The Steel Guitar A Needed Voice in Hawaiian Music?

[Don Kona Woods]

The Hawaiian steel guitar adds a needed dimension to the sound quality of Hawaiian music and provides depth. It becomes a needed voice in the instrumentation.

Listen to the following video clips for comparison. Two videos with steel guitar and one video without steel guitar.

What are your conclusions after listening?

Now listen to Jeff Au Hoy on the Hawaiian steel doing some nice fills for the hula dancing with Kealoha Kalama, Puanani Akiona, Ainsley Halemanu, and Jeff Teves.

Jeff Au Hoy on Steel Guitar

The same group doing an old classic hula song.

Green Lantern Hula


Now compare a trio without the steel.

Noho Pai Pai


Aloha,
Don

[Martin Curnan]

Aloha Don........There is no doubt that the steel enhances Hawaiian music. It is a shame that hotel and tourist industry here in Hawaii does not promote it. I applaud your dedication and passion to the steel and the info you post on this forum.

[Ron Whitfield]

The clips here with Jeff show the steel a background color. And while it's always great to hear Jeff on steel, this type of backup leaves the answer to the question you ask as, no, it not NEEDED. But the music would be much less without it. In these examples it was about the only redeeming factor. The talking throughout the music ruined it for me. Some performers can do discriptive dialog during the songs without distraction, in fact some can add greatly to the atmosphere with it.
The Kahauanu Lake Trio never used steel, and they are legendary. But still, I always miss a good sounding steel when I listen to them. Needed? No. Preferred? Yes! At least from a steel lover's perspective. Someone ignorant or ambivalent to the steel may have a differring opinion.

But a good player should be allowed to lead the group. Kick off the number and get the lion's share of solos in, as well as proper fills such as Jeff is very capable of, and whip an exciting coda.
That's how they used to do it, and how steel became so popular.
Steel simply doesn't get the respect from players today, and not having top quality players in multitude doesn't help generate that needed respect. In fact, many players feel threatened by the steel, especially when it's played very well and the crowd starts expressing their enjoyment towards it.

BTW, anyone seeking top shelf backing tracks to lay steel onto for practice should collect all the KLT's CDs.

Correct the spelling on Kahauanu Lake Trio

[Don Kona Woods]

Ron brings up a very interesting point.

... many players feel threatened by the steel, especially when it's played very well and the crowd starts expressing their enjoyment towards it.

Could jealousy be playing a part in the eroding of the prominence of the steel guitar?

That would be a sad state of affairs.

With the Hawaiian steel guitar bringing a beauty that is compelling to the listener, that would increase the whole enjoyment of the experience which performers should appreciate. Any other view appears as selfish interest over the what is appreciated by the listening audience. IMHO

Aloha,
Don

[Ron Whitfield]

It's very competitive these day's. Little work for any musician, especially those who want to be independant in their choice of material and not do only what the mgt./crowd wants/expects.
So, many performers demand all the attention right where they want it, just like the spotlight, and it ain't towards the steel.
Some just won't even back off to allow the steel to be heard for a solo, as often much Hawaiian music today is too loud and the steel isn't able to be heard, let alone shine, as it should.

We need steelers to take the lead chair if not leadership of their own groups to make the steel happen these day's.

[Mat Rhodes]

We need steelers to take the lead chair if not leadership of their own groups to make the steel happen these days.

many players feel threatened by the steel

In my neck of the woods, I've found out the hard way that Todd Weger was right: not everyone wants 100% Hawaiian or Hapa Haole music. And it doesn't matter how much or how little steel I use, let alone how expertly I play it. Most of the folks we perform for who are remotely interested in this music like the occasional "ambience" tunes, or the few standards like "Tiny Bubbles" and "Let's Talk Dirty In Hawaiian" (not even real Hawaiian tunes!). Steel helps somewhat, but ultimately, they'd rather hear something familiar. If you don't believe me, all you have to do is listen to the silence we get after a song like "Ku'u Wā Li'i Li'i".

Those few who've been to the islands usually request the one (and only) artist they've ever taken the time to learn about: Izrael Kamakawiwo'ole. And I don't recall hearing anything popular by him that had steel in it.

About 50%-60% of the songs we do use steel, but people get bored with that same instrumentation (bass, uke, steel) if there's too much of it. I guess these days, most people have been programmed to need a beat. That's why I've had to take up drums. They seem to appreciate stuff they're more familiar with like "Funky Cold Medina" .

[Garry Vanderlinde]

If there is no steel guitar in the song, it sounds boring to me, no spark, and no excitement. The steel guitar grabs my attention and makes it so much more alive. It's such a sweet sound with the steel, I wish more Hawaiian groups would take advantage of it.

I feel the same reaction when listening to a country group. The steel guitar makes it enjoyable for me.

[Martin Curnan]

Ron hit it right on the head ...today most musicians want to be in the limelight whereas the steel player only wants to enhance the music. Guitar and ukulele players here in Hawaii are a dime a dozen. Good players are rare and steel players by most standards are on the endangered list. We also can not foreget the great piano players who have also enhanced the music along with the steel. Hawaiian music is a feeling. When you are playing just follow and when it is your time to 'enhance' just press...............

[Bill Wynne]

I think that all of the speculation about jealousy and anomosity towards the steel player is off the mark. I think the absence of the steel guitar marks a cultural shift.

Hawaiians have forever asserted that Hawaiian song - mele - is incomplete without Hawaiian dance - hula. For Hawaiians, it has never been about music for music's sake. Music has always been an accompaniment for the hula. In Hawaiian culture, the spoken word is believed to have spiritual power - mana. Because hula is patently an interpretation of the lyric, you can't hula to an instrumental.

Therefore, the role of the steel player in the Hawaiian band is downplayed with the resurgence over the last 25 years of the hula. If you went to hear most of the groups that had a steel player over this same time period - Genoa Keawe, for example, who had Alan Akaka with her for over a decade - the steel player rarely got a solo because someone was always doing a hula to the song and they can't do the hula to an instrumental break.

Young people in Hawai`i are looking to their roots, and so you rarely hear mele without hula these days. So the need for a virtuoso steel guitarist dissipates. The focus on the new Hawaiian supergroup is on having not merely one strong lead vocalist, but three or more strong vocalists who can trade leads and harmonize Hawaiian style because that is what is most in invigorating to the hula dancer. (Check out groups like Holunape, Na Palapalai, Kimo Alama Keaulana's Lei Hulu, or the Jeff Teves Trio.) You even see this in the titles of new CDs from Hawai`i - many of which translate into some variation of "Favorites For The Hula" and few of which have steel guitar (except for an occasional two bar vamp) because these CDs were made to be danced to.

Add the lack of interest by tourists and the lack of budget on the part of the Waikiki hotels and we are going to see a continued decline in public performance of steel guitar in Hawai`i.

But what really surprises me is the eagerness of a less-than-vocal minority to try to "revive" steel guitar in Hawai`i. As if it needed reviving?! I think both the Hawaiian people/culture and the tourist trade have spoken: Steel guitar is not what is needed in Hawai`i at this time. Maybe it will come around again. Maybe it won't. Why are a scant few trying to force the issue? This is Darwinism pure and simple. It's like trying to mess with capitalism through stimulus packages. We need to just let whatever happens to the Hawaiian steel guitar happen. The Hawaiian steel guitar will never die. It will simply go underground as it has at places like... Well, you know, I would name them, but That Sweet Basil in Manoa notwithstanding, some of these are places are sacred to Hawaiians because they can go there and be "Hawaiian" without having to deal with tourists. True steel enthusiasts will know where to go, and that's all that really matters. As long as the steel is being played somewhere for an appreciative audience, what does anyone care if it's an audience of 20 or an audience of 1,000?

I'd refer everyone to the posts elsewhere here about whether or not Ben Harper is a decent steel player. Maybe he is, maybe he isn't. But what you won't see on this or any other forum is a post that reads, "Ben Harper's style must be preserved for all time and he must be exposed to the masses who have to date ignored him. Otherwise, Ben Harper may quit in despair and disgust." Hawaiian music fans - and I consider myself one of the biggest - tend toward the overzealous. Just as Chinese food in China is merely "food," Hawaiian music in Hawai`i is merely "music." The Hawaiian people - to whom this music belongs - are not pushing hard for the world to accept it. They have a more humble and modest approach. We should take their example.

Cheers to Jeff Au Hoy, Derrick Mau, Paul Kim, Bobby Ingano, Alan Akaka, Casey Olsen, Isaac Akuna, Greg Sardinha... These are all relatively young men (you can thank me later for that, Alan) and none of them gives any indication of giving up the steel. They play when they want to play... on their terms. I say more power to these guys.

[Bill Leff]

Excellent, thoughtful post Bill.

[Andy Volk]

Bill, you've eloquently expressed a point of view that I've rarely heard expressed in 20+ years of being involved with the steel guitar - and when heard, always whispered privately and never in print. There certainly comes a point where wanting something to happen and even working hard for it will never make it happen if the culture doesn't support it happening. Profound. Your point is well taken as is Ron's about leaders not wanting to have their sidemen/women outshine them. It's a sad trait of human nature that few people realize that supporting another's moment in the spotlight doesn't in any way diminish their own contribution.

[George Piburn]

edit

[Ron Whitfield]

1) For Hawaiians, it has never been about music for music's sake. Because hula is patently an interpretation of the lyric, you can't hula to an instrumental. Therefore, the role of the steel player in the Hawaiian band is downplayed with the resurgence over the last 25 years of the hula. The steel player rarely get's a solo because someone was always doing a hula to the song and they can't do the hula to an instrumental break.
2) Young people in Hawai`i are looking to their roots, and so you rarely hear mele without hula these days. So the need for a virtuoso steel guitarist dissipates.
3) But what really surprises me is the eagerness of a less-than-vocal minority to try to "revive" steel guitar in Hawai`i. As if it needed reviving?! I think both the Hawaiian people/culture and the tourist trade have spoken. Steel guitar is not what is needed in Hawai`i at this time. Why are a scant few trying to force the issue? We need to just let whatever happens to the Hawaiian steel guitar happen. The Hawaiian steel guitar will never die. It will simply go underground
4) as it has at places like Thai Sweet Basil in Manoa notwithstanding, some of these are places are sacred to Hawaiians because they can go there and be "Hawaiian" without having to deal with tourists.
5) True steel enthusiasts will know where to go, and that's all that really matters. As long as the steel is being played somewhere for an appreciative audience, what does anyone care if it's an audience of 20 or an audience of 1,000?
6) The Hawaiian people - to whom this music belongs are not pushing hard for the world to accept it. They have a more humble and modest approach. We should take their example.

Well said indeed, Bill, but...
1) Hula has/is/will always been respected and a huge part of the Hawaiians musical livelyhood, but for a century it hasn't been the be and end all for many who play it in backyards or on stage. We can site endless examples where instrumentals are very popular, and songs of classic Hawaiian music are played without hula, and is played just for the love of the music. Maybe that's the haole influence, but it's rarely so sanctified that every song has to be structured for and accompanied by hula.
2) I see many young players that have little/no interest in the 'gotta have hula' aspect. It's there for many, but maybe it's the certain crowds we hang with that give differring persprectives. Those that currently don't may evolve to desire it, but maybe not.
3) If it's not needed now, when was it ever needed? Hawaiian music evolved to incorporate all kinds of instrumentaion and steel became quite possibly the most favored, certainly by many. For a while just prior to and during WW2 the steel was the most popular instrument in America, 2nd only to piano. Few know what a steel is now. Even Hawaiians today go nuts when they hear good steel, especially those that grew up with it.
No, it won't completely die, but it'll be mighty moldy, and why should (possibly) the most expressive instrument made, the State instrument, the one time signature sound of Hawaii, be allowed to be shoved aside just because it's not as easy to learn and drag around as an accoustic instrument or that it's appreciative audience has diminished because of lack of attention?
4) Thai Sweet Basil has been a prime example of how the steel get's little/no respect from some. Bobby Ingano and others sit in on steel with a group of young superstars on Monday evenings, and there is no room for the steel in the whole set because the others seem to have no respect for the steel. They rage thru every song at a pace and volume that leaves no room for any delicate steel solo or accompaniment.
Fortunately, this is an extreme example, but it happens to lesser degrees quite often.
And, there is rarely hula there that I've ever witnessed.
5) I would hate to think that is where attitudes towards steel is headed, but it's deffinitely headed somewhere that doesn't put the steel anywhere in sight.
Many steel lovers for an increasing number of years have expressed disappointment with the lack of steel to be found in Honolulu/Waikiki and it's at it lowest ebb now in maybe it's history of popularity.
You have to live on Oahu or be heavily conected, sometimes both(!) to know when/where to find good steel. I make it my passion and still have a hard time keeping up and even manage to miss a lot of the better moments.
I'm not alone in thinking an audience of 1000 is better than 20. Witness the recent steel convention Ala Wai show, where in the 80s and there used to be packed houses for the main show with all-star studded audiences, now barely 100 bother or know to come, and the majority were conventioneers. In fact, some think that is acceptable, many others certainly do not.
6) That has been the old local style, "it's our's and if you like it, fine, if not, we'll still be playing it", that I fully appreciate, but many are totally wrapped up in the spotlight and awards these day's, and it can get ugly, just like the Merry Monarch hula 'competition'.
So there is the old laid back and humble approach that is still found, while there is heavy emphasis on winning for many, and at almost any cost for some.

Things will never be like they used to be, and even then it wasn't a perfect world.

...there's always another perspective.

[Martin Curnan]

Bill, I respect your opinion but I do not take it that deep Ron hits it right on the kinipopo as usual. Nobody said that there is jealousy or anomosity amongst the musicians. IMHO without mentioning names there are a lot that want to be in the limelight. Some younger musicians take traditional hawaiian songs and reshape the sound that the steel would have a harder time fitting in. I also do not think that there is anyone trying to force the steel on anybody. The hula, vocals, guitar,ukulele,piano,bass all compliment each other. Today there are great duos,soloist, trios, but when you put it all together with the hula,steel,piano bass and vocals the result is only "chicken skin". The steel "is needed" to make it complete. Your right on how economics took a toll on all musicians in the field.

[Don Kona Woods]

Hey Guys,

Good discussion.
I appreciate all of your posts.
Bill Wynne it is good to see you back.

Even more comments would be great! All points of view are welcomed.

All of this is worth re-reading and digesting some more.

Aloha,
Don

[Brian LeBlanc]

in the spirit of thoughtfull discussion...

where do I apply for steel stimulus money?

[Don Kona Woods]

Brian,

It sounds like you have already applied....

ON THE STEEL GUITAR FORUM

Anyone want to stimulate Brian with some money?

Aloha,
Don

[Ron Whitfield]

...what's your take on your own question?
No fair stirring up topics and just being a voyeur!

[Bill Creller]

Even after reading all these comments, I still believe that singers, in particular, don't want to be upstaged by a steel player, or even a much accomplished uke player.
The comment I really agree with is that mediocre guitar and ukelele players are a dime a dozen, and most of those are singers.

It's sure not like the old days of a bit of steel work between verses etc.

Newer generations of musicians seem to have ego problems compared to the old guys, and that's not just in Hawaiian music. It's the so-called musicians that have changed, not the listening audience.

At least that's how it looks from this side of the fence

[Ray Montee (RIP)]

If you care to visit the Jerry Byrd-Fan Club.com
site and then go to Ray's CD's page, you'll find some truly great vintage Hawaiian songs, sung by
AWARD WINNING Manny K. Fernandez. Each of these three CD's took first place in their respective categories in the Hawaiian Music Awards competition.

Since most of these tunes were directed to the "HULA" market, steel guitar is generally lacking for the most part, except for back-up. There are several steel guitar intro's and turn-arounds.

This is not Hollywood.........All musicians were Hawaiians except the steel player.

The piano and snare drum were dubbed in AFTER I left the studio. What do you folks think about that cocktail bar sound?

[Martin Curnan]

I think the sounds are great.....if you have ever listened to Kai Davis he incorporated the the steel, piano and drums to make a not so trditional sound but indeed it is chicken skin music.

[Jim Dickinson]

Some one will no doubt figure out that a Steel is a nice backup to the music and will put it on a MiDi device to play along with, afterall, the tourists will never know, hardly anyone sees a steel guitar anymore, by the way, what is is it? -----. I hope I am not banned on here for this heretic remark. Jim

[Don Kona Woods]

So Ron challenges..

So Don...what's your take on your own question?
No fair stirring up topics and just being a voyeur!

Hey Ron, don't you think that my opening statement in the opening post is a sufficient answer?

The Hawaiian steel guitar adds a needed dimension to the sound quality of Hawaiian music and provides depth. It becomes a needed voice in the instrumentation.

Do you want more reactions or analysis from me?

Aloha,
Don

[Jeff Au Hoy]

I'm going to have to agree with Bill Wynne.

Martin, what you're hearing is the influence of Benny Saks. He was the arranger on the Kai Davis album. Similar sounds you'll hear on other records from the Makaha/Lehua catalog of that era (e.g. Leina'ala Haili).

My favorite group is the Kahauanu Lake Trio and they had no steel player.

Also, there is the question... would you rather hear a Hawaiian group with no steel--or a group with a junk steel player. For my tastes, the youtube clips would've sounded nicer without me in them.

[Alan Brookes]

...For my tastes, the youtube clips would've sounded nicer without me in them.

I don't agree. Jeff, It's the difference between day and night, between color and black-and-white. The performances with steel guitar stand out ahead of the others. You could throw out the vocalist and the rhythm players and lose less than throwing our the steel guitarist. To people from outside Hawaii, it's the Hawaiian guitar that DEFINES Hawaiian music. I know that traditional Hawaiian music is acoustic, but mostly Hawaiians appreciate that sort of music. I appreciate all music, whatever style, but I have to admit that, without the steel guitar, and not knowing a word of Hawaiian beyond Aloha, I don't appreciate it as much. The last time I was in Hawaii, I went to the Hawaiian Cultural Center, and watched a lot of performances of traditional Hawaiian muaic. As a student of music, I appreciated it, just as I appreciated traiditonal Arabic music, but given personal preference, I prefer to listen to electric steel guitar, by a competent professional, even if it's not entirely traditional. Let's face it, as an Englishman, if I only appreciated traditional English music, I would be stuck with half a dozen drunken farmers singing "I had her" a thousand times over.