing the sound for a Bluegrass group and knew all the musicians and they knew that I played the pedal steel. Of course a couple of the guys invited me to play but the rest of group reminded me that "Nothing Electric" was allowed. When the time came to start the band was surprised that they were not being heard over the PA system. They looked at me and asked what is happening? I reminded them nothing electric was allowed and the PA required electricity. Of course I turned it on but I couldn't resist what I did. If I had to do over I probably would just turn it on and not embarrassed anyone. Scotty PS I listened to Bluegrass most all of my young years and love the sounds even today.
The whole idea of a bluegrass 'purist' is kind of funny, since the whole bluegrass idiom is a classic example of 'fusion' music. Bill Monroe and the other early bluegrass pioneers took old time string music, blues, jazz, and the pop music of the time, put it in a blender, and came up with a new style of music. It just happened to be played with acoustic instruments originally, but there's really not much about bluegrass that's 'traditional', It was invented after WW2.
Bob Knetzger wrote:It was mentioned before, but I'll repeat: if you get any worries about adding pedal steel in bluegrass, just remind them to listen to The New South's first album.
There's drums and steel, and even the most conservative bluegrass purist will have to give a BIG nod of approval to how well it all works!
I'll second that. It's called 'My Home Ain't in the Hall of Fame', and it's got killer Doug Jernigan all over it. It's astounding what Doug can do with bluegrass tunes.
Of course we can all sight PSG on Bluegrass records but I think the question is...
"Is anyone playing PSG in a Bluegrass band " , to me that is asking if anyone here is playing regular gig duty with a BG band...
Ya know, a regular Friday night gig, Flat top, Mandolin, Banjo, Fiddle, Upright, Steel....
I know I'm not !
Mentioned above, we always refer back to Doug J, this is because he has spent the time working the Fiddle Reels to the Steel.
I would say that if you are going to be serious about playing with a BG band on a regular basis, pick the Fiddle Reels and all will be well, actually they will come find you !
Emmons L-II , Fender Telecasters, B-Benders , Eastman Mandolin ,
Pro Tools 12 on WIN 7 !
jobless- but not homeless- now retired 9 years
I've played Steel in a Bluegrass band back in the 80's, and also Acoustic Guitar and Vocals.
My main observation of that experience was that the Steel was best received by playing a basic Melody solo (or slight embellishment if the Melody).
The tempos were often too fast for the Steel to do it justice, so, just playing the melody worked great for me.
In the midst of ripping banjo and mandolin solos, I often got the lions share of soloist applause from the non-musician audience, because, I believe, everyone was reminded what song it was when I took my solo.
Without the melody, tons of bluegrass songs/solos sound pretty much the same or similar.
Our band plays a few clubs that require the Paul Jones medley's, which are mostly Bluegrass/Gospel related at whipping meter. We have a real deal kick butt Tele boy with us but when it is my time in the song, I am strictly melody. Two reasons, ONE, we need to maintain the songs identity and TWO ,I really can't speed pick at those meters anymore. I was off Steel as my primary for almost 3 years and once I returned , I was obviously 3 years older and my hands and fingers are reminding me of this nearly everyday . But, I am thinking Dobro here anyway, all the songs are in G, I may be able to pull that off.
I still think if a PSG player picks the Fiddle Reels at meter, a BG band will learn of this and come find him ( or her ). If you can pick a few Fiddle Reels, there isn't anything you can't play with a legitimate BG band.
Emmons L-II , Fender Telecasters, B-Benders , Eastman Mandolin ,
Pro Tools 12 on WIN 7 !
jobless- but not homeless- now retired 9 years
Hi Chris. You should try a song and then listen to the response. If ok then play another one. If not then try a wooden bar, HA. I remember 22 years ago I was singing harmony on The Grand Ole Opry's "Grand Ole Gospel Show" when the Late Great Mr. Bill Monroe asked me to write him a song about the old days in Rosine Kentucky. So I did, "Rosine Im Coming Home". I played steel on a demo of it and took it to Bill at his office over on Dickerson Rd.,at that time. I was a bit nervous. Heck, he was singing right along with it in his office. At the next show, he came over to me and said "I think its gonna be a good one". The song was published by Buzz Cason,a well known publisher here in town, and still is. Although Bill did not record it (due to health reason's,) it was exciting to write one for him. So Chris you should try a few! Good Luck! Here's another one I wrote called "Kentucky Blue". PS: My wife edited this she types much better than I.
I've been playing with a group of guys this summer and last and we play a variety of bluegrass and classic country music and I play the steel with them. We've had a good reception from the audiences.
It's been a lot of fun!
Let's not forget that Hal Rugg played a bunch with the Osborne Brothers, and amongst other things recorded a ripping ride on what is just maybe the definitive version of "Rocky Top."
While a pedal steel can be slid in, in a club or auditorium setting. You wouldn't get one into a festival. A lot of bands who record with a Dobro, don't carry one in the band just to keep the cost down when it comes to booking. While bands like the Osborne Bros. recorded with a steel years ago to appeal more to the country crowd, any thing that remotely resembles Bluegrass would never get air play today. John
Equipment: Carter D10, Zum Stage1,
Wechter Scheernhorn Reso, Deneve Reso, Fender Jazzmaster, Martin D16, Walker Stereo Steel amp, TC Electronics M One effects unit, JBL 15" speaker cabs,Peavey Nashville 1000,Peavey Revoloution 112, Morrell Lap Steel, Boss DD3 delay,others
This is in response to Bob Blair’s comments about 16 entries up. Sorry Bob – I don’t stop over here as much as I used to. The festival you spoke of, the Shady Grove Bluegrass Festival, established a tradition of having a change-of-pace act in about the middle of each performance (afternoon performance, evening performance, etc). This was due to a brave artistic director named Laurie Mills. For instance, Laurie successfully brought in rockabilly bassist Ronnie Hayward, as Ronnie included banjoist/dobroist Craig Korth in his rockabilly trio. Craig was well known as banjoist for Canada’s famous bluegrass band Jerusalem Ridge. Laurie also successfully brought in folksinger Valdy. Another success was the duo known as The Laws. So, in the same spirit, Steve Spurgin, who had played bass with California, was brought back as a solo act later on. And yes, I was there for all of the above, and more, with either Dirty Hat Band, or Dry Coulee String Band, or Cabin Fever.
It's all about expectations.
