Back to the original topic - Sarah is simply totally into it and it shows on her facial expressions and body language. This is nothing but passion, a great artist who is really passionate about her art, I don't know what can possibly be wrong with that.
I saw her back in 2003 at the ISGC (the only one I ever managed to attend) and afterwards showed some pictures I'd taken of Sarah performing to my then girlfriend, her comment was, "it looks like she is making love to the steel guitar" which is a wonderful way to describe it.
And, as shown in one of the videos above, she is also capable of taking steel beyond country and into other genres, which is always great.
My personal Sarah Jory memory is, one night after the show on the way to the hotel room, I happened to ride in the elevator with her. I don't remember what we talked about but she was very friendly.
Emmons was great, he smiled a lot, he connected with the audience, so does Paul Franklin. However, there is a pro player who comes to most all the shows, great player, really fast, but he never smiles, never looks up, doesn't connect with the audience. Big difference between great players and great entertainers. Jory is an entertainer.
GFI Ultra SD-10; Nashville 112; Hilton pedal, George L Cables; Pearse bar; Live Stings;Walker seat by Billy Knowles.
...there is a pro player who comes to most all the shows, great player, really fast, but he never smiles, never looks up, doesn't connect with the audience. Big difference between great players and great entertainers.
I think I know who you're referring to, Gary, and I agree. That's the other extreme... stone-faced playing, looking down, not connecting with the audience. I don't think either extreme works well. JMO YMMV
Sarah is the real deal and I have personally know her since she was about 14 maybe. Her expressions are genuine as much as her playing is. She is an entertainer along with being a great talent and a great person. Everything about her is genuine.
Henry Matthews
D-10 1974 Emmons cut tail, fat back,rosewood, 8&5
Nashville 112 amp, Fishman Loudbox Performer amp, Hilton pedal, Goodrich pedal,BJS bar, Kyser picks, Live steel Strings. No effects, doodads or stomp boxes.
Plus, you spell my name wrong. Now, you must surrender the thread to the spelling police.
That is like spelling loyd Greene or Tonie Prior or Brain Henry.....just wrong.
I don't feel comfortable with this post, as Brian wasn't insulting Sarah. Other people who watched her play had similar sentiments, including me. I thought she was show-offy, but she's only enjoing what she does. I just felt like sayng this in defense of him.
Fender Kingman, Sierra Crown D-10, Evans Amplifier, Soup Cube.
I didn't insult her either, but this is the SGF where certain lines mustn't be crossed, apparently, or you run the risk of public castigation.
She's certainly one of the best ever from Britain (on E9, anyway) and her fundamentals are really solid. I'll say it again - I have nothing but admiration for the hard work she's put in.
I just can't watch her.
Roger Rettig: Emmons D10, B-bender Teles, Martins, and a Gibson Super 400!
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Late to the game but my view is: If it entertains people (not just steel players) and it doesn't affect the entertainer's execution of the music, I gotta give it a pass. Hendrix was a genius and I knew him and saw him play many times. He's another one who got away with the stuff he did because he didn't miss a lick. I once saw him play a concert in about a 2000 seat space. I was about 10 feet directly in front of him and I was tripping heavily (hey it was 1968). Even tho I'd seen him do it before in small clubs full of drunk people in Greenwich Village and it seemed very hip and pushing the envelope, I remember thinking (on acid) damn that's really silly when he went into the (by then perfunctory) behind the head, w/his teeth stuff and all the rest for basically a fairly reserved sit down audience type concert and I felt that HE thought it was silly also. But Hendrix came from a long line of musicians out on the chittlin' circuit where the more entertaining musicians got the most gigs.
The roots of playing behind the neck, mugging and such antics go back to before Vaudeville at least as far as mid 1800s minstrelsy. I've seen old photos from slave days of people playing banjos behind their heads. And then there's the stories about Paganini and his showmanship in the late 1700s where he would "accidentally" break strings as the tune progressed until feigning demon possession,he finished up some devilishly complex caprice on one string as women fainted from the thrill of it all....
Audiences want and expect a bit of razzmatazz. Except an audience comprised of middle aged male steel players it seems.
As far as Sarah goes,she's the real thing. I've hung out with her a little over the years in St. Louis and watched her grow up into a very cool,funky chick and brilliant musician. I got nuthin bad to say about anything she does visually on stage. She pulls it off quite nicely. Chill guys it's not brain surgery. Anyhow I daresay she can outplay at least half the people on this forum so slack is what's called for.
I'm glad you brought up Hendrix. He seems like one of the best comparisons here. His stage presentation (at least in '67 and '68, when I saw him live on multiple occasions) was a seamless combination of genuine, spontaneous expression of feeling the music and overt showmanship. I feel the same about Sarah's presentation. And in her case, as in his, it's all overlaid on deep musicianship. What's not to like?
I didn't see this myself but Albert Lee told me that he attended a Hendrix 'press launch' at a London club (maybe the Speakeasy - I'm not sure) and Jimi 'went into his routine', rolling around the floor and playing with his teeth.
Apparently it all felt, and looked, vaguely incongruous at 9.30 in the morning.
I get it, I really do - it's a show, after all. Glen Campbell had no more staunch devotee than me but I could easily have lived without the obligatory bagpipe solo.
Roger Rettig: Emmons D10, B-bender Teles, Martins, and a Gibson Super 400!
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Doug Beaumier wrote:Playing guitar behind the head has been stock-in-trade for R&B guitarists for 70 years or more
That shot of T-Bone says it all for me. As if his music wasn't enough, he could do that too. And you know what else? It wouldn't have the same effect if he wasn't decked out in an awesome suit. Wardrobe is definitely part of showmanship. Same with Hendrix, Elton John, Madonna, Prince, and anyone else who believes the spectacle is as important as the music. (Feel free to post a pic of Elton wearing outrageous "spectacles" here____).
The question is, do people believe it when you do it, or do they feel like they're being put on? I think the quality of the music answers that question.
I like how this thread developed away from just being about Sara Jory. Maybe it never really was just about her.
I think ZZ Top are even more brave performing in front of cardboard Amp Stacks, Instruments not plugged in and managing to get Pedal Steel sounds out of a dead Lap Steel, wearing false beards and Roy Orbison sun glasses.
Her "looks" never bothered me, mainly because she has the talent to back up the expressions. Now, when I see a bad player of ANY instrument doing the same....yea, that gets on me nerves....