Tag: pedal steel

MIXTAPE: Daniel Rodriguez’s Songs of Authenticity

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I love all types of music and song. How beautiful a thing to hear the invisible insides of someone shared outwardly. A culmination of dynamic forces, experiences and sensibilities dialed into pulsating, Pythagorean waveforms, giving color to the space in between. The only catch is we have to trust what we’re hearing is authentic. Whether it’s the tonal intention of a singer or the specific touch of an instrumentalist, the song has to move me in some way or else I’m changing the station. Authenticity is subjective to each listener where no authority exists, though goosebumps, tears, movement, lofty notions and inspiration have always been my litmus tests to playing something thrice or more.

Here’s a list of songs that have moved me in some way worthy of mention. Also, if you’re so moved, check out my album Sojourn of Burning Sun out on August 28. — Daniel Rodriguez

Bill Monroe – “Uncle Pen”

From what I hear, this song is Bill giving gratitude and paying tribute to his actual uncle, Pen [James Pendleton Vandiver]. Pen played the fiddle at family gatherings and inspired Bill to join the musical world. The song structure of “Uncle Pen,” though only a few chords, is kind of complex. It’s a jubilant song with a great melody and has those goosebumping, Appalachian harmonies that Bill and his band often showcased. Probably what I like most about the song is that it appears to skip a beat before the head of each verse. It happens during a G run directly after the chorus that impossibly lands at the head of the next section. Simple genius.

Gregory Alan Isakov – “Amsterdam”

I like pretty much all of Gregory’s songs and his recordings. Catching his band live or him solo is a remarkable experience. I’m lucky to call him a longtime friend and I keep my fandom of his music separate from that. Gregory paints imagery that is most times not specific, which leaves you, as a listener, more in an abstract state of mind. Yet he threads a powerful emotion throughout, which his voice and arrangements unavoidably invoke. He uses imagery of a woman often, which comes across as more a mythical character of the sacred feminine, rather than one of a romantic endeavor. This is apparent in “Amsterdam”: “That howling wind, she’s waving hi, her other hand’s in mine.” The song ascends towards the end in some epic way when Greg moves his voice up an octave and sings “Churches and trains, they all look the same to me now / They shoot you some place, while we ache to come home somehow.” Goosebumps to follow.

Bruce Springsteen – “Youngstown”

The Boss has never failed to paint us the pictures of the struggling American working class. Our popular culture seems to only highlight the celebrities and billionaires, and yet The Boss celebrates and sheds light on the untold stories of the common man, the backbone of our culture. His stories are always rich with the American story, full of its hypocrisies and triumphs. “Youngstown” paints a very real picture of the uphill and endless bogging down of industry and war. The arrangement has a suiting Americana feel, stripped down and intimate. The pedal steel and fiddle give an eerie voice to the emotion of the character in the story who sings, “My sweet Jenny, I’m sinking down, here darling in Youngstown.”

John Prine – “Lake Marie”

When John Prine passed on earlier this year I cried constantly for three days. I’ve been lucky enough to catch him live more than a few times at festivals that we both played. The authenticity in his delivery has healing properties that only a few possess. John touches on all the hidden sadnesses and joys of humanity, and gives color to the seemingly opaque hidden corners of the human condition. “Lake Marie” is a special song with all the ingredients: New love, tenured love, relationship struggles and cold-blooded murder. John delivers this story in a very light-hearted and humorous way. He speaks the verses and accentuates certain parts, which become vital to the song’s DNA. The chorus is maybe the best chorus ever written, beautiful and joyous, juxtaposed with a very brutal and tragic story.

Levon Helm – “The Mountain” (written by Steve Earle)

Just like any song that Levon sings of someone else’s, he makes it his own. That is very much the case with “The Mountain” by Steve Earle. Steve recorded a great version of this song with Del McCoury, but my favorite version is the one Levon sings. It’s about the coal industry brutalizing the natural wonder of a homeplace. Removing mountaintops from where once majestic mountains stood. Filling in swimming holes that you once could cool off from the summer’s heat within its cool mountain runoff. Levon brings you there to those mountains, and he takes you to that swimming hole, and then he shows you the pain of it being no more.

Gillian Welch – “Everything is Free”

When speaking of Gillian’s songs it would be prudent to also mention David Rawlings. The line is blurred when trying to understand who wrote what — and it’s fitting that their voices in harmony become an entity of grace and grit that is alive and well. “Everything Is Free” is a song that hits home for the majority of musicians and artists who are at large suffering in an age where the fruits of their labors are taken for granted. This is certainly reflected by our culture, which would ironically feel the worth of music in its absence. In regards to this, Gillian sings: “If there’s something that you wanna hear you can sing it yourself.”

Leon Bridges – “River”

I’m not a religious person, but I am spiritual. Even though Leon uses biblical terminology in this beautiful song of yearning, and being cleansed from your sins — it’s the intention of the song that shines through and transcends all the negative connotations that might come with organized religion. It’s the true Christian values that are evoked here, of actively wanting to become a better person. It sounds like it was recorded live around one mic in a big room and really captures a beautiful moment of music.

Bob Dylan – “Murder Most Foul”

Bob is my favorite artist and songwriter. I love all the phases of his expression. I don’t subscribe to picking a favorite era or compare everything he creates to what he produced in the 1960s. This brings us to “Murder Most Foul,” a recent release of his. It is a nearly seventeen-minute song that talks about the day and days that followed the assassination of John F. Kennedy. Bob beautifully describes this tragic and heightened moment in history, giving us a stream of consciousness of images peripherally and directly happening around the time of the assassination. The production of this song is very minimal which allows the lyrics to be absorbed and breathe.

Mandolin Orange – “Wildfire”

Growing up and residing in the hills of North Carolina, Mandolin Orange has lived and been more than aware of the culture that exists below the Mason-Dixon Line. Not buying into the rhetoric of those holding on to the nostalgia of the Confederacy, Mandolin Orange gives a historical and psychological look at the wildfire that unfortunately still is fueled today. “Wildfire” is a bit of medicine to us all, and carries a hope that some who might need the medicine most. Listen to this song that is served in the musical genre of its commonplace.

The Del McCoury Band – “Hot Wired” (written by Shawn Camp)

This song is a hoot. It’s very well-written, witty and might even spark a belly laugh or two. It talks about all the things the author’s girlfriend is capable of hot-wiring. My favorite lyric is “She might hot wire your Chevy, she might hot wire your Ford / And if she ever gets to Heaven she might hot wire the Lord.” Del breaks the bluegrass rules on this song and introduces an electric guitar after singing about his girlfriend hot-wiring his acoustic guitar to play like the “doggone Rolling Stones.”

Billie Holiday – “Strange Fruit” (written by Abel Meeropol)

This song is so powerful. Billie Holiday recorded it in 1939. The emotion and dynamics of her timing are delivered in a powerful and haunting way. The fruit that hangs from the trees is not fruit at all. [The song’s titular analogy references lynchings of Black folks.] It is perplexing to me that humanity can stoop so low to such an evil as to think one is inferior to another, where murder is rationalized within such a vitriolic mindset. In this specific case it is rationalized within the minds of pale complexion below the Mason-Dixon line. How those trees still stand and the fruit still hangs, though embedded within policy, social structures, the psychology of an unexamined people and history books with whole chapters missing. Music and song throughout time has been utilized to pass stories down and convey emotions. This is a song that passes down and conveys a traumatic truth; its shockwaves still crash on the shores of our everyday.

Josh Ritter – “Girl in the War”

This is one of my favorite songs. I’ve had the fortunate opportunity to play a bunch of shows with Josh and actually back him up on this song with my old band. I’ve heard him say in an interview that this song is about America. I’ll take his word for it. I’m not quite sure what the song is about myself, but I do know it’s a goosebumper. The recording of the song is stunning and I sure do like to play this song around the fire at gatherings.

Photo credit: Jesse Borrell

WATCH: Liz Simmons, “Who Knows Where the Time Goes”

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Artist: Liz Simmons
Hometown: Brattleboro, Vermont
Song: “Who Knows Where the Time Goes”
Album: Poets
Release Date: August 4, 2020 (single)
Label: Morgana Music

In Their Words: “I have known Sandy Denny’s ‘Who Knows Where the Time Goes’ (written circa 1967) since I was a teen and I’ve always loved it. It has that elusive poetic appeal in that it manages to say so much with very few words. There’s not much needed to preface it, as it speaks for itself so well in Sandy’s beautiful lyrics. I was raised steeped in the music of the folk revival, roots, and ’60s and ’70s rock ‘n’ roll, so it feels very fitting to have Pete Grant (Grateful Dead, the Incredible String Band) lend his beautiful pedal steel playing to my arrangement of this fittingly timeless song.” — Liz Simmons

Photo credit: Sid Ceaser

LISTEN: The Eagle Rock Gospel Singers, “Leave Town”

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Artist: The Eagle Rock Gospel Singers
Hometown: Los Angeles, California
Song: “Leave Town”
Album: I Will Rise
Release Date: TBD (2020)

From the Artist: “‘Leave Town’ is an anthem for the brokenhearted. It’s a cathartic crying out for a change. This song is about dealing with the emotional aftermath of a bad breakup and holding onto hope for a new beginning. Steeped in American roots music, the song is built on a foundation of foot stomps, hand claps, and good old-fashioned shouting. The fierce choruses are sung by a full choir. The pedal steel, organ, and 12-string guitars weave themselves into the song and set a backdrop for a mellow lead vocal on the verses. ‘Leave Town’ is about wanting to get away from anything familiar… including oneself.” — Will Wadsworth, The Eagle Rock Gospel Singers

Photo credit: Grant Westhoff

LISTEN: Sarah Lee Langford, “Growing Up”

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Artist: Sarah Lee Langford
Hometown: Birmingham, Alabama
Song: “Growing Up”
Album: Two Hearted Rounder
Album Release Date: November 8, 2019
Label: Cornelius Chapel Records

In Their Words: “‘Growing Up’ is borne not only out of huge changes in my life, but also of some friends grieving the loss of a child. It speaks of how people frequently don’t know how to relate to others when they’re in pain, and how we have to carry on and learn to thrive again in the face of adversity. Put those lyrics on top of minor chords, guitar twang, pedal steel from outer space, and a shuffle beat and you’ve got ‘Growing Up.’ Growing up ain’t for the weak, but it beats the alternative.” — Sarah Lee Langford

Photo credit: Brandon Brown

LISTEN: Staci Griesbach, “Blue Moon of Kentucky”

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Artist: Staci Griesbach
Hometown: Los Angeles, California
Song: “Blue Moon of Kentucky”
Album: My Patsy Cline Songbook

In Their Words: “This classic country staple from Bill Monroe is one that has been covered by so many artists, we wanted to really take it in a new direction by adding more of a funk beat to it. The tempo and groove allow for the musicians to really dig in, and whenever I’m listening back to this, I find myself in the groove completely. Michele Weir helped me with the arrangement and first we started with the bass line. I knew I wanted something funky, but also that we could incorporate pedal steel, guitar and fiddle. Once we had that groove established with the bass line, we knew we had it.

“As I’m thinking about it, it could also be fun to do a little traditional bluegrass feel up front and then go into the funk or vice versa for the solos. Perhaps that’s something I’ll think about for the live performances. Again, to me, a good song can present a playground for many interpretations and that’s the joy of creativity right there at its purest form.” — Staci Griesbach

Photo credit: Kim Thiel

MIXTAPE: Lloyd Green & Jay Dee Maness’s Steely History

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Fifty years ago, the Byrds set out on an ambitious path to deeper explore the country music they had flirted with on previous records with Sweetheart of the Rodeo. In addition to introducing Gram Parsons to a larger audience, it was the first country-rock record to be recorded by an established rock act. The record continues to open the eyes of new generations to country music. Recorded in March of 1968 in Nashville, Tennessee, and April of the same year in Los Angeles, California, the original record utilized the amazing steel guitar talents of Lloyd Green (Nashville) and Jay Dee Maness (L.A.), both established session musicians. The freshness of their playing added not only an authenticity to the sessions, but opened the eyes of a whole new audience to the sound of the pedal steel guitar.

Now, 50 years later, the original steel guitarists have reunited to make a stunning instrumental tribute to this ground-breaking record. Over the intervening decades, the two masters have played on countless songs. Here are some of their favorites.

LLOYD GREEN

Warner Mack — “The Bridge Washed Out”

Owen Bradley, the producer, did not want to use me since he didn’t know me nor my capabilities. He insisted on Pete Drake, who Warner said could not possibly play this new idea and sound I had discovered. Owen reluctantly let me be on the session, and it became Warner Mack’s first and only number one record, for which Owen Bradley then took credit, telling people that he knew they had a hit with my sound on that record. It was my career-launching recording.

Tammy Wynette — “D-I-V-O-R-C-E”

Producer Billy Sherrill heard me doodling with a new sound I had discovered, recognized its uniqueness, and told me that was going to be the signature of the song. It was and quickly became a number one record for Tammy, where I introduced the last remaining missing component of the E9th commercial tuning heard on most records which had remained unknown — the E to F pedal change. It now is part of our tuning on all steel guitars which use the commercial E9th neck.

Freddie Hart — “Easy Loving”

George Richey had gotten in an argument with Freddie about how we should record this song and, wisely, went outside for a smoke and to cool off. So Charlie McCoy, Billy Sanford, and I said, “Let’s cut this damn thing,” which we did in two takes. Richey came back in and asked if we were ready to cut it, but I told him we already had. He listened with a bored look on his face and said, “Sounds okay, next song.” Little did he know we had just cut Freddie’s career song which sold around two million copies and became a number one, and also became one of only three records to ever become the Country Music Association’s Song of the Year two years in a row, in 1971 and 1972.

Gene Watson — “Farewell Party”

We had recorded Gene’s new Capitol album but lacked one more song to complete the music. Having but 10 minutes left in the session, both Gene and his producer, Russ Reeder, came over to me and asked if I would just do an intro and a solo in the middle real quickly so they could finish the album and not have to pay the musicians overtime. I did. We cut the song in one take and left for our next sessions. While not becoming a number one record for Gene, it quickly became his most famous recording and he even named his band Farewell Party. The song became a cult favorite among steel guitar players around the world.

Alan Jackson — “Remember When” 

Keith Stegall, Alan’s producer, called me when he heard I was coming out of a 15-year retirement to again record, asking me to cut with Alan Jackson. It was my first time back in the recording studio. On the session, Alan told me his favorite steel solo of all time was what I played on “Farewell Party.” He asked me to give him another “Farewell Party” solo. The song, of course, went to number one, like all of Alan’s records and, ironically, became the last major country music record with a significant 16-bar solo. Steel is no longer featured on most big recordings.

Leslie Tom — “Hey Good Lookin'”

“Hey, Good Lookin'” is a Hank Williams song I’ve played since the age of 13 or 14 in the bars and clubs in Mobile, Alabama. I can still play it exactly like Don Helms recorded it back on non-pedal steel guitar in 1951 with Hank. But … I only honored him with some key phrases on this modern Leslie Tom recording. My entire recording career has been built around creating sounds, not imitating others. Leslie’s version, while also honoring Hank, has a bit more swing and sizzle to it, so that’s the direction I went. It is really good, and I am honored to get to record with such a talented, beautiful lady. Leslie sings it with fervor and an obvious love for Hank Williams’ music.

JAY DEE MANESS

Gram Parsons — “Blue Eyes”

I got a call to work on an album called International Submarine Band with Gram Parsons. When I got to the studio, I found out that Glen Campbell would be playing acoustic rhythm guitar. This was my first encounter with both Gram and Glen. In addition to myself on steel, the album had Jon Corneal on drums, Joe Osborn on bass, and Earl Ball on piano. This album was produced by Suzi Jane Hokom. The album was eventually released in 1968, after the group ceased to exist. Some might say this was a precursor to the Sweetheart of the Rodeo album.

Ray Stevens — “Misty”

In 1974, I was lucky enough to record in Nashville on a song called “Misty” with Ray Stevens. Shortly after the session, I moved my family back to Los Angeles. One day, Ray called and said he had been nominated for a Grammy for “Misty,” and asked if I wanted to play on the Grammy Awards. Of course, I said yes. I was thrilled to get to play the Grammys on national TV with Ray Stevens. During rehearsal, all went well. Once it was our turn to be on stage — live — and it came time for my “solo,” I broke the third string on my steel guitar. This string is very important to the sound of the solo so, on national TV, and I had to “fake” it. This was a very embarrassing moment.

Eddie Rabbit — “Every Which Way but Loose”

In 1978, I received a call to do the soundtrack and had a bit part in the movie Every Which Way but Loose, which was produced by Clint Eastwood. All the bar scenes were being filmed at the Palomino Club, so Clint decided to use the house band in the movie. I had already received the call to do the soundtrack and to play with Eddie Rabbit on the title song and to play on Mel Tillis’s “Send Me Down to Tucson.” Soon enough, I was called to do the Any Which Way You Can soundtrack, too. In addition to the soundtrack, I was able to play with Shelly West and David Frizzell on “You’re the Reason God Made Oklahoma.” I also had the opportunity to work on “Bar Room Buddies,” sung by Clint Eastwood and Fats Domino.

Anne Murray — “Could I Have This Dance”

I had the privilege of working with Anne Murray on her hit song “Could I Have This Dance” which was produced by Jim Ed Norman. “Could I Have This Dance” was also in the Urban Cowboy movie and soundtrack. Later on, I got a call late one evening from Jim Ed Norman asking if I could come over to his studio after my gig at the world famous Palomino Club. He said, “I have a record for you.” I thought it was a copy of the album which had the tune on it. When I got to the studio, he presented me with a platinum record of “Could I Have This Dance” from the Let’s Keep It That Way album to hang on my wall. This was the first of many albums from various artists that I now have on my wall.

Eric Clapton — “Tears in Heaven”

When I got to the studio to record with Eric Clapton, I was told Eric was not feeling well and could I come back the next day. The next day, I came back and started recording. We took all day to record Eric’s song called “Tears in Heaven.” I was packing up my steel guitar, when Eric came out into the studio and said, “I would like you to play the solo.” That’s when I got scared. I played the solo (melody) on the steel and, after I left, Eric put the harmony part on top of my melody. “Tears in Heaven” became a number one hit for him. I feel very privileged to have played on it.

Photo credit: John Macy

Soundscapes for the Silver Screen: A Conversation with Steelism

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Most music, to varying degrees, conveys a cinematic quality, but for pedal steel player Spencer Cullum and guitarist Jeremy Fetzer — aka the instrumental duo Steelism — their new album ism sweeps across vast film terrain. Influenced by legendary composers like France’s Serge Gainsbourg and Italy’s Ennio Morricone, among an array of classic soundtracks, Steelism’s latest offers listeners a journey through movie genres grounded in and through geographies. Both players are based in Nashville, where they recorded the album, but their travels clearly influenced the resulting soundscapes they explore on their follow-up to 2014’s 615 to Fame. Consider it the soundtrack (of sorts) to a film epic spanning decades, settings, and styles.

Cullum and Fetzer began Steelism after meeting in late 2010 during singer Caitlin Rose’s U.K. tour. Their name came from the fusion of their primary instruments, which both put to use in refreshing ways on ism, pushing past the traditional ideas surrounding each one and fusing a new relationship to the silver screen in listeners’ minds. “Shake Your Heel,” featuring Tristen, conveys the whimsy of a ‘60s British comedy while “Anthem” begins with the forlorn meditation film director Sam Mendes might employ before suddenly shifting into the rippling guitar of a heat-saddled California desert scene. What unites these seemingly disparate threads sits at the nexus of a robust visual sensibility and a lively sense of experimentation. Then, too, there’s the fact that Cullum and Fetzer just so happened to begin recording ism the day after Donald Trump’s election. In an effort to break past the heavy feeling pervading Nashville, they set about chasing a feeling that is emotive, expansive, and vibrant. As a result, their sophomore album offers listeners what many a movie offers viewers: a certain kind of escape-ism.

Let’s talk about the title. You’ve equated ism with bringing together colors and tones like a mid-century modern design, and so the word “prism” springs to mind. But I’m more curious about “ism” as a belief system or ideology. Does that play into the album’s themes in any way?

Jeremy Fetzer: We started recording the day after the election so I think, for all of us, it became an escape, and we did some soul-searching as we recorded the record. So it became our thing that our “ism” was Steelism.

Spencer Cullum: I think recording after the election — and me as an immigrant being rather terrified — there was more feeling involved. I think it helped us, beforehand, having everything demoed and worked out, and then we go in after this terrible election and add a feeling of terrified emotion to it. [Laughs]

JF: I remember driving to the coffee shop the morning after the results, and it looked like everyone was crying. We set up our gear in the studio and were like, “Okay, happy days. Here we go.”

And what does Steelism as an idea or spirit mean to you?

JF: Steelism came out of a lighthearted place where the sidemen rose to the center and removed the leader/singer from the equation. It’s been our way of disregarding the modern music industry norms and seeing how far we can take this project that we all really enjoy.

The cover art especially evokes this ‘70s palette, and you’ve referenced soundtracks from that decade as a particular influence. What is it about the era that inspired you?

JF: I think, with our last record, it had more of a throwback ‘60s sound and, to me, that sounded more black and white. We wanted this to be very hi-fi and colorful, sonically. It’s definitely inspired by ‘70s film soundtracks and Brian Eno productions from the ‘70s, so we wanted that to be part of the cover.

It’s incredibly colorful. On “Shake Your Heel,” you tap into this Italy vibe that reminded me of actor Marcello Mastroianni’s movies and then, on the very next song, “Anthem,” you’re suddenly in the California desert a la Marty Stuart. Was it less about playing with genres and more about playing with geographies?

SC: Yeah, I think it has a lot to do with that, especially with soundscapes of imagining a certain place. There was one song that we wrote called “Let It Brew,” which reminds me of where I used to grow up in the countryside — west coast of England. Every song definitely has a place of where we’ve traveled and how that influenced us.

JF: Right. It’s almost our attempt to create this visual landscape, where it’s like you’re taking a trip with Steelism.

That absolutely comes across in the album. At the same time, it’s undeniably cinematic. You’ve said elsewhere that composers like Serge Gainsbourg and Ennio Morricone influenced you both. What have you learned from them?

JF: So much of their stuff, it’s over the top and dramatic, but it’s also quirky and eccentric. It’s melodic. I think you can hear someone whistling one of their tunes in the grocery store, but then it’s also cinematic and huge in a movie theatre, so it’s trying to achieve both of those things: a pop sensibility and this dramatic landscape that you’re creating.

Do you ever hope to score some day?

JF: Absolutely. I was thinking about that more and more because, in the ‘60s and ‘70s, there were original soundtracks, but nowadays when that happens, it’s rarely ever bands; it’s usually more orchestral, or they’ll have a Trent Reznor soundscape. It’s very rare that there’s original band-style music for films these days.

Right, it seems more common to see an original song added to a soundtrack or score.

JF: Or music supervisors get a bunch of old songs, like a playlist.

So what director would you love to work with?

JF: I listened to a podcast just this morning with Sofia Coppola, and we’re both huge fans of The Virgin Suicides with Air on the soundtrack.

If you had to ascribe your album to a movie genre, what would it fall under?

SC: That’s a good one.

JF: Some sort of twisted English spy movie, where they fly to America and end up in the desert.

Oh absolutely, but then there’s got to be some kind of Italian villain in there.

JF: Absolutely. Then there’s a layover in Nashville, where they pick up a telecaster for some reason, but it doesn’t totally make sense.

SC: Yeah with the ending in Berlin, sort of vibe.

JF: Yeah, we go to Germany, too, that’s true.

What do you find so edifying about Nashville?

JF: We’ve both lived here for a while now; I’ve been here for about 12 years, and Spencer how long have you been here?

SC: About seven years.

JF: We both started our careers here as professional musicians, and we’ve seen the city evolve with growing pains, and we’ve both joked about moving away, but I say we’ve come to this point where we love it here and we’ve taken it in. With this record, we wanted to put the whole city into it. We made the whole thing at the same studio in Nashville, and everyone involved with the project lives here.

Right, you tapped Tristen and Ruby Amanfu, such gorgeous vocalists, to come in and heighten what you’ve already created. Do you have a bucket list about who you’ve love to work with?

SC: There’s a big list.

JF: It’s ongoing. I hope we can make enough records to work with everyone we want to.

Do you see it being pretty Nashville-specific?

JF: As far as Nashville people, we’re big fans of Kurt Wagner from Lampchop, but with each record, we definitely want to do something different. Maybe the next one we’ll do in England or something. We have no idea yet. And we’ve joked about doing a record where we don’t play guitar or steel on it.

Actually, your sound seems so ripe for a concept album. Have you considered that direction, as well?

JF: Absolutely.

SC: Oh yeah.

JF: It’ll be a triple album.

SC: The goal is working toward our triple album concept album where we just completely have our head up our ass and turn into late ‘70s prog idiots. [Laughs]

There are these statistics surrounding Nashville showing 80 people moving there a day. How have you handled that influx?

JF: I think it’s creating more work and opportunity, but we’re getting more crowded. I live a little farther away than in the shit downtown.

Flashing back to the origins of this duo, how did you know this was going to be a more substantial project than just two musicians getting together and jamming?

SC: We were touring so much with Caitlin — three months straight and then 11 months off. We recorded an EP together, and enjoyed it so much it became the monster.

JF: Yeah, we did an EP as a test run just to feel it out and then, when we started to play shows, people were into it. We found that people weren’t really missing the singer, so we kept it going.

Steelism, ‘Lonely Game’

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Instrumental music is sometimes approached with hesitation: Will it move me as much as a song with lyrics? Will it be catchy or interesting? And will it be — crime of all crimes, no doubt — boring? Thing is, to those really listening, songs without words can be transporting in ways that others can’t. They force you to let something more primal take over your emotions and to become in touch with those deeper senses that pick up on the subconscious: The strings of a guitar can speak just as much as a string of sentences, but it can often be in code. You have to surrender yourself to the language of the instrument, and then let the message float — or riff — its way on in.

Steelism — guitarist Jeremy Fetzer and steel guitarist Spencer Cullum, Jr. — made lyrics seem almost extraneous on their debut LP, 615 to Fame, which stood alone as one of the most creative, virtuosic endeavors into the instrumental canon of late, never borrowing too heavily from the intellectual column in favor of fun. On 615 to Fame, the duo certainly earned the right to proceed forever without the help of singers, which is part of what makes the follow-up, Ism, so enjoyable: When lyrics are an addition, not a necessity, they take on a whole new magic. And “Lonely Game,” featuring vocals from Jessie Baylin and Andrew Combs, is indeed magical. Baylin and Combs (who wrote the words to Fetzer and Cullum’s music) are two of the best vocalists around — not only in their capabilities, but in sheer, gorgeous tones — and their push-pull around Steelism’s freewheeling playing is the perfect fix to something that was never broken to begin with. “Love gone wrong’s a lonely game,” Baylin and Combs sing together, before a solo meanders away to tell the rest of the story.