Bobbe’s CDs; Hurricane Mike Thompson

Posted on August 30, 2012 by Bob Hempker

Hello fans and fellow players,

This is Bob Hempker subbing for Bobbe Seymour today.

Let’s talk about playing for personal satisfaction as opposed to playing professionally for money. Playing professionally is rewarding in many ways in addition to financial. You get to make friends, you get to show off to audiences and fellow musicians.

Depending on your job, you get to see the world and do it in fine style. You make friends and make memories you can carry with you the rest of your life knowing that only a very few actually get to do the things you do and have done.

If you are with a big name artist, the money is good, the times are good and it sure beats a long, long list of others jobs you could have to earn your living with. Yes, playing professionally is very rewarding in very many ways.

But sometimes, when I’m off the road and home, I like to sit down and commune with my guitar. I like to play things the way I want to and experiment with different flavors and colors of sound and try out different techniques and styles.

Then sometimes I just want to sit and listen to steel guitar music played well. When I’m not in the mood for country, I reach for a couple of Bobbe’s CDs. Bobbe has a very creative approach to the music and to the way he portrays that music.

Bobbe’s “Rhythmatic” CD will open your ears to new vistas of steel guitar virtuosity. How’s that for a mouthful? Honestly though, I’d never heard anyone do what he does with a steel on this album. It inspires me to take my steel to new places and see what I can do with my own personal take on the songs. It stretches me as a steel player.

The other two CDs that offer the same sort of inspiration are Bobbe’s “As Time Goes By” CD and his “Cure For The Blues” CD. This trio of CDs will surely set your imagination on fire and motivate you to improve your playing as much as anything I can think of.

I asked Bobbe if we could put these into a package deal for anyone interested and he said to go for it. You can order them here: www.steelguitar.net/cds.html

When I’m in the mood for country and want to get inspired, actually fired up would be a better description, I pull out three of Bobbe’s country CDs. The “Bobbe Seymour Live” CD, the “Tennessee Country” CD and Bobbe’s tribute to Ray Price, the “Priceless” CD.

Bobbe said we could put these into a package deal as well. You can also order them here: www.steelguitar.net/cds.html

So there’s my rant for the day. I may make my living playing this beast, but when I’m all alone, there’s nothing that’s finer than sitting down behind my guitar and playing for my own amusement. I know you must feel the same.

Bobbe was so impressed with a reply to the newsletter Vic Lawson wrote, that he asked me to make sure we passed it on in the newsletter. I would like to say that Hurricane Mike Thompson wrote a masterpiece in this reply.

Here is Hurricane Mike’s reply:

Vic:

I just had to respond. Thanks for this great newsletter! I tend to preach this stuff to all my fellow musicians in our quest for better music, and live by it myself even though I hardly have the acumen to call myself a consummate steel-player. I tend to get away with a lot by being careful when I play.

A few things I’ve taught myself to do is think, “driving”. It’s not just having to deal with the other “traffic” (other instruments,..) but we steelers have to stay outta the ditch. And that means, “Look to where you want to go.” Just like driving! I don’t just play a chord or note then slide off anywhere. I already have a destination in mind before I leave that fret. Take care and “steer” in the direction you wish to go by looking ahead. If I’m on the 5th fret at “A” say, and my next chord is a “D”, I’m fully aware that, that’s where I’m going as soon as I leave “A”. I don’t worry about “A” anymore! I THINK “D”! Once I get to “D” I think ahead to the next move. It takes a bit of practice starting out, but in time, I’m sure we all do it without really thinking about it a whole lot as much as we did in the beginning.

And I cannot stress how useful and utterly important, at least to me, The Nashville Number System has been. It sure de-“mist”-ifys the fogginess and blindspots while playing. That’s my road-map! I can’t always look up when I’m busy, so I’ve learned to “see” with my ears: Now I know a major from a minor, a 6th from a 7b etc. I can HEAR where the tune is going and anticipate changes accurately by getting used to the sounds of the chord and where it sits in the song.

As I come to the end of a phrase or a break, I look up with peripheral vision or take a quick glance at my surroundings for other traffic; or to see if I’m still expected to continue. My “road” is the music (represented by my fretboard) and my “vehicle” is my instrument. The “steering-wheel”, in this particular case, is the bar itself.

Playing simply like you suggest, in my opinion, is paramount for achieving taste. I constantly tell myself: “It’s not all about me! Always play like this is on a record! Bar-gigs never sounds like studio-playing. Pretend you’re listening to the song on the radio. And stay awake!” That way I don’t get in anyone else’s way and overplay; and I’m ready for any sudden changes or even my own turn.

The only way I look good is if I do my job of making someone else look good. Then I get noticed. It’s just the reverse of doing it wrong. Also, I tell myself, “Look both ways checking for other traffic before you pull out!” (Driving!).

And if it IS my solo, I have the green light and I get jumped on, (cut-off, side-swiped, running the red,..) I immediately give up that solo to the jumper. All his now! It’s a reflex. I just hit the brake: That bar is off the steel as soon as I hear someone else cut in. My foot is off the, “gas” (Volume-pedal). Sure, he might be a pig but the listeners don’t know that. And it still prevents a wreck. There will be other turns for me to play so it’s no big deal.

Another little quirk I have is, after it’s my turn, that bar comes right off the strings and is clasped in my hands, between my knees, while the other players rock on. They KNOW I’m not in their way! No anxiety! And I always watch for cues from my “host” guitarist or leader. (Usually the guitarist or whoever I’m paired up with that I can exchange trade-offs, phrases, etc. with. I follow his lead and wait to be “invited” if it isn’t a worked-out part. And, “Okay! Let’s hear that fiddle!”, doesn’t mean it’s time for the steel guitar,..and vice-versa. Just always watching.)

None of this has anything to with my lack of ability as a proficient steel-player; but is sure is a great way to fudge when I don’t know what I’m doing. (lol.)

Cheers!

HMT

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We will be closed for Labor Day.

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Closed Saturday and Sunday

 

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Great Steel Players In Our Past Who Are Not Famous

Posted on August 27, 2012 by Bobbe Seymour

Hello fellow players,

First of all, I’d like to thank steel players for sitting in for me, doing such a good job with these letters. Bob Hempker did one about a month ago that really intrigued me and got me thinking. This is the one about steel players in our past that are not famous but played very well, possibly great.

I have several myself and wanted to do a similar letter so I’m going to go ahead and name a couple steel players, most of which I have no idea of where they are today. I’ll give their name and where I met them because they may possibly be in the same area.

The first one is a steel player which I met in Las Vegas at 35 years ago named Bobby Lee. He is not the Bobby Lee from the Steel Guitar Forum and is not the Bobby Lee that was in Colorado. But there couldn’t be too many Bobby Lee’s, could there?

The next steel player is a very good player named David Forhand. I met this boy in Norfolk, Virginia. I heard he later went to Michigan. Number three is Alex Click from Alaska. Next is the great Fred Kelly from Norfolk, Virginia. Next one is Bill Jordan from Wichita Falls, Texas, he was previously with the Miller Brothers western swing band.

Snaz Wall of Colorado Springs was one of our first MSA customers and a very good steel guitarist. The next one is Ronny Elier. The next one is Wayne Bryant. Next one is Buddy Stevens of Dallas, Texas. Another steel player that played much like Speedy West and was fanatical about playing parts with the lead player, was a good steel guitarist named Darrell Whitehurst from the Norfolk, Virginia area.

All of these steel players were very good influential players, mostly from around fifty years or so ago. Some of them may not be with us anymore and some may be stressed. For instance, Fred Shannon of Big Spring, Texas. I’ve heard the rumor that like myself, his health is questionable. I pray for him and wish him my very best.

Another great Texas steel player is Ivan Greathouse. Like I say, these are all great steel players and have made a big impression on myself and many other young players. No telling where in the United States these guys could be today.

If any of you know of or hear about the whereabouts of any of these players, I wish you would let me know. They were all way too good to fade into oblivion. You know where oblivion is. It’s right near north Texas.

There are so many steel players out there that have worked their hearts out their whole lives and don’t realize that they have influenced other players greatly. I have realized after all these years that about everything a person plays is not really ever lost but can have a long life way beyond their own.

You may not know who you are impressing in the audience when you are playing or how much that your playing is being loved. I have people coming up to me all the time saying things like, “I saw you playing at the Western Room in 1969 and you really impressed me with that car wreck, or something equally as ridiculous.

I must have played a lot of ridiculous things in my life because they are coming back to haunt me now. What I’m asking of you all reading this is to share some moments that you have had with steel players that you have liked that you may not think are famous, but really did impress you.

Many steel players that have been playing in the United States have not been heard by millions, but really deserve some recognition. Anybody that plays steel guitar is worthy of serious recognition and this means you. You may not think you’re doing anything when you sit down to play, but I promise you, you have some fans and they are out telling other people how great you are.

Don’t take this lightly, but this is the power you have to touch the souls of many people whether you know it or not. Most of you just play something, get up and walk away and think about nothing serious, but maybe you have touched somebody very seriously.

Remember, when you sit down behind a steel guitar, you’re going to be recognized and be quietly praised by somebody.

It doesn’t matter how old or young a player is to impress someone. I went to a relatives house one time many years ago in Youngstown, Ohio. I had my little single neck Fender steel guitar with me. A little cousin of mine showed up. It was the first I had ever seen him. They called him little Jerry.

The relatives wanted us both to play something for them. I was supposed to be the star of the duo, but this little kid just tore me apart. Later on he grew up and was tearing the world apart. His name is Jerry Douglas, one of the most famous Dobro players ever.

This player is well known not because he is just a good guy that has had some good breaks, but because he is genuinely a great player. So just remember everyone, you never know where the next little superstar is coming from, but they were all young once.

This is Bobbe Seymour calling this newsletter in via telephone. Possibly sometime soon I can get back to doing it in person at my office, but thank you for treating the young stars, Bob Hempker and Vic Lawson, that I have writing for you so nicely. Remember, ole Bobbe loves you all.

Your buddy,
Bobbe

Check out our monthly specials at www.steelguitar.net/monthlyspecials.html and we’ll try to save you a lot of money.
www.steelguitar.net
sales@steelguitar.net
www.youtube.com/bobbeseymour

Listen To Steel Guitar Music Streaming 24 Hours A Day!

Steel Guitar Nashville
123 Mid Town Court
Hendersonville, TN. 37075
(615) 822-5555
Open 9AM – 4PM Monday – Friday
Closed Saturday and Sunday

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What’s In Your Pack-a-Seat?

Posted on August 23, 2012 by Bob Hempker

Hello fans and fellow players,

This is Bob Hempker subbing for Bobbe Seymour today.

I thought today we’d talk about things we need to carry in our pack-a-seat.

Years ago, I was headed to Florida to do a New Year’s Eve show and we were loading the bus. To make a long story short, I got in a hurry and forgot to load my pack-a-seat. We got to the venue the next day and as we were unloading the bus I noticed my pack-a-seat wasn’t on there.

It was New Year’s Eve afternoon in a small town in Florida and I had no volume pedal, picks, bar, tuner, cables, all the essentials you needed to play a job. I started calling music stores out of a phonebook and I found one that was open that was about 20 or 30 miles away. Finding that store open was a small miracle in itself.

I borrowed a car and drove to the music store. I bought a set of cables, a thumb pick, finger picks, a bar, a tuner and a real cheap volume pedal. I got back to the venue just in time for the down beat. I couldn’t find any type of chair to sit on that was the right height so I borrowed a chair from the office which adjusted up and down. I jacked it up far enough to work.

At any rate, I got through the job. I had played a lot better before than I did with this strange equipment, but I did get by.

The reason I told this story is to emphasize that when you’re going outside your home to play, make sure you have everything you need to play a gig. Your guitar, your amp, effects, volume pedal, cables, bar and picks. You could be out of business leaving something behind.

So I thought I’d go over my checklist and what I do to make sure I’m prepared for a gig. To borrow an idea from Bobbe Seymour, you may want to consider typing up a checklist and taping it inside your pack-a-seat. Pilots go through a pre-flight checklist before taking off and we might take our cue from them.

At home, I have a checklist of things to pack when I go on the road. It includes things like toothpaste, razor, socks, everything I’m going to need because it’s so easy to forget some small thing that makes a big difference.

It’s pretty hard to forget your guitar or your amplifier, but it’s easy to forget a small item that normally goes in your pack-a-seat. Personally I have a couple of lists. If I’m playing a rock n roll gig, I definitely need to take my distortion box. If I’m playing stone cold country, my reverb, delay and chorus pedals go along for the trip.

Those considerations aside, my basic list of things that always travel with me follows.

At the top of the list are my volume, reverb, delay and chorus pedals. Then tuner, cables, spare cables and cord ends. I personally use George L. That keeps me from having to carry a soldering iron.

Obviously your bar and picks should go in a pouch of sorts in your pack-a-seat. I always carry extra picks in case I lose one. I even carry an old set of picks in case I’m playing a bar somewhere where people are allowed to set in. If someone wants to set in and needs to use my picks, I give them the old set. I never ever allow anyone else to wear my personal picks.

I carry a spare set of strings for each neck. I carry extra thirds, fifths and tenths because those are usually the ones that will break if I do break a string. I carry a string winder and cutters. I like the ProWinder because it has the cutter built in so I’m not slowed down looking for two tools instead of one.

I’ve changed strings in the middle of a song and had it tuned up and ready to go for the next song because I had to play the intro to the song. Sonny Osborne, of the Osborne Brothers Band and I used to argue about who could change a string the quickest.

One thing I’ve found that can be very useful is a ground lift adapter. It takes a three prong plug to a two prong plug. Sometimes, just lifting the ground can eliminate hum and if you’re in an old building that only has the two prong outlets, you’re S.O.L. without such an adapter. Carry a couple of these. They’re very inexpensive and small. They don’t take up a lot of space in your pack-a-seat.

I personally carry a power strip with a surge protector. So many modern devices like the Hilton volume pedal for instance, have large transformers which will block some of the outlets. On a small stage, by the time everyone else plugs in, you’ve only got one outlet so you’d better have a power strip.

Steeler’s Choice builds a pack-a-seat with a power strip built in. This is the ultimate solution because you don’t have to worry about leaving it behind. It’s already there. In addition, being built in, it’s out of the way so people won’t trip over it or step on your Hilton pedal transformer.

If I use a lot of effects, I have to have the Hilton pedal because the Hilton has a buffer built into it that the pot pedals don’t have. This automatically matches the impedance from your guitar, effects, cables and everything you use. Sometimes just running through the pedals even with them off, can alter your tone.

I like to carry a set of Hex (Allen) wrenches in case I need to adjust something underneath my guitar. This is one of those small items that people don’t think to carry, but than can be a life saver.

If you use a pot pedal, carry an extra pot and string. I’ve had a pot just lock up on me. I’ve had a string start slipping. Carry string rosin to put on your volume pedal string to keep it from slipping. I carry all the stuff I need to fix my pedal in the seat. I carried an extra pedal on the bus when I worked the road.

You might want to carry a few spare parts for your guitar such as bell cranks and rod collars. If you use a tube amp, carry a couple of spare tubes.

Above all, if you don’t own a pack-a-seat, invest in one. First of all, it’s the correct height for playing a guitar. It rare that you can get to a job and find a seat that fits. If the only seat in the house is a barstool, you’ll definitely wish you had a pack-a-seat.

It also eliminates the need to carry a case for all the small essential things that you have to have. Like a good Boy Scout, be prepared.

www.steelguitar.net
sales@steelguitar.net
www.youtube.com/bobbeseymour

Listen To Steel Guitar Music Streaming 24 Hours A Day!

Steel Guitar Nashville
123 Mid Town Court
Hendersonville, TN. 37075
(615) 822-5555
Open 9AM – 4PM Monday – Friday
Closed Saturday and Sunday

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