Southern Steel | Interview | Miami’s Hidden Southern Rock Gem Gets a Proper Reissue
Southern Steel’s ‘Get On Through,’ originally recorded in Miami in 1974 and now reissued via RidingEasy Records, stands as a prime exemplar of rare early ’70s southern rock.
The album’s blend of heartfelt country vocals, vibrant guitar interplay, and finely crafted songs is sure to captivate fans of late ’60s West Coast rock. Echoing the sounds of Buffalo Springfield and the Byrds, the record leans more towards rock while maintaining its genuine southern and coastal influences.
Opening with ‘San Francisco Man,’ the LP kicks off with searing guitar licks and propulsive rhythms, evoking the spirit of Moby Grape’s debut. Each track on the album showcases a different facet of the band’s talent, from the dreamy, melodic ’24 Hours a Day’ to the poignant ‘Where’s the Country Gone,’ which laments the loss of green fields to urban sprawl.
Recorded over two days at Criteria Studios under the production of Craig Leon, known for his work with the Ramones and Blondie, the album exudes an unpretentious, genuine energy. The band members, who had previously played in local groups like Heat Machine, Willy Bogg, The Force, and Dakota, bring their collective experience to the forefront with tight, assured performances.
Southern Steel’s sound is both nostalgic and timeless, evoking the freewheeling spirit of the ’60s. Tracks like ‘Me and You’ and ‘One Up for Listening’ seamlessly blend hard rock and country elements, creating a sound that is both familiar and sincere.
Despite the band’s brief run and the album’s initial commercial underperformance, ‘Get On Through’ remains a true gem for lovers of “Real People” music, as Paul Major, who did the liner notes, put it. The reissue offers a chance to experience this uplifting slice of life, filled with mesmerizing guitar work and infectious melodies. Just wait until the summer breeze hits your porch—this is the soundtrack you want playing.
“We had Waylon Jennings playing on stage with us”
Would you like to tell us where you were born and what you can say about your upbringing?
Ed Ocean: I was born and raised in Miami, Florida, to a middle-class Catholic family. Since I was an only child, I was a spoiled brat. Overall, it was a great childhood in an era when, if you did something wrong, you got smacked for it.
What did your parents do?
My father was a machinist for the airlines, and my mother was a banker.
When did you first get interested in music? Do you recall a certain profound moment when you knew you wanted to become a musician for the rest of your life?
Like thousands of other kids, my life changed forever the night the Beatles were on the Ed Sullivan Show. I knew I had to play guitar in a band!
What are some of the very first high school bands you were part of? Did anyone record a single, or are there any unreleased recordings left?
My very first band (circa 1965-66) was me (guitar), and the two brothers that lived next door (bass and drums). We would set up in our living room and blast away until the cops would show up and tell us to “turn it down, boys.” One of the songs I remember playing was ‘Do You Love Me’ by the Dave Clark Five. By the way, I didn’t know that they didn’t write that song until years later.
Later, as a freshman in high school, I remember playing at a school dance in the cafeteria. The band consisted of two guitar players and a drummer, no bass player! We played songs like ‘Just a Little’ by the Beau Brummels.
In high school, I met and became life-long friends with Dave Brophy. Dave was a year older in age but ten years older than me in music maturity. While I was into early Hendrix and Cream, Dave was into Blues and Soul music. He changed me from a rock guitarist to a blues guy. We had a band, believe it or not, called “The Force” (Dave Brophy, Greg Minnick, and Bob Ronco). We played all the local Miami venues. It was during this time I cut my first record. The band was called Crystalline Silence. It was comprised of all the members of The Force plus a keyboard guy. Side A was called ‘Papa’s Hung Up,’ and the B side was a psychedelic tune called ‘Space Kids’ Science Project.’ I played bass and lead guitar on the session. Somewhere, I have a warped mp3 of that record.
How would you describe the music scene back where you lived?
Growing up in the 1960s, the only scene we had was what was playing on the radio and local bands at clubs and halls. There were a few local bands that had regional radio hits. These bands were very influential and inspiring to me as a young musician. When I was 16, a real nightclub opened in North Miami Beach called Thee Image. It was a converted bowling alley that featured acts like Cream, the Yardbirds with Page, and The Mothers. The house band was the Blues Image featuring Mike Pinera on guitar. His playing inspired me the most, and I still play some of his licks today.
What led to the formation of Southern Steel?
Before Southern Steel, we (Jim Goodman, Phil “Spike” Warner, Greg Orsini, and I) all played in other bands together. It was during this time between bands that we would hang at Jim Goodman’s house, get high, and listen to his original songs on a reel-to-reel tape machine. He would overdub his vocals for three-part harmonies and play all the instruments, so it sounded like a record. For the time, it was an amazing sound. So, we decided to form a band to go with his material, and that was the birth of Southern Steel.
Who were some of the artists you shared the stage with? What are some gigs that stand out?
The Southern Steel story isn’t a long one. We were mainly focused on writing and rehearsing for a major record deal. We did play gigs with Albert King and opened for comedians such as Lily Tomlin, but most gigs were solo shows at clubs and colleges.
One gig that stands out was at Mother’s rock club in Nashville. We were booked with the Rockets. We hit the road with three vans driving from Miami to Nashville (1,000 miles). When we arrived at the club, our poster was in the window right next to the sign that stated CLOSED Out of Business!! Haha.
What were the circumstances surrounding the creation of your 1974 private pressing LP, ‘Get on Through’? What can you tell us about the material you recorded? Where did you record it, and what gear and instruments did you use?
We were signed to Earth Records. They built a studio in North Miami that we had to ourselves. We could rehearse whenever we wanted. There, we honed Jim’s songs to get ready for the session. We recorded at the legendary Criteria Studios (‘Layla,’ ‘Rumors,’ ‘Hotel California,’ etc.).
The room we were in was where Grand Funk had just finished their ‘American Band’ sessions that Todd Rundgren produced. Since this was our demo album, it was recorded in only two days; one day for music and one for vocals and overdubs. The guitar gear used was a Les Paul and a Guild S100 through Marshall half-stacks, and a Fender P-bass through an Acoustic bass amp. A Martin D35 and a Fender 12 were also used.
What role did producer Craig Leon play in shaping the sound of ‘Get on Through,’ and how does the recording process reflect the band’s energy and experience?
He spoke producer. Like, “time to overdub,” “let’s try another take,” “check your tuning.” Also, he would play piano on some tracks. I remember him being sort of a quiet, straight guy trying to herd the cats. The fact that after Southern Steel, Craig moved to NYC and produced classic albums like the Ramones’ and Blondie’s first records is amazing.
How many copies were pressed originally?
I don’t remember the number, but it’s sort of rare and collectible.
Did you receive any airplay or press?
I’ll never forget the rush of hearing our song on the radio for the first time in Gainesville, FL. Unfortunately, it was also the last time.
Can you elaborate on the band’s approach to songwriting and lyrical content?
The music and lyrics were all from Jim Goodman, with the band doing the arrangements.
Would you share your insight on the album’s tracks?
Southern Steel was a country-rock band. I was more on the “rock” side with Jim being more on the “country” side. So, I like the up-tempo songs like ‘San Fran Man’ and ‘Don’t Deny It.’ Still to this day, we laugh at Jim’s speaking part in ‘Where’s the Country Gone?’ but Jim was so sincere.
Were you involved with any other bands later on?
After Southern Steel was dropped by Earth Records, three Southern Steel guys (Jim, Steve Clark, and me) stayed in Nashville and played in other bands. After a fight over money, I moved back to Miami and, for the first time in my life, played in cover bands. While gigging across the states, I had been writing, and one of my songs caught the ear of the owner of Fraternity Records in Ohio. So, I signed another record deal, and 2,000 copies of ‘Make Me Stay’ were pressed under the band name “Fast Eddie.” A nice pop-rock tune that didn’t make it, but you can still find today on eBay.
What happened after the band stopped? Were you still in touch with other members? Is any member still involved with music?
Through the years, I would still record guitar parts for Jim via the web. We even had a Southern Steel (Jim, Greg, Josh Goodman, and me) reunion CD with new versions of our classics and some new songs as well. Today, Jim lives in the Philippines, where he still plays, sings, and records. Greg is still active in the Miami music scene. And when I’m not being interviewed, haha, I play in a band with my son Derek (a great guitar player). So we all are still involved in music.
“We think the Outlaws were signed instead”
Considering the band’s initial interest from major labels and subsequent decline, what factors may have contributed to their short-lived success?
I remember being in the studio in Tennessee where we recorded our master album. We all were so confident that we had a major record deal that we were counting the money! Then, before the album reached the final master mix, our managers flew up from Miami and dropped us with extreme prejudice. They were pissed. I don’t know what really happened behind the scenes, but we think the Outlaws were signed instead. It’s a sad tale that has happened not only to us but to many other artists and bands.
Which songs are you most proud of?
I was proud of all our tunes, but ‘Don’t Deny It’ was the most fun to play.
Where and when was your most memorable performance?
One memorable performance was a drunken, loud Halloween night at Mickey Finn’s in Nashville. We had Waylon Jennings playing on stage with us, and no one noticed!
Looking back, what was the highlight of your time in the band?
The highlight was my progression as a guitar player from starting the band in Miami to the bitter end in Nashville. We were broke (I lost 50 lbs), we got arrested (me twice), we got in fistfights, and our roadie and best buddy shot his girlfriend and then shot himself in the head. You’ve heard the saying “paying your dues”—well, this was the time I paid them. Of course, it didn’t seem like a highlight at the time.
What currently occupies your life?
I just retired after 30 years from Guitar Center in Westlake Village, CA, and I moved to Orlando, FL, to be near my family and bond with my grandson. And I’m still spending money on guitars and stuff for the band!
Thank you for taking your time. The last word is yours.
Thank you, Klemen. By the way, I signed my third record deal at 71 years of age, and I think it’s time for a nap.
Klemen Breznikar
Headline photo: Southern Steel live
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Very cool and insightful interview Ed… He always was the PR highlight of our band. It ended in a shame, but it was a trip worth taking. We grew up and had Families instead of being “famous”. We’ve received plenty of endorsements from people who “did” make it, (Craig Leon, Jerry Martini, Jim Baughman etc) to justify our efforts. That’s all I need. (though I’d really love to hear Don’t Deny It on the radio again;~) I’ll never forget pulling my VW bus over, on the way out of Gainesville, FL and cranking the radio to 11 while we all listened for 7 minutes… the very best of times!