effects pedals videos: the ultimate addiction

I think it’s a good thing, from time to time, to indulge your obsessions, and what musicians often refer to as “gear lust” has certainly affected me from time to time.

but these days, that very general lust for guitars, keyboards, amps, and all kinds of music gear, is also now joined by a very specific new affliction; the endless watching and listening to of, effects pedal demo videos.  On You Tube, of course.

as with all new phases (if you will pardon the expression) of internet development and the progress of content, it started out small, as the occasional demo of a pedal to show us what the pedal looked like, what it sounded like, in case we might then wish to buy it for our own pedalboards at home.

from professionally produced by the established old world pedal manufacturers – your Boss, your MXR, your Electro-Harmonix, your Digitech, and so on – to videos by the boutique crews – your Earthquaker Devices, your Chase Bliss, your Catalinbread, your Z. Vex, your Robert Keeley – first came videos that were mostly about sales, but with generous helping of sounds, too – but ultimately, were on the whole, made with sales in mind.

finally, now, another type of pedal demo has arrived – the artistic, creative demo – and these seem to be non-commercial, not sales-oriented – but instead, they focus solely on the sounds that each device can make, and what a creative musician might do with those sounds.

A good example of one of these creative style effects video makerscreative style effects video makers, would be You Tube artist ‘Knobs‘, who tends towards more in-depth analyses of effects units, but using a unique artistic style – found objects, arranged around the device in a very careful way – combined with a fantastic, verbose, humorous set of titles (a veritable barrage of typed information, instead of verbal narration) and explanations, interspersed with jokes and bizarre video snippets, anything goes, but “Knobs” has a brilliant and consistent artistic style – and I NEVER ever feel like he wants me to buy any particular pedal.  He just wants me, and the rest of the effects pedal world, to HEAR how brilliant each pedal is, in exquisite detail, providing both highly useful technical information alongside humorous vignettes of all types – you never know WHAT might happen in one of his videos.

I have been through a lot of these videos, all types, and I seem to have settled on a few favourites from both camps.  For the ‘quick overview” type of video, which might run between 4 and 8 minutes in extreme cases, my very favourite vendor is “Andy” from Pro Guitar Shop (and Tone Report weekly magazine – the most brilliant magazine ever dedicated solely to effects pedals – and it’s free, every week!) – Andy is an extremely proficient guitarist of some experience, and his skill at showing each pedal he demos off in it’s best light, is undeniable – but, it is usually a quick demo only, just to get an idea of what the device in question sounds like.

Generally speaking, they don’t get into a lot of detail, or do in-depth videos, except in a few extreme cases.  So for the quick overview – I always turn to Andy first, and his videos are always in heavy rotation at my house – plus, over time, I’ve watched him grow from a good guitarist into a great guitarist, and I really enjoy his playing, regardless of the subject songs or snippets, or what pedal he is demoing – he is just a good, good player.

My other (new) favourite has to be “Knobs” whoever he might be – his videos are always well in-depth, and he tries very hard to describe clearly and in great detail, what each control does, exactly, and, how the controls interact, and what combinations of controls you need to set to achieve certain musical goals – all typed out in his inimitable style.  But – be prepared to keep your eyes glued to the screen – the titles go by quickly.  Having the no-nonsense explanations of how an effect’s controls affect what sound you acquire, is extremely useful (to me) and I really appreciate both his attention to musical detail, a well as his remarkable sense of humour which has to be read to be appreciated!

Some videos favour verbal narration along with guitar sound, others, use titles as “Knobs” does, to explain what the pedal is doing (which allows the music and therefore, the sound of the pedal, to go undisturbed by narration, others, such as our friend Andy from Pro Guitar Shop, intersperses narrated sections with undisturbed musical sections to demo the sounds he has just discussed, and I’ve even seen videos where there are no titles and no narration – and the pedal, and where it’s knobs are turned to, has to tell the entire story without any supporting titles or narration.  Those kinds of videos, while interesting, are probably a bit less informative than the other types, but really, no matter what the content, no matter whether they are short form, long form, or no form – I enjoy them all.

I would say that during the last two weeks, I’ve easily spent six or seven hours watching (and listening to) guitar effects videos, usually on YouTube on my television, but often, on YouTube on my tablet – either way works for me.  It is becoming an addiction, and for example, today, a lazy Sunday, I started watching Earthquaker Devices videos from the moment I got up, and now, a few hours later, I have to admit – the videos are still running while I am typing this blog.

And I was watching them yesterday, too.  Hmmm.  I am sensing a pattern here.  It started out, with a few Pro Guitar Shop quick overview with Andy videos, at night at bedtime – and then it started to move onto the real TV during the day, and today, I was even watching them during my lunch.

Another aspect of this that is good, is the musical ideas presented by the various musician-presenters, and you get some extraordinary guitarists demonstrating pedals, from Pete Thorn who has a massive collection of effects and pedalboard related videos, and onto other ridiculously talented guitarists hired by the big guns to demo their products, like the amazing Alex Hutchings who does demos of very complex Roland effects units.  So becoming addicted to effects pedal videos does have some very positive side effects – one of which is learning about some of the amazing professional players out there, as well as learning about a whole new group of home or small business musicians, who are equally talented and are often extremely interesting to listen to.

I’ve even learned guitar techniques, riffs and other guitar content, just from watching these demos, they are often quite inspirational, and often, after I’ve viewed a set of guitar effects demos, my tendency is to then go into the studio and play some guitar, and use the pedals that I do have, to try and create some new ideas and uses for them.  So watching these demos, and hearing how other guitarists put these very musical tools to use, is also very inspirational for my own development not just as a player, but also, in how I use the effects I have, to create unique and hopefully, amazing-sounding guitar sounds.

Mixing and matching different effects pedals (often called “stacking”) is yet another kind of pedal demo video, and there are endless demos where one or many devices are “stacked” to hear what the sound outputs of various interesting pedal combinations are, what is possible when you plug pedal a into pedal b, and then into pedal c?  These are some of the most amazing videos, because the sounds that can be achieved via stacking, even if it’s just stacking two pedals, are often astonishing in themselves – from incredibly powerful, distortion based stacks, to eerie, spacey, ambient wonders – amazing combinations with endless musical possiblity.

Finally, there are the “versus” (or “vs.” or “v.”) effects pedal videos, which range from comparisons of different manufacturers’ pedals that perform similar functions, or, between reissues or clones, to the “original” pedals from the 60s, 70s, 80s and so on.  Does the new version sound as good (or better) or not?  The “versus” videos answer all of these questions and more –  which fuzz tone sounds the best, which overdrive is the most transparent, which reverb has the most ambient possibilities, which ring modulator gives you the most insanely distorted and warped sounds?? – I am a big fan of the “versus’ style of effects pedal videos.

As time has gone on, I’ve become very interested in certain pedal manufacturers, and this is probably the last category of video I will mention today: the “about the manufacturer” video.  For the lines I’ve become interested in, after exhausting the majority of their videos for their actual pedals, I recently branched out still further, and started learning about some of the people behind the products – beginning with a pedal manufacturer that I really admire, Earthquaker Devices, and while I so far, so not own any of their pedals, I am very interested in some of them, because – well for two reasons, really, they are all hand-made in Akron, Ohio, and, they often explore sonic territory that other manufacturers’ pedals do not.  So I wanted to learn more – and boy, was there ever a lot of content available about Earthquaker – their history, the bands that their employees are in, and so on – absolutely fascinating to watch, and after doing so – it just makes me want to go out and buy my top ten EQD-wanted pedals – which would set me back a few thousand pounds that I do not have.

 

But – these videos do allow for one thing – I can dream.  I have a want list, that changes almost every week, one week, I am wanting EQD pedals, the next, I am looking at Strymon pedals with my lustful effects desiring eyes – and so on.  I dream of building special pedalboards, using all of the strangest sounding Earthquaker Devices pedals, in a special all-EQD board – probably containing an Arpanoid, a Space Spiral, an Afterneath, a Transmisser, and an Avalanche Run for starters (as the imaginary pound notes start to fly out the imaginary window…) which is huge fun – and while I probably won’t ever be able to build that imaginary EQD board, what I can do, is go into the sound libraries of my Eventide H9s, and see if I can emulate the strange and wonderful sounds that EQD pedals make, with the Eventide Algorithms and settings for individual voices.

That is then, giving me ideas for my own guitar sounds, which happen to be Eventide-based, but that is not what is important – getting new ideas for new sounds is always inspirational, so I think that this new addiction to effects pedal videos, is absolutely one of the healthiest addictions I’ve ever had the joy to experience, and I recommend it highly to both musicians and non-musicians like, and in particular, I think that visual artists and anyone who appreciates art, would enjoy some of the content in the more creative series of effects pedal videos.

I cannot recommend the experience of tuning in to You Tube for a morning of video enjoyment, preferably with your theatre speaker engaged so you can experience the subtelty of tones that the guitarists bring to us in these amazing, informative, inspirational videos – I think they are brilliant – please check them out on a tablet or a TV set near you.

 

And now, I am off to turn on my own pedalboards and see what new sounds I can coax from it, after a day of being very inspired indeed, by hearing what modern sound technology can do to the sound of a guitar or a keyboard or even a voice – these effects pedals have come so incredibly far from the early days, when if you had a pedal board at all, you were unusual, and it would normally have two devices on it – a Vox wah-wah pedal, and an Arbiter Fuzz Face.

A few players might have a third device – a primitive Octaver like the one Jimi Hendrix used to use – but for most, it was a wah-wah pedal, a fuzz tone of some sort, or if you were really lucky, both – no matter what, you learned to use those primitive devices make your guitar sound better…and nowadays, you have not hundreds, but thousands of different effect pedal designs to choose from – a mind-boggling assortment of sound-creating machines, designed by musicians for musicians – with making amazing sounds the goal – and so often, these manufacturers not only hit that goal, but they exceed it, producing devices capable of a stunning diversity of incredibly musical sound…it’s amazing how far these devices have come over the relatively short period of time from let’s say, 1963, to today.  Simply astonishing technology.

I started out with just a Vox Wah-Wah, and that was my main pedal for a long, long time. Then gradually, I ended up with things like an original Echoplex, which I absolutely loved, primitive, monstrous, tape-driven delay – I also used my two-track Sony reel-to-reel as a delay, with a reel running in record mode so I could then switch on the delay whilst playing live.  It wasn’t easy to do, but it sounded great!

Over time, I went through many Stompboxes, then onto rack mount devices (controlled by MIDI and switches and expression pedals – and then back again. I can tell you – it’s all good.  I managed to make good music with every pedalboard I ever built, and I am glad to have been able to experience a wide range of musical products over time, and it’s made for the creation of a lot of very interesting music – from very loud and distorted, to as ambient and quiet as I could get – I am interested in it all.  I think maybe it’s more of an addiction to amazing sounds, than the actual videos – I just love the sound of guitar effects!

 

It all sounds good to me 🙂

 

have fun!!!

 

peace,

dave

 

 

 

 

 

 

 

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the making of an epic prog rock “monsterpiece” – part two

So – the stage is literally set, I’ve at this point, got the majority of seven months’ of work behind me…

My last blog, recounted the first seven months of the project in a fair amount of detail – that was part one – but here in part two, we are looking at the final few days of work – the last four or five days in December, 2015 – that’s our “part two”:

 

The drums and bass have been locked down (except for final level setting, of course) for many months.

The keyboards are all locked down, and the intricate middle section has been completed, encompassing acoustic guitars, birdsong, ipad, and ambient electric guitars (the infamous “Hackett Guitars” – courtesy of the new Eventide H9 multi effects unit – that occur just before the second half of the song re-enters).

All that is left is – more work (on the second half only, after the new “middle section”) with the guitars, a few needing solos, and a few, needing some rhythm guitars.

I decided to use some of the extraordinary sounds from the Eventide H9 multi-effects unit, which only arrived in the final days of work on the song, so using it as my main guitar effects unit, that enabled me to do, for example, the ambient “Hackett Guitars”, as well as some of the rhythm and lead guitar work in the final section during “part two” – so I would characterise “part one” as being the main build of the song, plus, the first part of the guitar overdubs; while “part two” is two things, finishing touches – all done on guitar – and mixing, mixing, and more mixing.

I had originally thought that I would play a series of different guitar solos over the second half of the mix, but things happen…plans change.  And in this case, it was one of those weird accidents that you just can’t deny, that you have to go with – because you hear it, and the sound of it just says to you, you know it in your heart: “you know this is the right thing”.

I sat down to play the first of many solos, which, by my cunning plan, would have filled the end of the main track from the end of the middle section to the end of the song, bit by bit, a short burst of one guitar sound, a short burst of the next, and so on. The first solo, was to be an ebow solo.  So I got a nice sound for the ebow from the H9, and started making takes.

But what happened was something I never expected, as the track kept playing, after the section I was overdubbing – I kept going, I kept playing after the first section went past…and then the next, and then the next…and suddenly, I could hear the very end of the song approaching – so I went for a crazy, major key ascending scale that could not possibly fit at the very end of a really, really LONG ebow solo – and of course, almost as if it had planned that way – it fit just right, ending right alongside the existing “fast-Leslie” organ solo…

I listened back, astonished – because I never meant to play right through, I hadn’t imagined finishing the entire track with one very long, multi-key energy bow guitar solo – but that is exactly what happened.  At first, I thought, well, this creates a problem – what do I do?  How can I play different sections of lead guitar now, with this really nice solo filling up the entire second half of the track?

The answer, of course, was “you no longer need to”.  So instead of doing piecemeal solos, using different guitar sounds, etc. (as I did in the first half, as planned…) the second half now features one long, long ebow solo (which, to be fair, is actually in five sections, edited down from the best three takes – but if I had not told you that, you would not have known – it sounds like one solo – well, it is one solo, just, from the best three takes!) – it was quite a feat of editing, but editing ebow solos is one of the most amazing procedures out there, because – well, because a recorded ebow sounds, looks and acts like a pure sine wave, fading it in and out is never an issue, at a microscopic level (zoomed) or even at a normal level (not zoomed) and “switching” from one solo to another, from one take to another rather, at any point, is almost always very easy, because the notes are usually quite long, and, whether they are long or short, they have distinct silences in between – the perfect space to switch between take 1 and take 3, for example.

The editing task then was not that difficult, but I did spend quite a lot of time on it, as I wanted this final solo to really bring the whole piece together, and once I got used to it – I realised that it was the best idea all along – because it’s the only opportunity, really, for a nice long guitar solo – and there is nothing on earth like a nice long ebow solo – it’s the best! – so…I took that opportunity.  Accidentally “on purpose” 🙂

So while unintentional – that “accident”, of me just carrying on playing that ebow solo, not stopping when I should have – going on and on to the very end of the song – changed the whole planned character of the second half of the song, and gave me a glorious, long and lovely ebow solo to take us out to the final moments of the song.

I did some work with panning towards the end of the piece – I boosted the level of the existing “fast Leslie” organ solo to match the ebow solo better, and I gradually moved it from the centre to one side of the stereo image, while at the same time, in the opposite direction, I gradually moved the ebow solo to the opposite side of the stereo image, so it moves from being a homogeneous centralised pair of instruments at the beginning of the second half, to two distinct instruments, one on either side of you – and I love that slow, slow stereo spread of the two solos – it works for me.  In headphones, it’s very nice indeed.  On speakers, you might not really notice it as much, but it’s an important point – I wanted the solos to end, with them split, one hard left, the other hard right – and that is indeed, what I ended up with.

I think at that point, I breathed a huge, huge sigh of relief – because, except for a very few finishing touches – this long ebow solo meant that the song was “DONE”!!  At long, long last, and just before the year ended, too – it had always been my goal to complete the song in 2015, to allow it to then become, pureambient’s first release in 2016.  So I am happy to report that I did indeed, with just hours to spare, meet that goal.

So – what finishing touches? Well, I added in a few rhythm guitars, where I felt that solos needed some chord-based support, but overall, there is not a lot of rhythm playing in this song – being a prog song, all of the players (i.e., me, lol) love to play solos, they all think that they are master of their own instrument – so you have a whole band full of soloists!

But the lead guitarist (again, that’s Dave Stafford, lead guitar), can be, and did indeed, allow himself to be persuaded that some rhythm guitars (well, more than he had originally done or planned for, anyway!) would not go amiss.  One of those rhythm guitar parts, a simple chord played once and left to ring, for four bars, sounds nothing like a guitar, but rather, some mellifluous dream electric piano from the stars…a beautiful H9-produced sound.

I added some lovely chords in the second half of the piece, using the H9 to get some beautiful new clean sounds (and the modulation section of the H9 is simply the best – better than any effects unit or software I have ever owned – it is the best, for those of us who cannot possibly, ever, afford an “Axe-FXII” – this is just as good or better!) so I am really pleased with the last few guitar contributions – because the H9 makes them sound really, really good!

I also realised that so far, I had not woven any reverse guitar into the fabric of the song, and I love reverse guitar – I’d always meant to do a reverse solo – but I hadn’t done any so far in the song (a huge oversight, surely!) – I mean, come on, this is prog – so in the style of King Crimson circa 1970, I thought of “Prince Rupert’s Lament” (or rather, the “Lizard” suite) I decided I would add some reverse guitars in that style, clean and nice – so – how could I now incorporate it?  Where there is a will, there is a way – I recorded a few different takes of reverse guitar (again, courtesy of the remarkable H9 pedal) and then mixed them into the closing section of the song.

That took some getting used to, in fact, all of the changes to the second half took me some time to acclimate to, because for so long, it had just been, you know, drums, bass, keyboards, mellotron.  No guitars.  No rhythm guitar.  No reverse guitars.  So the second half evolved, and the more I worked on it, the happier I felt – I really felt good about this piece of music, and despite how long it took, and the many, many long hours and long days I had to put in to get it there (the weeks spent on the drums and bass alone ate up the first two months!!!) and there were times when I thought – “I am never going to get to play the guitars on this song….never!” – but, the day finally did come, at the end of November actually, and I really went into it with a happy heart – finally, I am working out guitar parts, to go with the long, long-existing bass, organ and mellotron parts.

Playing guitar along to the finished backing track was an absolute joy, and I could just jam along to almost any of the sections, because I know them so, so well by this point – I could just about have played the guitar parts LIVE really, once I’d rehearsed them.

I did go back, too, and “try again” on some of the toughest solos – I spent one entire day, “seeing if I could do better” – and in almost every case, I found that I could, so I ended up with some very natural sounding, very “live” guitar solos – where previously, in the initial final mixes (I know, that sounds odd, but, it’s the only way to describe it) I had kinda, pieced together some of the more difficult guitar parts.  No more, though – now, they are played live, as are most of the solos – the final ebow being the one exception to that – but, it’s very, very long, and it’s not likely that anyone could play for that long, without some imperfections – so I did have to fix a few touchy moments in the long solo.

Mostly, the guitar parts kinda “wrote themselves”: there were areas where they simply join the bass for a ride-along; and other areas where they do not, but instead, they mesh or interact with the bass – and there are some spectacular bass v. guitar “battles” in the first half of the song that could not have come out better had they been planned (and, they were NOT planned – it just worked out that way – when I added the guitar parts, the bassist was RIGHT THERE, answering me – it was amazing! – the guitar would play a riff, and suddenly, there was the bass, ripping off a super quick “tiny-space”-filling-run, at impossible speed (that’s our bass player, Dave Stafford, again!) – and it sounded like both the guitar and the bass had always been there, that the interaction was totally planned and totally natural…when in fact, it was yet another “happy accident” – but the joy that it brought me the first time I heard it play back – wow! Listen to THAT, was well worth it – the guitars and the basses are totally working together, playing off each other as if it’s a live track!

Sometimes, you are very, very fortunate.  I was really fortunate with the way that the final overdubs, the lead guitars worked with the drums, worked with the bass, worked with the organ, and worked with the mellotron – and in fact, the mellotron came and went with the eeriest perfection – perfect timing every time, arriving right when I needed it.  As if they knew what the guitar parts would be (when I clearly, did not!).

I think then, that the reverse guitars were the last significant thing that was actually played on the track; after that, the last two or three days of December, 2015, were spent on the final mix, which I sorted of re-built from scratch – I’d had a “working mix” the entire time, but rather than just carry that forward and build in the new parts, I decided to create a brand new, fresh mix, which gave me the opportunity for example, to ensure that the bass and the drums, could compete with the masses of guitars, and the intense keyboard and mellotron washes – I wanted to be able to hear everything as clearly as possible (obviously!).

Getting a nice clean mix when there are this many instruments can be tricky, but I just approached each one, first, separately, and then, in relation to the other instruments, until I reached a point where I felt happy with everything.

I also stripped out a lot of “individual” reverbs and other effects that I had quickly thrown on during production, and consolidated them in the output section – I created a full set of additional stereo bus outputs, so that every set of instruments had an overall level control, and, consistent, high quality, reverbs and effects – made at the output stage rather than connected directly to the track.

Certain tracks that were created early on, were just too complex to move to a bus, so I left them alone with their track-specific sounds – in one case, a complex arrangement of Waves GTR and Waves Stereo ADT – used for an extremely strange “guitar” track that slowly, slowly fades in during the first quarter of the song.  That was left alone, along with the bass which was sent out directly without any effects whatsoever – I wanted it to be dead clean.

I didn’t mess with the drums too much, either, I probably would have (I do love adding phase shifters to hi-hat and cymbal hits and similar…), but I didn’t want to add another two months to an already somewhat overly long-production schedule!  So I kept it to some bespoke panned sections (which I really, really like, because they appear so seldom!), and just little touches – the drum track is pretty basic, and the bass is just bass – in this case, the tone of the Scar-bee Rickenbacker is so perfect, I couldn’t see putting any effects whatsoever on it – so – it’s dry and clean!

So really, mixing was quite easy, mainly because I was so, so familiar with all of the component tracks, and with the individual stereo buses for guitars, organ, mellotron, bass, drums – getting relative levels was easy!  I had expected an agony of mixing hell – and the song surprised me – maybe because to some extent, I kept it simple (well, simple when compared to something like “wettonizer” (taken from the newest eternal album, the first of 2016, “progressive rock” by Dave Stafford), I suppose!).

Note: “wettonizer” was originally included on the gone native CD (which is still available) and download, but is now also available on the brand new 2016 eternal album collection “progressive rock” – alongside the brand new track “the complete unknown”.  This is comprised of a set of prog songs taken from gone native, along with  “the complete unknown”.

The very last part of the song, after that energy bow climbs up to the top of that unlikely major scale, and then SLAMS down into reverb with an odd but lovely sound of wonderful completion, the song then almost comes to a halt, the keyboards are pretty much all that is playing, until suddenly, the Rickenbacker bass and the Hammond organ, join the drums for their final flourish – and then, a long, pure bass note is held, to remind us I think, of purity, of the beauty of just one note – and then, the drummer plays a few bars of precision military snare roll, and the long bass note and the snare drum, disappear forever into the complete unknown…the song is over.

I really, really enjoyed myself on this project, my only regret is that by becoming so involved in it, I was really unable to work on much of anything else, so other areas of my music suffered.  But that will change in 2016, I have an enormous amount of new music in the planning stages, including still more eternal albums on Bandcamp, and I hope to present more musical material, both old and new, in various formats, including hopefully, a return to video as well as audio only work.

We shall see!  But in the meantime, if you fancy a bit of old-style progressive rock, this could be the 17 minute long song for you – “the complete unknown”.  Give it a listen – it will take you right back to 1974…

 

Peace, Love and Groovy Mellotrons,

 

 

dave

pureambient hq

january 17th, 2016

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

the making of an epic prog rock “monsterpiece” – part one

on may 31, 2015, I sat down at my computer, and built an empty folder set for a new music project.  at first, it was named something like “20150531-01-komplete-unknown”, meaning, to work on a piece within the komplete application, content, unknown – but within a few days, it had grown to the point where I amended the name, because it seemed like such an obvious answer to a question that so far, no one had asked, namely, “what is the name of this song?” – obviously, it was – “the complete unknown”.

so the folder got renamed, and now it bears the name “20150531-01-komplete-unknown-thecompleteunknown” and that was it – I was away.

I loaded up komplete with four vintage keyboards – and I officially began my journey – a journey I am still very much on today – into the complete unknown – via “the complete unknown”.

I spent a few days, working out a piece for keyboards, that would work well as a “keys-only” intro to the song, I wanted it to have a fantastical, classically-based and with a serious feel to it, and then, after say, after a minute or two, the bass and drums would enter…I could just about imagine it all.  I could just about hear the song in my head…

I struggled mightily with my serious keyboard intro, overdubbing many different takes of many different keyboard voices playing the notes that I had chosen.  the entire piece was done manually – no sequencers were used, and it meant that I had to play a pretty tricky part, manually, over and over and over again, until it was just right.

Eventually though, I was happy with my little intro composition, and musically – it set the stage for the “song proper” – I was very happy with the way this short piece of quasi-classical keyboard music turned out, and I was extremely thrilled with the sounds of the vintage keyboards, which were all of course, courtesy of komplete.  the intro was complete – and I was thrilled!

note/the details: for the record, there were just four instruments (not six as I erroneously remembered and stated elsewhere – four, not six) used in the creation of the keyboard “intro”, which were:

dave stafford, vintage keyboards quartet:

soniccouture bowed piano X

soniccouture broken wurli – init (my own settings)

soniccouture novachord – novasynth init (my own settings)

soniccouture ondes martenot – poly ondes init (my own settings)

these four tracks were then mixed and mastered, with just reverb added to give it a big room sound – a completely “finished” piece of music which could then just be “dropped in” in front of where the bass and the drums make their grand entrance.

so, with the intro safely under my belt, it was now time for the active “core” of the song to be built, and as tradition has it, it started like all structured pieces in the rock world start – with a drum track, and a bass overdub of that drum track.  but I didn’t want just any rhythm section, I wanted a section with the skill of a powerful but wild drummer, I needed my own Andy Ward on drums, or maybe I’d borrow Marillion’s rhythm section…I wasn’t sure.

then – Chris Squire passed away, during the first few weeks of work on the song, so I thought a lot about Chris, and how Chris played the bass (and what a huge influence his playing had on me as a 15 year old guitarist who loved progressive music in 1973!), and it had a huge influence on the bass part in the song.  so the drums came from me – my own vision of a series of prog beats that run nearly continuously for 14 minutes or so…but when it came time to do the second overdub, the bass, it was all about emulating the God of Prog Bass Playing, the late, great Chris Squire.

If I was very lucky, I could get a sound like Chris’ and maybe “play” as well as Marillion‘s bassist 🙂 because no one, except perhaps Wetton or Lake, can emulate Chris – Chris has an incredible and very unique bass tone and style.

I also spent a lot of time on the drum part, I fleshed it out in the very first session, but it took many more sessions, to really get it into shape, to feel happy with the sounds, to add interesting fills, to use different variations of the beat, and there are even some special sections that I did by hand rather than by sequencer – and by the way, the drums (or drum machine, I should say – komplete again) is the only sequenced instrument in the piece – all others were really played by me – with one odd exception – the bass part, was played by me, but on the keyboard. It was not sequenced, I played every riff, every fill, two different bass solos – I really played those.

The same goes for all of the keyboard parts in the main part of the song, as well as the guitars – all of those are real as well.  I’ve never learned to play the drums, so, the best quality sampled drums in the world, will have to do!

The drum track took a few weeks to perfect, but the bass part – well, I laid down something to begin with, a bit at a time, a section at a time – but then, I was never satisfied, it sounded good, but it didn’t yet sound amazing – so I started doing a lot of work on the bass – I fashioned a quite wild bass solo near the end of the first half of the song, in the key of C major no less, but an awesomely fun solo to write and play.

I worked on the bass for quite a long, long time, and eventually, I felt completely happy with it – and I still do.  Now that I am laying guitars on top of drums, bass, organ, and mellotron – when I add a guitar part, and I hear the bass come up “in between” – I just have to smile, because it’s as if the “bass player” is responding to the guitarist, or, the other way around – and that’s an awesome thing for a piece that isn’t actually played live.

I am extremely pleased with the rhythm section, I spent far too much time on it, but, it was worth it, and the keyboard parts practically played themselves, because the bass and drums were so together.

 

So this is where it began – at least, the active part of the song, back during June and July this year. The first mixes then, were of nothing but the intro, plus the bass and drums – with no other ornamentation whatsoever.  I must have listened to this song, with just intro, bass and drums, dozens of times, whilst first, trying to perfect the drum track, and then later, trying to perfect the bass part.  That took even longer than the drums to perfect – but in the end, I feel truly happy with the results – and I am actually, especially proud of the bass part – it rocks.  It’s full of surprises, and I love where it takes the song – and, later, how it interacts with both the keyboards and the lead guitars – it’s excellent.

note/the details: the rhythm section looks like this:

drums: dave stafford – drum programming and manual playing of drum samples

abbey road modern drummer, alternative rock, “rage” setting changed from 98 bpm – sped up to 140 bpm

bass: dave stafford – performed on keyboard, inspired by the late Chris Squire

scarbee rickenbacker bass – neck pickup DI – direct injection

as the Scottish summer drew quickly to an end, at the end of july, I had a brainstorm – I would bring the introductory keyboard quartet, back in at the VERY END of the piece, to bring complete closure to the piece – no matter where it went during the 14 minutes in the middle, the sound and the melodies at the beginning and the end, were now tied together perfectly – and I was really glad of this decision, because some really good musical events came out of that decision, later.

I faded up the intro “in progress”, during the last long rock section of the drums and bass track, and I managed, after a couple of tries, to sync it up completely with the drum track – and eventually, unintentionally, I played a leslie’d organ solo over the top of it – and soon, it just sounded like it had been there the whole time.

then the time came, to work on the main body of the song, and add in a lot of supporting musical information – bearing in mind, that the drums and bass were complete, including a lot of very in your face, bright, Rickenbacker bass riffs, and, one very avant garde bass solo, and another quasi-solo later on – so those were now reduced, frozen and “carved in stone”.

so atop my finished drum and bass part, I began to add keyboards, beginning with the oldest progressive rock standby, the Hammond organ.  I really felt it was essential, to have chords and melodies on the Hammond, and, solos from the Hammond, because it’s such a very, very “prog” sound – it really cuts through the mix, and when playing chords, it’s so supportive with basses and guitars aloft on top of it.

So I worked on Hammond parts, using just one basic, straight sound, but varying it, by using the mod wheel on my M-Audio keyboard, to “speed up” and “slow down” the leslie effect – which is one of the finest things about sampled organs, done Komplete style – you get truly perfect sounding leslie effects, and I played every part as live as possible, using the mod wheel while I played, to speed up and slow down the effect – I had a blast.  There is one epic solo in the first half, and another accidental one at the end, with the leslie set to “fast” – a sound not usually used that much, but it sounds great, as the song proper fades away, to have this final organ solo with the “fast leslie” sound going – it’s really nice.

after I had added all of the organ parts, where I followed whatever key signature was stated by what the bass player was doing (I had injected several key changes when creating the bass part), and I was happy with both the organ sound, and the content – and the solos – I then moved on to the mellotron parts, which I used sparingly to try and give them more mystique.  I felt that using them throughout would be too obvious, and where the Hammond does sound great playing right through, you really want the occasional swath of a mellotron wandering in when you least expect it – that’s prog to me!

so – two separate mellotron tracks, using very simple, very pure mellotron sounds (nothing fancy, just the very basic strings and flute sounds) most of the time, it’s just mellotron strings, or, just mellotron flute and very, very occasionally – I allowed both – so you get a really full sound there, with drums, bass, Hammond organ, string mellotron and flute mellotron.  The string mellotrons became the backdrop for some really cool guitar sections later on, while the flute mellotrons were more taking on the melody, or in one case, as harmony, so they worked out very, very well indeed.

the mellotron parts went more quickly than the Hammond parts had, in part, because by this time, I knew how the chords went, and I just “knew” what the mellotrons should do – and they did it, beautifully.  Here I sit, several months later, and I am now marvelling at how they sound in support of some of the new guitar overdubs – they provide the perfect backdrop for lead guitars!

note/the details – the keyboard “section”

dave stafford, hammond B3 emulation

Komplete Vintage Organs – classic rock, Hammond B3 tonewheel emulation – preset  “j’taime” – leslie effect applied in real time with mod wheel during performances

dave stafford, mellotron strings

M-Tron Pro – Mellotron – Mark II Vintage Violins Basic

dave stafford, mellotron flutes

M-Tron Pro – Mellotron – Flutes Basic

so at this stage, after several months, of slow, patient work, I had a fairly complete song (no pun intended) with a full drum part, a full bass part, organ chords, organ solos, mellotron strings, mellotron flutes, plus the four vintage keyboards that inhabit both the intro and the outro…so, the time had come to deal with the “middle eight”.

the next idea I had, really, really changed things – I decided to cut the piece in half, and create an acoustic guitar interlude – in my mind, something like the live acoustic guitar interludes that Gentle Giant used to have during their concerts in support of the “Octopus” album – but in practice, what I came up with is much more dave stafford / guitar craft than gentle giant.

so – I split the track at a place where the drums were silent anyway (I had intentionally left a blank space in the song, with no bass or drums, knowing ahead of time that I wanted to split it in half), so it was easy to do – and I created an un-timed gap between the end of Part A and the resumption of Part B – with absolutely no idea what was to “go there” except I knew I wanted acoustic guitars.  what eventually ended up there – exceeded my wildest expectations of that time.

I managed to transition from the full song by bringing in two acoustic guitar leads almost simultaneously, playing two melodies which transition the song from “full band” to acoustic guitar duo / trio, and then the acoustic guitar section is off – the whole thing was played on my Ovation Balladeer, which is a not-quite-satisfactory replacement for my ailing Ovation Legend, which is no longer made.  In any case, the Balladeer did well enough, and I managed to get some very nice tones out of it’s pickup – it sounds good on recordings, in any case.

I had just a few notions about what the acoustic guitars should play, I had a little melody that I sub-consciously “borrowed” from Tales From Topographic Oceans, I play that melody a few times, and then suddenly, the rhythm of the piece changes, and there is another tiny section – and then, the magic happens – the third section, completely unrehearsed, came from nowhere – a slow, beautiful, simple chord progression, with a stately, played with the fingers-rather-than-the-plectrum lead part that just surprised the holy shirt out of me.  I am so, so pleased with this little piece of music, it doesn’t last long, but, it’s one of the loveliest melodies I’ve come up with to date, and I am really pleased and proud of this little miniature acoustic suite.

But then – then, a few weeks later, I had an idea – I would add bird songs into the piece, in stereo – during the most moving parts of the guitar solo.  I added several different species, recorded directly from an app on my ipad, some on the right channel, some in mono / centre, and some on the left – little bursts of different birds including the iconic british blackbird (because you know from the Beatles / White Album that they will sound good!)

The end result was astonishing – it made this already excellent part so relaxing, so natural – it just was the perfect little addition to the piece – I was so surprised and so amazed at what something like that can do to a piece of music – it naturalises it – if you know what I mean.

Then – for contrast, I followed the three acoustic guitar sections with some strange TC-11 synth sounds on the iPad – a solo and a looped piece, which worked very nicely as a contrast to the guitars, and leading back towards the song proper.  Several weeks later, I acquired a new synth on my ipad, the Poseidon Synth, and it had this really amazing sound that included the sound of human voices, so I tried replacing my original TC-11 parts with the Poseidon Synth, playing two stereo takes.

It was good, but, even better, when I added the original back in, and I realised that they both sounded good, and they sounded good together – so I left the old parts in, and added in the new synth part care of the Poseidon Synth – a really nice ios synth.

For quite a while, that was then tied to a drum riff, that led back into the second half of the song.  But then, I decided just a few days ago, that I was not happy with that transition, and I wanted something else.  After trying a very thrashy, sort of Steve Howe at his most dissonant Koass Guitar part, I discarded that, and set about making the exact opposite of that – something very, very melodic and beautiful…

This final part of the “middle section” is known as the “Hackett Guitars” section, which was made entirely with one electric guitar and the Eventide H9, two takes of guitar chords strummed finger-style, in a classical or flamenco fashion, but more reminiscent of a piece from the final sections of Genesis‘ “The Lamb Lies Down On Broadway” (the bit just before “The Light Dies Down On Broadway”, I think) so two gently but forcefully finger-strummed “Hackett” guitars, plus one reverse guitar solo – all of them drenched in luscious Eventide reverb. It turned out beyond my wildest dreams, a simple, beautiful section of music. Prog should be a mix of some dissonant and more melodic parts (or so it seems to me).

And with that, that brings us to what I consider to be “Part Two” of the song, which I will (eventually) describe in my next blog, in the New Year.  The “Hackett Guitars” section was the perfect vehicle to bring the middle section to a satisfactory completion, and a perfect way to merge back with the main part of the song – the resumption of the second part where I’d originally cut the piece in half.

Thats where we’ll go next time, then.  I will see you there!

 

 

 

 

 

 

 

 

 

the apple years vol. 1- 1968 – 1975 – george harrison

…being for the benefit, being rather, a review of a beautiful box set, one of two, of the remastered and expanded works of the man who started it all for “Dave from pureambient”, before Fripp & Eno, before Led Zeppelin, before Jimi Hendrix, before King Crimson – there was George Harrison – and his career after he left the Beatles was in some ways, his best work – as this beautiful new six CD set demonstrates.  George was my favourite Beatle, George was the serious one, the one who played the most magical of the guitar parts, the one who brought Indian Music to the world – George really rocked my world, from the time I was nine years old, in 1967 to the present, a long time – one of the very best slide players who ever lived, with the sweetest slide guitar tone – and, a tone that was instantly, recognisably “George” – and these first few solos albums really let George soar musically – from his amazing Beatlesque vocal arrangements on the third and fourth solo albums, which also introduced us to his increased skill with the bottleneck slide; to his live performances in 1974 and 1992…to the man who created the first ever benefit concert in the form of 1971’s “The Concert For Bangladesh” – strangely, not included in this box set.

George was often mis-nicknamed as “the quiet Beatle” – but in 1970, as he started his career away from The Beatles – he was anything but quiet:

1970 – releases first ever triple album set (by any solo artist) – “All Things Must Pass” – sells millions worldwide, spending 7 weeks as the number 1 album – however, as of 2011, it has outsold both Lennon’s “Imagine” (which George also played slide guitar on in 1971) and McCartney & Wings “Band On The Run” combined – and is the most successful album ever released by an ex-Beatle – and, is the 36th best-selling album of the 1970s !!

1970-1971 – “My Sweet Lord” tops the charts – sells millions worldwide biggest selling single of 1971 in the UK, it was the first No. 1 single by an ex-Beatle – 5 million copies sold by 1978, by 2010, over 10 million copies sold!  That is simply astonishing.

1971 -1972 “The Concert For Bangladesh” – the prototype of the modern-day “benefit concert” is released on another triple album, this time, the live music soundtrack and accompanying film that enjoyed a long theatrical release as well.

1973 – releases the remarkable, acoustic guitar and slide guitar-heavy “Living In The Material World” – and this was when we realised just how good George was getting on slide – a remarkable fourth studio album, and, along with “All Things Must Pass”, of course, it was the record that made me sit up and say, “I thought George was good when he was in the Beatles…but just listen to him NOW!”. Shiver-inducing slide guitar – sheer beauty…not to mention that voice…

But this is where it all started, in India, with an unusual soundtrack album…

 

Disc 1 – Wonderwall Music (November 1968) – re-mastered version

This under-rated, under-reported album, has the distinction of being the first Beatles solo album, by George, released in 1968, made while the Beatles were still ongoing.  George had been approached about doing a soundtrack for this rather odd film “Wonderwall”, starring Jane Birkin, Jack MacGowran and Iain Quarrier, and he agreed – a lot of it was recorded in India, because this was at the time that George was exploring Indian music heavily, so, since that was what he was listening to, and the film was vaguely psychedelic in nature, too – he used a lot of Indian music, with a few remarkable “western” songs thrown in for good measure.  George is said to have wanted it to be an introduction to Indian music, and to that end, the first recordings for the album were a series of ragas recorded at EMI Bombay in early 1968.  The “ordinary” western songs, were recorded later in London, and one track, which featured vocals, was unearthed when George was hunting down the master tapes to give to producer Joe Massot, for the remastering of the film in 1998, the track was “In The First Place” by the “Remo Four”.  It is believed that Harrison actually sang and played on the track, but insisted that he only wanted a credit for production – Massot was happy to include the track, which George had originally held back because he believed that Massot only wanted instrumental music.  So this lost vocal track, “In The First Place”, finally saw it’s release in 1999, some thirty one years after it probably originally should have!

“Ski-ing” remains my favourite of the non-Indian music tracks; it features some wonderful reverse sounds, and an amazing but simple guitar riff that I love to play, with fabulous harmonies, over a wonderful raga / drone – and, one of my beloved reverse guitar solos at the end – it’s fantastic!  it’s just one of those riffs that gets stuck in your head – and the album is worth the price of admission for that song alone.  There are one or two Indian songs that I truly love, like the track immediately following “Ski-ing”, which is called “Gat Kirwani” – a fast gat that is 1:15 of pure sitar magic…and one or two tracks, of either variety – that are irritating to the point of – irritation.  But I never skip tracks, I enjoy the whole record, and I love to listen to this whenever the mood strikes me – it’s a great little record, given that it’s a soundtrack, given that George wouldn’t have had much time to make it – I think he did a great job.

But it’s a journey everyone should take – you have to remember, that George was still a very young man, and writing film music was a new process for him – and this is very much, music for a film, rather than a collection of “songs” from a solo Beatle – there are really no “songs” of any description, the album is basically instrumental, and it’s just about as strange as the film that it’s the soundtrack for – quite odd – but, over time, it has really grown on me, and in some ways, it’s one of my favourite records of the late sixties, because it’s George, sure, but just because it captures a mood and a time in a perfect snapshot, this album screams “it is 1968” and it’s heavy Indian influence is undeniable – and very trendy at the time, perfect for a trendy, oddball film.

I recommend this album highly, and of course, I never, ever expected to own a re-mastered version of it, so that is a huge, huge bonus, and it’s a wonderful addition to the box set and to the collection of any George Harrison fan.

 

Disc 2 – Electronic Sound (May 1969) – re-mastered version

From the quickly-defunct “Zapple” label, which was meant to house experimental music – well, that’s what this is.  George was one of the earliest adopters of the Giant Moog Synthesizer, which can be heard on [later] Beatles’ tracks such as “Maxwell’s Silver Hammer”, and “Here Comes The Sun” – the instrument was very new, this was one of the first “production” synths that ordinary people could actually buy – so George got one.  Two long improvs. “Under The Mersey Wall”, and “No Time Or Space”, of not-unpleasant synth noise, again, nothing spectacular, but you should absolutely hear it once – a strange curiosity from the short-lived Zapple label – and, I believe, the second Beatle solo album – George absolutely had cornered the market on solo albums well before any of the other Beatles caught on. Even stranger, the presence of these two early records, means that the classic “first” George solo album, “All Things Must Pass” – is actually his third solo album !

That said, of all of George’s earliest works, this is probably the least accessible – but, if you are not faint of heart, you really should give it a go – I was pleasantly surprised.  It’s not a million miles away from some of the synth warblings that we got later on by bands like Tangerine Dream or Kraftwerk – it mostly sounds like sound effects, like someone showing off what a “synthesizer” is capable of.   I’ve heard other synth records that are far more annoying than this one, and some of it is quite pleasant given how new synth technology was at the time it was made – not unpleasant at all.  Certainly worth a listen when the mood strikes you…

 

 

Disc 3 – All Things Must Pass (November 1970) – re-mastered, expanded version

The first ever triple record set, this album sold in the millions, and it did better than both McCartney & Wings’ “Band On The Run” and Lennon’s “Imagine” combined – in retrospect – it outsold them both!  People WANTED to hear what George wanted to sing about.  I first heard it in the home of two Peace Corps volunteers at their home in Eastern Uganda, in 1970, they had just been to visit the States, and they had brought back the cassette version of “All Things Must Pass” with them – hot off the press.  Since I hadn’t heard it yet (I knew it was out, but I didn’t own it – you couldn’t buy it in Uganda) I spent almost my entire time there, one day and one night, listening to this amazing, magical record – on cassette, no less – and I have never forgotten that day.  I then had to wait many months, until we were travelling home from Uganda (where I lived at the time, with my parents) to the States, to purchase my own copy, from a very cool record store in Amsterdam.  So I did eventually get my copy, at long last…and at long last, I could enjoy it any time I wanted to, and luxuriate in these amazing, personal, heartfelt songs from the mind of George Harrison.

From that gorgeous, soft-guitars opening on the Dylan ballad “I’d Have You Anytime” to the power of Eric Clapton’s solo on the amazing “Wah-Wah” – a song with one of the best riffs of all time, a classic E major riff, that is not particularly easy to play – what an amazing riff to base a song around!  To the beautiful, multi-layered first version of “Isn’t It A Pity” – the opening side of “All Things Must Pass” (I mean vinyl album side, of course) is one of the most familiar pieces of music in the universe to me.  As the newly-re-mastered album rolls along, I am hearing my old friends, with new sounds – and it’s a revelatory experience, and one I highly recommend – as the “main meal” of the box set, having yet another version of “All Things Must Pass” does not bother me in the slightest!  It’s fast becoming my favourite version…

Also on that first vinyl side, was a little song that took the world by storm, the thinly veiled religious anthem “My Sweet Lord” which was a huge-selling single for George, and an incredibly popular song, with its “all religions together” approach to finding God – moving serenely from singing “Hallelujah” to “Hare Krishna” as the background vocals began to name all sorts of deities that mostly, you had never heard of, this song was a truly inspired and truly inspiring acoustic guitar-led ballad of the day – featuring gorgeous “twin” harmony slide guitars (that “trademark” George Harrison slide sound – unforgettable) and fantastic ever-changing background vocals, “My Sweet Lord” – whether you like it or not – you probably know it anyway 🙂  A real beauty…

But there are many, many other less-well known musical gems, hidden in different corners of this record…who knew, for example, what a complex, multi-layered, and beautiful musical construction, a song like “What Is Life?”, actually is??  The re-mastering brings out a lot of small touches in both performance and production that I’ve not noticed before, and this is the album I have probably played more times than any other in my entire collection – and, hearing this new, re-mastered “What Is Life?” is a sonic revelation, for example, while I had heard the strummed acoustic guitars clearly, I did not realise that there were ALSO picked acoustic guitars playing along quietly – I’d NEVER heard them before!

I’d heard the string arrangement, but never realised the hard left panning to some of it before, by Phil Spector, and that “wall of sound” was not so heavily applied to this song, and really – I mean, you can really, really hear everything in this new, excellent mix; including so many multiple harmony vocals from George, I don’t know if anyone else has realised this, but George was drawing directly on his experience of being “voice 3” in the Lennon-McCartney-Harrison Harmony Machine, so when it came time to lay down the vocals on tracks for “All Things Must Pass”, when it was for a big chorus like the one in this song – the layers of harmony, are built up just like tracks from “Abbey Road” and every other Beatles track prior to it – and don’t forget, in 1970, “Abbey Road” was only a year in the near past, so the experience of laying down melody and harmony vocal tracks, in the style of the Beatles, for God’s sake – was fresh in his mind.

So if you listen to something like “The Making Of All Things Must Pass”, you can actually hear this layering process – for example, that record contains several different reductions and partial mixes of “Apple Scruffs”, and you can hear George adding in his lead vocal, his “George” harmony, his “John” harmony, and his “Paul” harmony – and sometimes, there are multiples, double tracks for every part, so instead of three-part, it becomes six-part harmony or more – and if you do listen carefully to this re-master, you can hear the fully developed, finished products, mixed by the remarkable Phil Spector – the vocals of “Apple Scruffs” absolutely shine here, but that is literally because, George was just following the Beatles vocal process, but using his own voice for all of the parts – and that is absolutely amazing to think about – he was literally, besides George Martin, the only person in the entire WORLD who totally knew and understood this vocal “process” – but why not – he had paid his dues, he had started out poor and unloved, in Hamburg, the youngest and most teased of the Beatles, and worked his way up into the biggest band in the world – and he took what he learned, and applied it in his own life – on his first, and best, solo album – “best”, not because what followed was not as good, but because never again, did he amass such an amazing group of players, to play such an amazing group of songs, nor did he ever take the time again, to layer the Beatles-style vocals – sometimes, but never to the degree, never to the quality of what he accomplished on “All Things Must Pass” – which in some ways, is more “Beatle-y” than some Beatles albums – I’d much rather hear “All Things Must Pass” than “Let It Be” for example!

And Phil Spector, for all of his giant reverbs and overwrought string parts, and strident horn parts, did a great job of capturing those layered Beatle harmonies – maybe not quite to the spec that George Martin, and the Lennon-McCartney-Harrison Harmony Machine did – there will never, ever be another “Because” – but, a close second, and there are other example of amazing, multi-layered vocals a la Beatles – “Apples Scruffs” being one of my absolute favourites, where the harmonies really make the chorus, and George, in that case, and to a lesser extent in “What Is Life?” is hitting those high notes, doing the “Paul” part of the vocal – with no problem – it’s flawless, it’s perfect, and what could be better than the dreamy, note-drifting harmonies in the chorus of “Apple Scruffs”?  Not much, if you ask me.  What a fantastic song, and a song for the fans, for the fans that George saw every day at Apple Studios.

It’s a “famous fact” that the songs on “All Things Must Pass” were borne of George’s frustration at never getting his songs released on Beatles albums, he would get one, or two tracks at most, three in one rare case (on Revolver) and the rest, would go back onto the reject pile, in some cases, as in the title track of this album, “All Things Must Pass”, multiple times – it’s still odd for me to realise that the Beatles ran through, rehearsed, and learned this song – and then rejected it.  George’s gain, the Beatles’ loss, I reckon. [Famously, one George Harrison song, “Not Guilty”, was recorded over 100 times by the Beatles – and was STILL never released – it was finally released years later on a Harrison solo album].

But regarding this “famous fact” of this alleged “musical constipation”; OK, there is perhaps, some truth to that, in any event – this is George, saying to the whole world “I wrote a LOT of songs, and HERE THEY ARE” – but also, these songs are George still at the height of his writing powers, coming off the back of tracks like “Something”, “I Me Mine”, “Piggies”, “Long, Long, Long”, “Love You To”, “I Want To Tell You”, and “Taxman”, to name but a few – to me, the songs on “All Things Must Pass” are basically, an extension of that line of song writing, and the quality of the songs on “All Things Must Pass”, is undeniably, close if not equal to that revered catalogue of Beatles tracks penned by our Mr. Harrison.

I mean, whether this album is the result of “artistic constipation” (as some have claimed) or not – it’s still an amazing record – and if you consider some of the deep tracks – like the amazing “Let It Down” – one of the most incredibly beautiful songs George ever wrote, with that deep organ chord laying across his beautiful, loving lyric – and then the power of that chorus, when the horns come in – it’s just an awesome experience musically, and then it’s followed by the twelve-string driven, shiver-inducing beauty of “Run Of The Mill” with it’s odd, Spanish sounding horn parts, funky piano, and earnest, beautiful vocal – and now, you can hear the vocal doubling in the verses properly, for the first time, too – thanks to that fabulous re-master – wonderful!  Or if we move to what was on the original vinyl side four, another hidden gem of a deep album cut, “The Art Of Dying” with its driven, wah-wah guitars, I don’t know it that’s Clapton or Harrison on lead guitar (very probably, both!), but whoever it is, they are ON FIRE.  That song just gives me the shivers, from the opening slide-down wah chord to the last of the dying fade out, with those amazing triplets C – A – E or whatever it is, going at Robert Fripp-like speed and with a similar precision delivery – that little song simply rocks.

Everywhere you turn, are songs that are just…good songs.  In some cases, brilliantly good songs.  And the one that got away, the gorgeous “I Live For You” featuring an amazing Pete Drake pedal steel guitar riff – George’s voice, on the unfinished demo, is just perfect, and the rough harmonies are absolutely perfect – I love that little track, and I am so glad it’s been re-incorporated into the album – it should have always been there, but I am really glad it’s there now – and Drake’s pedal steel solo in the middle of it is a master-class in the instrument, one thing George was always able to do, was to coax world-class performances out of his guest musicians – and on this album, that roster of guest musicians reads like a Who’s Who of 60 British rock royalty, with his old friend Eric Clapton as the main guitar slinger, there are a host of other guitarists present, and it must have been an amazing feeling, in that room, running through tracks with the giant live band, with two drummers and piano and organ and God only knows how many guitars – starting with that, and then, another layer of performance from Phil Spector, horns, strings, reverb – and, just for good measure – some more reverb.

George remarked on camera, in later years, that he wished that the album didn’t “suffer” from a cloud of reverb, from the “production values of the day” – but I disagree, what Spector did, as with what he “did”, to “Let It Be” – was what was right for that moment, for that time, and while I would like to “hear” a reverb-less version of the album, I would never consider it to be the real master – the master is this master, with its huge amounts of reverb – and I am sure that’s where I get my own propensity for drowning whole tracks in massive reverbs – it sounds fecking amazing!  Try it sometime – record a song, play it back dry – then, trial some large reverb rooms on it.  When you find the right one, you will know…then, turn up the “wet” control to at least 50 percent, and close your eyes.  There – that’s the Phil Spector method, which I am strangely, proud to say, I often use in my ambient music – treating entire completed tracks with reverb – and it just changes everything, it makes an already-ambient track, super ambient, it just brings out some amazing reverberations, literally, and I am still fascinated with that sound – so the supposedly “over-produced” “All Things Must Pass” does not bother me in the slightest, and I think that Spector got a bad rap for it – he was hearing a sound in his head, and George trusted him, so this is the album that got made – and it’s an amazing album, syrupy strings, strident horns, waves of untrammelled reverb – it’s perfect, a perfect time capsule of 1970, and absolutely, the highlight of the box set – this album is why you buy “The Apple Years Vol. I – 1968-1975”.

If you take a track like “Awaiting On You All”, with its irresistible descending riff, OK, sure, it dissolves into a mass of reverb, but it still rocks – nothing Phil Spector did, really detracted from that fact – the songs, the performances – rock.  I love that song, and if you took away the reverb, it just wouldn’t be the same – but, having said that, if you listen to this re-master, in headphones – you can hear EVERYTHING, it’s a quality mix, Spector was no dummy, you can hear everything, clearly, every tiny part – every vocal harmony – it’s simply quality.  The reverb is really over-exaggerated by the press, especially now in this nice, clean re-master – you can hear that it’s only on a few tracks where he may have over-egged the musical pudding a tiny bit – but it simply does not matter! Because it’s such a great bunch of performances from a truly great band led by a truly great musician, our George.

Speaking of great performances, “All Things Must Pass” featured something I’d never seen before, and rarely if ever, have seen since – an alternate version of a track, right there on the main album.  So on side one, you got the first of the versions of “Isn’t It A Pity”, and then later, on the second record, you get “Isn’t It A Pity, Version 2” – and the differences are substantial, wonderful flutes float up through this second version, and different, bluesy guitar leads appear out of nowhere, with the most subtle, beautiful note-bending I’ve ever heard – delicate, emotive – shiver-inducing again – a lovely alternate version of a great song – and that experience, prompted me to create alternate versions of my own songs much later on in life – inspired by this simple idea.  As far as “Isn’t It A Pity” goes, I almost like the second version better than the “real” version, but they are both great, both have a lot to offer to the discerning listener.

“Hear Me Lord” closes out the four “song” sides, and this is a song that I played on the piano a lot, we accepted this heavy song about God as just another song, and I loved to play it and sing it, George was ever-evolving in his beliefs, and we may never know which “lord” he is referring to at any given moment, but what we did know was, just how serious he was about it – and this is a great song, with some surprising fuzz guitar layered in there, that you don’t really notice – beautiful work – and the stellar piano part is absolutely spot-on, too – a great piece of music, and a great, uplifting “anthemic” song to end the album proper with – brilliant!  A giant chorus, complete with those trademark George Harrison slide guitars that we know so well, takes us out on the long fade.  But it also – rocks “above and below us… out and in, there’s no place that you’re not in – won’t you hear me lord?.”  The rhythm guitar part is surprisingly fierce, and again, we have carefully layered vocal work, and that astonishingly improv-like piano, just jamming throughout the track – inspirational indeed!  Proving that in the right hands – even songs about God can rock.  Sigh.

 

A word now about “Apple Jam” – originally, the “main” vinyl album had four sides, the first four sides / two LPs, were of “songs”, and a third record, sides five and six, were called “Apple Jam” – jam sessions recorded in between tracks.  Growing up, this being one of very few albums I had at all, and learning to play guitar, it was “Apple Jam” that I started out with, in terms of listening to improvised guitar playing for the first time, it was the first time I’d ever head guitarists “jam” – and it was a real revelation.  I still play many, many of the riffs I learned from this record, and it’s not a bad place to start – you can jam along to it pretty easily, and I grew up playing guitar much in the style of a modified Harrison/Clapton clone, and later, it was “Live Cream” and other live tracks featuring long improvs, so I really got into learning the Clapton oeuvre…closely followed by Jimi Hendrix, and that’s where I, and pretty much everyone else, lost the plot – impossible to imitate, but it sure is fun trying, Hendrix blew us all away, and Clapton and Harrison were his contemporaries, and were aware of him – so I don’t think having a load of George Harrison and Eric Clapton riffs in my head, from playing “Apple Jam” over and over and over and over when I was 12, 13 years old – is such a bad thing.

It certainly gave me a great start at improvising, and if you are going to jam with others, and they are playing some kind of I-IV-V or other modified blues – knowing Clapton’s lead lines from “Apple Jam” is an absolute boon.  The whole thing is in the key of C, or C Minor for “Out Of The Blue” – and to this day, it’s a great record to put on and jam along to.  It totally rocks – live, instrumental rock tracks from the best rock musicians of the 1960s, assembled in one room to make a George Harrison album – the excitement is palpable!

Sure, later on, my influences changed, and I became as much about Fripp & Eno as I did about Clapton & Harrison, but all of it is my musical DNA, I would not be the guitarist I am, if it were not for those influences, if it were not for the experience of “Apple Jam” being the first, and for a long time, only, album of improvised guitar playing I ever owned, and therefore, it became the template for all jams that I played probably from age 15 to 20 – it was what I knew, what I played – what I loved.  So having the…slightly rearranged, albeit, tracks from “Apple Jam” in this newly re-mastered package, is just the icing on the cake, and I can barely contain myself, I can hardly wait until I get there, so I can rock out once again to “Out Of The Blue” or “Thanks For The Pepperoni” – amazing jams from the most amazing, giant “rock band” ever assembled – George Harrison And His Famous Friends.

Not to be missed, do not, do not, I repeat – miss this record.  It’s a hugely important part of the Beatles story, and to me, it’s almost like a final Beatles record made by a different version of the band, led by and directed by George, to play George’s songs – which was NOT the avowed purpose of the Beatles – that was, to play Lennon-McCartney songs :-).

So “All Things Must Pass” is a very important part of history, and it’s now taken it’s rightful place in this amazing box of the “Apple Masters Vol. 1” – a brilliant collection showcasing the talents of the “quiet” Beatle, who in 1970, was not quiet in the slightest!

 

Disc 4 – Living In The Material World (June 1973) – remastered, expanded version

Then came the somewhat lower-key “Living In The Material World”, with it’s absolutely astonishing Hare Krishna artwork – one of the brightest, boldest album covers of the day – simply striking!  And a visual, and auditory, declaration, from George, of his new-found love for Sri Krishna – we’d had some broad hints before this, such as the mega-worldwide hit “My Sweet Lord” from the previous record, the afore-described “All Things Must Pass” but it wasn’t until “Living In The Material” hit the record stores in 1971, that we knew, without a doubt, that George had “gone” completely Hare Krishna – and we mean, completely.

The songs – reflected this, OK, there are still a few normal “love songs” such as the very catchy, acoustic-guitar led “Don’t Let Me Wait Too Long” but the majority of the songs seemed to be about…Krishna.  Or – how people’s perceptions of George had changed for the worse, because of his love of Krishna – as exemplified by “Who Can See It” – a song about those who can, and can’t, see the truth right in front of their noses, about Krishna being God, that is.

This very, very strong religious bent of George’s, actually, never bothered me in the least.  The press had a field day with it, and I don’t think George was too pleased with some of the reactions to his new found religion.  But for me – this was just a new batch of songs by George Harrison – and, it was startling in other ways – a lot of acoustic songs, but also, a LOT, and I mean a LOT, of that brilliant slide guitar, with that special George Harrison “tone”, that we’d heard hints of before, but now we were getting the real thing – and some of the songs, like “The Lord Loves Him (Who Loves The Lord)” and the acerbic “Sue Me, Sue You Blues” are almost entirely based around slide guitar riffs – and that was something new for George.  Dobros and acoustic slide were appearing, too, so really, for guitarists, this is a hugely important record, because it showed us the next evolution of George Harrison, the guitarist – and this is still a great record to study if you want to learn the best slide guitar technique ever known to man, or, just how to play guitar with style, class and skill.

The album opener, “Give Me Love (Give Me Peace On Earth)” was a substantial hit for George, a very catchy acoustic riff opens the song, and some amazing slide guitar cements it’s musical credentials, this is a quality piece of work with a beautiful, universal message – and this is the kind of thing that all Beatles seem to be able to pull off – from “All You Need Is Love” to “Give Me Love (Give Me Peace On Earth)” various Beatles at various times, seem to be able to talk openly about universal truth and beauty, and make it palatable to the masses – well, “Give Me Love” is just that, a song about love and peace – and in 1971, as now, the world needs more love, the world needs more peace – this message is eternal, and what a great way to start the record, too.

The acoustic feel of most of the album is, I believe, very intentional, and for me, some of those “quieter” songs are some of the most important, and most beautiful, one of which, “The Day The World Gets Round” uses guitar harmonics in a brilliant way, and I really, really love the whole feel of that track – again, and actually, I believe, for the last time, George is really paying attention to the vocal approach, and in this track, he is hitting some of the highest notes I’d ever heard him sing – and pulling it off.  He really pushed himself vocally here, and there is once again, evidence of the modified “Beatles” vocal harmonies technique – what I might dub the “Wall Of Georges” – not to the extent as it’s used on All Things Must Pass, but it’s still there – whereas in all of the records after this one – I don’t personally feel that George ever matched the vocal work he did on those two records – “All Things Must Pass” and “Living In The Material World” – that’s his highest point as both vocalist and, more importantly, vocal arranger – and I think this is just a work of genius in that regard.

Not all of the songs are acoustic in nature, to appease the record company, the did do one “big production number” which is the title track of the album, which contains THE most gorgeous middle eight break, where the rock music shifts effortlessly and beautifully over to tablas and tanpuras, while George sings in a voice of heaven “from the spiritual sky, how I pray, how I pray, that I won’t get lost or go astray…” – and when you hear those tablas kick in, it’s just magic – and this is one of those amazing examples of the integration of Indian music into Western music that should not work, but somehow – it works amazingly well.  And when that beautiful Indian music section ends, it just melts right back into the “western rock band” sound as if NOTHING had happened – and the song continues as a normal piece of rock – Ringo on the drums, Klaus Voorman on bass, George on electric guitars – horns, etc. – the big band sound – for “Living In The Material World” – the one “production” track on the album.  That track appeared at what was the last position on the vinyl album’s “side one”, so you got four or five acoustic tracks, then this big, loud, piece of showy rock music (with, gorgeous Indian middle section, don’t forget) and then back to vinyl album “side two” another batch of mostly acoustic songs.

The album ends on a very quiet song indeed, one of my personal favourites, with some of the most moving and gorgeous slide guitar anywhere – and that song is the beautiful “That Is All” – a lovely love song of some significance.  When it reaches the moment for the slide guitar solo, I just collapse in a heap, it’s so incredibly beautiful – words cannot describe it, you just have to hear it – and then it just quietly wanders off to its inevitable sleepy ending…low key, no big exit, no big statement – just, this is me, now, George-who-loves-Krishna – and you have to hand it to him – to come out like that, showing what you love on your sleeve in that incredibly public way – that must have taken some big cahones – really, it takes nerves of steel to publish a cover like that, knowing that it will probably alienate a lot of people, including a lot of your fans.

George was always a man of his convictions, and his love for Krishna to me, was very real, I knew, and I still know now, from listening to the absolutely honest and absolutely heartfelt lyrics of this record, that George truly believed in Krishna, and in the love he’d found there – and while he may have wavered later on, at this point, his faith was so strong, that he was willing to face millions of people and say “I’ve found peace and fulfilment in the Lord Sri Krishna” and being dead serious about it – not a publicity stunt, not like an early equivalent of announcing “I like, so many others, am a Scientologist” – that just makes me laugh, but nothing about “Living In The Material World” makes me want to laugh – it’s a truly important album, which is often overshadowed by it’s much, much more famous predecessor, “All Things Must Pass”, but now, I think people should really listen to this record, because it, to me, is just a logical next step, it makes sense to me – this is what you do to follow “All Things Must Pass”.

That album was a very public record, made with a large group of “famous” musician friends, while “Living In The Material World” – despite also being very public (it would be many years before every move a Beatle made, was not in the public eye) – it’s also incredibly personal and private, almost – and I think George must have thought to himself, well, if they “get it”, they will “get it” – if they don’t – they don’t – and he was willing to lose a few million fans if he had to – he was going to tell the truth (as he saw it) about his beliefs, and let people know that he now loves the Lord Krishna, and he is proud and happy about that – and he wants to let the world know about the happiness he has found there, about the personal fulfilment and joy of being a believer in Krishna.

At the same time, there is still George the man, and, George the man who writes ordinary songs about love, such as “Don’t Let Me Wait Too Long” or “That Is All” as well as songs that describe his new-found closeness to his new God, the Lord Krishna: “The Light That Has Lighted The World”, “The Day The World Gets Round”, “Who Can See It” and “The Lord Loves The One (Who Loves The Lord” and the beautiful, mystical “Be Here Now”, surely one of the most beautiful acoustic George Harrison songs since the brilliant “The Inner Light” – a Beatles B-side – and “Be Here Now” has a beautiful, quiet appeal that really resonates with me, it’s just a lovely little tune.

While the “ordinary” songs are seriously outnumbered by the “religious” songs, it makes no difference to me, I love all of these songs, there is wry humour as in the very litigious “Sue Me, Sue You Blues” (another fantastic example of some of the greatest slide guitar playing on the planet – give this one a listen!) as well as deep, personal love songs “That Is All”.

One real curiosity is the presence of a song that was originally intended for Ronnie Spector, the cautionary tale “Try Some, Buy Some” which is very odd, it somehow works within the context of the album, but it’s strange because it doesn’t really fit the mostly acoustic mould of the record – George took the track, and recorded new vocals and I think, guitars on it – maybe this was just to flesh out what is otherwise a fairly short record, I do not know, but even this odd song has its place here, a bit of “overblown” Phil Spector string arranging for anyone hankering back to that previous record again, the Spector-produced “All Things Must Pass”.  The difference in this record is simple: it’s produced by Harrison throughout – with one exception – Phil Spector on “Try Some, Buy Some”.  So it does sound a bit out of place, here you have these very clear, very clean, definitely not clouded by reverb acoustic-led tracks, beautifully produced by George – and then comes the massive of reverb-y strings that is “Try Some, Buy Some” – so it does stick out, like the proverbial Spector-sore-thumb.  But at the same time – it belongs here, there is no other place it would belong, and I think George does a good performance of the tune – I like this track – despite its production values being totally at odds with every other song on the record J.

The two bonus tracks that have long been associated with this record are the lovely “Deep Blue”, and the somewhat silly, somewhat…frivolous “Miss O’Dell” – a strange, unfinished sounding demo-like song where George periodically breaks down into hilarious laughter during the vocals as he attempts to sing the chorus – so in that sense, I do welcome this song, as it does provide one “light moment” in what is essentially, some very heavy, very serious musical proceedings – not to say there isn’t joy present in some of the songs, in the love songs in particular, but there is certainly nothing nearly as light-hearted (or as slight as) “Miss O’Dell” – it’s definitely unique in George’s not insubstantial canon.

It’s difficult for me to believe this, but this is only George’s fourth studio album, from the period from 1968 – 1973 – although 1971 is not represented here because it produced a live album, which you do not get in this set – the Concert For Bangladesh – which of course, doesn’t “count” as a studio album – so it’s odd to me that this fairly “late” record is already the fourth studio solo album – but there it is.  No matter though, it’s a fantastic way to end the set, and despite the final track, “That Is All”, going out on a serious, quiet note – “Living In The Material World” itself is a great high point to leave the box set at, a positive record made by a man who was finding himself, finding his true beliefs, and making his way in the world – one song at a time.

I love this record, I have always loved this record, and I think I love it almost as much as I love “All Things Must Pass” – which, on recent reflection, may actually be my favourite record of all time!  Because it was so important to me as a child, I really believed in George, and I felt that the Lennon-McCartney Axis Of Power gave George short shrift – that George and his songs were constantly being side-lined in favour of adding just one more “Lennon-McCartney original” to the next Beatle album…I was so, so happy then, with the appearance of these two records, both of which are crafted with so much heart – that’s one thing you can’t deny – George Harrison had heart, and on these two records – you don’t have to look far to find it.

 

 

Disc 5 – Dark Horse (December 1974) – remastered, expanded version

 

This was an album that I didn’t own at the time, there were a lot of records I didn’t buy, simply because I didn’t have the money.  So when I went to see George Harrison and Friends, at the LA Forum, in 1974, I had no idea what to expect.

It starts out very, very promising, with a bright little instrumental called “Hari’s On Tour” which I have learned to love, despite the somewhat dated sound of Tom Scott and the LA Express’s approach to horn playing, Harrison himself is actually jamming pretty well on his slide here, and it’s worth it just for the slide playing.

Unusual, too – a Beatle starting a solo album with an instrumental?  I think that “Hari’s On Tour” is an bit of an underrated gem, and if I am not mistaken, this was the piece that the band started with when I saw them – which was a complete surprise, and of course, at the time, I had NO IDEA what it was.

After this most unusual opening salvo, George moves us into “Simply Shady”, which is the first indication that something is amiss, George’s beautiful high voice is a bit lower now, there are still nice harmonies, but they are simpler – there are still really nice lead guitars, as one would expect, some nice bluesy riffs in this tune, along with bits of pedal steel guitar – again, probably a better tune than I thought.

I don’t know now, how to really react to the tracks from Dark Horse, and all of the albums that followed – I mean, it’s George, so I a part of is loyal, but another part of me longs for the deep spirituality of “Living In The Material World” or the just-freed pop/rock genius of “All Things Must Pass” – and you can tell, two songs in, that yes, it’s George – there’s a nice little blues guitar solo on the outro of “Simply Shady” – it’s pleasant, it’s well done, but some of the spark is gone.

Continuing the alliteration, probably unconsciously, we then get “So Sad” which starts out with some very Beatle-y chorused / leslied guitars, but then it sort of dissolves into standard pop fare – sure, there is a small fanfare of slide guitar in between each chorus – that’s something that seems to crop up in many of George’s songs on every album, but there is just something about the vocal delivery, it’s just not what it was, and for me – well, I feel a slight sense of loss.

George worked himself far, far too hard in 1974, to the point of exhaustion, and his voice suffered – and maybe, you can hear the beginnings of that here on the album, I don’t know – but by the time of the tour, his voice was well and truly shot, so we got to hear super-hoarse renditions of Harrison classics and newer material, which was a bit of shame – but I didn’t care – it was flippin’ GEORGE HARRISON, playing live – and I got to see it.  It was an amazing concert, with Ravi Shankar and his Orchestra opening the show – and that was the experience of a life time – seeing Ravi Shankar followed by George Harrison – brilliant.

The musical excesses of the times are already starting to catch up with George, “Bye Bye Love” – a strange cover of the Everly Brothers song that all of the Beatles adored, starts with, of all things – a fretless bass.  To my mind – that is just about the most inappropriate instrument you could choose – but there it is – It is a very, very, VERY strange cover, to say the least. George’s voice is more animated, he definitely sounds better on this track than on the preceding tracks, but beyond that – the fretless just ruins this for me – not my thing I guess – sure, there is a time and a place for fretless bass – but NOT when you are covering classic 50s pop.

A funky electric piano now enters about half-way through, which just further dates this to 1974, but a bit of a clichéd 1974, and there are guitars a plenty, a strange Rhodes/guitar/vocal break appears, with that inappropriate fretless getting funkier and funkier…and retrospectively, I personally would question George’s choices of musicians for this project – it was a very funky band, and sure, they were all great players – but for me, George needed a pop band, a rock band – not a funky band with Billy Preston and Willie Weeks to the fore.   Like the band he had for the 1991 tour.  But – it was 1974, and these were the choices he made.

It had a huge influence on the sound of the record, which then of course alters the feel of the songs, so – it’s all change, this album does not, to my ears, sound like an album made by the same musician who made the third and fourth solo albums.

“Maya Love” starts to bring things back a bit, although there is an incredibly funky electric piano and bass line to deal with, at least there is a ton of great slide playing once again – and for me, I can ALWAYS enjoy George’s slide playing, in any context, in any song – so for me, even an album like Dark Horse, I can listen to, because if I am not maybe so wild about the songs, or the vocals – I can listen to the guitars.

“Ding Dong” is another one that is up tempo and quite cheery, with the Tom Scott Overdone Horns still at it, the predictable bell sounds, but the vocals are a bit better again – although the massed vocal chorus is just plain silly.  I just have trouble with this song – “ring out the old, ring in the new…” – I wish he had rung in some different “kind” of new – this new George was not really the George for me.

But – the concert was fantastic, the “Dark Horse” tour was an amazing event, even with George’s damaged voice – there was no stopping him, on with the show – until Ravi had his heart attack, at which point George moved him and his family to Encinitas, California, very near to where I lived – so he could have the best heart care available at the time.  Years later – I was fortunate enough to be able to attend a private concert at Ravi’s home – and that was an amazing experience – and since he now lived in the San Diego area, this enabled me to see him perform many times, and also, to see Anoushka, his daughter, perform – and that was a real stroke of luck for me!

And I feel a million times lucky – because I got to see Ravi’s band play at that 1974 concert – before his heart attack side-lined him.  Of course, he recovered fully, and eventually lived to the hearty old age of 93 – an incredible person, and as George’s mentor, one of the most amazing musicians to have walked the planet – I know, I’ve seen him play.

By the time we get to the title track, “Dark Horse” – well, you’ve now become somewhat acclimated, and actually, I find this to be one of the best songs on the album – the acoustic guitars make a welcome FIRST APPEARANCE, so that make it nice, and flutes instead of horns is a nice change, too – a very pleasant little tune, and one of the tracks I actually recall from the concert.

Then things go from bad to worse, suddenly, I feel like I’m in some seamy B-movie, as “Far East Man” assaults my ears – strange, strange, strange – funky chord progression that owes more to 70s soul than to George Harrison, rock guitarist – and it’s just so seamy, with its smooth jazz sound, it’s slithering saxophone riffs – ugh.  A strained vocal, with Tom Scott on sax, answering the phrases – doesn’t help – and trying to hit the high notes, and not quite doing so – oh God, I just want it to stop – and of course, the solo is a horn solo, not a slide solo – so there is nothing redeeming here – “Dark Horse” (the song) was clearly a high point, followed immediately by this low point – OK – there is some slide guitar eventually, but even it’s not worth struggling through this terrifically dated and disturbing funky soul diva nightmare.  I don’t like it, George – I’m sorry.  It’s not for me.

“It Is “He” (Jai Sri Krishna)” is repetitive but anything is an improvement on “Far East Man”, at least this is more like a normal song, but I feel nothing of the devotion and love that I get when I listen to “Living In The Material World” – and the silly “gubba-dub” instrument that George plays takes any possible serious religious message and makes it seem quite silly – it’s just a stupid sound, and why George thought it appropriate for this song, or for any song – I simply cannot imagine.

And then, a “jew’s harp” – yet another cheap gimmick, appears in the very next song, the first of two bonus tracks the short and sweet “I Don’t Care Anymore” – which is, blessedly, acoustic guitar and voice mostly…a real song, tacked onto the end of an album of songs, that to me, are mostly, not real.

The final piece, and the second of two bonus tracks, is an early version / different mix of the title track – and it shows what a good song it was even early on – I do like this song, it’s the best on the album – and here, it’s just acoustic guitar, lead vocal, and a lot of nicely overdubbed vocals.  So this, and the real version of the title track – are my two favourite tracks on the album!

Disappointing in many ways, I think this album had some potential, but I feel like it was rushed (and it was, they were rushing to finish it in time for the tour…so, haste makes waste, was never more true than in this case!) and that is a real shame.  A couple of the songs, I find unlistenable, and one or two, are worth it – otherwise, I suggest you look elsewhere in the Harrison catalogue, and leave Dark Horse alone except for the two fine versions of the title track – which are undeniably pleasant, and show such promise…sigh.

 

Disc 6 – Extra Texture (October 1975) – remastered, expanded version

 

A rocking pace, an upbeat, up tempo track, “You”, starts us out on the 1975 George Harrison solo album, “Extra Texture” (Read All About It) – another one that I did not buy at the time, but have only heard much, much later on – and while I can’t call it a “return to form” (after the very disappointing “Dark Horse”) it certainly sounds better – except unfortunately, that damnable Tom Scott is there again, with his incessant sax riffs, and I just don’t know why George is so fond of the saxophone – but he seems to want it EVERYWHERE – and for me, well, I would probably like “You” if it weren’t for that damn sax!

Nice guitar riff, a clean Telecaster-y sounding riff, vocals back on form, hits the very high note at the end, sounding relaxed and confident – this is more the George I want to hear, but the band, the arrangements – well, they are just not up my street, and we are still uncomfortably, many light-years away from the pure genius of “All Things Must Pass” or the beautiful, quiet introspection of “Living In The Material World”…too far away for my liking.

“The Answer’s At The End” is slow, slower, almost dirge-like in comparison to the snappy opener, so the mood of the album takes a down swing right away, and that earnest, strained-voice sound starts to return, not quite as disappointing as the vocal sound on “Dark Horse”, but still, a bit troubling.  This is a ballad, seventies style, full on, with cheap sounding strings, pianos, and plenty of drama…it’s OK, but I don’t really feel a huge amount of love for it – a slinky, descending piano riff suddenly moves it into cocktail lounge territory, until thank you God, a slide guitar appears, briefly, to make the rest of the song worthwhile.  Even that four second solo is worth it, it sounds great, and I just wish he would play, play, play – but, he feels that he has to do these “songs” – and that’s what he does – until the end of his career.  He is so earnest, it’s difficult to feel upset with him, he means so well, he wants these songs to work so badly – but as with “Dark Horse” – they have dated considerably.

More tinkling pianos take us at last, to the end of this long, somewhat tedious ballad – and then…then, we get “This Guitar (Can’t Keep From Crying)” and indeed, the opening guitar figure, has a beautiful, beautiful tone – and we do get a lot of guitar in this tune, another serious one (with another earnest, heartfelt, vocal) interspersed with the most incredibly beautiful guitars imaginable – really lovely, and for me, this track is a highlight, even though as a song, it doesn’t thrill me – the slide techniques, the tone – it’s just unbelievable – wah slide, slide harmonies – all beautifully done – really nice work – and I love it.  But that’s the big deal here – the slide guitars are ALWAYS good, even when they appear in the worst possible arrangements, even when they appear in bad songs – they are really good.

“Ooh Baby” (You Know That I Love You) starts to move us into that 70s soul again, but this time, it’s so tastefully done, that I don’t actually mind it – a very serious love song, with a sort of Smoky Robinson style vocal and approach to it – George takes this stuff so seriously – and for a sappy love song, done in a very soul style, it’s really pretty well done, and a pleasant vocal – I actually don’t mind this, oddly – because it’s really not my kind of song, but I admire the quality of it anyway.

Piano and organ introduce the next piece, yet another earnest, modified ballad – with a terrible title, “World Of Stone” – very serious stuff here, featuring some strange sounds from the guitar, wah sounds – but then, we get a very nice Stratocaster/clean guitar solo, followed by an odd chorus vocal – this is just kinda strange, but it’s OK, harmless, it doesn’t bother me, and some of the chord progressions are fairly interesting and fairly advanced, so I can admire it’s structure, even if I don’t really get it as a tune…more beautiful clean guitar soloing on the outro, with that strange, mixed-low chorus in the background – nice, nice guitar playing – I love it when he takes a longer solo like this, it’s a real beauty – and I will remember this – if I want to hear some nice, nice guitar – the last part of “World Of Stone” is the place to go – surprising, and beautiful.

Next comes “A Bit More Of You”, which is upbeat, up tempo – and you guessed it, full of sax riffs – but, surprise – it’s a musical joke, obviously, the end of the vinyl side one, it’s 45 seconds “more” of “You” – get it?  So, a faded in and then faded out, reprise of that first track (to remind you of back when this album was still good?) – I don’t quite know why, but it’s more of George’s wry humour, I suppose.  Good joke – “A Bit More Of You” J.

“I Can’t Stop Thinking About You” features that phrase, repeated four times, before some other lyrics appear, followed immediately by a fifth iteration.  More serious, serious balladry, very very strange background vocals here, too – almost weird – and some strange chord progressions, too – but still, not a lot to recommend it – a sort of nauseating chorale sound on the chorus, which once again, features those same words, over and over and over again… not much of a lyric, if you ask me.  Forgettable, but at this point, inevitable.  George seems locked into this “I am a serious soul singer” thing, he has to write these super serious ballads – I don’t get it – what happened to pop music, what happened to rock and roll?  It’s just not here, on these albums – it’s not on “Dark Horse”, with the possible exception of parts of “Hari’s On Tour” – otherwise – no – and it’s not here on “Extra Texture” either.

I don’t know what happened, it’s almost as if the 80s started early for George, and he went straight from 1972, to 1980 – his middle 70s, was like our 80s – bereft of most musical value J.

“Tired Of Midnight Blue” is the next aural assault on our ears, this one is a bit funky, piano led, with high pitched background vocals at first – but then, it gets better, it’s sort of like modified spy music, and it has some nice guitar work, maybe a bit “Steely Dan” if you know what I mean, interesting because it’s a bit odd.  I don’t mind this one, and so far, the songs have been overall, better, and much more palatable than the songs from the last album, “Dark Horse”.  Nice vocal harmonies, beautiful slide guitars – it is here, if you are patient and you know which tracks to listen to – this is one I will listen to again – it’s quite good, imagine that!  Strange – but good.

“Grey Cloudy Lies” with it’s strange piano, Leslie’d (rotating speaker) guitars, and moog synth arrangement – is just odd, another ballad, another downbeat, serious track, with a serious vocal – and it just sort of drifts by it’s not unpleasant, but it’s also not terrifically memorable for any reason.

“His Name Is Legs (Ladies And Gentlemen)” is the first of two obligatory bonus tracks, funky bass, piano, funky horns, trite lyrics, forgettable tune – funky Rhodes piano – I don’t really see the point, unless this is an attempt at “rocking” – if it is, it’s a pretty lame one – I suppose I should be thankful that there is something else besides the album opener that is actually upbeat, but I don’t get a lot out of this track – it’s just OK, but I just don’t really engage with it, and the horns are too funky for my liking, and any song with a bad horn arrangement – and, in this case, a really weird vocal break, that I can’t even explain – it’s just goofy – really, really silly voice-over “comedy” I think this is supposed to be quite funny, but it’s really not, and the spoken sections do not travel well.  Very silly stuff, and with such an otherwise downbeat, subdued record, its perkiness seems false and just kinda unnecessary.  It’s not helping!   However – his name is Legs, in case you were wondering – ladies and gentlemen.  Not recommended. Not particularly funny, or particularly good – it’s just plain odd.

Our second of two and final bonus track is “This Guitar Can’t Keep From Crying (Platinum Weird Version)” – and I suppose that is as good an explanation as any.  It’s sparser than the original version, much less “produced” – and, much more powerful too – much more – the original version is one of the stronger tracks on the record – which, by the way, is said to be so downbeat and low key, because George was depressed over the panning he’d received over his 1974 projects – the “Dark Horse” album and tour.  If so – well, it’s not that bad – I think overall, it’s substantially better than “Dark Horse” – and this version of this song, has one of the best solos George has played in a long time – it just rocks, it has a wicked, wicked guitar sound – and I will tell you what, I would happily sit through this entire album again just to hear this rocking version of this little song.  Said to be a “follow up” to the 1968 classic George Harrison song “While My Guitar Gently Weeps” and also, an indictment of the responses to the “Dark Horse” album and tour – but my God, the guitar playing is just amazing – when the main solo arrives, (guitarists, you do NOT want to miss this one – check it out at 1:53 – far, far better than the one on the “finished version” – far better!!) – just about knocks you out of your seat – a really nice surprise.

 

DISC 6 – The Apple Years DVD

 

The DVD is just what you would expect, it contains an “Apple Years” feature, an “All Things Must Pass” feature, some live video clips from the 1992 “Live In Japan” CD, a making-of “Living In The Material World” piece, and additional videos and features for Dark Horse and The Concert For Bangladesh – which of course, isn’t in either of the boxes!

So it’s a bit odd – the Live In Japan video clips are VERY welcome (PLEASE PLEASE GIVE US THE WHOLE CONCERT FFS!) but they actually relate to Vol. 2 of the box set – and the Concert For Bangladesh feature is in the right place chronologically, but – that album, for whatever reason, is not included in the set (because it’s live? because they didn’t have the rights?) I don’t know why – because the second box contains the live 1992 concert CD – so it can’t be that.  I don’t understand the omission of the Bangladesh CD – but there it is.

Short but sweet, enjoyable, but nothing earth-shaking, and as always, you will have seen some or all of this material elsewhere – but, still, a nice addition to the box.  I very much enjoyed it.

 

 

IN CONCLUSION – THOUGHTS AND WISHES, HOPES AND DREAMS…

The fact that George’s career took a bit of a hit in 1974 / 1975 does not in any way detract from what a brilliant set of music “The Apple Years Vol. 1 – 1968 – 1975” is – it’s just what happened, and I think that any lack of inspiration present on “Dark Horse” and “Extra Texture” are more than made up by the amazing music on the four albums that precede them, and you would really need them to understand the full story of George’s music.

It’s also important to hear the next phase, as represented by “The Dark Horse Years Vol. 2 – 1976 – 1992” because George did produce some better music, later on, once the bad experiences of 1974 receded into the background.

I actually felt quite sorry for George – after those first few amazing years of the 1970s, and his absolutely runaway successes – one after the other – “All Things Must Pass” selling beyond his wildest dreams – “The Concert For Bangladesh” being a huge success – two triple albums in a row…and then the beautiful, understated “Living In The Material World” – at the end of 1973, he could look back at three solid years of massive success, with his “My Sweet Lord” single eventually selling in excess of TEN MILLION copies…and “All Things Must Pass” itself, over time, outselling McCartney and Lennon’s most famous albums combined…in a way, at this point in George’s life, really, the only way he COULD go was down…and it’s was, sadly, “Dark Horse” – album and tour – that took him there.

It could have been anything – any record – any time, but, for George, 1974 was truly disastrous, and I think too, that the madness of his first three years as an ex-Beatle were probably quite wearing, quite tiring – a lot of expectation, a lot was expected of George – and he delivered, over and over and over again, how he managed to pull of the Bangladesh benefit is still a miracle to me, he managed to convince Dylan to play at literally the last minute – he just made things happen.

So I was not surprised by “Dark Horse” being not quite as good – well, to be frank – not nearly as good, as what came before.  But I don’ t know if ANY songwriter could keep up with the output and the quality that George produced between 1970 and 1973 – and don’t forget, in 1969, he’d written “Something” – so you can really add that last year or two as a Beatle to this same time line, he was really on an incredibly musical high from 1963 to 1973 – a non-stop musical high, that started with his 1963 rendition of “Roll Over Beethoven” (taken from the Beatles’ second album “With The Beatles”), with his somewhat famous pals “The Beatles” and ended with “That Is All” which sits nicely at the end of 1973’s fourth solo album “Living In The Material World”.

If you think about it – from the first songs that George sang lead vocals on:

“Chains”

“Do You Want To Know A Secret”

“Devil In Her Heart”

“Roll Over Beethoven”

“Everybody’s Trying To Be My Baby”

“I’m Happy Just To Dance With You”

 

…and, from the first songs that George wrote AND sang lead vocals on, too:

“Don’t Bother Me”

“Cry For A Shadow” (Co-written with John Lennon)

“I Need You”

“You Like Me Too Much”

“Think For Yourself”

“If I Needed Someone”

“Taxman”

“Love You To”

“I Want To Tell You”

“Within You, Without You” (compare this 1967 track to 1963’s “Don’t Bother Me” – quite a change there!)

“Blue Jay Way”

“Flying” (Co-written with Lennon, McCartney, Starkey)

“Christmas Time (Is Here Again)” (Co-written with Lennon, McCartney, Starkey)

“The Inner Light”

“Sour Milk Sea” (Jackie Lomax)

 

At this point, this is where we join the “Apple Years Vol. 1 1968 – 1975” box set, where George is credited with writing all of the songs on the first solo album, the soundtrack for “Wonderwall” the film.

Then – all the songs from “The Beatles” – aka “The White Album”:

“While My Guitar Gently Weeps”

“Piggies”

“Long, Long, Long”

“Savoy Truffle”

 

And then…

“Only A Northern Song”

“It’s All Too Much”

“Badge” (as performed by “Cream” co-written with Eric Clapton)

 

Followed by the two songs from 1969’s “Electronic Sound”

Then…

“Old Brown Shoe”

“Something”

“Here Comes The Sun”

“I Me Mine”

“For You Blue”

 

Not to mention or forget…

 

“Dig It” (Co-written with Lennon, McCartney, Starkey)

“Maggie May” (a traditional folk song covered by the Beatles on “Let It Be”)

Songs from the Doris Troy solo album of 1970

Songs from the Billy Preston solo album of 1970…

 

And off the back of that – off the back of this massive list of George Harrison penned songs – most of them, written and performed to an amazingly high standard – he went on, having JUST WRITTEN both “Something” and the amazing “Here Comes The Sun” months previously – to build the tracks that became “All Things Must Pass” – and when you look at that legacy, the whole thing (or most of it, anyway) it’s an amazing career, of amazing songs – culminating in the triple-whammy of “All Things Must Pass” followed by “The Concert For Bangladesh” followed by “Living In The Material World” – amazing, and built on a foundation of songs, the list above – that are frankly, absolutely incredible!

What a list of truly remarkable songs, and Dhani Harrison, as compiler, must be complimented for the very thorough and very high quality job he has done compiling these re-mastered, expanded albums included in the two box sets, “Apple Years” and “Dark Horse Years” – both, highly recommended!

I am so glad they appeared, and in particular, having pristine re-masters of “Wonderwall” (a personal favourite of mine), “All Things Must Pass” (George’s finest hour), “Living In The Material World” (from the Apple Box), and “Live In Japan 1992” (from the Dark Horse box – not reviewed here) – is a huge, huge deal to me – I love those records, not to mention “Cloud Nine” (also included in the “Dark Horse” box) which while a bit dated, sound pretty good still.

Of course, there was also the “Travelling Wilburys”…George’s “other” band of famous folk, which are omitted here entirely, and, the “Concert For Bangladesh”, only mentioned in passing on one of the DVDs…and not included in either of the boxes.  But even without those, the six discs here, represent a fine legacy, of my favourite Beatle, and preserved in a brilliant way by his son Dhani (a talented producer, musician, singer, and writer in his own right).

A remarkable man, a very talented man, a great musician, an astonishingly innovative and unique slide guitarist – George Harrison is a musical force to be reckoned with, a songwriter beyond compare – and you could not start in a better place than his output for Apple Records from 1968 – 1975 – this was when it was all happening for George – not to be missed!!

 

 

 

“And that is all I want to say…

Our love could save the day…

And that is all I’m living for…

Your love and nothing more

 

That is all…”

 

 

 

Peace, love and harrisongs forever !

 

 

Dave

 

 

 

 

 

 

 

 

 

 

I’ve got this notion…

After recently completing a couple of new tracks in the “music for apps” series, one piece done in korg’s  remarkable gadget app, entitled “fair play (advanced version)”, and the other, a very new piece made in my old friend nanostudio , entitled “treeclimber” – my most recent application-based work to be uploaded – I was thinking about what I should work on next.

I always have in my mind, a massive backlog of ideas for work with apps, and there are still a number of apps that I have not had the chance to record with – and in some cases it’s almost criminal, because they hold so much promise.  And I promise that I will get to them – borderlands granular being but one of them – an amazing ambient music application.

This is my current, “off-the-top-of-my-heid” list of apps that I own, but have simply not had an opportunity to record with yet:

borderlands granular

sector

moog’s animoog  – (note – I have quite a lot of material recorded using animoog, which dates back to the earliest times, almost three years back – that I have yet to publish any of – and it’s an incredibly beautiful application, one of the absolute best)

nave

thor

arturia family: imini and isem and iprophet

not to mention…

synergy

addictive synth

nlog pro

sliver

alchemy

arctic pro

and, no doubt, a host of others 🙂

 

And maybe what this list is…is the list of my next half dozen or so “eternal albums” series for 2015 – possibly.  I need to look at this carefully, and recently, I have been working with my app data (i.e., a mass of audio recordings made over the past few years, involving applications – and lots of them!!), of which there was such an overwhelming amount, created so quickly, over the first couple of years using apps, that I am just now sorting out the data (this is the curse of being prolific and incredibly inspired all at once, I dove head first into apps, recording so much video and audio, that my backlog has at times stretched out to about two years – and it’s only very slowly being worked through now, very slowly indeed! – it will take a long, long time to “catch up” – if I ever do!), and seeing what I have to present to you – and there is quite a lot sitting here, just waiting for me to find time – and I am constantly torn between the need to present this backlog of interesting application-based music, and playing new app-based music which will then also need to be presented – it’s always a choice, a choice I don’t want to make – I truly wish I had time to do both, but as it is, I am constantly bouncing back and forth between… – music of the past, music of the present, music of the pastmusic of the present.

 

Before I could sort through my mental files and choose one of these neglected apps to work on, another thought appeared in my head, which I kept trying to push away, I kept resisting it – until I realised, that I am much happier if I always have a project going in notion. So – without any remorse or hesitation whatsoever, I dived in, and began a new piece in notion, with a temporary title of “quartet in d major for four guitars” – it is another work in the classical genre, but this time, I am [temporarily, I assure you] moving away from the concerto form, and I am trying something new.

 

I have worked with notion and guitars before, in fact, my very first notion piece, “notionally acoustic”, was scored for two acoustic steel stringed guitars, as was the later “once more (into the fray)”, but to date, never really in the Classical genre, so I loaded up four nylon-stringed, classical guitars into notion – and began writing.

 

Very soon, I realised, that this is an amazing opportunity to apply some of my very limited Guitar Craft knowledge, in a writing situation, being very aware of the place that Guitar Craft already has within classical performance – i.e. where groups such as the Orchestra Of Crafty Guitarists (and their predecessors, the League Of Crafty Guitarists) and the California Guitar Trio, have used the new standard tuning, and, techniques such as “planned circulations” when performing classical works from Bach to Beethoven to Bartok.

 

With that strong history – and I was there, when the California Guitar Trio started doing a lot of classical repertoire, arranged by the remarkable Bert Lams, a musician that I respect more than most, and those early performances were the first time I had seen circulations used to play the very trickiest portions of some of these compositions – which might just about be “impossible” for three guitarists to play without using the circulation to share out the workload.  So any passage that is too incredibly quick or complex for a single guitar to play – can be shared across the three guitars, which makes the piece performable.

 

Or – it might also be, that in some cases, it’s not because it’s a tricky section of the piece, it’s rather that, Bert takes real joy in breaking up these melodies and harmonies into their component notes, and sharing them out between himself, Hideyo and Paul – and I was astonished the first time I saw this – it’s truly impressive, a remarkable way to perform classical music, and one of the most innovative I’ve ever seen.

 

Bert’s “planned circulations” truly inspired me, and now, while I cannot, unfortunately, work in new standard tuning (NST) in notion (I really, really wish they would add this capability to the application; then my life would be absolutely complete!! But it would involve new samples for all of the missing notes, that would have to be matched to the existing notes…not an easy ask, I am afraid), I can work with circulations.  I learned how to notate a circulation when I was working on my alternative track “once more (into the fray)”, so I already know how to do it – so I realised, when I set up this piece, that this is an opportunity to really expand this experience, and I plan to use “planned circulations” whenever and wherever I can within this new piece.

 

Of course, there is already a small one (a circulation, of course!) in place (!!) in the first section of the piece, the earliest melodies and ideas arrived very quickly and sorted themselves out very easily, so I am perhaps into minute two by now – a brand new composition, but, one that is already using circulations – I think it’s very exciting.

 

A chance to blend what I learned in Guitar Craft, actually, one of the single most important and beautiful things I learned in Guitar Craft, the “circulation” (where a single note is passed around a circle of guitarist, improvised or planned) – with classical music – something which, at the time, I did not have the skill, inspiration or tools to write – but now, fast forward to 2015 – and I have all three – amazingly.

 

Which means – at last – I can integrate the beauty and delight of the circulation form, into any classical composition I do involving guitars – so, four guitars, and of course, since I am notating sampled guitars in notion, rather than notating for real guitars in the real world, I use another tool to simulate the presence of four real players, an old, old piece of technology that I think is often criminally overlooked:  panning, or stereo placement.

 

OK, I am not able to do this in 5.1 (yet) or build up a 3D model a la Dolby Atmos, but – I can begin with what I’ve learned from the world of recording – if you want to simulate the physical position of different players, especially in a classical piece, you have to give careful thought to their stereo placement.  Now, in this case, it happens to be wonderfully simple, I set the four guitarists up like this:

 

Guitarist 1           Hard Left

Guitarist 2           30 degrees left of centre

Guitarist 3          30 degrees right of centre

Guitarist 4           Hard Right

 

Incredibly simple, but also, incredibly important – and I think, that this very simple technique, sounds wonderful – if you have a nice reverb room for all four players, and you put on the headphones and close your eyes…the stereo is simply amazing, and you really start to be able to pick out each player, and hear each distinct contribution to the piece.

 

It means too, that I can work in pairs – but not just the obvious, but in every possible configuration.

 

The most obvious two pairs would be Guitarist 1 and Guitarist 4, which gives you a very wide separation, and when Guitarists 2 and 3 fall silent, you get a particular ambience with just 1 and 4 playing.  At the same time, the second most obvious pair, Guitarists 2 and 3, sound almost as if they are in mono, wonderfully blended, being closer to the centre, and when 1 and 4 fall silent, this pairing have a completely different ambience, which provides a wonderful contrast to the wide separation of 1 and 4.  (Note, obviously, if you had a fifth instrument in this scenario, it would, of course, be set to dead centre).

 

Of course then, I am able to do any of the other remaining possible pairings, 1 and 3, 1 and 2, and 2 and 4 – so that’s five basic pairings…but for me, the most satisfying thing of all, personally, musically, and aurally – is when I run a planned circulation using all four players.  That means, if I score the notes starting with Guitarist 1, and then moving through the other three players in order, that you get the notes moving right across the stereo image from Hard Left to Hard Right (or, moving across your speaker system, or, moving across and through your head, in your stereo headphones) which just sounds wonderful to my ears!

 

If it is a particularly quick series, this almost then becomes a wonderful blur of musical motion, as the notes splay across your headphones, first, from left to right, then, back, but there is also the possibility of changing direction at any point in time, and sending the notes into almost any sequence – the most obvious being 1, 2, 3, 4, then the reverse of that, 4, 3, 2, 1 but there is no reason at all that I might not use other more unusual “orders” such as 2, 1, 4, 3 or 3, 1, 2, 4 and so on.  It’s also interesting the way these circulations “resolve”, when you are working on them, and you get to the end of the four bars or whatever, and you hear the way the circulation “works” within the large composition – it’s fascinating.

 

The possibilities are many, and I am very, very excited to see what works, what sounds good, what doesn’t work, what makes the most musical sense – what also pleases the aural senses the most.  I think it’s amazing that I am able to create this unusual sense of space, where you can distinctly hear each of the four players, and when they begin to “circulate”, you can follow the notes in “stereo space” which lends interest to the performance, while it adds sparkle to the music itself – do I play it straight, where the guitarist just “play” the notes, or do I put in the extra effort, and get them to work out quality “circulations” that do the most aural, and musical, justice to the piece?  I have the options, and I love it – these possibilities are truly exciting for a composer, which is what I’ve become, and I believe that because of this, I will probably begin to use circulations much, much more in my compositions, because I can, mostly!

 

There are a number of ways to accomplish this in notation.  Probably the simplest, and this is the way I do it, is, I write out a section of music, let’s say its four bars, in regular notation.  I then copy that across all four instruments, and then I simply decide who will play the first note – and I turn the other three guitarist’s corresponding notes into the equivalent rest.  Then I figure out who plays the second note, and I then turn the other three into rests.  Continue to the end – and you have a circulation.  Then – play it back.  If it doesn’t work – start over.  Or – make adjustments.  Sometimes you need to work on these a bit, because they don’t sound right – I’ve even decided to change notes in one or two of the copies to provide some alternate notes – so the circulation will then be subtly different from the original four bars of “straight” music that I had written.

 

That is just one way to do it, you can also decide what your notes will look like, by creating entire sequences of dummy bars, containing all rests, i.e., if you are in 4/4 time, then you would have four quarter rests per measure, or 8 8th rests, etc.  Then, you can go in and add notes manually, overwriting the rests, with the notes.

 

I’ve done it both ways, and both work fine, although I tend to use the “notes to rests” version rather than the “rests to notes” – it’s just my personal preference.

 

Another possibility, is to run two paired circulations – so, get Guitarists 1 and 4 playing one series of notes, while Guitarists 2 and 3, play a different one, perhaps in counterpoint or as a round – I haven’t really tried that, yet, so that might be interesting.

 

I just think that circulations and classical music were almost made for each other, and I love the idea of combining classical composition, with one of Robert Fripp’s best ideas ever.  It just works for me, and I believe that this new piece is going to really shine because of it – I am already very pleased with the first several bars, and their little “mini-circulation”, and my mind is racing ahead to imagining massive four-part guitar solo sections, no chords, just the four guitarists all soloing like mad – and then, cut it up into a circulation.

 

Imagine streams of 32nd notes or 64th notes, descending across four guitars, moving back and forth like a jagged triangle across the page, from guitarist 1 to 2 to 3 to 4 then back through them all to 1 again – like a wave of music, shared by these four players – I can’t wait to get to this imagined “solo section” – wherever it will be.

 

I am having to restrain myself a bit here, and make sure that I also have the piece centred and still based in the classical tradition, where I do have long stretches of music that are played “normally” – in fact, I want “normal” playing to dominate the piece, not the circulations – they need to be the exception rather than the rule.  They need to remain special, and I think that whenever they do appear, even if it’s fairly regularly – that they ARE special – and I am pleased and proud to have them available to me as an interesting tool that will hopefully, make my classical works more interesting and more unique – of course, any other “Crafty” that writes notation and is aware of circulations, might well also be crafting classical music including circulations, and frankly, I hope they are.

 

I really feel that the beauty of the circulation, is something that should be much more widely heard, and much more widely understood – the first time I was involved with one, in my very first live Guitar Craft circle – it absolutely blew my mind, I realised that I was a human being, being used by Robert Fripp in a live experiment in looping – and it was basically, a massive circulation involving 30 people, with Fripp directing and deciding what each player should play. Incredible, and, unforgettable – once you’ve been a part of such a unique thing.

 

That was in 1988, a long, long time ago now, but, I’ve carried that with me all this time, and now, the excitement I felt, that feeling of discovery – and later, at other Guitar Craft courses, I was fortunate enough to participate in many, many “unplanned” circulations, and planned ones, too – and sometimes, the absolute beauty of what happened in the “unplanned” ones especially, was just almost too much to bear, I would go to bed literally shaking my head at what a beautiful piece I had had the great fortune to be a part of.  A good circulation is a tonic, it literally heals me, it feels amazing, and it’s one of the most satisfying musical forms I have ever encountered.

 

The unplanned ones, where you have 20 or 30 players – or sometimes, in more intimate circumstances, with 7 or 8 players, as in some of the kitchen teams I have worked with (I made Kitchen Craft part of my Guitar Craft experience at almost every course I ever attended) where amazing things happen that you just can’t forget – “you remember that circulation we did that night, after we did the breakfast prep – that was astonishing?!!…” – all I can remember is that amazing circulation magic, and shaking my head in astonished disbelief – what an experience.

 

It does stick in your brain, and of course, there were those amazing early performances by Bert and the trio, and hearing Bert’s remarkable, unique arrangements of standard classical works, was a huge inspiration to me too, because I could then see the power of the “planned circulation” within all music – especially, in classical music.  It was interesting too, to watch and listen as the California Guitar Trio developed, more and more circulations crept into their work, so some of their later CDs and live performances still feature Bert’s special circulation-filled arrangements of classical, and other styles of performance, too.  To my mind, the trio are the best of the “Crafty spin-off groups”, because of the incredible variety of styles and pieces they perform, but also, because of the amazing arranging skills of Bert Lams.

 

I couldn’t write notation back then, in fact, I finally learned how thanks to the remarkable notion application, and I am still very much a beginner, but, I can now write it well enough – and it’s pretty easy to “hear” too, I do have “an ear” for music, so having Notion is such a blessing – I can write it, and instantly, I can HEAR it – get a good preview, and then I can “hear” if it is right or wrong – and make the appropriate adjustments – and try again.

 

It works.  It’s a good process, and I am so glad that I worked it out – it will definitely mean that I will want to create more repertoire for Guitar Craft, both classical and non-classical, I also plan to use circulations in some of my “alternative” works featuring steel-stringed acoustic guitars rather than nylon-stringed classical guitars – and in fact, one of my recent compositions, “once more (into the fray)” was done in this way – in that case, featuring two acoustic steel-stringed guitars.

 

In any case, the new piece is well under way, and I am hopeful that I can feature circulations in it in a fairly substantial way, without going over the top, and produce a pleasant, intriguing composition that will be enjoyed by all.  That would be a good thing.

 

notion was in constant use for the first year or so that I had it, so much so that I had to take a break from it, I did not want to, and it’s been a struggle keeping away from it all this time, many months, because I wanted to give the other apps a look in – which, to some extent, I have managed to do – except for the ones that I have yet to work with – but at least, I am keeping my hand in by working on existing eternal albums such as music for apps: “music for apps: gadget” and music for apps: nanostudio.

 

During my self-imposed “break” from notion, I did have a chance to sort out my data of stored music for applications, which allowed me to clean up, prep and upload the music for apps:  thesys eternal album, I also have set up sector as the next catalogue of recorded music to look at – sector is a remarkable application – and also during that time, I completed the two songs I mentioned earlier, “fair play (advanced version)” in gadget and “treeclimber” in nanostudio – and then, I lost my will power, I felt it calling to me, and suddenly, I am back in the world of notion once more (ahhh-bliss!…) – and feeling extremely happy about it, too, I truly enjoy working with this app, and writing notation, and having the instant feedback of being able to play back your music instantly, seconds after you put note to page – and that is hugely invaluable to a composer.

I’ve now already made significant progress with my new “four guitars”-driven quartet, and I am very excited about the possibilities for this piece – it’s sounding pretty good already, which is unusual – often, embryonic music refuses to take shape, or you struggle mightily to bring it into the shape you see in your head – but not this piece, it flows, it doesn’t require much tweaking, or at least, not so far – I am perhaps, two or three minutes in now – just working through the details :-).

 

I missed you, notion, I feel “normal” now – because for so many months, I always had at least one notion piece “on the go”, sometimes, two or even three, and I feel that music for apps: notion is one of my strongest works.  I am busy working on the next piece that will form a part of this ongoing eternal album and I am very excited indeed, about the musical possibilities inherent in a piece like this, when using classical notation mixed with the very potent Guitar Craft / Robert Fripp “circulation” – to my mind, that is quite a combination!

 

 

 

 

 

 

 

 

 

 

 

 

 

learning the beatle repertoire…

After a childhood dominated by the Beatles (I only had four long-playing vinyl LPs – all by the Beatles!) and their music, when I returned from Africa in 1971, armed with a rudimentary, self-taught knowledge of the guitar, one of the first things I did, was seek out other musicians to work with.  it came as no surprise, somehow, that we already had something in common – we all loved the songs of the Beatles, and in almost every band I was ever in as a young teenager, we tried to learn Beatles songs – with varying degrees of success, I must hasten to add.

 

Two early bands, both joined when I was still in Junior High School, provided the vehicle – and I was one of the few who purported to play lead guitar (and I could,  but, very, very haltingly, and, very, very slowly, and…not very well at this point in my life, age 13 – 14) I was “in” – it’s difficult to recall, and in fact, I have no idea what the name of either of these bands are, but for the sake of reference, I will call them the “Mike Lewis Band” and the “Stafford / Monaco” bands, respectively, because those were the alleged “leaders” of the two budding beat groups 🙂

 

There is even a recording of the “Stafford / Monaco” band, an amazingly good cassette tape (considering the age and the quality of the tape – recorded by my older brother John on a poor quality 120 minute tape, no less) of a live performance, where we tackle some Beatles numbers, and I even have a go at singing John Lennon’s “Imagine” – the verses only, no bridge 🙂

 

This is a perfect example of great enthusiasm for the material, from a group that did not have the chops or ability to play the songs particularly well – but – we were all just thirteen, so, I don’t really expect much out of either of these bands, to be honest!  So if a few of our songs were missing bridges or the odd verse, it’s just the way things worked out…

 

I think the “Mike Lewis Band” was the first band I was in, Mike was a gregarious, friendly bass player / acoustic guitarist who spent his entire life forming bands, writing songs, and playing in bands – he was determined if not incredibly talented.  I remember though that he and I did reach some dizzy heights, such as our attempts to play the beautiful acoustic guitar balled “Julia” from the Beatles “White Album” – I am happy that there is no tape of that !  But we even took turns singing the verses, so we could do the overlapping vocal bit – very sophisticated.  But – “Julia” was not part of our repertoire, Mike and I would tend to play acoustic guitars just for fun, playing the songs of the day, and singing, and I can remember we learned and played “The Needle And The Damage Done” by Neil Young, which was also very popular at the time.

 

In the “Mike Lewis Band”, we started out as a three-piece band; I think, with Mike Lewis on bass and lead vocals, Mike Brooks on drums, and myself on lead guitar.  Then Mike announced that he was going to bring around this amazing pianist that he knew of, to see if he would join our band.  That was when I first met Ted Holding, who later on, would become my very best and dearest personal friend, but at this point in time, Ted was quiet, unassuming, with his long, straight blond hair hanging in his face – but when he sat down at the piano – it was a different story.

 

Ted had the voice of an angel, a far, far better voice than Mike (which I am sure didn’t please Mike too much) – but, Mike was smart enough to know that bringing in someone of Ted’s calibre truly strengthened the musicality of the band, so he set aside any feelings of inferiority – he had such bravado anyway, that he would probably never admit that Ted was miles beyond us all in terms of ability and talent.  Ted on the piano – even at age 13 ! – was a revelation, and as we grew up together in the early 70s, I was privileged to watch Ted graduate from pop music, Beatles music, on through (of course) Elton John, and then, onto prog: learning the music of Genesis, ELP and so on, on the piano.  I watched, I imitated, I begged him to teach me songs – so really, my own keyboard ability came along in leaps and bounds directly as a result of working with Ted – may he rest in peace.

 

I don’t remember that the “Mike Lewis Band” played a lot of gigs, although we must have played some, I’m really not sure – I remember practicing in the back bedroom at Mike’s parents’ house, spending a lot of time there either with the band, or working with Mike on new repertoire for the band.  And that would have included some Beatles covers, although with this band, since it’s the farthest back, I literally cannot remember a single song that we actually played – the memories are gone, I’m afraid.

 

But – I do remember the “Stafford / Monaco” band a bit better, partially because of the taped show, and because it was later – I don’t know what happened to the “Mike Lewis Band”, but I ended up joining up with this kid Rick Snodgrass, and many an hour was spent at his parents’ house, learning songs and working out our repertoire.  I brought along one of my new pals, who lived in my neighbourhood, around – our drummer (who also sang) – the very talented Brian Monaco.

 

Our set list included everything you would expect from a cover band in 1971: the Beatles (of course!), Creedence Clearwater Revival (of course!), the aforementioned John Lennon (and our half-cover of “Imagine”), and Santana, that kind of thing.  For a band whose four members age was all exactly 13, we were remarkably accomplished.  In those days, as was always the case in the early days of most bands it seems, there was a shortage of bass players – so we just didn’t have one.  To compensate for this, we went from a standard two guitars and drums to a really confusing three guitars and drums – but somehow, we made it work – Rick brought in a friend of his on third guitar, so we had one rhythm guitarist (Rick) and two lead guitarists (myself and Tommy).  Rehearsals could be a real row if we weren’t all in tune !

 

Excerpts from this rare concert are available on the pureambient blog companion page, where you can actually hear the “Stafford / Monaco” band’s primitive renditions of Beatles and other popular songs of the day – here are the tracks that have been uploaded so far (the rest will probably not be uploaded – but maybe someday), but even this partial set list is stacked very, very heavily in favour of our favourite band – the Beatles:

 

Stafford / Monaco Band Live At Johnson’s, 1971

 

3 Back In The U.S.S.R. – drums & lead vocal, Brian Monaco

Imagine – (the verses only, no bridge) – guitar & lead vocal, Dave Stafford

And I Love Her – (Instrumental Version)

10 Born On The Bayou

13 Gentle On My Mind

16 Lucy In The Sky With Diamonds  – drums & lead vocal, Brian Monaco

17 Honey Don’t – acoustic guitar & lead vocal, Rick Snodgrass

20 Twist And Shout

22 Evil Ways

Credits:
Tracks 1, 9 & 16 – Lennon / McCartney
Track 7 – Lennon
Track 10 – Fogerty
Track 13 – Hartford
Track 17 – Perkins
Track 20 – Medley / Russell
Track 22 – Henry

Now, one shouldn’t approach this as a great musical tribute to the Beatles or any of the bands we covered, we were very, very young, very inexperienced, but I will say, we were enthusiastic, and Rick’s parents were endlessly supportive, too, giving us advice, listening, and making suggestions – it was a very positive experience overall.  What we lacked in experience and proficiency, was made up for by our burning desire to play the music that we loved – and, in later years, when I was in my late teens, I did participate in Beatles covers that sound much, much better than these very primitive versions, with typical very-old-cassette bad sound quality.  When I hit 19, 20 – I was playing in cover bands, and playing Beatles songs, reasonably well, every night for a couple of years.

 

But – learning these songs – what a struggle it could be !  I think what amazes me most about the the “Stafford / Monaco” band’ set list is the fact that we tackled two very musically complex tracks; one from “Sgt. Pepper’s Lonely Hearts Club Band” and one from the “White Album” – which, for a group of 13 year old boys, was incredibly ambitious.  I am especially proud of Brian Monaco, for his remarkably accurate drumming and his lead vocal on the rather difficult to play “Lucy In The Sky With Diamonds”.  I only wish the guitars were even close to the original – they are not !  But Brian’s performance of “Lucy In The Sky With Diamonds” is really remarkably good, all things considered.

 

The earlier Beatles tracks and covers that we did, were not much easier to learn – I do recall that our instrumental arrangement of “And I Love Her” – an early favourite track of mine, was especially arranged by myself for the band, and we worked very, very hard to be able to perform this song as well as we did on the cassette.  Of course, the straight-ahead rock numbers are a little bit easier to learn, the bread and butter of every cover band that ever existed – “Honey Don’t” featured Rick, while “Twist And Shout” was another Monaco lead vocal – a real rocker!

 

The inclusion, oddly, of Glen Campbell’s huge hit, “Gentle On My Mind”, is down to Rick, who was a huge fan.  While it’s not a track I would have picked – it actually works quite well.

 

Santana, of course, were huge at this time, so our final track of the evening, “Evil Ways” – again, featuring the unstoppable Brian Monaco on drums and lead vocal – made good sense.

 

There were several Creedence numbers in the set, of which “Born On The Bayou” was one of the most popular, this band had just skyrocketed to fame, and every band of teenagers with guitars was learning this now-classic piece of rock music – ourselves included.  This was one of the first proper “lead solos” I learned – two notes of it, anyway.

 

I cite these two bands as the earliest examples of myself learning Beatles music, a process that began when I was 13, and continues to this day (I recently recorded, but did not release, a live cover of “I’m So Tired” on piano – piano and voice) – and I plan to work on the track until I do get a releasable version – so even now, in my mid-50s, I am STILL learning, playing and singing songs by the amazing Beatles.  As I got older, my ability to play the guitar improved somewhat, and by age 16 0r 17, I could do a much better job of covering a Beatles tune than my 13 or 14 year old self could – that’s for sure!  By age 19, I could confidently reel off a three part Beatle medley that was part of the repertoire of another band I was in – Slipstream.

By the time I was 20 or 21, I had learned so much from the remarkable Ted Holding, that my piano playing skills were way beyond what they had been – which of course, opened up opportunity to learn Beatle songs on the piano, too – a whole new world of songs.

So where did this go next?  Time passed, school went on, friends, and fellow musicians, came and went – in fact, for example, I was in many, many different bands formed by the also-unstoppable bass player Mike Lewis – we remained friends, and he would pretty much bring me into every band he formed for a number of years (whether I really wanted to be in that band or not, sometimes!). Some of these, unfortunately to my ever-lasting shame, were Christian rock bands – a place that neither Ted nor myself belonged or felt comfortable in, but – we did it for our friend, Mike.  Later on, in high school, we teamed up with a new rhythm section, Mitch and Kent, and that was yet another Christian rock band, with the horrific name of “Soul Benefit” (and we could not play soul at all, so a complete misnomer) – but, Ted and I did it for our friend Mike, and, to play with superior musicians – Mitch played bass far better than Mike, so Mike switched to acoustic guitar/lead vocal/rock star, and Mitch took over the bass parts, Kent, the drums.  We were together for a couple of years, needless to say, except for “fun”, we didn’t cover the Beatles in those two bands 🙂  I do remember us playing “Smoke On The Water” by Deep Purple really, really loud one night rehearsing in a church!

Mike had a system, he really, really needed Ted’s talents on piano and vocals, so in order to convince Ted to join whatever crazy band Mike was forming this week; Mike would first get me to agree to be in the band, and then, we would work on Ted, get him to come along, and then, and only then, things would start to sound really good.  Ted’s ability on piano absolutely took off; he progressed far beyond his years, and his voice also just got better and better.  To be frank, he made Mike look pretty bad, and his piano playing was far, far beyond any of us – we were not as skilled on our chosen instruments.

The years after Junior High school are more of a blur, for my 14th year on the planet, I would have been moving on from those earliest bands into more sophisticated bands, and while I still worked with Mike Lewis on his many projects, I began to work more directly with Ted Holding, who happened to also love the music of the Beatles.  I began to hang around at Ted’s house, and we worked on music incessantly – all the time, for hours and hours and hours, usually just the two of us– I would play bass, or guitar, or even organ – and Ted would play the piano.  We would sing Beatles songs – Ted singing lead, me attempting harmonies – and it was just fantastic fun.

This became several different bands, some quite imaginary, like “Ted & Dave” (also known as: “Holding & Stafford”) and others more substantial, like “Ted & Dave & Rick & Jennings” (also known as: “Holding”, “Stafford”, “Corriere” and “Morgan”) – I was in a lot of configurations of these “for fun” bands – and it was enormous fun!  It really was.  “Ted, Rick and Dave” (also known as “Holding”, “Corriere” and “Stafford”) was probably my favourite, but who is to say – no, wait, my absolute favourite had to be the “Ted & Dave” configuration, because we could play every kind of music possible, from Elton John to the Beatles to Ted’s own original songs and so on – an absolute blast and one of the happiest times of my life.  By the way, Rick Corriere was a junior high friend of Ted’s and mine, an accomplished drummer, and when we were all about 18, 19, 20 years old, we would stage “progressive rock” style improv sessions in Ted’s studio that were just amazing – please see the pureambient audio companion, see the entry for 1977 – for more on this particular prog wannabe band.

 

One day, in the “Ted and Dave” configuration, Ted and I decided to try and work out a favourite Beatle track of ours, the beautiful, heartbreaking “No Reply”.  We decided we would record it (we must have been about 16 by now) on Ted’s brother’s reel-to-reel recorder, which had an amazing ability that was new to me – “multitracking”.

 

So we laid down basic instrumental tracks, Ted on piano, myself playing nylon string classical guitar (my first acoustic guitar purchase – a beautiful little guitar that I still have to this day) and we worked very hard to get it sounding just right.   Then – we overdubbed vocals.  When I say we…I mean, mostly Ted, I think I do sing on the track (I don’t actually know, it hasn’t been transferred from analogue yet) but I think he does the majority of the voices – and trying to work out the exact harmonies that the Beatles sang, was difficult, challenging, and exhilarating at the same time – we were so pleased with the result – it really sounded extraordinary to us – I mean, multitrack tape – incredible!.  Once this is eventually converted, I will add a link to the “Ted & Dave” version of “No Reply” – for now, I don’t have the track available – yet.

 

I hope one day to go through the reel to reel tapes (which Ted gave to me many years ago, because I wanted to preserve this music) and present this piece – but it is on a long list of analogue-to-digital conversions that need to be done, and I do not have a reel to reel deck set up at the moment.  So it’s a minor mystery, does it really sound as good as my memory tells me it does?  Hopefully, one day, I will find out.

 

But it was the process that was so fascinating – when you “took apart” any Beatles song, to try and learn the parts – first of all, it always amazed me how quite tricky many Beatles tracks are – not easy to learn, deceptively difficult, and maybe you would know the chord sequence, but for some reason, even though you THINK you are playing the exact, right chord sequence, it never sounds quite as good as the Beatles version!

 

Next up, was one of the more challenging Beatles tracks for me, this was still early on, I was probably 15 or 16 at this point, back in the famous downstairs bedroom studio once again and not yet such a great lead guitarist that I could easily learn the quite tricky solo in “Ticket To Ride”.  I remember struggling mightily with it, but luckily, Ted saved the day, he worked out the exact notes, figured out where and when to bend the strings – and eventually, I got it – I was so pleased!  I can remember him standing in front of me, almost WILLING me to learn it, telling me when to bend, pointing at the guitar neck to show me what note to play next –  my first true decent almost-right lead guitar solo – and, I get to do it twice during the song (or was it three times? – not sure – that’s the problem with memory).

 

Another memory from this time involves a different session at Ted’s house, this time, a couple of years later, aged, approximately 17 – and, we’d moved from his large downstairs bedroom studio, into the much larger garage space, probably because Ted was also working in other bands, often with his then brother-in-law, Joe Norwood.  One day, Ted and I were trying to learn “While My Guitar Gentle Weeps” and Joe, who was a few years older than we were, and himself, an extremely good lead guitarist (from whom I learned a lot) – stopped by – and then to our amazement, joined in with his guitar, working out the Eric Clapton parts that I was really not-quite-yet-able to emulate – so I happily switched to rhythm guitar, and held down the basis of the song with Ted, provided vocal harmonies, and let Joe wail away a la Clapton.

 

That was the beauty of being a young musician, with a lot of really quality musician friends, you always ended up playing music, often, with players far better than you (and for me, both Ted and Joe were far beyond my modest abilities – as pianist, and as lead guitarist) – Ted taught me almost everything I know about piano – that I didn’t teach myself, and, I learned a lot from watching and listening to Joe play lead guitar, and also, he spent time explaining a lot of things to me, about music, about guitar, and I owe a debt of gratitude – here was this really cool older dude (he was probably like, 19, or 20, maybe 21!) and I was a scruffy 17 year old wannabe lead guitarist – but Joe Norwood very kindly and patiently shared his knowledge and expertise with me – a good friend, and a great blues guitarist, by the way.  a video of Joe’s music can be found here.  Joe also sold me one of my best guitars, my Ibanez destroyer, which I still play to this day.

 

It was fantastic fun, “While My Guitar Gentle Weeps” is certainly one of George’s best-known tracks, and I think, quite a remarkable tune.  It’s very difficult to play well, the basic riff is one thing, but that bridge “I don’t know how, nobody told you…” is so, so hard to sing – George’s voice was really at his best in 1968, he was still young enough to hit some really high notes with relative ease, yet by then, he was an experienced enough lead singer to really write and sing some amazing songs – and on the “White Album”, George’s range of song contributions is absolutely remarkable: “While My Guitar Gentle Weeps”, “Piggies”, “Long, Long, Long”, “Savoy Truffle” – you could not get four more “different” songs – the sadness, longing and truth of “Guitar Gently Weeps”, the wonderful harpsichord and political satire of “Piggies” – incredible creativity there, and sense of humour; “Long, Long, Long” one of George’s unrecognised masterpieces, a love song of such beauty and intensity (I remember performing “Long, Long, Long” at a wedding reception with my friend, drummer Rick Corriere) that I really feel it’s an overlooked masterpiece, and George’s ode to Eric Clapton’s chocolate addiction, the wonderful, rockin’ “Savoy Truffle”, with it’s almost sleazy horn arrangement and awesome lead guitar work from George – and that sinister vocal “you know that what you eat you are, but what is sweet now, turns so sour…” – brilliant, ominous – George at his cynical best!

 

Another earlier recording / jam session back in Ted’s bedroom studio focussed on the fantastic pop song, “I Should Have Known Better” – with Ted on piano, and myself on guitar and harmonica – and, we shared the vocal duties.  I loved playing this tune, it’s always been a favourite, and it was easy enough to learn (for a change!) and it was fun trying to play harmonica and guitar at the same time – because I didn’t have one of those harmonica holders – I never have had one.  But that didn’t stop us, we just…did it, somehow.  I loved doing harmony vocals to Ted’s confident lead vocals, “and I do – hey hey hey – and I do !” – and, I got to play the fab guitar solo, which was fun to learn and even more fun to play.

 

When I look back at this time, from 1971 to perhaps, 1979 – so basically, the 1970s – I was 12 when they started, and 21 when they ended – I am looking back at one of the most creative, fun, exciting times in my life, and during those “difficult teenage years”, I was too busy playing guitar, playing piano, singing, and just having a great time playing music, with so many different bands and players – it was an absolutely amazing time to be involved in music.  And while the Beatles had broken up at the beginning of the 70s, their music had had such an incredible impact on the world, we were still reeling from the shock of their transformation, from innocent 50’s rockers, to 60s pop icons, to the musical revolution that was the “Beatles Studio Years” – beginning with “Rubber Soul” and carrying on through “Revolver”, and “Sgt. Pepper’s Lonely Hearts Club Band” and the “White Album” – the sheer musical change that the band underwent was absolutely astonishing, and I think the world was still absorbing this, sort of thinking “what the hell did they DO?” – how did they GET from “I Want To Hold Your Hand” to “Tomorrow Never Knows” in just three years’ time???  How could a band of self-taught teddy boy long-haired art-school drop-outs from Liverpool, end up in Abbey Road Studio No. 2 with a 40 piece orchestra, recording the incredibly complex and musically amazing “A Day In The Life”??  How can this have even HAPPENED?

 

It’s almost enough to believe that at some point in 1965, aliens landed, and planted seeds in the Beatles’ collective brains, which sent them on the musical journey that they then embarked on.  OK, maybe not aliens, but certainly, Bob Dylan, who introduced them to…”tea”, had an influence, but it can’t just be the ”tea” – surely, that music was already somewhere deep inside the Beatles, it just needed the right catalyst to bring it out.   In my opinion, one of the biggest and most significant catalysts was none other than the good Sir George Martin – who had the most influence over the Beatles, and encouraged them, even from the earliest days, to try new things.  And try them, they did.

 

So when it came to “Rubber Soul” – they tried new things.  Acoustic songs, folk-rock songs, volume-knob lead guitar.  But to my mind, the biggest transformation is “Revolver” – from that first count-in preceding George’s “Taxman” (which of course, is not from “Taxman”, but never mind – it was added in to the front of the song, later on) to the dying notes of “Tomorrow Never Knows” (which, curiously, was last on the album, but recorded first in the album sessions).

I personally think that “Revolver” may be the “best” Beatles album (if such a thing is even possible!!!).  It’s certainly one of my very, very most favourite records of all time, not just, favourite Beatles record.  Favourite records, full stop!

Almost every Beatle album has any number of unusual or interesting musical facts about it, and George’s brilliant tirade against the 95% tax imposed on early Beatle earnings, has the curious story as told by one Lindsay Buckingham from Fleetwood Mac, who, upon finally meeting George Harrison after many, many years, the first thing out of Lindsay’s mouth was “George, I loved your amazing guitar solo on “Taxman” – it’s fantastic!” to which George laconically replied “oh – that was Paul, actually”.

And that story, amazing as it is, was heartbreaking even for me, although it made my admiration for Paul McCartney increase, I had, like Lindsay Buckingham, for 20 years or more, had always thought that since it was George’s song, and George was the lead guitarist of the Beatles – that George had played the amazing, Indian sounding solo – only to find out years and years later, that it was the very capable McCartney who had actually done so!

But if you step back, and think about Beatle repertoire, and think about the content and song structure of “early” Beatles work, and then, compare and contrast that to some of the startling new kinds of music that began emerging on ““Revolver” in particular – I mean, even Paul’s “Eleanor Rigby” was a complete shock, like nothing else the world had ever heard – some say it’s a successor to “Yesterday”, but in my opinion, while “Yesterday” is a deservedly famous and uncontestably beautiful ballad, with a lovely string arrangement, “Eleanor Rigby”, by comparison, is high art – a heart-wrenching story-song, and George Martin’s string arrangement here, is absolutely sublime – so incredibly beautiful (which I was absolutely delighted when they included the live take of the strings alone, as recorded in the big room, Abbey Road Number 2 studio, on “The Beatles Anthology”what a sound!).

 

So what happened in Paul McCartney’s brain, that he would be able to write “Yesterday” one year, and the next, come up with something that is an order of magnitude more intense, more complex, and is certainly more musically amazing: “Eleanor Rigby”.  It’s almost like two different people, as if his brain did a re-boot and said “what if I wrote a song like THIS…” – and the rest is history.

 

“Revolver” also gives us Paul‘s astonishingly tender and beautiful “Here, There & Everywhere” – surely one of the best love songs of ALL TIME.  A song that John Lennon so liked, that his only comment was, “I wish I’d written it”.  One of Paul’s very best and most beautiful songs, with a vocal that is just heartbreaking (including John’s delicate harmonies…”watching her eyes…”) and the chord progression – wow – this is not actually that easy to play, either.

 

And yet – “Eleanor Rigby” and “Here, There & Everywhere”, for all their increased sophistication – are not even the “unusual” or “different” or “strange” tracks on “Revolver” – they are the “normal” sounding tracks !!!! The most normal of all the tracks on the record.

 

Something definitely happened in Paul McCartney’s brain, but at the same time, both John and George were experiencing a remarkably similar brain transformation.  “She Said, She Said” with it’s odd time signatures, and fabulous, distorted guitars, is one of John’s best and most amazing tracks, I love the whole sound of it, it just takes me somewhere, immediately – and when I think’I want to hear “Revolver”‘ it’s usually “She Said, She Said” that I am thinking of – but when I get to the album, it’s then generally going to be George’s songs that I actually start with – “Love You To”, “I Want To Tell You” and the redoubtable “Taxman” – three of George’s very best Beatles songs, and, that amazing combination of heavy fuzz guitar and Indian instrumentation on “Love You To” just knocks me out – it’s an amazing idea – mixing traditional classical Indian instruments with rock music – but it works, and, it works really, really well.

 

John’s brain was maybe the most altered of all, and besides the aforementioned “She Said, She Said”, his contributions to “Revolver” are among his very, very best Beatles output:  the incredibly beautiful “I’m Only Sleeping” – where George spent ages recording two “reverse guitars” – and that song is responsible for my own obsession with playing reverse guitar (or – “backwards guitar” – which is now available at the touch of an effects pedal) – which, in 1966, could only be achieved by turning the tape over, playing “forwards” while the song played “backwards”, then, turning the tape back over (I know this, because that is how I had to record reverse guitars in my own music for many, many years -a great technique!), and HOPING that your resulting melody line “forwards”, has resulted in a musically pleasing “backwards” guitar – a very hit or miss proposition; but Harrison painstakingly wove two guitar tracks into one of the most beautiful examples of reverse guitar ever created – and while many have tried, no one has every really quite captured the beauty of reverse guitar in the way that George Harrison did on John’s “I’m Only Sleeping” – which is an incredible song in it’s own right, the reverse guitars are just the icing on a very, very sweet cake.

 

Even though Lennon dismissed it in the “Playboy Interviews”, he was also mostly responsible for one of my very favourite Beatle tracks from “Revolver”, “And Your Bird Can Sing”, with it’s amazing dual lead guitar part that just drives the song so beautifully, when I first heard this song, I could not BELIEVE the guitar parts, and to this day, I still can’t quite imagine how they worked this out!  The interplay of the twin guitars with the rhythm section is just perfect, and Paul’s bass just soars in between the cascading, rising and falling lead guitars – plus, one of the best harmony vocal works on the album, I love the vocals on this song too – they just fly over the top of those guitars, which seem to be playing almost continuously throughout the song – and again, I can’t imagine how they worked out the vocal parts – but the end result is astonishing – a great song, often overlooked.

 

It’s no accident that this part of my memories of the early days of learning Beatles songs suddenly has become dominated by a somewhat-useful-but-far-from-complete review of the “Revolver” album, but, it does tie in (believe me, it really does!) because I would cite “Revolver” as the album where it first became utterly impossibly to replicate the songs live – well, some of them could be rendered, maybe, but in the main – they have become so complex as to not be easy to replicate on stage, or, by other musicians either.

 

So – none of my bands, ever played anything from “Revolver”, although I do recall privately playing “Got To Get You Into My Life” with Ted on piano – just for fun.  And I spent a lot of time studying the chords to, and learning as best I could, Paul’s very lovely “Here, There & Everywhere” – a truly beautiful and remarkable song. I’ve also played and sang “I’m Only Sleeping” on acoustic guitar, and I learned the main riff of “And Your Bird Can Sing”on a Guitar Craft course (at the 21st anniversary course in Argentina, no less), in the new standard tuning for guitar, no less!  That was hugely fun, playing “And Your Bird Can Sing” with other guitarists, “Crafty”-style – remarkable – a totally unique and unforgettable experience.

 

 

But most of “Revolver” – especially songs like “Love You To”, and “Tomorrow Never Knows” were so advanced, even “She Said, She Said”, were so incredibly strange and new, and so musically intriguing – that you can only really listen, you can’t really imitate – sure, Paul has now performed some of these songs with his live band, in the 2000s, but, it’s not the same, really – and while he has every right to play Beatles material live in the here and now – it’s never going to sound like the original sound of “Revolver” – one of the most distinctive sounding Beatles records of all time, and in my mind, the “turning point” from normal rock music, into the exciting and mostly uncharted territories that they experimented with from “Revolver” on out.

 

It is remarkable then, that at age 13, in 1971, the second band I was ever in, the “Stafford / Monaco band” played one track from the “White Album” and one track from “Sgt. Pepper’s Lonely Hearts Club Band” – two records made after the turning point, and while our versions are not musically accurate, the fact that we even TRIED these songs is remarkable – we tried!  It was down to a shared love of the Beatles, and to be honest, almost every musician I ever worked with in the 70s, loved the music of the Beatles.

Almost every drummer in almost every band, would at some point, sit up a bit straighter on their drum stool, and bash out a version of Ringo’s famous drum solo from the end of the “Abbey Road Medley” – every drummer worth his salt had learned that solo, inside out – and it was instantly recognisable – so there was a great love for the Beatles, and for Beatles music, in the musical community that I worked with in the San Diego, California area in the 1970s.

 

The Beatles were the benchmark to which every other group would be compared, even if that group broke a Beatle record, I don’t mean vinyl here, I mean, for example, that a band like Creedence Clearwater Revival might have surpassed Beatles sales figures from the 60s, in the 70s – certainly, bands like Led Zeppelin surpassed a lot of the Beatles‘ accomplishments, such as “largest audience”.

 

But the interesting thing here is, such news was ALWAYS announced, with a backwards reference to the Beatles, so it would be “In 1973, hard rock band Led Zeppelin sold out a show in Tampa, Florida, with over 56,000 people in the audience – the largest audience at a rock gig since the previous record set by the Beatles at Shea Stadium in 1965”.

 

Every new sensation, every new “record” was always compared back to the originals, to the masters, to the boys who did it first – the Fab Four.  It always amazed me, for example, Zeppelin were (rightfully) very proud of the fact that they had broken a record set by the Beatles – it was an honour, somehow.

 

Everything was bigger in the 1970s, in the 60s, large concerts were a thing of the future, and as the infrastructure of rock grew ever-larger in the 1970s, it was unavoidable that most of the then-rather amazing records that the Beatles did set in the 1960s – were easily surpassed by their more sophisticated 1970s successors – like the incredible Led Zeppelin – who for example, did no less than NINE US tours between the years of 1968 and 1971.  In the 70s – all records were utterly blown away by the eventual emergence of “stadium rock” – with Led Zeppelin leading the way to ever larger and larger productions.

 

The Beatles never had that infrastructure, and the technical aspects of their live performances were pretty primitive and often, quite dismal, with underpowered PA systems and insufficient monitors, you can see them in the film of the Shea Stadium concert, struggling to hear themselves sing and play over the screaming.  But of course, the screaming was always there, and that did eventually cause the Beatles to lose heart in the idea of live performance – which, while heartbreaking for the legions of fans who never got to see them play live (myself included, sadly) was actually, very, very beneficial – because escaping the terrors of the road, and moving permanently into Abbey Road Studio No. 2, meant that the Beatles could now blossom creatively – and by God, blossom they did.  An explosion of growth – demonstrated by the insanely fast musical progress made by the Beatles, across the albums spanning 1966 – 1969, a musical journey of unprecedented scale and scope – leaving one of the most remarkable catalogues of music ever created in it’s unstoppable wake.

 

Note: I have actually seen three of the Beatles live, but, as solo artists; first, George, at the Forum in Los Angeles with the Ravi Shankar Orchestra and Billy Preston in 1974, then, “Wings Over America”, Paul, at the San Diego Sports Arena, either in 1976 or 1977, and finally, twice, Ringo‘s All Stars, sometime in the 1990s, one of them featuring Todd Rundgren.

 

Every year, we would be treated to a new Beatles album (just one now in most years; not two a year as Brian Epstein and the record company had pressed the Beatles to do back in the early 60s) and each year, it would be a totally different musical experience – and if again, you step back and look at it – it’s absolutely astonishing; I view it like this:

 

1965 – “Rubber Soul” – the beginning of “the change”, Lennon starts singing and writing in a much more personal way, under the influence of a) Bob Dylan and b) ”tea” supplied by Bob Dylan – with songs such as  “Nowhere Man”, “Girl” and the amazing “In My Life” – a complete and radical re-invention of the man & musician,  John Lennon.

 

1966 – “Revolver” – a radical re-imagining of rock music, including heartbreaking string arrangements, classical Indian instruments integrated with heavy guitar rock, progressive bass playing, and the one-chord / one-note drone / raga style music concrète” sonic experiment, “Tomorrow Never Knows” – which was actually the first piece recorded for the new album – a groundbreaking record in so many ways

 

1967 – “Sgt. Pepper’s Lonely Hearts Club Band” – the world’s first concept record, with the famous photo montage on the front cover – and the lyrics on the back (a world “first”, there, too!) but to me, it’s just a bunch of truly great songs – and some of the best moments are maybe not the most famous, for example, the detuned and distorted lead guitar solo in “Fixing A Hole” is absolutely astonishing in it’s complexity and beauty, for a guitarist like myself, it was a revelation – and while after this, everyone began to use detuned guitars – created via a device called “Automatic Double Tracking” or ADT – the birth-device that all flangers and choruses since, have come from – the Beatles were really the first to come up with this kind of radical guitar sound in the studio – absolutely marvellous.  George and John begin to experiment with truly distorted and detuned sounds after seeing Jimi Hendrix perform – and you can hear it on tracks such as the reprise version of the title track – the lead guitars are really powerful.  And of course, the closing song is the absolutely unbelievably beautiful “A Day In The Life”, featuring what is surely one of the most beautiful John Lennon vocals ever recorded – George Martin said about John’s dreamlike vocal on the track – something like: “a voice…from the heavens”.  I agree with Sir George Martin – a truly beautiful song with an incredible Lennon vocal.

 

[1967 – “Magical Mystery Tour” – OK, this year, they made two records. “Magical Mystery Tour” is highly underappreciated, I absolutely love it – especially the wonderful “Hello Goodbye”, the title track, the wonderful only-instrumental “Flying” and even “Your Mother Should Know” – there are no bad songs on this record – much overlooked and underappreciated.  But then, “Sgt. Pepper” and then, the “White Album” really stole MMT’s thunder – hard to compete against those two behemoths.]

 

1968 –  “The Beatles” (aka The “White Album”).  A complete change.  Minimalism.  Stark white cover.  The pageantry and grandeur of “Sgt. Pepper” is wiped away, by 30 darker, more experience-driven songs, a strange batch of songs, no doubt, but with that amazing diversity that you get when you have three strong players and three strong singers and three strong writers in the band – and I shouldn’t downplay Ringo – he very much tried to hold his own (imagine, having to complete with the two impossibly powerful songwriting teams, the “Lennon-McCartney” team AND “Harrison” who was practically a team in his own right – that can’t have been easy !!!) and this album has two cracking Ringo tracks on it, “Don’t Pass Me By”, and the really beautiful “Good Night” which is maybe one of his most beautiful vocals – a lovely tune.

 

[1969 – “Yellow Submarine” – honourable mention.  OK, they made two records this year, too.]

 

1969 – “Abbey Road” – I am intentionally leaving out “Let It Be” because of it’s chequered past.  I love “Let It Be”, but, even though it was recorded before “Abbey Road” – it was then shelved, and eventually emerged in 1970, hanging it’s head in shame, but, gloriously re-invented by Lennon and Phil Spector as a grandiose strings and choir kind of record. However, I think that “Abbey Road” is truly the band’s swan song and legacy – they went into the studio, stopped arguing (for the most part) and recorded an album of songs “like they used to”.  The album was a compromise: to please John, side one of the vinyl LP was “songs”, to please Paul, side two of the vinyl LP was a suite of “connected” songs, the so-called “Abbey Road Medley” – which is a minor masterpiece in it’s own right.  The maturity of songwriting on display here is absolutely startling, especially in George (who, at this point, is about to blossom musically with his upcoming triple album “All Things Must Pass” – but that’s another story for another blog) who produced not just the awe-inspiring love song “Something”, but also, the fantastic, irrepressible “Here Comes The Sun” – featuring the Moog synthesizer, and the most beautiful, sparkling guitars imaginable – a great song, one of George’s best, and personally, I probably actually like and respect “Here Comes The Sun” actually more than “Something”. (I should give honourable mention for George’s guitar solo in “Something”, however; it was played live by George during the strings overdub on the song, remarkably – beautifully underpinned by one of the best, most melodic bass guitar parts ever recorded – really incredible work from Sir Paul).

I’ve played both pieces many times, usually, I play “Something” at the piano, while I would always play “Here Comes The Sun” on guitar – and I love them both – but it’s difficult to say which one is “better” – they are both fantastic, and showed the George could actually compose right at, or even better than, the level that John and Paul had been composing at all along.  He caught up, and in a way, with those two tracks, even surpassed John and Paul – and certainly, his first solo album, the redoubtable “All Things Must Pass”, shows us even more examples of his songcraft, and overshadows all of the debut solo releases by all of the other Beatles – it basically wiped the floor with the other Beatles’ post-Beatle output, selling millions – I bought two or three copies over the years in various formats.

 

Right up to the end, the Beatles kept writing and producing the most amazing catalogue of original music in the world of rock, that the world had ever seen.  Songs that became more and more sophisticated, and for musicians such as myself, became more and more difficult to play, or imitate – but it was sure fun to try !

 

Over the years, I’ve played a LOT of Beatles songs, a huge range of them, and learning them, was often quite a bit of work, but once learned, playing them was just sure joy.  Just for fun, I’ve attempted to write down every Beatle song (including both songs that they composed, and, their cover versions of songs that they also performed) that I’ve ever learned, and / or, performed or recorded – just to see how many I can come up with:

 

 

Baby It’s You (with the Mike Packard Band – successor to Slipstream – circa 1979)

Twist & Shout (with the Stafford / Monaco Band – circa 1971)

I Should Have Known Better (with the Holding / Stafford Band – circa 1972)

I’ve Just Seen A Face/Ticket To Ride/Help! Medley (with Slipstream – circa 1978 / 1979)

And I Love Her (with the Stafford / Monaco Band – circa 1971)

No Reply (with the Holding / Stafford Band – circa 1972)

Eight Days A Week (with the Holding / Stafford Band – circa 1972)

Honey Don’t (with the Stafford / Monaco Band – circa 1971 – and other bands, too)

I’m Only Sleeping (solo acoustic guitar & vocal  – circa 1970s)

Here, There & Everywhere (solo piano & vocal – circa 1970s)

Got To Get You Into My Life (with the Holding / Stafford Band – circa 1972)

Lucy In The Sky With Diamonds (with the Stafford / Monaco Band – circa 1971)

A Day In The Life (solo piano & vocal – circa 1970s)

Back In The U.S.S.R. (with the Stafford / Monaco Band – circa 1971)

While My Guitar Gently Weeps (w/ the Holding  / Stafford Band feat. Joe Norwood- guit. – circa  1973)

I’m So Tired (solo piano & vocal – unreleased – 2013 live -in-the-studio piano & vocal demos)

Blackbird (solo acoustic guitar & vocal – circa 1968 – the first“finger-picked” song I ever learned; summer 1968)

Rocky Raccoon (solo acoustic guitar & vocal  – circa 1970s)

Julia (acoustic guitar duet & vocal – circa 1972 – the second “finger-picked” song I ever learned, circa 1972 – with Mike Lewis, acoustic guitar and vocal)

Helter Skelter (electric guitar – various times, 1970s – present)

Long, Long, Long (piano & vocal – with Rick Corriere, percussion – circa 1970s)

Cry Baby, Cry (piano & vocal – circa 1970s)

Something (piano & vocal – circa 1970s)

I Want You (She’s So Heavy) (electric guitar & vocal – w/ Jim Whittaker, guitar – circa mid  1970s)

Here Comes The Sun (acoustic guitar & vocal – circa 1970s)

You Never Give Me Your Money (piano & vocal – circa 1970s)

Golden Slumbers (piano & vocal – circa 1970s)

Carry That Weight (piano & vocal – circa 1970s)

Two Of Us (acoustic guitar & vocal – circa 1970s)

Let It Be (piano & vocal – circa 1970s)

The Long And Winding Road (piano & vocal – circa 1970s)

 

So – remarkably, thirty one songs – which surprises me, I would not have thought it would have been as many as that, but it’s also NOT surprising, because, the Beatles‘ catalogue is something that musicians almost always “fall back on” at one time or other in their careers, and if you cover Beatles‘ songs, you are guaranteed that at least people will know the song, although they may not love your version of it – or, they may – but they are one of the groups most “covered” over time – not to mention, that in a list of the top ten covered songs of all time, the Beatles not only hold the top two spots, but they actually have four tracks out of the ten, plus, John Lennon’s “Imagine” makes five – so, either the Beatles or a Beatle own the record for most covered song, for HALF of the top ten – amazing!

 

Before I continue, I have to say, that even to the present day, there is nothing more satisfying than sitting down at the piano with a Beatles songbook, and having a go at a Beatles song you’ve never tried – or, for that matter – one you’ve played a million times.  Or – get out your electric guitar, turn up the distortion, and work on your Beatle rock riffs – “Hey Bulldog”, “I Want You (She’s So Heavy)”, “Helter Skelter” and so on.  And of course, that makes me realise that there are actually probably quite a few “partial” Beatles songs I know, or just the main riff, and, a few that I have learned and then completely forgotten because I didn’t keep up with them (including the amazing “Yer Blues” – with the guitar solos actually learned from tab – brilliant tab! – something I never normally use, tabs, but this one was spot-on – excellent) – but I REALLY wanted to learn that solo.  So really, “Yer Blues” makes it 32…but if I start adding in fragments of songs, I will never finish the list – so there it shall sit 🙂

 

I would say, that growing up, for those nine or ten years from 1971 to 1979, learning, singing, and playing Beatles songs, along with a healthy helping of Jimi Hendrix Experience, Cream, Led Zeppelin, ZZ Top, and so on, was the best musical education I could get – far better than going to music college, instead, just dive in and learn the music that you love.  That’s what I did – and I am glad of it.  Huge chunks of Led Zeppelin I are still in my fingers’ memory, and huge chunks of Hendrix music, too – I could play those two bands’ music all day long, along with the Beatles  But, the Beatles had the most profound impression, because of their incredible melodic values, and the hard-won vocal harmony which really, were what set them apart at first.

So while Cream and Zeppelin and Hendrix really, really rocked, they never quite had the songwriting skill and stamina that Lennon, McCartney, or Harrison did (and that may be why I found myself drawn to progressive rock fairly early on – seeking better songcraft – and often finding it) – although some of the late Cream and later Zeppelin, are pretty musically advanced.  But those are the successors, the Beatles, I think, wisely disbanding before the heavy metal bombast of Stadium Rock took over the world – by then, they were gone…

 

Having the Beatles so central to my education, music or otherwise, was hugely important, and it’s also simply given me a world of personal satisfaction and enjoyment, I will never forget the day I finally mastered Paul McCartney’s quite difficult “Blackbird”, the first guitar piece using fingerpicking that I ever learned, at age 10, no less – it took me a couple of weeks (being taught by a 16 year old girl, who had in turn, been taught the song by somebody else…) but eventually, I “got” it – and that was wonderful, because any time I was out with an acoustic guitar, I could play it – and everyone around me INSTANTLY recognised it, and responded positively – I never got a negative response to playing a Beatles song – ever.  People in general, either really like them, OK, maybe some younger people, don’t really know their the Beatles were the best band in the world, from 1963 to 1969, unchallenged.

 

At the same time, during 1969, was that “other” best band in the world that I like so much, King Crimson – whose leader, guitarist Robert Fripp, has described a personal, musical epiphany that he had one night, hearing back to back on the radio first, music by Bela Bartok, and then, the last part of “Sgt. Pepper’s Lonely Hearts Club Band” – with “A Day In The Life” – and it was the impetus of that, that eventually led him towards the pursuit of the creation of King Crimson – so, unlikely though it seems, one of the heaviest and most complex of all “progressive rock” bands – actually started out by a young guitarist being utterly struck with the incredible piece of music that the Beatles‘ “A Day In The Life” is.

I can just imagine Fripp, in his car, as the final orchestra part builds and builds, so loud, overwhelming the whole song…and if you think about it, on the first few Crimson albums, of course, the dominant sound (besides Fripp’s amazing lead guitar) is the mellotron – which they had two of – and they used it to create Beatle-like string sections in live performance – so again, inspired by “A Day In The Life”, young Robert Fripp imagined a band with two mellotrons in it – and then, he built it.  Repeatedly.

 

It’s amazing the number and diversity of musicians either directly or indirectly inspired by the Beatles, some of them wearing their inspirations out on their sleeve, others, are more hidden or difficult to discern – but they are still there. So, you get a band like Oasis, who unashamedly try to sound like a modern day Beatles (and mostly fail at it, in my opinion) although I quite like a lot of their songs anyway, on over to a band like Klaatu, who people thought might BE the Beatles, secretly reformed and making records under a mysterious new name in the 70s.  As it turns out, Klaatu are just some guys from Canada, who made Beatlesque music (I really enjoy Klaatu, especially their first three albums).

 

There are so many others who obviously admire the Beatles, from Todd Rundgren, his first band The Nazz, and the latter-day versions of Todd Rundgren’s Utopia, to any number of other latter-day Beatles soundalikes – the Raspberries in the early 1970s, Badfinger – an Apple band, discovered by the Beatles,  and far too many others to even mention.  Perhaps I will attempt a “list of bands that sound suspiciously like the Beatles” – but I am not quite sure I can do such a thing.  I will have a “think” about that…meanwhile, back to the subject of cover versions…

 

Here are the Beatle tracks and their positions in the list of “most covered songs of all time” – of course, these lists change all the time, and it was very difficult to find a list that seemed properly representative – this list, from 2008, contained no less than 5 Beatle-related tracks as “most covered”:

 

1)      Eleanor Rigby ***

2)      Yesterday

4)      And I Love Her

6)      Imagine (John Lennon)

8)      Blackbird

 

Apparently, for a long, long time, “Eleanor Rigby” was second to “Yesterday”, it was only in recent years when it knocked “Yesterday” out of the top spot.

 

I was surprised to NOT find George Harrison’s “Something” in these lists, I had thought it was one of the highest covered songs of all time – but I might be remembering that old Frank Sinatra joke, where he introduced “Something” as the finest song ever written by Lennon-McCartney – in all seriousness, he actually did not seem to know or realise that it was written by George Harrison.  That’s a famous story there!

 

***However…the Wiki contains some conflicting information here, because it also states, on the page for the song “Something”, that the song has more than 150 cover versions, which means it’s the second most-covered song after “Yesterday”.  So somebody needs to do some counting, and really find out a) what the top ten most covered songs of all time REALLY are, by all artists, and b) what the top ten most covered Beatles songs are – what song is REALLY, currently in the top spot – make up your minds !! 🙂

 

 

For those who might be interested, there is a very interesting page here on Wikipedia, that lists many of the most significant cover versions of Beatles songs

 

http://en.wikipedia.org/wiki/List_of_cover_versions_of_the_Beatles_songs

 

When I say significant, that refers to all of the real musicians in the list, it does not, however, actually refer to the included “group” called “Alvin and the Chipmunks” who did a whole album of Beatles covers in 1964, so they have twelve entries in the chart !  I am sure that’s a really, really good album (if you are a fan of sped-up vocals, that is).  But – it’s an interesting list, Chipmunks aside…and it includes some of my very favourite cover versions of Beatles tracks: containing everything from:

 

Herb Alpert & The Tijuana Brass to 10cc to Bela Fleck & The Flecktones to Adrian Belew to David Bowie to The Carpenters to Johnny Cash to Cheap Trick to Bryan Ferry to Neil & Liam Finn to Peter Gabriel to Jimi Hendrix to Allan Holdsworth to Eddie Izzard to Tom Jones to King Crimson to Sean Lennon to Marillion to Pat Metheny to Keith Moon to Nazz to Harry Nilsson to Oasis to Tom Petty & The Heartbreakers to Phish to Radiohead to Red Hot Chili Peppers to The Residents to Todd Rundgren to The Sandpipers to Santana to Peter Sellers to The Shadows to Sandie Shaw to Frank Sinatra to Elliott Smith to The Smithereens to Soundgarden to Stereophonics to The Supremes to James Taylor to Teenage Fanclub to They Might Be Giants to Richard Thompson to Transatlantic to Travis to Ike & Tina Turner to Utopia to U2 to the late, great Sarah Vaughan to The Ventures to Rick Wakeman to Paul Weller to Jack White to Roy Wood to XTC to The Yeah Yeah Yeahs to Yellow Magic Orchestra to Yes to Neil Young to Dweezil Zappa to Frank Zappa and I told you it was a great list – this is just a tiny portion of artists represented on the entire list.

 

A truly interesting resource for an incredibly diverse set of Beatles covers – and the diversity of artists who have covered the Beatles is immense, yet, they all share the same love we feel for the band – a love for Beatles music, reflected in the fact that they took the time to learn, perform, or record a Beatles track or tracks.  Shared love = love of the Beatles‘ music = All You Need Is Love – that’s an equation that I can understand and believe in – and I do.

 

 

 

“Love, love, love – love, love, love

 

There’s nothing you can do that can’t be done

Nothing you can sing that can’t be sung…”

 

 

 

 

– from “All You Need Is Love” – June 1, 1967

 

 

 

see you next time ~~~~~

“whisper words of wisdom…”

mobile universe of sound (the ios world)

the ios universe of applications…is heaven for synthesists and musicians alike.  as a guitarist, I appreciate guitar applications, but my passion is collecting synthesizers…also, real synthesizers were always big ticket items, and I couldn’t afford the nice ones.

for me, ios, and the availability of inexpensive apps that emulate great synths old and new, changed everything.

pre-ios, I had a limited number of hardware and software synths, and the soft synths mostly had to be run inside my DAW, or in some cases, as a standalone application on the PC, but still, I had no access to an almost limitless array of synthesizers – and now, with ios and the amazing developers who populate it, I have more choice than I can deal with!!

HARDWARE SYNTHS

or, how it all started…

imagine if you will, then, a guitarist who has been working on music for many, many years, and during that time, dabbled in synthesizers – in the early days, I had an arp odyssey (a mark I, no less!), surely one of the most difficult to tune synths of all time; I had a wonderful serge modular system, and to my everlasting horror, I foolishly sold them off many years ago…

then, by chance almost, I picked up a couple of classic yamaha hardware synths: a dx7s, and a dx11s, and the dx7 saw service in the live set up of the band bindlestiff, where I played synth on stage as well as ambient loop ebow guitar – and my partner played a korg, so that was a great contrast of two fantastic synths – and if you listen to some of the pieces we did with that combination, yamaha and korg, such as “the wall of ninths” or “pacific gravity” you can hear what two classic synths can do in live performance.

so – during the first thirty five or forty years of my career, I owned at most, five hardware synths, and now, I am down to three – and that was it.  then came pro tools and sonar and soft synths in general, and I have a reasonable selection of those, which made recording much easier – in particular, having a decent grand piano, “true pianos”, was very useful, and I’ve used “true pianos” for a lot of projects, from my own songs to covers of peter hammill and van der graaf generator.  I picked up the wonderful “m-tron pro” mellotron software, which inspired one of my best solo albums, “sky full of stars”, and I also have “BFD2” a dedicated drum program, which allowed me to have professional sounding drum tracks when making the rock / prog / ambient album “gone native” – and if you take your time with it, you can make really great drum tracks with, such as this one, “wettonizer”, from the “gone native” record.

LEARNING SYNTHESIS, ARPEGGIATORS & SEQUENCING

having owned such a limited range of hardware synths, I never really got the chance to expand my knowledge of synthesis by owning and playing a variety of synths, and I certainly never would have been able to afford most of the desirable synths (I remember playing a korg M1 when they came out, and just practically drooling with desire – but I simply could not afford it) – so I never bought a modern synth.  I do love my yamaha dx7s, as eno has noted, it has a few really great sounds, it does certain things very, very well, and there’s nothing quite like it.

but overall, besides a modest collection of standalone and DAW-based soft synths, I really felt like I didn’t have much chance to understand, for example, the differences between additive synthesis and subtractive synthesis, I never really felt like I totally understood the magical relationships between oscillators, filters, modulators, and amplifiers, because I didn’t have examples of the many, many various hardware devices with their wildly differing approaches to synthesis.  arpeggiators and sequencers were largely mysterious to me, but after working with the fairlight app (now called peter vogel cmi) for a year or so, I really “got” how sequencers work – which then meant I could use them with better clarity in many, many other synths that feature them.

THE ARRIVAL

then came ios.  the apple platform, and, when you look at what is available for music – well, that’s what made me decide which tablet to get, when I saw what I could get on ios, at the time, compared to the relatively modest selection of apps on android – it seemed a no-brainer.  I realise that over time, android is catching up, but I still don’t know if they will ever match the range, scope and incredible diversity of synths and near-synths that the apple store boasts – it’s astonishing what is available, and it’s astonishing that you can buy a massive collection of the world’s best synthesizers for a fraction of what the hardware versions cost – a tiny, tiny fraction.

FIRST GENERATION SYNTHS & THE FAIRLIGHT

so I went for the ipad/ios combination (despite not being a huge fan of apple in general!) and it was the wisest choice I ever made.  within minutes, I was beginning to collect that massive set of synths that I could never in a million years have afforded in the hardware world – I started out by buying something that would have normally cost me about 20 grand, the great 80s sampler, the fairlight – and I spent about a year and a half, learning how to build sequences the slow way – and it was a fabulous learning experience, and I came to understand how the fairlight works, and how to arrange the instruments into sets, and create music in a way I never had done before (step by step) – quite inspiring, and very educational – and as I said, I could then transfer my new sequencing skills, to many, many other devices that support sequencing and sequences.

MOOGS & KORGS – GREAT EMULATIONS

another early purchase was moog’s “animoog”, and even now, when I have more app synths than I know what to do with, I am constantly returning to this synth, with it’s ever-expanding library of great sounds.  the korg “iMS-20” soon followed, and that was probably the synth that I truly started to learn from, because it’s so visceral, and so visual, with it’s bright yellow cables in the patch bay, and it’s utterly faithful graphics…  the first generation synthesizers that were first available on ios were already excellent, emulating hardware synths that would have cost me thousands, now mine just for a few quid on ios.  unbelievable – because I never would have owned any of those in my real life, because the hardware versions are so incredibly expensive – well beyond my means.  for example – the fairlight cost about ten thousand dollars more than my annual salary the year it came out.  now – it’s mine for a pittance…

AND ARTURIA TOO…

other early device purchases were my beloved “addictive synth”, the very, very capable “n log pro” – a great sounding little device;  “mini synth pro”, and another real favourite, the arturia “imini” – a mini-moog style synth on an ipad !!

between arturia’s “imini” and moog’s “animoog”, I was set to go for that style of synth. also, synths like the great bismarck “bs-161”, the very capable “sunrizer”, “cassini”, the amazing “alchemy” synth; the list goes on and on and on….

TOUCH CONTROL – THE REMARKABLE TC-11 SYNTH

then you get unique and amazing synthesizers like the touch control “tc-11” synthesizer, which takes real advantage of the ipad’s large screen, and delivers a synthesizer-playing experience that is unmatchable – you place your hand or hands on the screen, and by moving your fingers and hands in various ways, you “play” the synth – there’s no keyboard, but this shows you that you don’t necessarily need a keyboard to make beautiful synthesizer music (something I’d learned once before, when I got my first korg kaossilator – amazing hardware device!) – and you can produce truly beautiful music using a non-traditional interface like this – “tc-11” is simply, one of the highest quality, most remarkable devices that’s ever appeared on iosios – I absolutely love it.  one of my very favourites, I do like synths that don’t have keyboards, but out of all of them, this is the most fun, and most creative, to work with and use to produce  startlingly different synth music, often of great beauty – the remarkable “tc-11”.

SECOND GENERATION AND MISCELLANEOUS SYNTHS:

very quickly, I became a true collector of synth applications, and guitar applications, too – but it’s those synths that I keep going back to – and now, the second generation of application-based synthesizers are here, and they are beyond fantastic, with features and sounds that are incredibly complex, mature and amazing: the mighty “thor”; the incredible “nave”, “magellan”, the korg “ipolysix”, arturia’s amazing “isem” – the list just goes on and on and on.

the “dxi”, “epic synth” (1980s style synth), “launchkey” plus “launchpad”, “modular” (similar to my lost serge system, but reliant on in-app purchases to make it truly useful), “performance synth”, “sample tank” (the free version only so far), “spacelab”, “synth”, “synthophone”, “xenon”, “xmod”, and “zmors synth”….the list goes on still…

GENERATIVE DEVICES

then there were the generatives…mostly ambient in nature, and therefore, extremely well suited to the type of music that I generally make, so I happily adopted and became an adherent of “scape”, “mixtikl”, “drone fx”, circuli and so on…I worked with and continue to work with generative synthesis, which is a fascinating branch of synthesis, with it’s own quirks and interesting ways of working.  mixtikl in particular holds my interest very well, sure, anyone can make sounds on it, but if you get into it deeply, you really have an enormous amount of control of how it generates the finished product…which is endlessly changing, never the same, constantly mutating according to the rules and conditions that you control…

“scape” is just purely beautiful, the sounds, courtesy of brian eno and peter chilvers, are simply top-notch, and using art works to create your generative pieces is a stroke of genius – and it’s very simple, just…drag geometric and other shapes onto a canvas, and see and hear your generative piece grow.  more recently, I’ve picked up “drone fx”, which to my mind, is very nearly in the same class as “scape” and “mixtikl” given that you can set it up to create generative pieces, and the results are excellent – it’s a very ambient flavour, which suits me just fine, so I am very happy to add “drone fx” to my arsenal of generative music applications!

then there is “noatikl” (obviously, a spin-off or product related to the great “mixtikl”) – I don’t have much experience with this tool, I would call it a “sound design”-based generative music app, where you create loop-like pieces by connecting different sound generating nodes together – it’s quite odd, but it makes lovely music, and I hope to learn more about it and gain some skill in using it in the future.

THE LAND OF AMBIENT

this category includes most of the generatives, so please see “GENERATIVE DEVICES” above, for details on “scape”, “mixtikl”, “noatikl”, “drone fx”, and “circuli”.  there are other really, truly important synths in this category, in particular, the brian eno-designed “bloom”, which was the predecessor to “scape” – “bloom” is a generative player, you select wonderfully named style and “bloom” then creates them on a grand piano for you – it’s really lovely, I can sit and listen to it for hours.

then there is another from the “mixtikl” family, the lovely ambient music player “tiklbox” – this one is really simple, it has a die in the middle, and you roll the die, and it then randomly selects or creates a piece of music based on the number you roll.  It’s mostly very pleasant, I like the music it makes, but there is very little user interaction possible, you just turn it on, roll the die, and…listen.  but – that’s cool, too.

PHYSICS-BASED SYNTHS

then you have the slightly strange synths, two more in the semi-ambient category being “circuli”, which is literally, circles that grow and collide, and those collisions produce music, and the somewhat similar “musyc” that makes it’s music with bouncing objects – again, virtual objects collide to produce notes, chords or percussion sounds.  “orphinio” presents varying sets of intersecting circles, each set to a different tuning or modality.  both of these “shape-based” synths have truly great potential, but you have to be patient to get the kind of sounds you want out of them.

GRID-BASED SYNTHS

then there are the “grid” devices – visual sequencers with massive grids that scroll past, and you merely “click on” some of the buttons as they pass, and note events begin.  one of the best of these is an old favourite of mine, “beatwave”, which I have used as a background for guitar improvs, because you can very quickly “build” a good quality backing track (it’s very similar to looping, really) and then just let it run, and solo over the top of it for live performance purposes.  a similar and also very enjoyable device, “nodebeat HD”, works in a very similar way, and in fact, there are a good number of these “grid” types of synths out there, most of which sound very good.

MICROTONAL GRID SYNTHS

then…again…you have the static grid types, such as the classic “mugician” and “cantor”, which use a static grid that you play by putting your finger on the notes you want to play, and “cantor” in particular, has a great “auto octave” function which means that if you want to go up very high, you just swipe a big diagonal line upward – and the device leaps up through four or five octaves – and a reverse diagonal, takes you back down to the lower notes.  “cantor” is more note based, although it does have microtonal attributes, you mostly use real notes, whereas “mugician”  is totally and utterly microtonal, you can “hit” notes, but it’s more about being able to play in a microtonal fashion – something that takes practice to get good at.

early on, I used “mugician”  to play microtonal indian-style melodies over the remarkable “itabla pro” (one of my very, very favourite music apps of all time – I could write an entire blog about “itabla pro”; how good it is; and how much I LOVE it!) and that was great fun – it works really well as a lead instrument in that kind of musical situation.

slightly different in design to the “mugicians” and “cantors” (which while sounding very different, do have very similar interfaces visually at least) is the most excellent “sound prism pro” which features it’s own unique grid design, that is similar but different from the other two apps mentioned.  “sound prism pro” has it’s own unique musical vocabulary, and is a bit more melodic / harmonic, whereas “mugician” and “cantor” are essentially solo instruments – melody only.

VOCAL SYNTHS

then there is the “vocal section”, which on my pad, share a special page with my audio utilities – in this category, we have some great tools for creating vocal harmonies and effects: “harmony voice”, “improvox”, “vio” and “voice synth” – each boasting it’s own slightly different way of achieving vocal harmonies – some very innovative and good sounding tools in this category, a lot of fun to sing into, too.

RECORDING STUDIOS – AUDIO, MIDI, HYBRID

just outside of the land of synthesizers, there are also a broad spectrum of recording studio applications, such as “auria” (professional audio multitrack studio), “cubasis” – professional AUDIO + MIDI studio, “nanostudio” one of the oldest and most respected MIDI studios, and a personal favourite (and it does qualify, because it has a synth in it – a GREAT synth, called “eden synth”, which I absolutely love), “isequence”, “isynpoly” and “synergy studio”, midi studios all; and the unique yamaha “synth and drum pad” which is a bit different from the rest and is a lot of fun to experiment with – some unique sounds there, too.

the most recent entrant to this category is korg’s groundbreaking “gadget” – an incredible studio with fifteen unique korg synthesizers, bass synths and drum synths (yes, fifteen) that you can combine in endless variations to produce some amazing music.  I’m currently working on my first three pieces with gadget – and of course, I feel another eternal album coming on…

STANDALONE ARPEGGIATORS

on the same page as the studios, I also have a couple of standalone arpeggiators, “arpeggiognome pro” and “arpeggio”, which are very useful for driving your other synths, and unusual apps like “lemur”, which I purchased at half price for future development projects.

DIY SAMPLE PLAYERS – NO EXPERIENCE NECESSARY

I also have a few of what I term “idiot synths” (no offense to anyone) because you need know absolutely nothing to run them, they are really just sample players with controls to modify many samples running in parallel.  the “groove maker” series are really quite good, I love the “groove maker rock” version especially.  I also have “session band rock” which is similar, I’ve made a couple of nice “metal” backing tracks with “session band” – the “rock” version, of course!

PIANOS, ELECTRIC PIANOS, ORGANS, MELLOTRONS

then there is the more traditional section of keyboards, which features a variety of grand pianos, regular pianos, upright pianos, electric pianos (“iGrandPiano”, “iElectric Piano”, “EPS”, mellotrons, and a couple of really, really great emulations of organs – “galileo”, “organ+”, and “pocket organ c3b3” – I love all three of these!  I am really pleased in particular to have the organs available, and the work that’s gone into them, right down to the quality of that leslie speaker emulation – I love the “slow to fast” sound and vice versa, and all of these do a good job of that.  the sounds are simply beautiful, and, they are a lot smaller, lighter, and cheaper than real organs 🙂

DRUMS & BASS – AND PERCUSSION, TOO

this section of my ipad has really expanded of late, and there are a lot of great apps available for very little cost.  starting with the basses; we have a large variety of very innovative and interesting-sounding devices, from oddities like “amen break” to more practical devices such as “bass drop hd” and”bassline”. the drums section, by comparison, is massive – old faithful “korg ielectribe”, “dm-1”, “drumatron”, “easybeats”, the unique “impaktor” (which makes a drum kit out of any ordinary surface), propellerhead’s quintessential “rebirth” which of course, handles bass and drums, and is enormous fun just to play…”synth drum”, “virtual drums”, and a million other drum kits and machines too numerous to mention…

my absolute, all time favourite drum app, however, is not any ordinary drum machine or drum kit, rather, it’s the extraordinary “itabla pro” – one of the most excellent applications I own.  full on tabla samples, with several playing styles for each template; and an extremely large range of templates in all time signatures, it’s as much an education as it is a drummer. also featuring tanpura and other supporting instruments, it has two completely tunable tanpuras, the tablas and the two tanpuras are all tuneable within an inch of their life, and it makes outstanding music for interacting with other ipad instruments.  I’ve been working for some time using synthesizers with “itabla pro” as accompaniment, and it works equally well with microtonal synths such as “mugician”, as well as ordinary “western” synths such as animoog – on my ipad right now, I am working on a new piece that features two animoog solo melodies over a tanpura and tabla backing – and it’s sounding very, very good so far.

notably, while not a percussion instrument, there is also an excellent free app, called “samvada” that does tanpura only, it’s beautifully made, sounds great, and is excellent for use either in conjunction with “itabla pro”; or, for situations where you want a tanpura drone but you don’t need tablas.  sometimes, I just gang up the tanpuras on “itabla pro” with “samvada”, for the ultimate in rich, deep drones – fantastic.

ODDS AND SODS SYNTHS

other oddities include “tabletop” which is a sort of…table top, where you can arrange midi synths and drum modules to make music with, with a lot of in-app purchases if you want the really nice tools.  it is possible to make decent music with the free supplied tools, but it is limited unless you are willing to spend a lot on IAPs.

there are so many in this “category” that I cannot possibly list them all: “76 synthesizer”, “moog filtatron”, “catalyst”, “cascadr”, “dr. om”, “noisemusick”, “figure”, “lasertron ultimate”, “samplr”, the list just goes on and on and on…

IN CONCLUSION…

and as time passes, more and more synthesizers will arrive on ios, each more powerful than the last, it just seems like a never-ending process, there are so many excellent developers out there, as well as such a hunger from musicians (myself included, I am not ashamed to admit) for these synths – especially the vintage ones, the ones that emulate the classic keyboards that we all lusted after, but most of us simply could never afford.  ios, and the availability of cheap synth apps – gives us what we could never, ever have in the real world.

armed with this vast array of synthesizing power, I feel like there is no sound that I can’t make, and no requirement I can’t meet – if I need a sound for a project I am building on my ipad – I will, absolutely will, already have a synth – or two – that can make that sound.

I am utterly in my element here, I hope the synths never stop arriving, and as long as developers keep creating them, I will absolutely, absolutely – keep playing them.  rock on.

I will leave guitar applications for another day – suffice to say, they are equally diverse and fascinating, and several of them are putting serious challenges to existing stomp box and other guitar processing hardware items.  I love my guitar apps, and it’s a whole new world of guitar playing – instead of my traditional set up; instead, I have a guitar to ipad to sound card set up – and I can get a whole world of excellent tone just using ios ipad guitar applications…

in the meantime, synthesists unite, and developers, please do not stop working on new and better and more innovative synthesizer apps.   something needs to feed this addiction, and that’s truly what it has become – but in the best possible way, and I get so much enjoyment, hours and hours and hours of enjoyment, from just playing the various synths, to making various recordings using them – it’s created an entirely new application-based world of music that I did not realise I had in myself – and it’s an absolute joy to play these innovative instruments, and to try out new combinations of devices either by using them in a multi-track environment such as “auria”, or, for simpler set ups, the very practical “audiobus” (another game-changing device) and now, we have the new inter-app audio as well, so options for tying synths together via MIDI, or for triggering other devices from within one device, just grow and grow – it is truly amazing.  I feel truly blessed to live in such times, technology at work for good, for the sake of sound, and the sound quality of most of these apps far exceeds expectations.

for that, and for the massive number of free, inexpensive or even expensive synthesizer applications, I am truly grateful, and truly happy, that these exist for me to collect 🙂

happy synth-ing!