There was some discussion on another post about the lack of steel guitar in country music and the following occurred to me:

The Dixie Chicks latest CD had no drums. It was a bold move on their part and they recorded the CD in Texas - not Nashville! They did it their way whether you like it or not and it is a top seller! They are what I would consider 'recording artists" that are in control of their product (art form).

Recording "artists" need to get back to being artists. Artists need to be in control of their art or else it is not their art. Problem is, the record execs don't see it as art. They see a song as a source of revenue only and take control from the artist to make the song fit a formula to generate revenue.

I wonder how many country music stars would like to have steel guitar in the mix and are told they can't have it by the "suits" in control!?

I would like to hear some of your opinions on this subject.

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Terry Edwards
Fessy D-10; Nash 1000
Martin D-21; Flatiron F-5

PS The topic is "Country" not "County" (which would be much smaller in scope!)

[This message was edited by Terry Edwards on 17 September 2003 at 09:08 AM.]

It’s all opinion (i.e.; in the eye of the beholder), but there truly is an “art” to crafting and performing a song whether it’s a country song or anything else. Some will validate that “art” from public opinion (whether it’s successful or not) and then you have a much smaller community of craftsmen (and women) who appreciate (or not) the finer points of lyrics and performance.

It’s true that the music industry has “formulas”, although they change with the winds of marketing trends and survey results. I don’t think these stats are necessarily wrong in every situation but I too would like to see more “artists” have more control over their direction. That type of freedom and priviledge is not in itself an assurance of success whatsoever, but it does tend to sometimes bring out a unique personality and maturity in a performer.

Of course, I know steel is a wonderful instrument and can be used affectively in many situations (probably more than even I suspect), but when I’m producing, I do not automatically include it (or discount it). It is an incredible tool, but by and large, it’s not a rhythm instrument. Whether there are even drums or not, most music is recorded with a basis in rhythm and then built from there. A lot of symphonic music is more melodic derived with a host of really cool instruments painting all the colors of sound and it’s been mentioned many times that perhaps steel could fit in that arena as well.

Suits (which I will define vaguely as those responsible for the money and decisions that will be praised if successful and scoffed at if unsuccessful) have always been motivated to be more in control (although they tend to follow more of the stats from surveys and demographic studies, so…who’s really in control?). They will usually allow the producers initial creative control until the work disagrees too much with the stats. It’s a tremendous leap of faith for a suit to allow a lot of control over a project by an artist and they probably only give that power after an incredible amount of convincing and lobbying on the part of an artist and a near overdose of Prozac.

In short, there are no guarantees of success no matter who has control or how talented someone is or how much money is thrown at it or whether or not steel is included. I use it a lot and will continue to do so whenever I think it’s right. I suspect Robert Randolph will also.

Mike

[This message was edited by Miguel e Smith on 17 September 2003 at 09:59 AM.]

Tommy Minniear

[This message was edited by Tommy M on 17 September 2003 at 10:15 AM.]

Gene,

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For producers trying to promote artists on records, it is only natural (or good business) for them to reduce or eliminate entirely anything that interferes with that goal...

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I understand and agree that that is the way it is. I happen to think that you can do both - promote the artist (performer) and the artist's art (song/music) AND be good for business. Case in point: Alan Jackson refused to allow the steel guitar to be removed from the mix in "Where Were You When The World Stopped Turning". Alan prevailed, the steel guitar stayed in and in spite of the recording company exec's opinion that the steel guitar would have a negative effect, the song went to number 1, crossed over into pop radio, and won a Grammy.

Mike, Thanks for the insight.

quote:

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but when I’m producing, I do not automatically include it (or discount it).

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As it should be! You, as the artist/producer, have choices. Choosing not to use steel is valid. Choosing to use bagpipes instead of steel guitar is also just as valid. I also believe the producer is in a position to be an artist (or not).

I guess it comes down to two things.

1. You can make music to make money.
2. You can make music to make music.

The trick, I suppose, is to balance both successfully.

Terry

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Terry Edwards
Fessy D-10; Nash 1000
Martin D-21; Flatiron F-5

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Sho-Bud ProII
"there's been an awful murder, down on music row!"

quote:

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B0b, Great story! Based on some of your comments I think "pop" country music is more craft than art.

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quote:

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Some people think a singer/songwriter who writes a forgetable non-melodic song with meandering lyrics is an artist. Some may think it's a musician who doesn't write very good songs.

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A musician who writes bad songs is still an artist however bad his art may be!

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Sho-Bud ProII
"there's been an awful murder, down on music row!"

Johnny Cash
Merle
Hank Williams
Alan Jackson
Willy
Waylon
Kristopherson
Marty Stuart
Bill Monroe (I know, bluegrass)
Ralph Stanley (again, bluegrass)

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Terry Edwards
Fessy D-10; Nash 1000
Martin D-21; Flatiron F-5

That song is then given to someone to interpret-which I think is where the performing artist title comes from. Shaping and creating the song is craft-bringing it to life is an art form, and how it is brought to life varies from artist to artist, as each gives it their own distinctive style, that little extra "something" that no one else can add-and that makes it art.

George Jones and Tony Bennett sound nothing alike-yet both are capable of making valid artistic statements with the same song. Bennett might make it swing while Jones made it cry. But the song remains the same-the artistic interpretation of the performer gives it life.

JB

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Fulawka D-10 9&5
Fessenden D-10 8&8
"All in all, looking back, I'd have to say the best advice anyone ever gave me was 'Hands Up, Don't Move!"
www.johnbarnold.com/pedalsteel
www.buddycage.net

http://www.nrpsmusic.com/index.html

[This message was edited by JB Arnold on 17 September 2003 at 07:14 PM.]

That doesn't mean it's not art.