Meeting in January 1989, just preceding the Stones' induction into the Rock and Roll Hall of Fame, the chemistry between Jagger and Richards easily outshone whatever differences they had,[citation needed] and after composing some 50 songs in a matter of weeks, Ronnie Wood, Wyman and Charlie Watts were called in to begin recording what would become Steel Wheels, beckoning Undercover co-producer Chris Kimsey to perform the same role.
Whether at a joyous summer festival, in their many shows across the country and beyond, or in the studio,The Steel Wheels continue their mission set out over a decade ago; shaking up traditions to see what sticks, telling stories, and joining communities through song.
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Southern Songs and Stories is a documentary series about the music of the South and the artists who make it. We showcase their performances and discover the stories behind their songs with a look at their lives on stage, in the studio and at home as well as the family, friends, fans and music professionals around them.
C&I: Are there any other stories about how other songs on the album came together?
Wagler: I wrote with percussion in mind so much more this time, so in my initial demo recordings I would often overdub some rough drum loops that get some start for what I was hearing. Luckily Kevin could see through those underwhelming starts and bring in something really cool and specific to each song.
The year 2021 closes a chapter for The Steel Wheels, as founding member and bass player Brian Dickel moves on from touring in order to take over for Jeff Huss as co-owner of Huss and Dalton Guitars. The band will be joined by bassist Derek Kratzer, a longtime friend and musical collaborator, to continue the mission set out over a decade ago, shaking up traditions to see what sticks, telling stories, and joining communities through song.
Hello fellow enthusiasts, I haven't posted here and am unclear if this is the correct section to do so; feel free to move it.
I've been trying to learn Scrape Me Off the Ceiling by The Steel Wheels and am running into trouble with the right hand technique. I've only been playing around a year and have stuck to standard "bum ditty" for just about everything, so the syncopated sound of the song is proving hard to grasp. Looks like he's using drop thumb. I haven't done anything with drop thumb really but I can't replicate the rhythm just experimenting. Obviously im not expecting someone to TAB it out for me but if anyone has some advice, can explain some of what's happening, or point me towards any resources that would cover the technique I would surely appreciate the help.
If anyone wants to give it a shot, here's what ive got so far. I know he's playing in double C tuning (gCGCD), and is in the key of C. Chords are C G Am G F C for the verses, G and F for the... bridge? I guess thats what you'd call that. I'm not sure how I'd explain the riffy bit in the intro and that repeats throughout the song, but it's easy enough up until the G chord. That's where I get stuck.
youtube.com/watch?v=1WTjDjAxsFk
also, yes everything I have so far is from watching that video at half speed. Originally I was a classical clarinetist, I'm much more comfortable reading music than watching someone else and knowing what's happening. After a week of repeatedly watching and not gleaning anything new, I figured it was time to try asking my superiors for advice. This is the first song I've tried to learn this way, its a learning experience in itself.
Now that we have released Over The Trees my drumset has grown to accommodate the new songs. I have an aludu udu drum by Valter under my ride, and a calabash to my right so I can play hand drum rhythms with my kit parts. I also have a keyboard on my left next to the hi-hat. I play sounds that are close to what I tracked on mallet keyboards, and some of the piano and keys parts Kassirer laid down as well. It has been a lot of fun getting the new songs ready for performance. googletag.cmd.push(function() { googletag.defineSlot( '/134312942/MOD_ROS_DES_MPU', [300, 250], 'ad_300_250_5' ).addService(googletag.pubads()); });Advertisement googletag.cmd.push(function() { googletag.display('ad_300_250_5'); });
He believes this is themission statement for a songwriter. It hangs there as a reminder of this roleand translated well as the album artwork. This project-turned-album distilledthat principle down in a new dynamic way, delivering stories of shared humanityin a moment of separation and polarization. As Guthrie did the Dust Bowl Ballads, The Steel Wheelsfeel the project became a bit of an oral history project, telling stories of astruggle that point to a time in history.
The year 2021 closed a chapter for The Steel Wheels, as founding member and bass player Brian Dickel moved on from touring in order to take over for Jeff Huss as co-owner of Huss and Dalton Guitars. The band is joined by bassist Derek Kratzer, a longtime friend and musical collaborator, to continue the mission set out over a decade ago; shaking up traditions to see what sticks, telling stories, and joining communities through song.
Like we said earlier, there is some filler on the record. After track five ends, I caught myself losing interest in hearing the majority of the other tracks. From here, I tend to press the skip button a couple of times. This is definitely a front-loaded album. The basis of the good songs lie at the forefront. Once you pass that, the momentum seems to slowly disappear, making a musical imprint short lived. But in the long term, this is an album that shines in its diversity. Although this is a good thing, the fact that this would end up being their 22nd album release is a factor that may prevent this album from truly being the brightest star in their gigantic number of albums. But hey, if you keep an open mind, small thoughts like their discography length should not matter.
(E-mail me at countdownkid@hotmail.com or follow me on Twitter @JimBeviglia. For a more in-depth look at the songs of the Stones, check out my new book Counting Down The Rolling Stones: Their 100 Finest Songs, available now via the link below or at all major online booksellers.)
They've performed since 2005 with albums as The Steel Wheels and earlier recordings under Trent Wagler's name. Most recently, The Steel Wheels produced albums for their "Everyone a Song" project composed of songs commissioned by fans and an accompanying podcast, "We Made You A Song."
The set list represented just about every Stones era, from early blues covers (Willie Dixon's "Little Red Rooster" from back in 1964) to psychedelic experimentation ("2000 Light Years From Home") to country rock ("Dead Flowers") and even some '80s material ("Undercover of the Night"). Richards gave Jagger a break down the stretch by fronting the band for a couple of his own songs ("Happy" and "Before They Make Me Run") before Jagger returned to take it home with wall-to-wall hits ("Brown Sugar," "Satisfaction," etc.).
Whether at a joyous summer festival, in their many shows across the country and beyond, or in
the studio, The Steel Wheels continue their mission set out over a decade ago; shaking up
traditions to see what sticks, telling stories, and joining communities through song.
"Yeah, we get that sometimes," says Trent Wagler, Steel Wheels' lead singer and primary songwriter. "We were aware of that album, and the question did follow us around a bit, but if there are any similarities, it would be only in the area of taking old styles of music and making them into something new.
Occasionally compared by fans to Old Crow Medicine Show, The Avett Brothers and The Legendary Shack Shakers, Steel Wheels does mostly original songs, but throws in occasional cover versions of songs that have included Tom Waits' "Walk Away" and John Hartford's "First Girl I Loved."
"When it feels right and we think we can add something to a song, we'll do one, even while about 95 percent of our material is our own," Wagler says. "We've also been known to do stuff by The Band and by Cake.
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