John Bohlinger’s Franklin 12-string pedal steel was built by Paul Franklin’s father 30 years ago.
When it comes to forming patterns, no computer algorithm can outperform the human mind. Sometimes we must change directions to have a breakthrough.
Every now and then, a misguided guitar player asks me something like: “What should I do to become a better guitar player?” For the record, I’m probably not the one to ask. I suspect I don’t really know what I’m doing in guitar or life, but I love to play music, and I’ve noticed some improvement in my playing over the years, so here goes. A surefire way to get past a plateau and become a better player is to stop playing guitar … then dive deep into a different instrument.
You probably remember the agony of making an F chord, and later a barre chord, thinking your fingers just could not do it. Eventually you get it, then jump over the next hurdle, be it learning the pentatonic box, etc., until eventually, you notice that what you’re playing sounds like music. We make improvements quickly on the journey from beginner to intermediate, and before you know it, you can jam with others and pick up enough licks and tricks where you sound like a guitar player. But eventually we hit a plateau where we quit advancing and that’s where most of us stop. I suspect we plateau because humans love patterns, and once you’re in a pattern, it’s hard to see beyond it.
Humans can’t help but look for patterns. Our neocortex (the outermost layer of the brain found only in mammals) gives us our ability to recognize patterns, and we do it well. Although computer algorithms can spot patterns, no algorithm can outperform the human mind. Our body feeds our pattern addiction by giving us a fun hit of dopamine when we recognize one.
How do you break the pattern of patterns? You have to shift from thinking about patterns to melodies. This has made me a lot freer in my note choices on guitar, and it’s made me a bit more forgiving with myself.
Neil deGrasse Tyson explains: “Over centuries of evolution, humans’ pattern recognition skills determined natural selection. Hunters skilled at spotting prey and predator and telling poisonous plants from healthy ones offered them a better chance of survival than those blind to the patterns. It enabled the survivors to pass on those pattern-friendly genes to future generations.”
Learning guitar is learning chord, scale, and riff patterns. For most of us, the guitar neck becomes a series of patterns rather than an opportunity for melodies. The more you play, the more diverse your bag of patterns becomes, so you have more to shoehorn into any situation. Ultimately, they’re still patterns. How do you break the pattern of patterns? You have to shift from thinking about patterns to melodies. When you attempt to play an instrument where you know no patterns, all you can do is search for melodies.
I’ve loved pedal steel since I first noticed it on Elton John’s “Tiny Dancer,” but it’s such a complex, baffling, and expensive instrument that I never considered jumping in. As I aged and watched working guitarists get younger, I noticed that steel players remained mostly old crusty dudes. When I realized steel could extend my career, I was motivated to buy one. I’m glad I did, as this is one of the few times I made a prediction that was dead on. Pedal steel has opened a ton of gig opportunities, but it’s also expanded my concept of music and done more to improve my guitar playing than another 10,000 hours of just guitar.
When you dive deep into another instrument, you’ll find yourself approaching it more naively, like a kid, not looking for patterns but rather discovering what music will fall out of the instrument. There will be lots of surprises where you don’t know what note you’re going to get. Look at it like Bob Ross—those weird notes are just happy little trees. Those happy accidents have led me to playing much more interesting parts than if it went as I planned. This has made me a lot freer in my note choices on guitar, and I’m a bit more forgiving with myself.
When you start exploring technique on a new instrument, you can’t help but reevaluate how you play guitar. For instance, muting or blocking is wildly important on pedal steel, because if you don’t mute, you’ll have a constant discord of a b7, major 7 ringing over everything. It’s a cacophony. So, when I got back on a 6-string, I noticed where my slop was ringing and how some palm muting, like on pedal steel, makes my notes clearer. I’ve always muted, but now I’m listening closer, realizing when I need to apply more or less. Similarly, playing pedal steel with my fingers (fingerpicks) has made me less dependent on a flatpick when I play guitar. Although I’ve always used hybrid picking on guitar, I now use my fingers more and do more blocking with my fingers on guitar. It sounds smoother, cleaner, and seems to flow better.
Life doesn’t have to be the same old thing. Try something totally new and see how it makes you see everything in a new light.
The country duo discusses the gear used during the recording of Bakersfield.
Vince Gill and Paul Franklin discuss the gear they used when recording Bakersfield.
Guitars
Vince's main guitar is a 1953 blackguard Tele he bought in 1979 in Del City, Oklahoma. Although it's all original, it’s been refretted a few times. Well-known luthier Joe Glaser calls it "the best one he’s ever seen."
This thinline Tele is from the mid-to-late ’60s and is tuned down a whole step, to D. It was damaged in the Nashville flood in 2010, but Gill took it to Joe Glaser and he brought it back to life.
Paul Franklin used a Franklin double-neck pedal steel on Bakersfield. His father made the instrument out of formica, and built the two 10-string necks (one in E9 tuning and the other in C6 tuning) based on the setup of Buddy Emmons’ steel.
Amps
Both Paul Franklin and Vince Gill are big fans of Little Walter Tube Amps. Here’s Franklin's VG-50, which is a 50-watt head that uses 6550 tubes and features controls for volume, bass, and treble.
Effects
Although Franklin usually uses minimal effects, he sometimes plugs into this Benado Steel Dream effects unit. It contains reverb, delay, and overdrive along with an output for a dry signal if he wants the direct sound of the pedal steel.
Roosevelt Collier and Alvin Lee of sacred-steel family band the Lee Boys take their 6-string hallelujahs beyond the church and garner praises from some of the biggest names in secular guitar and bass.
The Lee Boys - "Testify" by Evil Teen Records
“Come on, man—I was freaked out,” says pedal-steel guru Roosevelt Collier of “hard rock gospel” band the Lee Boys. “I was, like, ‘John Scofield just left his coffee cup on my table. Nobody better touch it!’” Such are the pleasures of life when the incredible players from the sacred-steel circuit step beyond hallowed halls and into the gentile world. “I had the pleasure of him coming in my room for about an hour and talking about my background. We played together and, dude—it was sick.”
Lee Boys consists exclusively of family members: brothers Alvin (guitar), Derrick, and Keith Lee (vocals), and their nephews Alvin Cordy Jr. (bass), Earl Walker (drums), and Collier (pedal steel guitar). From about age 7, they all learned to play multiple instruments and grew up performing sacred-steel music at the House of God Church in Perrine, Florida. In 2000, they lost two family members who were significant musical influences—Reverend Robert E. Lee and Glenn Lee—and from that point, they decided to move beyond the walls of the church. “The torch was passed on,” Collier says. “That was my cue and signal that it’s time for me to take this to a whole ’nother level. Everybody felt the same way, and that’s when we went full-fledged onto the scene.”
In 2003, the Lee Boys had their first big tour playing the Blues to Bop Festival in France and Switzerland. “We were fresh on the scene, and we went overseas first. That was really big for us—I was nervous, nervous as dirt,” Collier recalls. “But the crowd went crazy. They were up dancing and praising.” By that time, other sacred-steel acts like Robert Randolph and the Campbell Brothers had already made their mark, but the Lee Boys hit the festival circuit with a vengeance and quickly developed a reputation for their frenetic shows. In 2008, after performing at Bonnaroo, the band debuted on national TV with a killer performance on Conan O’Brien. “That year was a turning point for us,” Alvin says.
Alvin Lee (left) and Roosevelt Collier (right) jam with Warren Haynes on his Man in Motion tour at Atlanta’s Tabernacle in 2011. Photo by Lisa Keel/peachtreeimages.com
Not surprisingly, the Lee Boys’ high-energy, improv-laden live shows have made them a favorite of the jam-band scene, too. In addition to trading licks with Sco, they’ve shared the stage with some of that genre’s brightest stars including Victor Wooten, Soulive’s Eric Krasno, and Warren Haynes. The latter, in particular, was instrumental in getting the band into the spotlight. “He let us jam on his sets with Gov’t Mule, gave us an opportunity to play with the Allman Brothers Band, and also let us open up for his band,” notes Alvin.
Haynes also signed the Lee Boys to Evil Teen, a label he co-owns, and made a guest appearance on Testify, the band’s latest release. Virtuoso guitarist Jimmy Herring was also enlisted to play on a few tracks and turned up the heat with his finger-twisting lines. “There’s a saying that if you want to be good, play with people that are better than you,” says Collier. “To play with Jimmy on the same tracks—that upped my game. Because of the stuff that Jimmy was laying down, I had to almost prove myself, you know? I had to play my heart out.” Collier is referring to tracks like “Always by My Side” and the title track “Testify,” which showcases an incendiary display of friendly fire, with Herring’s country-fied lines answered by Collier’s chromatically ascending patterns.
Roosevelt Collier's Gear
Guitars
DL [Dan Lawson] lap steel, Fessenden 10-string pedal steel
Amps
Fender Hot Rod Deluxe, Egnater Renegade 112, Marsh 50-watt closed-back amp
Effects
Pigtronix pedals (Overdrive, Envelope Filter, Sustain), Ernie Ball volume pedal, Dunlop Cry Baby Wah, Boss GT-8
Strings
Ernie Ball Steel Guitar Strings
“I was born with this gift of playing the steel, but it was up to me to take that gift and grow with it,” says Collier. “I used to go off a thousand miles a minute—on each song, each solo was a thousand miles a minute. I got the reputation for being fast, like, ‘Man, this guy is lightning speed.’ But when a friend like Rick Lollar would come onstage, he’d play like eight notes and eat me alive. The crowd would go crazy, because he built his stuff. It’s all about building. Save your big guns for later on.”
The songwriting on Testify comprises a unique mix of positive messages, catchy grooves, and sophisticated harmonies. Tracks like “Sinnerman” (which references Stevie Wonder’s “I Wish”) and “We Need to Hear from You” make use of unexpected modulations that would be equally at home on a Steely Dan cut. “Between jazz and funk, that’s where you’ll find me,” says Alvin. “If you listen to my chord progressions, you’ll hear a lot of jazz influences. A lot of the church musicians were big influences, but I also like guys like Victor Wooten, Stanley Clarke, and Jaco Pastorius—because I mainly played bass coming up. I also loved George Benson and Stanley Jordan.”
Alvin Lee's Gear
Guitars
Fender Strat with Roland MIDI pickup
Amps
Fender Twin Reverb, Roland JC-120
Effects
Roland GR-33 guitar synth, Boss GT-8
Strings and Picks
D’Addario .010 sets, Fender medium picks
The Lee Boys don’t come from an academically jazz background per se, but they‘re always experimenting, taking lessons, and applying their knowledge of theory to different styles. “I have a lot of jazz influence because of these guys I’ve come across,” Collier says. “This scene outside of the church has been a big influence on me. I’ve learned a lot. With us intertwining that theory with our traditional sacred steel—plus all the different genres that we listen to—I think that formed the Lee Boys style.”
Because the band members were raised as multi-instrumentalists, they often switch instruments onstage, with Alvin switching to bass or pedal steel and Collier playing electric guitar or bass. For the most part though, Alvin is on guitar—the perfect foil for Collier’s overdriven steel explorations. “My main guitar is a Fender Strat with a Roland MIDI setup and a GR-33 guitar synth,” Alvin says. “I use a MIDI piano or organ sound to give it a full, gospel-spirit feel. More or less, Roosevelt is doing all the picking and I stay in the background and kind of form the body with chords. From my background as a bass player, I use medium picks because I like to hit the strings a little harder. I usually do licks with my rhythm patterns, so I need some resistance, but I don’t use heavy picks because I don’t solo that much.” While Lee and Collier are both proponents of the Boss GT-8 multi-effects unit, it’s a family feud when it comes to amps: Alvin favors a Fender Twin Reverb and Roland JC-120, while Collier vehemently disagrees. “No, no, no, no, dude. I don’t use Twin Reverbs—I can’t stand them,” he says. “Back at church, the only amp that we actually played out of was a Peavey Session 500, which is a solid-state amp. But I learned about amps, wattage, and tubes. Now, I really don’t like to use anything past a 50-watt amp, because I like to crank the bad boy up. Now I use a Fender Hot Rod Deluxe, because it has a smooth overdrive channel. But my first-choice amp is an Egnater Renegade 112—that amp smokes. But a lot of your tone is your personal touch.”
YouTube It
Watch below for a taste of the Lee Boys’ high-energy, sacred-steel-meets-jam-band live performances.
The Lee Boys build to an insane climax
on “Come on Help Me Lift Him
Up” at the 2008 Bonnaroo festival.
Joined onstage by Warren
Haynes at the Fillmore Silver
Spring in Maryland, the Lee Boys
perform a rip-roaring rendition of
Jimi Hendrix’s “Voodoo Chile.”
Bassist extraordinaire Victor Wooten
backs the Lees on this 2009
rendition of “Testify”—the title
track of their latest release—at the
House of Blues in New Orleans.