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anyone know Pete Drake???? (Page 2)
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The Steel Guitar Forum
Bar Chatter Archive
anyone know Pete Drake???? (Page 2)
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| This topic is 2 pages long: 1 2 This topic was originally posted in this forum: Wanted To Buy |
| Author | Topic: anyone know Pete Drake???? |
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Earl Erb Member Posts: 886 |
posted 04 June 2000 07:02 AM
John Paul,I worked for Skeeter Davis in 1968-69 and Jim Ed brown from 1970-76.I went down town as much as I could when I was not on the road.I played guitar.When ever you saw Gregg Galbraith I wasn't too far behind.  |
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erik Member Posts: 1793 |
posted 04 June 2000 07:08 AM
You could say Pete Drake was the B.B. King of pedal steel guitar. |
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Theresa Galbraith Member Posts: 2369 |
posted 04 June 2000 07:33 AM
I just want to echo all the positive comments about Pete. I had the pleasure of meeting him when I was 10. He took time out of his busy day to make us welcome, way back then. He helped careers great and small. His playing is very appealing, because of his touch and feeling. He always said something with his playing, also he was so reliable. He played at Frontier City in Michican with his group Earl mentioned! WOW!!!! What a show,and he could play live as well as on all those great sessions! [This message was edited by Theresa Galbraith on 04 June 2000 at 07:40 AM.] [This message was edited by Theresa Galbraith on 04 June 2000 at 08:08 AM.] |
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John Paul Jones Member Posts: 305 |
posted 04 June 2000 08:42 AM
Carl, Take off that flame suit. What you believe about Pete Drake seems to be what everybody else thinks about him. But, it is all based mostly on what they've heard of Pete on recordings and, to some extent, radio and TV shows. Let me tell you some things about Pete that only a few people knew. I first met Pete when we were teenagers and the only song he could play was "Steel Guitar Rag". At that time some of the influences we had besides Country Music were Western Swing Music, Big Band Music, Les Paul & Mary Ford, et al. The steel players were non-pedal players. (Those who did use pedals for the most part only used them to change a tuning, not as part of a playing technique). The radio stations played a lot of instrumentals then, so we heard Speedy West, Joachin Murphy(sp?), McAulliffe, etc. Pete played it all. Yes, before pedals Pete could blow the doors off. Big Band ("String of Pearls", "Take the A-Train", for instance) with big fat chords... Murphy type single note rides and fast as greased lightning. Then several things happened. One was Bud Isaacs on Webb Pierce recordings. Pete realized that this was the new direction of steel guitar playing in Country Music. Also Big Band Music and Western Swing were being played less and less. So, Pete went to pedals and started playing more commercial. Remember that being around big-time musicians, and even name stars, was old hat for Pete. He had two brothers, Jack and Bill(?) who had been in the business for years. Jack played bass for Ernest Tubb for 28 years. Bill played for Tubb also from time to time. At one time they were a featured act on the Grand Ol' Opry as the "Drake Brothers". So, through Jack and Bill Pete already knew the music business and many of the people in it. Once Pete figured out that 'commercial' was where it was happening he quit playing the other styles. While other steel players were trying to impress other musicians Pete only wanted to impress the singers and producers. Pete impressed Tommy Hill who ran Starday Records and became staff steel player. The rest is history. Pete knew what people were saying about his playing, but he had gained his success by playing that way. What would be the point of brushing up on his old chops? To prove them wrong? My observations are not based on playing with Pete a long time because I didn't. There may be many pickers who played with Pete more and longer than I did. Some may dispute my views. But, I base my views of Pete on playing with him a couple years, listening to him play for many more years, the countless hours talking with him about his views on music and how to play it, and watching him evolve and become successful. He did it, more or less, the way he said he would do it ...by playing commercial. Keep in mind that Pete was also very busy with other endeavers besides sometimes 3 or 4 recording sessions a day, like publishing, record labels, independent producing, touring with his own band. All this kept him extremely busy so there wasn't much time to practice. If Pete had kept his chops up he could have still blown the doors off. John Paul |
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John Macy Member Posts: 2290 |
posted 04 June 2000 09:45 AM
Nice post, John Paul. Carl said: "1. He strictly played "licks" that were appealing. Most "commercial" PSG player ever! 2. He explored the use of pedal changes that produced a sound, never heard by the human Boy, if that is not the mark of a great musician, I don't know what is. Having been involved the in craft of making records most of my life, that puts a person pretty high on my totem pole. In my view, there are four players that reached the pinnacle of that commercial goal--Pete, Lloyd, Sonny, and Paul. I'd say that puts Pete in pretty good company. The other three guys could sure smoke him in a jam session, but Pete still stands as the most recorded player, and I love hearing modern versions of his licks and his influence. It appears to me that he also really respected the deeper players, making the "Slide" record with all those fine players, making Jimmie Crawford's "Steel Crazy" etc. Jimmie told me once he was playing a session that Pete was producing, and he was playing what he thought Pete wanted, simple and commercial. Pete got on the talkback and saind "Jimmie, I want you to get out on a limb on this one....waaaay out on the limb. If I wanted something that simple, I would have played it myself!". Just my two cents. I did not know the man, or any of the personal things that might have gone on. At the same time, smoking chops don't always make the finest player in my book. [This message was edited by John Macy on 04 June 2000 at 09:47 AM.] [This message was edited by John Macy on 04 June 2000 at 01:53 PM.] |
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Peter Dollard Member Posts: 705 |
posted 04 June 2000 10:08 AM
I would put it this way did Pete know music really well? maybe not; did he know about music well? probably better than anyone....Pete. |
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John Paul Jones Member Posts: 305 |
posted 04 June 2000 11:03 AM
John Here's a little 'aside'. Once I was producing a demo session in Nashville using a well-known steel player. I was green at producing and very nervous about producing a session, even a demo, with the likes of Dave Kirby, Leon Rhodes, Bobby Hardin and other A-string session pickers. After a particular steel ride I asked the steel player if he would play something a little simpler "like a Pete Drake thing". A hush fell over the studio. The entire atmosphere changed. When the session was over the steel player asked me if I had time for coffee. He, and another of the session pickers, let me know firmly, but friendly like, that "If you want Pete Drake licks hire Pete Drake next time". At first I thought they were being smart-asses. Before the coffee session was over I came to realize two things, 1)they had taught me a very valuable lesson, and, 2)it was better to learn it from friends than from others. They remain friends to this day. I continued to use them whenever I produced a session. Regards, John Paul |
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thurlon hopper Member Posts: 362 |
posted 04 June 2000 11:27 AM
In 1970, in a little bar on Okinawa, I recall asking Chick Donner (a fabulous player) what he thought of Pete as a steel player, and he said Pete makes a lot more money than i do. So Chick wasn't going to berate a successful picker and his reply has made me think a lot about how you measure success. I love any style of steel that is somewhat unique. Of course i think Congress should declare Buddy Emmons a national treasure Regards Thurlon |
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Eddie Lange Member Posts: 662 |
posted 04 June 2000 01:29 PM
Hey Guys, think about this, who is the most copied steel player in new country? Pete Drake. All of Paul's work with Alan Jackson is Pete Drake style. Other good Pete Drake type stuff is Jim Vest's work with Vern Gosdin like Chisled in Stone. His style is all over. ------------------ |
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John Paul Jones Member Posts: 305 |
posted 04 June 2000 08:46 PM
Eddie I disagree with you on both points. Although I believe that PF could play EXACTLY like Pete if he wanted to what Paul plays, generally speaking, is Paul. I can't imagine Pete playing the ride on "Don't Rock The Jukebox" like Paul played it, although I'm sure Pete would have done a very good job of it. The time or two that I have heard Paul play someone elses stuff he made it very obvious that it was intentional. Also, the style that Jim Vest played on the Vern Gosdin's records like "Chiseled In Stone" were not the same style licks that Pete played on, say "He Stopped Loving Her Today". Jim's licks may have had the same effect, especially the licks in the lower registers, but I don't hear any Pete Drake style there. Same type, yes. Same style, no. The 'shimmer' that Jim used on the higher strings could be considered Pete Drake style by some. I first heard Chalker do that years before I heard Pete do it. Only Chalker did it with full chords. BTW, I use to live in Sauk Rapids. I sure miss that area. John Paul |
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Franklin Member Posts: 742 |
posted 04 June 2000 11:53 PM
John Paul's and John Macy's insights are right on the mark. Pete was alot better steel player than most steel players sadly will ever give him credit for. He played me the prettiest version of "Misty" that I have ever heard and he could play songs like "The waltz you saved for me" as close to Day as I have ever heard. Day's playing was who Pete admired the most. Pete always admitted that playing single note riffs was not his thing and had no inhibitions about it from what I could tell. Playing with feeling was all that mattered to him and he sold that feeling convincingly to every artist and producer in town. I asked Owen Bradley during the Bradley Barn sessions with George Jones "Who do you feel was the most musical steel player? He said "Pete Drake" without hesitation, then he thought and added that John Hughey was his next favorite. There are so many stories floating around about Pete's comments about how successful he was. I wonder how many actually happened? Anyway in the stories I've heard, concerning various players, his statements were always comebacks to wisecracks thrown at him comparing his lessor technical ability to theirs, which should have never been made in the first place when you stop to think about it. I think his comments were comically witty and fit the situation. |
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ebb Member Posts: 1045 |
posted 05 June 2000 02:03 AM
This line is akin to the one that I have heard that Duke Ellington was not a great pianist. Sometimes I hear musicians stretch the boundaries of their instruments to the amazement of those familiar with the difficulty of achieving this. Sometimes the results can be a visceral thrill even to those who do not understand the technical challenge. This is different from being touched by maybe even a single note. Being musical is more difficult and more memorable than being clever and facile. |
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Buddy Emmons Member Posts: 1403 |
posted 05 June 2000 03:45 AM
Nice to have you back, Paul. |
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ScoobyDoo unregistered Posts: 1403 |
posted 05 June 2000 06:17 AM
, yea. |
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Peter Dollard Member Posts: 705 |
posted 05 June 2000 11:33 AM
In 1976 I remember hearing a song that just blew my socks away. It featured Paul Franklin and Jimmy Bryant and was called "Honky-Tonk Heaven Is A Hell Of A Place To Be". Years later steeler Bobby Black(who was working for Pete Drake at the time)told me Pete called him into the control booth to listen to the take by Paul and Jimmy and that it was mindblowing. My point; Pete also knew how to give someone their musical freedom to create a new sound and to this day that particular song demonstrates this. I would consider selling my copy of the record for a healthy sum.No I can't do it. Pete. |
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Tyler Baum Member Posts: 27 |
posted 05 June 2000 12:21 PM
Mr. Drake's parts on George Harrison's "All Things Must Pass" album are well worth listening to over and over and over. |
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John Macy Member Posts: 2290 |
posted 05 June 2000 11:08 PM
I just looked at the Guitar Player article posted on Cal Sharp's site (thanks, Cal!). Fits right in with what Paul and others are saying: quote: "You mentioned Jerry Byrd as a great inspiration, Whom else do you enjoy? Well, there's so many of them now, Lordy. I look at it kind of differently: There's the recording musician and the everyday picker. They're really not the same. A guy |
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Terry Wood Member Posts: 1205 |
posted 07 June 2000 08:22 AM
Hi Guys, I have been off the forum for a few weeks. The comments made about Pete Drake are interesting. Personally I never knew this steel guitar artist, but I have enjoyed his talent for over three decades. Bottom line is you all may or may not have enjoyed his steel guitar playing but the guy helped sell records (millions of them) and he helped to promote the instrument we all so dearly love. I still listen to his steel recordings as I listen to a lot of others steel players. Who was it, Jimmy Day who said "The height of genius, is simplicity." So, keep it simple, or play the melody boy, play the melody! Lloyd Green and others have commented before of how Jerry Byrd had it all together way back when, with tone and the melody. Truth is, good playin', good music is just that, it is good." Pete Drake was a commerical player and his playing graced the music business in a big way. I for one am glad it did. It's good to be back on the Forum! God Bless You All! Terry Wood |
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OHARA Member Posts: 17 |
posted 07 June 2000 12:36 PM
I pulled out an old Jim Reeves tape"Good N Country"Pete played on most all the tracks,What a Wonderful sound he got from that old Sho-Bud,No Gismos,No Overplaying,Just what the songs called for. |
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Don McClellan Member Posts: 882 |
posted 07 June 2000 04:10 PM
A biscuit board? |
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