Blue Steel Blues

[mick hearn]

A while ago I was asking what sort of scales Tom Morrell uses in his music. Didn't get the answer but Ken did say that I would need an E13 tuning - so bought myself a twin eight lap steel and tuned one neck to Leon Mcauliffes E13. Didn't have enough strings for Toms tuning. Then the learning started. Tom plays Blue Steel Blues in E so thought 12th fret would be my starting point. How wrong could I be. Most of this is done around the 5th to 7th fret with a move to 12th and also open strings on the odd occasion. He goes really wild towards the end of the second solo and I just could not figure it out so did my own thing.

Also played with finger nails as a had damaged by index finger doing gardening and wearing a pick was murder.

Any tips or ideas would be welcome.



Cheers

[rogerp1]

That was very nice Mick....nice bright tone from them fingertips

[Ken Byng]

Excellent job Mick. Difficult to emulate one of the best steel players of all time. Mr Morrell had a very smooth technique, and swung in a way that very few could match. I never got to see Tom play live much to my loss, but I listen to his legacy of recordings regularly. His bar control was incredible, and his choice of notes when improvising is superb.

You have started to unlock the range that the E13 tuning can offer, and for anyone who plays 6-string guitar the E13 tuning provides some commonalities. Picking a number like Blue Steel Blues is a monumental challenge for anyone, and you have done a fantastic job. Well done indeed.

[mick hearn]

Thanks for the comments folks.
Ken - You don't know how it feels when such a respected player comes out with a comment like that - thanks. It is true what you say - it is difficult to get into the mind of any player and whilst I can possibly play some of the notes, I won't find his soul. That's the same with any player. I can get a good Hank Marvin impersonation on guitar but I will never play like him. It's all down to technique, the hands, the mind and the soul which at the end of the day makes us all different.

With regard to this song - Once I had heard it I knew I had to play it. Some of those passages were difficult and a couple of bar slants but it was a good learning curve. And Tom's version is so different to all the others. I think I was up to take 32 by the time I had finished, and it still isn't finished. Have got to polish it up but I'm getting there I hope.

Now why the hell don't I try something simple for a change

[Ken Byng]

..........Now why the hell don't I try something simple for a change

I would imagine it's because you enjoy the challenge Mick. Learning something simple is fine, but you don't get the satisfaction level that you get when learning a difficult piece. It's always good for musicians to stretch themselves.

[mick hearn]

I know what you mean Ken. Birthday coming up and as I have never bought any Tom Morrell recordings it's about time someone got me some for my birthday. Looking at the collection "How the west was swung" series sounds good.

Talking about challenge I remember Albert Lee's "Country Boy". Leant it on guitar, can play it but never done it live. It was the challenge of could I actually do it. And similarly Weldon Myricks 1 pedal, 2 finger, 3 string thingy. I kept at it until it sounded like an Albert Lee lick but never used it. Now I achieve this and yet listen to my pedal steel there is a lot left to be desired in my technique. I cringe sometimes listening to my recordings. Still must practice. I left it alone for so many years I had to pick up on it again.

[mick hearn]

A question for you Ken - What size bar do you think Tom is using? It looks massive on video and he is constantly using the tip prodding at the notes except where he needs to cover several strings.

[JohnDavisStringsHere]

Great sounds there Mick, everything Ken said and more mate you have cracked it ...

[Ken Byng]

A question for you Ken - What size bar do you think Tom is using? It looks massive on video and he is constantly using the tip prodding at the notes except where he needs to cover several strings.

Mick - it's probably a 1" bar although in the picture below Tom is using a smaller diameter bar. You have to remember that he was a pro musician in the 50's, so he had been at it a long time. His bar dexterity is amazing. I spoke to the late, great Herby Wallace in Dallas just before he sadly passed on, when I bought a DVD of a live performance of the two of them together, and he said that he had idolised Tom since he was a boy. Tom's musicianship is just amazing, probably matched only by his boyhood and lifelong friend Maurice Anderson, and Buddy Emmons. Both Tommy and Reece could swing with the best musicians in Texas, and have left a legacy of brilliant recordings between them.

I have the whole series of How The West Was Swung, and any serious steel player should have at least one of these albums in their collection. The standard of musicianship between all of the backup players is awesome.

[mick hearn]

I know what you mean Ken. I have been murdering "Phoolawka" and as you say the musicianship throughout the whole band is fantastic. Oh to able to play like that and have a similar band around you. It would make my retirement years very happy ones.

One thing I did notice about his technique is that he uses quick successive thumb plucks for some of the chromatic runs whereas I have alternated between thumb and first finger. I went and tried it and it works - a different sound altogether. I don't know if any of our American friends look at this site - if so can they shed any light on this fact. Would be interesting.