Why has it taken so long for sacred steel to become well known to the general public?
It really has to do with the history of the church we were in. Like a lot of churches, our church didn’t like the idea of their musicians going outside the congregations. It was that way for years, but eventually other people did start to learn about the church. That’s when some of the sacred steel guys started playing to secular audiences—people like Aubrey Ghent and Calvin Cooke and Chuck Campbell and Phil Campbell. When I came along, I wanted to take it completely into the mainstream. What advice have the veteran players given you? Calvin has given me lots of advice about tone. He says playing pedal steel should be like squeezing an orange. You want to get that last drop of juice, and make the notes talk. Pedal steel has such a big voice, you don’t have to play too many notes. Calvin was also the first rock and roll kind of guy in the sacred steel world. He played with distortion and used wah pedals and things like that. That had a big influence on me. Does that also relate to the i
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