Cary C. Banks

When did you start playing the guitar?

I began playing on an old pawn shop impossible-to-fret Silvertone archtop acoustic, but quickly graduated to a worn out easier-to-play pawn shop Telecaster with only one good pickup. I began playing the guitar at age 14. A couple of years later my aunt gave me her old upright piano. I began to try to take what I had learned on the guitar and transfer it to the keyboard. That was in 1964.

Who are some of your greatest influences?

Without a doubt my first biggest influence was the Beatles. Later, I was inspired to write songs by Jim Webb (MacArthur Park, By the Time I Get to Phoenix). I was also influenced by guitarists Andres Segovia, Glen Campbell and Chet Atkins; keyboardists Webb and Randy Newman and country session pianist Pig Robbins.

Are you self-taught?

I am for the most part a self-taught player. Growing up in the Church of Christ, I developed an ear for harmony. I played drums in my high school band and taught myself to read music. I had a few guitar lessons when I first began but most everything I have learned I picked up from watching and listening to other musicians.

Do you use any particular tuning?

As a guitar player, I frequently use dropped D tuning on the guitar. Occasionally, I use an open D tuning (D-A-D-F#-A-D) or an open G tuning (D-G-D-G-B-D).

Do you feel it is necessary to read music to become a great player?

As a self-taught musician, I learned to read music just well enough to get by. I believe in today's market it is essential that every musician be able to read with some degree of proficiency, especially rhythms. I believe it is necessary that musicians be able to read standard notation, Nashville number charts and letter charts. While being able to read music is not a prerequisite to becoming a great player, in today's market, the more skills you possess, the better your chance of working.

What was the most difficult thing to learn about playing your instrument?

I began as a guitar player and later taught myself to play piano, bass and drums. The hardest part of becoming skilled on any instrument, for me, was learning to play in time. Piano was particularly difficult because both hands play separate rhythms at the same time. I believe the key to learning to play in time is working with a metronome and not trying to "play above your head."

What is a technique that you feel is essential?

As an instrumentalist, it is essential to develop a smooth relaxed approach to playing. Every note produced on your instrument should have the same timbre and rich tonality, from the lowest to the highest note, in any tempo, or while using a strong or soft attack. This can only be achieved by endless hours of scales, arpeggios and working with and listening to other musicians. It also helps to find the right instrument for your particular playing style.

How does the equipment you now use compare with what you have used in the past?

I started out on and old Silvertone arch top acoustic guitar. Over the years I've owned a Les Paul (still have it) Epiphone, Gibson 335, Telecaster, Stratocaster, Martin D-10 acoustic, Guild acoustic, and Yamaha classical guitar. Keyboard wise I've had a Fender Rhodes, Wurlitzer Electric Piano, Yamaha CP-70 (which sent me to the chiropractor many times), Yamaha DX7 synthesizer (which has been all over the world "taken a lickin' and kept on tickin'") and my latest keyboard a Kurzweil PC88. I wish I still had my Fender Twin Reverb and Blond Telecaster. I'm glad to be rid of my Yamaha CP70 electric Grand and Ensoniq ESQ1 Keyboard. I'm glad technology has enabled keyboardists to compete on stage with guitarists, without having to haul around tons of equipment (Leslie Speaker, grant keyboards,ect.) like we used to . It is ironic that with all the technology and inter-facing MIDI whistle and Bells Keyboards, what most piano players like me want is an electronic keyboard that sounds and feels like a "real acoustic piano"! I believe one of the draw backs of modern technological advances is that younger players are relying more on gimmicks and gadgets and failing to really learn the basics of playing "in tune and in time"!

What do you consider your greatest experience as a musician?

I suppose my greatest experience as a musician has been my work with the Maines Brothers Band. We experienced some sublime moments on stage - opening for Alabama, touring with Barbara Mandrell, playing at the Kerrville folk festival, touring Switzerland and having a top-20 single on Mercury Records.

I've personally had some wonderful moments on stage with Bo Diddley, Lee Roy Parnell, Joe Ely, Linda Ronstadt, Johnny Gimble, Johnny Ray Watson , Carl Perkins, Johnny Cash, Jerry Lee Lewis, Johnny Paycheck, Lynn Anderson, Tom T. Hall, and singing "Will The Circle Be Unbroken" (on the Mercury Records showcase in Nashville fan fair) with Kathy Mattea.

I really enjoyed filming Austin City Limits, Nashville Now, The Texas Connection and Being part of the house band at the West Texas Rehab Telethon in Abilene, Texas.

The truly greatest experiences have occurred while working with some wonderful musicians like Lloyd and Kenny Maines and the rest of the Maines Brothers, and while working with many other "pickers" who inspired, enlightened and entertained me for years.

I'm very proud to be a part of the West Texas Walk of Fame, as a member of the Maines Brothers Band. I was part of the original KLLL West Texas Opry Band and a founding member of the West Texas Music Association.

I have been a writer/publisher member of ASCAP for twenty years and have had songs recorded by artists on Mercury Records, MCA records, Texas Soul Records and many others. I won 1st place in the Los Angeles Songwriter Showcase Song Contest. I've had songs released both in the U.S. and Europe.

Describe your first professional playing job.

Like most musicians, I started out in garage bands. My first band gig netted $5.00 for the whole band. The police came and told us to turn down our volume. It was a backyard birthday party for one of the band's girl friends. I was totally hooked. Throughout high school, all the little bands I was in played at every back yard dance, ice cream supper and goat roping we could find. Usually we played without pay.

I am proud of the fact that for most of my adult life, I've made most of my living playing music. The toughest part of being a musician is learning to live with the cyclic "feast or famine" nature of the music business. I learned early on (probably after that first $5 job) that I would probably never get rich in the music business. I've learned that the only reason to stay in the music business is a genuine love of music and performing.

What sort of projects are keeping you busy at this time?

Presently I'm very busy in teaching private vocal and keyboard lessons, in ensemble instruction, and in directing at South Plains College, Levelland, Texas. I still perform as a keyboardist for the Maines Brothers Band. I'm also keyboardist/guitarist/bassist for the Lubbock, Texas Rhythm Machine. I'm working on a new instructional video production for Texas Music and Video. I continue to write songs. I co-host the West Texas Music Hour on KLLL Radio in Lubbock, Texas. I have written short stories, and one act plays and I am currently working on a musical.

Does your studio equipment differ from your live gear?

I generally record on a Kawaii grand piano in the studio and I have used the Yamaha DX7 for electric piano/synthesizer sounds. I have a big body Guild G-41 acoustic guitar that records well and I use a variety of electric guitars in the studio. I usually run direct to the board, using various outboard gear, echo, chorus , etc. At times, depending on the song, I will use Crate, Fender amps in the studio. I use the Kurzweil PC88 and Yamaha DX7 through a Peavey KB300 amp on stage. I have a GTX strat copy and a Les Paul electric guitar that I run through a small Crate G100 amp.

What players do you enjoy listening to these days?

I have always enjoyed Chet Atkins guitar playing. I listen to Ray Cooder, Joe Satriani and Mark Knoffler. I enjoy piano players Dr. John, Bruce Hornsby, session player Matt Rallings, Don Grolnic, Richard Teal, Harry Connick Jr., Johnnie Johnson and Arlington Jones. The vocalists I enjoy include B.J. Thomas, Nat King Cole, Take 5, The Nylons, Merle Haggard, Vince Gill, and Linda Ronstadt.

Do you have particular opinions about good back-up playing when working with vocalists?

As a piano player the art of playing good back up to vocalists is essential to being steadily employed. A good piano accompanist must be a one man/woman band, playing bass, rhythm chords and lead fills - all while staying out of the way of the vocals. The key to playing good back up is to do every thing to make the singer look and sound good. Being able to play any song in any key is a must. Knowing standard intros, turn arounds and key change modulations is also necessary. Being able to intuitively know what the singer needs and desires is a good skill to develop. Always remember, the audience is focused on the vocalist, not the accompanist.

Do you have any inspiring words for new musicians that desire carreers in the music industry?

In my opinion, a carreer in music is the greatest carreer a person could ever want. It's also one of the hardest. It takes dedication, focus and divine inspiration. Making a living playing music is very frustrating and many times musicians must supplement their income by holding other jobs.

If I were starting over in the music business, I would get a good foundation musically by learning to read well, and practicing technique diligently. I recommend enrollment in a program like the Commercial Music Program at South Plains College. Learn all you can from every musician you come into contact with and learn all the particulars of the music business - contracts, performing rights, organizations, recording studio techniques, song writing, publishing and most of all, create a network of contacts everywhere you go. This is one of the major advantages of attending a program like the Creative Arts Program at South Plains College.

Learn to play "in tune and in time" and develop a reputation of being easy to work with and always be on time and be prepared to work.

Listen to as many styles of music as you possibly can. Learn as many styles as you can. Play anytime there's an opportunity and always, on stage, look as though you're having the time of your life.

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