Steel: it's a separate world

Bill Llewellyn · Post by **Bill Llewellyn** » 13 Apr 2003 7:53 am

I took up steel in 1999 and since then I've made a lot of new friends (mostly due to the Forum). The PSG has, in a sense, opened a new world to me. But just yesterday a thought occurred to me.... that new world has basically no overlap with my "old" one. Not that I haven't tried. I do get some curiosity from folks who I tell about my newfound instrument. But from among my family, friends, coworkers, fellow church members, and neighbors, most do not know what a steel is, none have ever played one, none would pursue it, none come to the jams I hold, I get very few spontaneous questions about it ("Hey, Bill, hows that steel guitar working out?"), and no solid (steel-related) musical links have formed with other non-steel musicians I know. It is really a separate world. (I'm sure, however, if I were a better player more connections would occur.)

I was talking with a friend the other day about the jam I just hosted on 4/5. I mentioned how few steelers there are around and that some people have come a days drive to the gatherings. He was surprised by the level of loyalty the instrument inspires, and hypothesized that since it is so difficult to learn it, the instrument itself filters out those who haven't the patience, and those who are left are therefore only the very determined and dedicated ones. That made sense to me. Steelers really are a group of loyalists, and that likely contributes to the separare-world nature of the instrument (in a good way, of course).

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Bill, steelin' since '99 | Steel page | My music | Steelers' birthdays | Over 50?

chas smith R.I.P. · Post by **chas smith R.I.P.** » 13 Apr 2003 10:30 am

In a sense, you don't just take up an instrument, you join a "cult".

Ray Montee (RIP) · Post by **Ray Montee (RIP)** » 13 Apr 2003 11:13 am

Your discovery is correct. This is a relatively small, world-wide, group of "loyalists". Within this group there are those that are extremely passionate about the instrument and couldn't quit if ordered to do so. Others, like other elements in life, are intrigued by the "mechanics of it" while still others perceive "glory, big bucks and fame"in being such a player.
Then, there are those that possess many of the above listed items yet are not really ambitious enough to undertake the years long dedication and comitment required to learn and master the instrument. Of course, we have "collectors" that don't play but enjoy having more than anyone else and mingling with the real players.
I'm disappointed how few show up at the jams. Are we NOT promoting the instrument in the right places, places where folks gather to hear our kind of music? Are we our own worst enemies for failure to recognize and identify our public realtions
efforts? Anybody with ideas on how we all might overcome this vacuum?

Donny Hinson · Post by **Donny Hinson** » 13 Apr 2003 12:02 pm

Play a "regular" guitar?

Frank Parish · Post by **Frank Parish** » 13 Apr 2003 3:53 pm

I would liken our intrument and it's "loyalists" to the very few but dedicated jazz enthusiasts and players. There just isn't many jazz music stations that are setting the airwaves on fire because you kind of have to acquire a taste for the these two very unique forms of music. That's pretty prestigious club I think. I guess if you're a jazz steel guitarist, you're really in the minority.

Leslie Ehrlich · Post by **Leslie Ehrlich** » 13 Apr 2003 11:35 pm

I disagree. When I mess around with PSG I like to think of it as a different approach to playing the electric guitar. It can do a few things that my six string can't do, and when I want a different sound it's nice to have around.

The only ways in which I can see PSG being in a different world is its lack of availability (guitars, parts, players, teachers) in some parts of the world and its 'country' stereotype. If somehow the latter problem could be solved (i.e. PSG being heard more in other genres of music) then the former problem will diminish.

When I first got my PSG I felt like I had something so out of the ordinary that I wanted to show it off to every guitarist I met. The novelty wore off, and now I'm more worried about how I can get a good sound out of it.

David Doggett · Post by **David Doggett** » 14 Apr 2003 6:51 am

Ray, I don't think things are as bad for steel guitar as you seem to think. Imagine going to a regular guitar jam or a saxaphone jam. Imagine listening to a bunch of people on the same instrument sitting around for hours playing instrumentals. As hard as it is for us to believe, it's boring for anyone except other players. So I don't think audience levels at steel jams is a good indicator of anything. Likewise, I don't think small sales of solo steel instrumental CDs means anything. This is all insider stuff for players. Most other instruments don't even have this kind of community for their instrument.

In my experience there a lot of country and country-rock groups out there without a steel player who would love to have one (well, maybe they don't actually want to pay one, but they would love to have one at least sometimes). Good steel players are actually pretty rare all over. Also, a lot of groups these days play a mix of music and don't necessarily want a steel on every number, and so they don't really look for a steel player, and steelers might not even want those kinds of gigs. I deal with that by also playing Dobro and tenor sax. Not that that's a solution for a hard core steeler. But I'm just pointing out that steel is almost never the main attraction for the public. They come to hear singers and songs. If there's some nice steel thrown in, well that's just icing on the cake.

Much as we might not want to believe it, steel is a backup and fill instrument for singers, just like fiddle, mandolin, etc. You can have a great group without any single one of these instruments. And if you have one, you might not want it on every song. And if it is used for a song, you might not want it going all out every verse.

While there is less steel in country music than in the past, I think there will always be some steel in some country music. The real question is whether steel will ever make real inroads into other types of music, or will it forever remain stereotyped. Robert Randolph is taking steel into blues and blues rock. But even that is sort of a cult these days. Will we ever hear steel on hip hop, R&B, punk, hardcore, or pop, not to mention jazz or classical?

Ray Jenkins · Post by **Ray Jenkins** » 14 Apr 2003 7:18 am

David,I like what you said about "other instrument jams".Think about this one,a drummers jam session (round robin)!!!!!
While I'm at it I want to thank all the California Steelers,to mention a few that support our "Soutwestern Steel Guitar Asso." and jams.Frank Carter,Jim Baron,Jerry Pack and anyone else that wants to attend our jams and consider joining.

Ray

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Steeling is still legal in Arizona

[This message was edited by Ray Jenkins on 14 April 2003 at 08:20 AM.]

David L. Donald · Post by **David L. Donald** » 14 Apr 2003 8:05 am

It certainly is a cult, but a nice cult!

It is the versitility of the players that will determine what gigs they can get. Doubling on something isn't a bad way to hedge your bets.
For crossing styles... last night I was playing PSG on reggae music. The writer singer really liked the sound. I think I will be recording a track too. Go figure.

Jeff Lampert · Post by **Jeff Lampert** » 14 Apr 2003 9:26 am

I guess if you're a jazz steel guitarist, you're really in the minority.

That's for sure.

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Jeff's Jazz

Jesse Pearson · Post by **Jesse Pearson** » 14 Apr 2003 10:09 am

I would like to do an extended cruise ship gig one day, non pedal steel, Hawaiian songs at happy hour on the outside deck by the bar. Come 9:00 PM, do the cover song gig inside on guitar, sax and steel. Cruise between So. Cal. and the Hawaiian Islands. Ahhh! I would sell lei's, Hawaiian shirts and give ukulele lessons after lunch on cheapo Johnson's that I would rent and sell with instruction books. I would have the passenger's get their picture taken with the band doing the Hawaiian late afternoon sets. I would also sell band CD's of the Hawaiian songs. Anyone who was lucky enough to party with us, would always remember that non pedal steel and that once in a life time trip to paradise.

David Doggett · Post by **David Doggett** » 14 Apr 2003 10:53 am

Jesse gives a nice vision of steelers Heaven. I've heard that when steelers go to Hell they get their choice of either an eternal drum jam or an eternal banjo jam. The Devil never actually makes you go to one, he figures just agonizing over the decision forever is Hell enough. If you have been really bad he makes you play backup for an endless series of tone deaf beginning vocalists while you are contemplating your decision.

David L. Donald · Post by **David L. Donald** » 14 Apr 2003 2:07 pm

Jesse you better woodshed pretty good to play Hawaiian music to and from Hawaii! They know when your not for real there, LOL

Jesse Pearson · Post by **Jesse Pearson** » 14 Apr 2003 3:19 pm

Hey David, I lived in Hawaii and most of the young and even old people over there don't know how to play it anymore. Playing 2 sets of Hawaiian music for an afternoon side gig is not that hard to get together for a cover musician. If you can play it, your for real, are you? I don't know what your thinking, but Cruise Ships aren't filled with older Hawaiians. Gees...

Rick Collins · Post by **Rick Collins** » 14 Apr 2003 5:12 pm

Those who fly their own private jet are a "separate world" also; but I'd sure like to be a member.

Steel guitarist, enjoy your exclusivity. It's a good thing.

Rick

Al Marcus · Post by **Al Marcus** » 19 Apr 2003 3:45 pm

A lot of true things expressed here. I would have to say, for me, the first 30 years of my playing career, I was hired to play guitar and maybe play a couple of songs on my steel. I always wanted to play just steel. They used to call it doubling. When I got my first pedal job with my Gibson Electra-Harp , E6 tuning,and the jazz guys heard it, I got to play a lot more steel with some groups.

When Country became more popular in the middle 60's I decided to hire out as just a steel player. I enjoyed it, and got to sit down too. But I had to learn E9 country to fit in.

So it is hard to get jobs without doubling in any field besides country. I remember Wes McGee's western band in Calif. the steel player wasnt too proficient but played a lot of fiddle..that's the way it was for me...al

Jeff A. Smith · Post by **Jeff A. Smith** » 19 Apr 2003 9:29 pm

I began steel in February of 2001. After getting together occasionally with an acoustic guitar player or two, I got into my first band situation which included the steel last summer. I had just started to wonder if the whole steel thing was, for me, just a waste of time in terms of real-world application.

The first time I jammed with this band I just brought my electric guitar, since that's still my main instrument. Although they were happy with my lead playing, they made it clear that they wanted to hear the steel. They wanted to have some kind of different voice, and they already had one guitarist. So, the next week I brought in the steel, played through a couple of tunes, and they were thrilled. I ended up playing maybe 20-25% of the music on steel.

Although the band broke up after several monthes, I did get an opportunity to play steel on stage. The steel was also a necessary foot in the door for this particular gig. I may continue to work with at least the leader, who writes original music, plays guitar, and sings.

Although some of the music I played steel on was country-based, the whole ambience of the band was more like the Grateful Dead. There was all kinds of room to do exactly what I wanted to do, with no pressure to sound like somebody else.

Anyway, the group remained very interested in the steel the entire time I was with them, and it's part in the music was only limited by my chops. I'm very optimistic about future uses for my steel.

I found a situation where I was allowed to work on my own style, which I guess doesn't really tend toward traditional country. I keep developing along those lines, waiting for the next opportunity to come along.

ray qualls · Post by **ray qualls** » 20 Apr 2003 10:38 am

The way that I look at it is if everyone played steel guitar then we wouldn't have the clubs that we have. Like it was mentioned above, do they have regular guitar clubs where they sit around and jam? How about fiddle clubs? How about piano clubs? I feel that we are a unique bunch of guys that are very special amongst ourselves. I don't want everone learning to play steel guitar! But on the other hand, I think that the clubs are there for those who are wanting and willing to carry on the sound and beauty of the instrument. I've met some of my best friends thru the steel guitar world and without the clubs and conventions, I would never have had the chance. So I would say " Yes, we are in a world of our own" and I'm glad and wouldn't want it any other way!

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Ray Qualls

Carl West · Post by **Carl West** » 20 Apr 2003 10:56 am

David,
Well stated. Good musicans get wrapped up in other players regardless of the instrument. I've seen sax guys, piano,clairnet drool at things done on a pedal guitar. If the music is the right kind Steel fits. I don't mean music that can't be understood or appreicated. Don't get me wrong, there are rockers and heavy metal guys that play their butts off but make a living with what they play. I don't care for it at all but that's me. I think PSG is a fasinating instrument with endless capabilities. I got off track a bith . . but that's IMHO.

Carl West
Emmons LaGrande lll

Andy Alford · Post by **Andy Alford** » 20 Apr 2003 11:27 am

We are a few that are dying daily.Many were brought into the family because of the steel on country radio,but now that is out of the norm.The steel is like Greek to those who speak English.It is mostly an AARP silver haired gathering of older adults. We are the ones who buy most of the guitars and all that is related to the steel guitar.Where will we be in the future?I guess were like WW2 vets that are leaving this old world.

David L. Donald · Post by **David L. Donald** » 20 Apr 2003 2:51 pm

Hey Jesse, I had hoped that with the
L aughing O ut L oud
and the smile you would relize I was kidding you. I think it's great idea. good luck.
Oh yeah I am still real, not virtual.

Al, I double / triple when I can, as much as I can, but I am too good on bass and when I stop it's too noticeable. DRAT! It's a curse.

Andy Today I jammed with the last totally profesional steeler in France... killer player. And just 47 himself. Just smoked my drawers with technique and tone on my Sho-Bud.
He has a 17 year old student he is grooming to carry on... not all of us are grey and AARP ...yet. But we all will be, someday.
[This message was edited by David L. Donald on 21 April 2003 at 05:02 AM.]

Andy Alford · Post by **Andy Alford** » 21 Apr 2003 2:13 am

David

I am glad there is one 17 yr. old player in France.I am aware of a few young players in our ranks.

Bill Miller · Post by **Bill Miller** » 21 Apr 2003 6:08 am

I know what you mean about the 'separate world' thing. Where I live that problem is a lot more pronounced than what most steel players experience. Around here only the few hard core country fans even know what the instrument is. I sat in on a fund raising gig at our local Legion awhile back and the steel guitar was a real novelty for a lot of the folks. One lady thought it was a xylophone (guess she didn't know much about those either)and only one of the other musicians had ever been on the same stage with one....the bass player who is a friend and an old bandmate of mine. Some other people made the connection between the sound they've always heard on the country tunes and the actual instrument for the first time. There just aren't many steel guitars in eastern Quebec.