Speedy West "Steel Guitar" 1960

                In both its pedal and non-pedal forms, steel guitar is one of my favorite instruments.  It’s a highly emotional instrument with very few limits.  While many instruments (such as horns) are limited to single notes, steel guitars can play single note melodies, double note harmonies, and full complex chords.  Notes can also be slid into, and volume and tone (thanks to electricity) can be altered to great effect.  Speedy West makes use of every sound imaginable from this amazing instrument.  He also creates sounds that are other worldly and downright weird.  If you are looking for a record that contains only pleasant background steel guitar playing, then “Steel Guitar” is not your record.  If you are looking for a record with playing that is fun, playful, strange, bombastic, innovative, and smile inducing, then “Steel Guitar” is your record. 

                “Speedin’ West” starts things off with a vivacious beat and some fancy twin lead playing.  I would be interested in talking to Speedy to see what kind of emotion he was trying to express in this song.  There is a playful, cartoon jubilance that bounces straight off this song into your ears.  The solos are about as zany as you can get.  You might be fooled into thinking Speedy was just messing around if the things he came up with weren’t so difficult to play and express.  If you tried to convey what Speedy plays with only words and facial expressions, it would be extremely difficult.  Either that or people would think you are a delightful maniac. 

                There is a lumbering exotic vibe to “West of Samoa.”  A slippery low guitar, which descends like a boa constrictor down a tree, sets the tone.  In the background, birdcalls (an Exotica staple) are created by an electric guitar.  It’s only an approximation of a birdcall, which makes it sound that much stranger.  The main melody is a wonderful Hawaiian tune that drips with humidity.  It’s lazy, breezy, and calm.  Back and forth, the two parts of the song alternate between the dark and the daylight.  It’s the perfect mix of eeriness and beauty. 

                It is important to recognize the work of Jimmy Bryant, who plays guitar on this album as well.  Not doing so would be like not mentioning Art Garfunkel when you talk about Paul Simon, or Billy Strayhorn when you talk about Duke Ellington.  Speedy and Jimmy were musical partners and pushed each other on their respective instruments.  Jimmy incorporated a lot of Be-Bop into his country licks.  He was also the first guitarist to kill it on the Telecaster.  This guy absolutely rips, and his Telecaster really gave him as distinctive tone compared to other jazz and country players of the day.  Take a song like “Caffeine Patrol.”  Jimmy trades solos with Speedy, and starts with some lyrical and catchy playing that experiments with wide intervals between notes.  In his second break, he pulls out some straight up Charlie Parker Bop, that sounds like a line of freshly blown bubbles popping in succession.   

                Other highlights on this album include “This Ain’t the Blues,” which has Speedy creating some vocal like effects on the steel.  As I listen to this song, the sounds (which I love) remind me of my high school Spanish class (which I loathed.)  I remember my teacher showing us how to “roll our R’s” with our tongues.  Speedy actually creates a similar sound as he plays the melody.  “Stealin’ the Moonlight” is a slow moving beauty with some juicy triplets that keeps things interesting.  This is exactly the song you (as in me) would want to hear at 1:30 in the morning at a smoky bar.  Also, pay attention to Jimmy Bryant’s dazzling guitar lick at the very end of the song.

Tones:  Picture the craziest Psychedelic 60’s album cover you can imagine.  That is what Speedy’s playing sounds like to me.  He is able to create some of the most out there tones on the steel guitar that I have ever encountered.  Sometimes it sounds like a synthesizer, and sometimes it sounds like a squirt of water in the face. He also gets some great wah wah sounds by playing with his tone control.  It’s not all weird though; he can also rein it in and play sweetly and elegantly. 

Cover note:  Lots of steel guitars!  Did I mention I like the look of steel guitars as well?  They are so simple, sleek and clean.  I count at least 18 (some are just pieces though) on the cover.  I like the purple one to the left of Speedy’s head best. 

Price Paid:  $1 or $2 at a record show at the fairgrounds.  It did not have an inner sleeve, but it looked like it was in good condition (which it was.)  I had never heard of Speedy, I just knew I liked steel guitars, and his name sounded awesome (which it is.)  It is one of my great pleasures in life to be able to try new music on vinyl for small amounts of money.  Some are duds, but then you find fun stuff like this.  What a joy!

Bottom line.  Good for people who like Country, Jazz, Texas Swing, Hawaiian, Exotica, and novelty music.  It’s the kind of record that you can play for your family because it’s fun on a superficial level.  They can be diggin’ how fun it sounds, but you can be grooving on all the cool technical stuff Speedy and Jimmy play.  Not only that, you can point out all of the amazing musicianship to your buddies who are music lovers like you.  $3, $4, or $5 would be a nice asking price. One more thing, this is not a stereo recording.  It plays in glorious mono!