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Post by JamesT on Aug 31, 2023 21:54:44 GMT
We're familiar with strings or steel drum backing tapes for the performances of Carrie Anne in the late 60s. Presumably it was organ on a backing tape for the live performances of 'Heavy' during the Rickfors years whilst Bernie handled piano. Bernie seems to be playing organ on 'Long Dark Road' in that superb clip from the US.
Were backing tapes used elsewhere prior to sophisticated keyboards coming to the fore and subsequent use of samples? I may be wrong, but I think it was a sample used for the start of Curly Billy during the early Howarth years?
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Post by gee on Aug 31, 2023 22:06:25 GMT
In Allan's latter years in the group they performed 'After The Fox' live (which surprised me)...that included the late Peter Sellers from 1966 - and I thought I could hear Graham Nash's voice from 1966 too (!) so clearly they were using a backing tape for that
I suspected 'Sorry Suzanne' was a backing track / tape then too as Allan's voice sounded alot stronger on that, they were singing along to it as Alan Coates was doing the high harmony and co-lead vocal parts
later of course Buddy Holly's voice featured on 'Peggy Sue Got Married' as well
Graham sang 'Butterfly' live - as did Alan Coates later - and it was presumably to the studio track backing as it sounded very similar, tho' they did also use prepared backing tracks which sounded a little different to the studio versions
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Post by Stranger on Sept 1, 2023 10:00:18 GMT
We're familiar with strings or steel drum backing tapes for the performances of Carrie Anne in the late 60s. Presumably it was organ on a backing tape for the live performances of 'Heavy' during the Rickfors years whilst Bernie handled piano. Bernie seems to be playing organ on 'Long Dark Road' in that superb clip You actually see a brief shot of Terry playing the organ in ABC In Concert. |
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Post by cameron on Sept 1, 2023 12:06:56 GMT
I don't know about the later years (though I know they've got the original orchestral track for 'King Midas In Reverse' and the steel drums for 'Carrie Anne' again as a backing track), but the earliest instance of them doing this was in 1968, and it was a really groundbreaking thing to do at the time, because there were more live elements than pre-recorded ones.
They went back to Abbey Road and got the steel drum parts from the session tape and Tony's count-in. Bernie's bass was locked into the rhythm track, so he laid it down again on its own. When they played live, Bernie would turn his bass down and they'd play along after Tony's count-in and Bobby could keep time with Bernie's pre-recorded bass track. Interestingly, despite the steel drum track being over the verses and the final chorus in the studio version, they only used the solo bit. If you watch the footage of them performing it in Croatia in 1968, Bernie clearly turns his bass back up at the end of the solo and the volume of the bass changes as he takes back over playing live. Graham said that the steel drum part was in full stereo and came through their vocal PA system.
After the success of this, they did it again with 'Butterfly', though this was easier as it was just the stereo backing track of the orchestra from the recording session. There were also instances of them doing 'Stop! Stop! Stop!' to a backing track, notably in 'Colour Me Pop' in September 1968 and 'In Concert' in 1969. Tony doubled up his banjo live but the bass, banjo and drums were pre-recorded. This was a backing track done for Top Of The Pops back in 1966, and I think they just re-used this backing track. It's notable for its cold ending, whereas the studio version fades out. But I think they only revived the 'Stop! Stop! Stop!' backing for TV performances AFTER they'd tried playing along live with a backing track in concert for 'Carrie Anne', and 'Stop! Stop! Stop!' would always be played completely live at concert shows.
The Hollies had a recording session around 12th - 16th August 1968 (the details are VERY hazy) where they recorded a full orchestra version of 'Blowin In The Wind' and 'A Taste Of Honey'. These then formed live backing tracks for TV shows from September through to November 1968 including the surviving Bobby Gentry Show appearance and Colour Me Pop. It's believed that this session also produced a new orchestral backing track for 'Carrie Anne', which you can hear them perform to on Colour Me Pop. All of the steel drum elements have been replaced by orchestral parts, and the orchestra carries on playing after the solo. This arrangement was first done completely live for their Spring 1968 tour in the UK with the Mike Vickers Orchestra.
At some point soon after, as playing along to pre-recorded elements became more popular in the late 1960s, the Musician's Union stepped in and banned it from happening. This is why the Hollies stopped using backing tracks around 1969, and then started taking an orchestra with them in 1974 and 1975. As of 1976, they often had Pete Wingfield with them to play orchestral parts on a keyboard, and they stuck with that ever since. Those surviving 1974/5 live recordings with an orchestra are the peak of the Hollies' live career, IMO. It's a shame that none were professionally recorded.
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Post by gee on Sept 1, 2023 21:58:31 GMT
6 February 1968 saw them cut backing tracks for; 'King Midas..', 'Would You Believe', and 'Away Away Away' specifically for concert use, each of which used additional accompaniment on the released studio versions so likely featured orchestration on them that was used in concerts later in the year
The sessions over 12-16 August 1968 at Abbey Road saw them cut the 'Nash version' of 'Blowin' in The Wind' and a second orchestrated version of 'A Taste of Honey' both with additional accompaniment arranged by Mike Vickers - hence his credit for the backing track accompaniment used again on the 'Sylvester version' included with fresh vocals on 'Hollies Sing Dylan' in May 1969
During those latter sixties Hollies EMI studio sessions with Graham Nash over 12-16 August 1968 they also recorded two other known tracks...the later released; 'Man With No Expression (Horses Through A Rainstorm)'
and the original 'Nash version' of 'Survival of The Fittest' - which to date still remains unissued however it is quite possible as with 'Blowin' to save studio time and costs they might well have reused the backing track with fresh vocals for the 'Sylvester version' that opened the 'Confessions of The Mind' album in 1970 (a situation that was later reversed re both 'If The Lights Go Out' then later 'Take My Love And Run' in 1983 where two later 'Nash versions' were cut and added to earlier versions backing tracks of 1980 and 1981)
they then cut 'Listen To Me' on 28 August followed by BBC versions of 'A Taste of Honey' and 'Listen To Me' on 31 October 1968
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Post by baz on Sept 1, 2023 23:31:43 GMT
and the original 'Nash version' of 'Survival of The Fittest' - which to date still remains unissued however it is quite possible as with 'Blowin' to save studio time and costs they might well have reused the backing track with fresh vocals for the 'Sylvester version' that opened the 'Confessions of The Mind' album in 1970 (a situation that was later reversed re both 'If The Lights Go Out' then later 'Take My Love And Run' in 1983 where two later 'Nash versions' were cut and added to earlier versions backing tracks of 1980 and 1981) I believe that was exactly what happened - the 1968 instrumental track with fresh vocals and possibly some percussion overdubs. |
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Post by madprofessorblyth on Sept 2, 2023 1:44:10 GMT
and the original 'Nash version' of 'Survival of The Fittest' - which to date still remains unissued however it is quite possible as with 'Blowin' to save studio time and costs they might well have reused the backing track with fresh vocals for the 'Sylvester version' that opened the 'Confessions of The Mind' album in 1970 (a situation that was later reversed re both 'If The Lights Go Out' then later 'Take My Love And Run' in 1983 where two later 'Nash versions' were cut and added to earlier versions backing tracks of 1980 and 1981) I believe that was exactly what happened - the 1968 instrumental track with fresh vocals and possibly some percussion overdubs. I agree completely, I always thought this was the case but had never seen it considered elsewhere...! Graham and Terry both have very distinctive strumming styles, and the acoustic on that song has that very strong, percussive element that is so unique to Graham's playing. However, I think in the earlier Terry stuff (especially the 1969 live/TV appearances) he made a purposeful intent to mimic that style/sound, which quickly softened as he developed his own characteristics within the Hollies sound. That all being said, as far as studio recordings though, it's never been that blatantly obvious (and nothing else on Confessions has that sound). It would be so helpful to have clear session data available, but it seems very probable (aurally and otherwise) that the entire backing track is a Graham-era recording (and as you say, the tambourine does sound like a 'newer' add to the mix!) |
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Post by ahkyahnan on Sept 7, 2023 0:45:23 GMT
Presumably it was organ on a backing tape for the live performances of 'Heavy' during the Rickfors years whilst Bernie handled piano? Is that what they’re doing in their performance of this song on The Midnight Special? I just watched the episode they’re on a couple weeks ago on YouTube, and it seemed to sound live and pre-recorded at the same time. Mark |
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Post by JamesT on Sept 7, 2023 20:21:55 GMT
Presumably it was organ on a backing tape for the live performances of 'Heavy' during the Rickfors years whilst Bernie handled piano? Is that what they’re doing in their performance of this song on The Midnight Special? I just watched the episode they’re on a couple weeks ago on YouTube, and it seemed to sound live and pre-recorded at the same time. Mark Stranger mentioned about Terry playing the organ on the performance - I can only make out Bernie on piano briefly but Terry seems to appear from near Bernie at the end of the song so I guess he played organ? |
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Post by ahkyahnan on Sept 8, 2023 0:58:03 GMT
Is that what they’re doing in their performance of this song on The Midnight Special? I just watched the episode they’re on a couple weeks ago on YouTube, and it seemed to sound live and pre-recorded at the same time. Mark Stranger mentioned about Terry playing the organ on the performance - I can only make out Bernie on piano briefly but Terry seems to appear from near Bernie at the end of the song so I guess he played organ? Hmm, a good excuse to go back and watch again. Thanks! Mark |
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