There is no doubt in my mind that "P" is not just a player with gifted raw talent but he also contains the ability and understanding that new ground must be discovered , no, make that conquered.Although I have never asked him this but I would bet that if I did ask him he would comment that maintaining the edge and seeking new territory is way more work than the sessions.

Year after year manufacturers introduce new items to there offerings, new cars, new TV's, new food..new Potatoe Chips..New everything...

Being a musician/session player in my mind is no different. Can a session player record the same things week after week, month after month, year after year without changing and adding a dimension? I think not..not if they want to maintain steady employment with the nations top sessions.

My guess is that PF and those like him are in the continuous quest of expanding the dimension of there playing..

We, folks like me..are in the continuous quest of learning to play in similar styles and phrasing of Paul, Buddy, Loyd , John H, etc and the rest of our favorite players.

I guess this gets back to the on going discussions of why many road players don't get asked to do many sessions. It does not mean they are not great talented players, what it means to me is that they are not on the same musical "PATH" as a session player like PF...

I look forward to the new AJ CD and I'm sure there will be no disappointments.

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http://www.johnmcgann.com
Info for musicians, transcribers, technique tips and fun stuff.

quote:

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the solo on Strait's "I Hate Everything" just kills me, too. Always an inspiration to me

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That solo tells a story in itself. That solo explains why there is PF, and then there is everyone else.

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HagFan

The musician credits are in the back, rather than song-by-song. Could someone clue me in to which songs Lloyd Green is on and which songs Paul Franklin, Jr. is on? "Too Much of a Good Thing" is Lloyd, obviously, but any others? Maybe "Rainy Day in June"? Sorry, I should know better but, I'm new to listening to this instrument.

Thanks.

[This message was edited by Gary Ulinskas on 09 September 2004 at 09:10 PM.]

Are you saying that - Paul Franklin - is not one of the greats, and merely good?

I'm almost speechless...

In my opinion, Paul Franklin is the greatest of my time (I am 33 years old). His success over the past 15-20 years is unparalled. He has dominated the industry in the way that Emmons, Lloyd Green, and a few others did. To be fair, there are many "greats" of the instrument - with many styles, giving each of us our particular favorite.

To say that Mr. Franklin isn't a "great" such as Mr. Emmons - you show utter ignorance of the instrument.

Unbelieveable,

David Spires

[This message was edited by Henry on 10 September 2004 at 12:36 PM.]

Now, if we want to look at what's significant, we won't have to look far or focus hard. Like it or not, the influence of Paul Franklin on the newer generations of pedal steel players is overwhelming. I think it's terrific a terrific thing, but I'm partial.

I was listening to Paul's licks at age 10. I hadn't a clue who Paul Franklin, Jr. was, but I heard his playing on everything Mom listened to. It took another decade before I really started paying attention to the instrument and found out who was behind it on all those hits I heard growing up. Now I'm here with a pedal steel of my own, trying to capture those same sounds. That's a hell of an influence, right there, to get some kid who's never even met you to pick up an instrument because that's how much he loved what you played!

Even though I wasn't actively listening to the steel as a kid, I'm sure what I was hearing still sank in, subconcsiously. The way Paul Franklin approaches the pedal steel has been ingrained in me as THE way I want to approach the pedal steel. As I grow up and actually get decent at playing the isntrument, I'll hopefully find MY way to approach it, but for now, I'd be ecstatic if I could emulate just a few of those PF-patented phrasings. Buddy, Bud, Lloyd, Jimmy, they're all great, and I appreciate their playing more and more. There's just a lot more influence coming from Paul.

I have a feeling that if you just replaced Paul Franklin in the above with Buddy Emmons /Lloyd Green/etc. you'd end up with those on the side of the fence who think that Paul Franklin's playing is respectable but nothin' special. Buddy/Bud/Lloyd/Jimmy/etc. is THE way to approach the instrument. The stuff that's on the radio nowadays, well, it's nothing special, and they don't see what all the brouhaha is about.

It's like the guys who think Eddie Van Halen or Joe Satriani were the greatest guitarists to come about; their guitar-playing dads probably think that's a bunch of hootenany, because, to them, Eric Clapton or Jimi Hendrix or Jimmy Page were the best. I'm sure the EVH kid will say "Oh yeah, Clapton's great! It's just that Eddie just does it for me."

Oh yeah, BE, JD, BC, CC LG are great! It's just that PF does it for me.

Chris

P.S. Someone, anyone, have an answer to who played on what? I'm feeling Lloyd on the first two tracks of Who I Am and the rest is Paul.

[This message was edited by Chris Lasher on 10 September 2004 at 04:23 PM.]

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HookMoore.com
Allen Moore

"We can sit here and flap our jaws all we want about who's a great pedal steel player and who's not, and not get anywhere."

I agree. Of course, people are going to differ in their views. I know jazz guitarists who worship Tal Farlow, but are totally nonplussed by the fascination with Danny Gatton. Or sax players who are devoted to Coleman Hawkins, but think Bird had lousy tone and played without feeling. And vice versa. No point in taking it personally. For me, music is about emotional response, so I do expect people to react emotionally.

However, sometimes I don't understand the need to gratuitously deflate others' views on their favorite player, steel, amp, whatever. I think there's a difference between openly discussing differences - in a thread intended for that - versus jumping into a thread, where people are discussing some aspect of their favorite player, with the sole purpose to deflate their view of that player without provocation.

To me, the very fact that people have such strong opinions either way about Paul Franklin's "greatness" is a good indicator of what a truly important steel player he is. Paul has an approach to playing that is truly his. Ultra-clean phrasing, impeccable tone, good taste, versatility, the ability to unerringly play the right note at the right time, and let's face it, chops to burn. The stuff that all the "greats" have. That's just my opinion, your mileage may vary.

Live long and prosper

Now I must stress that I'm one of the majority who believes Paul Franklin to be perhaps the most technically-accomplished steel player ever, but I defend anybody's right to disagree.

It seems to me that there are a handful of players (and some Forum members) who are deemed by some on the Forum to be above even the most mild criticism (Lloyd Green is one). This is unfortunate, and ever-so-slightly devalues this potentially invigorating medium.

Before you jump on me, I don't have anything negative to say about Mr Green either but, if I did, I might think twice before saying so on here!

When I think of great players, you know, the ones we all would drive a hundred country miles to hear , I place Paul on that list along with the other "Common" greats that we all have come to admire and appreciate. I think Henry does as well.

I actually don't think there is a BEST..but there are several that are filling the number one slot, all a bit diferent than the others, thank God for that.

Earlier this year I flew a couple hundred Country miles to see and hear Paul, and I would do it again in a hearbeat.Pauls playing on the tunes we all listen to on the radio is what inspires many of us and the bands we play in to sit and practice, Pauls playing live is not to be compared with his studio cuts. When Buddy played alongside Danny, he played out of a different mode, inspired by what was going on around him. Paul playing beside Michael Rhodes and Brent Mason in a live situation is not to be takin' lightly. This is not stuff you run home and try to practice. Like seeing Buddy in 77..you were just glad you were there..You hold your breath, smile alot, and hold on..but no talking...

Did you ever see Eric Johnson play when he has checked out of reality and is soul has left the bandstand? Same thing here, you don't chase the licks and try to define the player, you just go home and be grateful you were there.And you tell folks about it for the next 20 years.

We all now have the ability to attend shows around the Country and see and hear some of the finest playing we could ever imagine, and on a regular basis.

Ok..enough babble..my favorite player today is Jay Dee again.."Hello Trouble"...but this is only Tuesday..it's possible that Doug or Al Briso or maybe even Paul will surface as the favorite again before Friday !

Next week I'm going to the N Tenn show for the first time, I am very certain I will have a few more favorites before we head back to Charlotte for the couple hundred country mile plane ride home...

Lighten up on Henry..He may just be dialed in to another player at this time...

oh..by the way..PF live on stage with his pals is a site and sound to behold..worth the price of admission whatever it may be...

Micky Mantle, Joe Namath, Dan Marino,Joe Montana,Babe Ruth,Michael Jordan, Dale Earnhardt, Segovia, Larry Carlton, Eric Johnson,Buddy Emmons, Loyd Green, Paul Franklin..etc....

Just be grateful....

Happy Tuesday

t

[This message was edited by Tony Prior on 21 September 2004 at 02:47 AM.]

On one hand, if you do a survey of his recordings, much of it could be described as derivitive, owing inspiration from Pete Drake, Emmons, and especially Lloyd Green. This is one reason for his success in the recording biz (that he has such a handle on a variety of styles).