The eMusic Dozen: Pedal Steel

An old-school Nashville veteran who has appeared on hundreds of albums by country stars (plus occasionally crossing over into pop territory), Green recorded this instrumental disc's 20 tracks in the '60s while working with Johnny Paycheck, the biggest name on the Little Darlin' Records roster. They demonstrate his fundamental mastery of the twangy pedal steel style that has been a hallmark of classic country and honky-tonk music for half a century. Green's playing is so fluid and smooth that he makes the delicate and demanding task of a pedal steel player seem effortless.

Pierce was among the top hitmakers of the '50s, and these 21 tracks attest to the timeless quality of his material, rendered lovingly and expertly by artists ranging from Charley Pride to BR549 to Joy Lynn White to George Jones. Pierce's classic honky-tonk style leaned heavily toward the twang of pedal steel, and these versions reflect that -- especially Mandy Barnett's show-stopping rendition of "Slowly," which was the first major country hit to feature pedal steel back in 1954.

Not really a greatest-hits collection, this diverse gathering of Cline material serves instead as a sort of broad overview of her all-too-brief career, covering everything from breathtaking balladry to rhythmic rockabilly to bold-and-brash blues. There's also plenty of country: "Honky Tonk Merry-Go-Round" offers a textbook lesson on the interaction of pedal steel, fiddle and piano, and the landmark title track features a pedal steel intro that has become indelibly ingrained in pop music history.

Through his continuing work with torch-country chanteuse Neko Case and his previous tenure with honky-tonkers Grievous Angels, Jon Rauhouse has become one of the indie roots scene's most respected and accomplished steel players. Steel Guitar Rodeo, his second album under his own name, further demonstrates he can be more than a supporting player. With instrumental help from the likes of Tommy Connell, Tom Ray, and a few members of Calexico, plus vocal cameos from Case (on the classic movie tune "River Of No Return"), Kelly Hogan, Carolyn Mark and Sally Timms, Rauhouse crafts a rewarding, enjoyable record that reflects both his stylistic range of his playing and his exquisite taste in material.

What was meant to be a deeply felt affirmation of his country roots instead became Sahm's swan song when he died of a heart attack shortly after its completion. Renowned for his ability to assimilate all manner of traditional genres, from rock to blues to conjunto to folk, Sahm excelled in country too, as this collection joyously attests. Co-produced by pedal steel guitarist Tommy Detamore, it's drenched heavily in that signature steel sound, ringing throughout with true Texas tone and twang.

Though this album was recorded in 2002, its style is very much of a piece with Price's '60s heyday, when he reigned over the country charts with classic honky-tonk boot-scooters and pop-leaning countrypolitan ballads. For the sessions, he reconvened many of the same musicians who accompanied him back then -- most notably legendary pedal steel guitarist Buddy Emmons, whose swooning and keening leads provide many of the album's most memorable instrumental moments (on tracks such as "Take Back Your Old Love Letters" and "No One But You").

Of this California pedal steel ace's several solo instrumental albums, this is probably the most universally appealing and musically interesting effort. Most of the Fab Four songs are instantly familiar, yet they sound so strikingly recast by virtue of the pedal steel's distinctive flair for melody that they carry a creative impact. Best of the bunch is "I'm Only Sleeping," though Goldmark also delves into less-traveled Beatles tracks such as "Awaiting On You All" and "Baby's In Black."

Many of the alternative-country bands in the mid-to-late '90s were less concerned with the "alternative" side of the equation than with the classic sounds of country that had gone missing from mainstream radio. The Star Room Boys were among the best of these revivalists; singer Dave Marr was a natural, and they had an ace-in-the-hole with pedal steel whiz John Neff, who decorated the band's repertoire with remarkable reels and runs that worked within the structure of the songs rather than dominating them.

Texas honky-tonker Watson writes original songs modeled pointedly on the predecessors he admires, and his Haggard-esque voice serves as a perfect vehicle for performing them. He's helped in no small part by a first-class backing cast; among this album's accompanists is pedal steel great Ralph Mooney, who played on some of Merle's early hits. Watson's touring-band steel man, Don Pawlak, appears on several cuts as well and proves to be a masterful picker in his own right.

No other pedal steel guitarist has taken the instrument as far away from traditional country territory, and on such high-profile projects, as has Englishman B.J. Cole, who has played on albums by the likes of Sting, Everything But the Girl, Spiritualized and even Depeche Mode. Cole pushes the steel toward its outer limits on this fascinatingly adventurous instrumental excursion, creating soundscapes that could make you completely forget pedal steel ever had anything to do with country music.