Last Call: Neal Casal and the Dangerous Thing We’re Afraid to Talk About

Mental health issues affect millions of people. Let’s talk about how we can help each other before it’s too late.
Neal Casal and I met in 2010 on the set of the movie Country Strong, an age-old portrait of a train-wreck musician (played by Gwyneth Paltrow) spiraling toward her tragic demise. The director wanted realism, so she hired real musicians (Neal on guitar, me on bass) for Gwyneth's band. In between takes, Neal and I jammed, traded dry jokes, and shared a lot of laughs. After the movie wrapped, we stayed in contact, hung when he was in Nashville, and Neal contributed photos to my column. Two years ago, we filmed a Rig Rundown with his band, the Chris Robinson Brotherhood. It appeared that Neal was thriving ... then he killed himself last August.
Neal's suicide was shocking, but sadly it's an epidemic. Worldwide, there are roughly 800,000 suicides per year, which translates to about one every 40 seconds. If that's not grim enough, Rolling Stone recently cited a 2018 study by the Music Industry Research Association, which found that 50 percent of musicians reported symptoms of depression. Studies tell us that mental health struggles are more prevalent among creative types, but if you are one, or have spent your life surrounded by artists, you've probably seen it firsthand.
Adam MacDougall (Black Crowes) probably knew Neal best. They toured together for nine years in the Chris Robinson Brotherhood and formed their own band, Circles Around the Sun, which was just getting its legs when Neal checked out. I asked Adam if he saw Neal's depression issues.
"I saw it in him, as he probably saw it in me. Poets, writers, musicians through the ages have always been the sensitive ones looking for an outlet for this beautiful sadness. Neal and I tended to turn that into macabre humor. But I've been listening to his back catalogue of songs. It's surprising how often it was alluded to. Artists wear their hearts on their sleeves, so it wasn't a red flag, but listening to it now is just chilling. But honestly, every musician I've talked to, particularly after Neal, not one of them hasn't considered [suicide] at least once."
Mental health, especially depression, is the most dangerous thing that we're afraid to talk about, probably because it carries an embarrassing stigma and is easily misunderstood. People have plenty of reasons to be sad, be it bad luck or bad choices, but the clinically depressed have inherent issues that are often biological and can't be fixed with a Band-Aid of sheer willpower alone.
For those struggling with mental illness, a risk one takes in talking about one's problems is being perceived as an overly dramatic complainer. Some people may need to hear, "you have no reason to be depressed, be strong, man up," but to a depressed person, those platitudes make them feel unworthy of what they're feeling. So, they try to work it out themselves or disguise pain as humor. I know a lot of musicians who joke about suicide, but few who open up about it.
Rig Rundown - Chris Robinson Brotherhood
In retrospect, you could see all of that in Neal, which leads to the inevitable question: Who's next? This is a musician mag so, statistically speaking, half of us, including myself, have issues.
I was diagnosed as manic depressive when I was 22. (A few years later, the DSM-III—the Diagnostic and Statistical Manual of Mental Disorders— changed the term to bipolar, thinking the term "manic" might offend the nuts, but I prefer it, thanks to Hendrix's hardest rocking 6/8 song ever.) I disagreed with the diagnosis, but over the past 30 years I've checked off nearly everything on the bipolar brochure. I've been involuntarily hospitalized, medicated, incarcerated, twice divorced, and had five other psychiatrists and psychologists label me bipolar II. Combine that evidence with all the crazy shit I'd never tell you, and my tendency to run naked down the street or break into long, uncontrollable crying jags, and I concede the doctors may be onto something.
My glitches don't define me. I love my life and, although the lows are ass-kickers, the highs make it totally worth it. (Nobody talks about it, but for me the upswings of mania are truly, deeply, fabulously, furiously fun.) I'm outing myself because Neal's suicide makes everyone who knew him wonder if there was some way they could've shown support and love while encouraging him to get help.
I keep my glitches under control by fighting the lows like a person fighting cancer. I limit booze, exercise daily, do yoga, acupuncture, meditate, pray, try to get enough sleep, see the shrink when I must, play music as often as possible, and make a mindful choice to look for the good in this whole beautiful catastrophe. So far, this has worked for me, but everyone is different.
If you think you might need help, you probably do. Here are some places to start:
• Backline
• RecoveryFest Nashville
You don't have to white-knuckle it. There are more support and help options now than ever—many offering free treatment for musicians with mental health issues. Don't wait, get help.
[Updated 7/27/21]
- Brothers and Sisters In Arms: Guitars for Vets - Premier Guitar ›
- Last Call: Imposter Syndrome Is Part of Being Human - Premier Guitar ›
- Last Call: Acting Like a Musician - Premier Guitar ›
- Brothers and Sisters In Arms: Guitars for Vets - Premier Guitar ›
- Brothers and Sisters In Arms: Guitars for Vets - Premier Guitar ›
- Six-String Solace - Premier Guitar ›
- Rig Rundown:Circles Around the Sun - Premier Guitar ›
- Circles Around The Sun Announce New Album & Tour Dates - Premier Guitar ›
- Circles Around The Sun Announce New Album & Tour Dates - Premier Guitar ›
- Southern Rock's the Black Crowes, Revisited ›
The country virtuoso closes out this season of Wong Notes with a fascinating, career-spanning interview.
We’ve saved one of the best for last: Brad Paisley.The celebrated shredder and seasoned fisherman joins host Cory Wong for one of this season’s most interesting episodes. Paisley talks his earliest guitar-playing influences, which came from his grandfather’s love of country music, and his first days in Nashville—as a student at Belmont University, studying the music industry.
The behind-the-curtain knowledge he picked up at Belmont made him a good match for industry suits trying to force bad contracts on him.
Wong and Paisley swap notes on fishing and a mutual love of Phish—Paisley envies the jam-band scene, which he thinks has more leeway in live contexts than country. And with a new signature Fender Telecaster hitting the market in a rare blue paisley finish, Paisley discusses his iconic namesake pattern—which some might describe as “hippie puke”—and its surprising origin with Elvis’ guitarist James Burton.
Plus, hear how Paisley assembled his rig over the years, the state of shredding on mainstream radio, when it might be good to hallucinogenic drugs in a set, and the only negative thing about country-music audiences.
Tom Bedell in the Relic Music acoustic room, holding a custom Seed to Song Parlor with a stunning ocean sinker redwood top and milagro Brazilian rosewood back and sides.
As head of Breedlove and Bedell Guitars, he’s championed sustainability and environmental causes—and he wants to tell you about it.
As the owner of the Breedlove and Bedell guitar companies, Tom Bedell has been a passionate advocate for sustainable practices in acoustic guitar manufacturing. Listening to him talk, it’s clear that the preservation of the Earth’s forests are just as important to Bedell as the sound of his guitars. You’ll know just how big of a statement that is if you’ve ever had the opportunity to spend time with one of his excellently crafted high-end acoustics, which are among the finest you’ll find. Over the course of his career, Bedell has championed the use of alternative tonewoods and traveled the world to get a firsthand look at his wood sources and their harvesting practices. When you buy a Bedell, you can rest assured that no clear-cut woods were used.
A born storyteller, Bedell doesn’t keep his passion to himself. On Friday, May 12, at New Jersey boutique guitar outpost Relic Music, Bedell shared some of the stories he’s collected during his life and travels as part of a three-city clinic trip. At Relic—and stops at Crossroads Guitar and Art in Gilbertsville, Pennsylvania, and Chuck Levin’s Washington Music Center in Wheaton, Maryland—he discussed his guitars and what makes them so special, why sustainability is such an important cause, and how he’s putting it into practice.
Before his talk, we sat in Relic’s cozy, plush acoustic room, surrounded by a host of high-end instruments. We took a look at a few of the store’s house-spec’d Bedell parlors while we chatted.
“The story of this guitar is the story of the world,” Bedell explained to me, holding a Seed to Song Parlor. He painted a picture of a milagro tree growing on a hillside in northeastern Brazil some 500 years ago, deprived of water and growing in stressful conditions during its early life. That tree was eventually harvested, and in the 1950s, it was shipped to Spain by a company that specialized in church ornaments. They recognized this unique specimen and set it aside until it was imported to the U.S. and reached Oregon. Now, it makes the back and sides of this unique guitar.
A Bedell Fireside Parlor with a buckskin redwood top and cocobolo back and sides.
As for the ocean sinker redwood top, “I’m gonna make up the story,” Bedell said, as he approximated the life cycle of the tree, which floated in the ocean, soaking up minerals for years and years, and washed ashore on northern Oregon’s Manzanita Beach. The two woods were paired and built into a small run of exquisitely outfitted guitars using the Bedell/Breedlove Sound Optimization process—in which the building team fine-tunes each instrument’s voice by hand-shaping individual braces to target resonant frequencies using acoustic analysis—and Bedell and his team fell in love.
Playing it while we spoke, I was smitten by this guitar’s warm, responsive tone and even articulation and attack across the fretboard; it strikes a perfect tonal balance between a tight low-end and bright top, with a wide dynamic range that made it sympathetic to anything I offered. And as I swapped guitars, whether picking up a Fireside Parlor with a buckskin redwood top and cocobolo back and sides or one with an Adirondack spruce top and Brazilian rosewood back and sides, the character and the elements of each instrument changed, but that perfect balance remained. Each of these acoustics—and of any Bedell I’ve had the pleasure to play—delivers their own experiential thumbprint.
Rosette and inlay detail on an Adirondack spruce top.
Ultimately, that’s what brought Bedell out to the East Coast on this short tour. “We have a totally different philosophy about how we approach guitar-building,” Bedell effused. “There are a lot of individuals who build maybe 12 guitars a year, who do some of the things that we do, but there’s nobody on a production level.” And he wants to spread that gospel.
“We want to reach people who really want something special,” he continued, pointing out that for the Bedell line, the company specifically wants to work with shops like Relic and the other stores he’s visited, “who have a clientele that says I want the best guitar I can possibly have, and they carry enough variety that we can give them that.”
A Fireside Parlor with a Western red cedar top and Brazilian rosewood back and sides.
A beautifully realized mashup of two iconic guitars.
Reader: Ward Powell
Hometown: Ontario, Canada
Guitar: ES-339 Junior
I’ve always liked unusual guitars. I think it started when I got my first guitar way back in 1976. I bought a '73 Telecaster Deluxe for $200 with money I saved from delivering newspapers.
I really got serious about playing in 1978, the same year the first Van Halen album was released. Eddie Van Halen was a huge influence on me, including how he built and modded guitars. Inspired by Eddie, I basically butchered that Tele. But keep in mind, there was once a time when every vintage guitar was just a used guitar—I still have that Tele, by the way.
I never lost that spirit of wanting guitars that were unique, and have built and modded a few dozen guitars since. When I started G.A.S.-ing simultaneously for a Les Paul Junior and a Casino, I came up with this concept. I found an Epiphone ES-339 locally at a great price. It already had upgraded CTS pots, Kluson tuners, and the frets had been PLEK’d. It even came with a hardshell case. It was cheap because it was a right-handed guitar that had been converted to left handed and all the controls had been moved to the opposite side, so it had five additional holes in the top.
Fortunately, I found a Duesenberg wraparound bridge that used the same post spacing as a Tune-o-matic. I used plug cutters to cut plugs out of baltic birch plywood to fill the 12 holes in the laminated top. I also reshaped the old-style Epiphone headstock. Then, I sanded off the original finish, taped the fretboard, and sprayed the finish using cans of nitro lacquer from Oxford Guitar Supply. Lots of wet sanding and buffing later, the finish was done.
I installed threaded insert bushings for the bridge, so it will never pull out. The pickup is a Mojotone Quiet Coil P-90 and I fabricated a shim from a DIY mold and tinted epoxy to raise the P-90 up closer to the strings. The shim also covers the original humbucker opening. I cut a pickguard out of a blank and heated it slightly to bend it to follow the curvature of the top.
All in all, I'm pretty happy how it turned out! It plays great and sounds even better. And I have something that is unique: an ES-339 Junior.
ENGL, renowned for its high-performance amplifiers, proudly introduces the EP635 Fireball IR Pedal, a revolutionary 2-channel preamp pedal designed to deliver the legendary Fireball tone in a compact and feature-rich format.
The EP635 Fireball IR Pedal brings the raw power and precision of the ENGL Fireball amplifier into a pedalboard-friendly enclosure, offering unmatched flexibility and tonal control for guitarists of all styles. This cutting-edge pedal is equipped with advanced features, making it a must-have for players seeking high-gain perfection with modern digital convenience.
Key Features:
- Authentic Fireball Tone – Designed after the renowned ENGL Fireball amplifier, the EP635 delivers the unmistakable high-gain aggression and clarity that ENGL fans love.
- Two Independent Channels – Easily switch between two distinct channels, with each channel’s knob settings saved independently, allowing for seamless transitions between tones.
- Built-in Midboost Function – Enhance your tone with the integrated Midboost switch, perfect for cutting through the mix with extra punch.
- Advanced Noise Gate – Eliminate unwanted noise and maintain articulate clarity, even with high-gain settings.
- IR (Impulse Response) Loading via USB-C – Customize your sound with user-loadable IRs using the included software, bringing studio-quality cab simulations to your pedalboard.
- Headphone Output – Silent practice has never been easier, with a dedicated headphone output for direct monitoring.
- Premium Build and Intuitive Controls – Featuring a rugged chassis and responsive controls for Volume, Gain, Bass, Middle, Treble, and Presence, ensuring precise tonal shaping.
SPECS:
- Input 1/4” (6,35mm) Jack
- Output 1/4” (6,35mm) Jack
- Headphone Output 1/8”(3,5mm) Jack
- 9V DC / 300mA (center negativ) / power supply, sold separately
- USB C