22. maí 2011
29. jan. 2011
"What's Goin' On" Marvin Gaye - Multitrack - via Bobby Owsinski's Big Picture Production Blog
"What's Goin' On" Marvin Gaye - Multitrack
Today we'll take a look at the individual tracks of the multitrack of Marvin Gaye's seminal hit "What's Goin' On." The song was recorded at a low point in Marvin's career. Depressed over his partner Tammi Terrell's death, he was about to quit music and try his hand at pro football with a tryout with the Detroit Lions, when Obie Benson (of the Four Tops) presented him with the germ for the song.
This is the song that has one of the greatest recording session stories ever. Marvin was anxious to record the song, and after gathering the other Funk Brothers in the studio, found legendary bassist James Jamerson drunk in a bar. Jamerson was so hammered, in fact, that he couldn't sit up without falling down. He would up playing the song laying on his back on the floor of the studio. What's even more amazing is that the part he played was written, and he read it down like the legend he was. Here are some things to listen for.
1) Marvin's vocal is, of course, great, but listen to how shaky the background vocals in the intro are. Marvin's football friends from the Detroit Lions were among the singers and participated in the crowd noise that occurs later in the song.
2) The kick, drum kit and congas are on three separate tracks, which was normal in 16 track recording at the time. The configuration provides just enough flexibility for the mix however.
3) Listen to how the two guitar interact with each other. A Motown trademark, each play a complimentary part and have different sounds, but when put together they make a single bigger sound.
4) The vibes played by Jack Ashton outline the chord changes, which is another Motown trademark.
5) Eli Fontaine's soprano sax part wasn't written into the arrangement, and was a first take run-through that Marvin liked so much he kept in, and it became the signature line of the song.
6) Marvin's two vocal takes were left in the song after the engineer misunderstood what he was asking for. Marvin liked the effect so much that he used it on many of the subsequent songs that he recorded.
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10. ágú. 2010
James Jamerson Isolated Bass
James Jamerson Isolated Bass
Yesterday I talked about how Paul McCartney was, in my opinion, the most innovative bass player in rock besides James Jamerson. It wouldn't be fair not to listen to Jamerson after listening to Paul, so here are a number of Motown hits featuring Jamerson's signature bass playing. Of course, Jamerson was one of the mainstays of the Motown house band known as theFunk Brothers
.
Here are a couple of his greatest parts including Marvin Gaye's
, and The Four Tops'
.
1) On What's Goin' On, listen to how Jamerson builds the intensity of the track as it goes on. You can just feel him pushing the track as his line gets more and more complex and he digs in harder.
2) Jamerson's bass has a distorted edge to it. He supposedly went direct while recording and used an Ampeg B-15 when playing live, but the tone on this song sure sounds like a B-15 to me.
3) Bernadette may be Jamerson's masterpiece. He's playing a fairly busy part yet it's always in the pocket and always seems effortless.
) Bernadette is also a really good example of how a Motown track is put together when you hear all the instruments fall in with the bass.
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9. ágú. 2010
2. jún. 2010
A Rare Look At A Motown Session (via Bobby Owsinski's Blog)
A Rare Look At A Motown Session
It's Motown week here on the Big Picture and we're going to start with an extremely rare look into a session by the legendary Temptations backed by the legendary Funk Brothers and recorded at the legendary Motown Studios in Detroit (the "Snakepit" as they used to call it).This video was shot back in 1967 for a CBS News piece called appropriately "The Motown Story." It featured the classic Temptations lineup including David Ruffin (the lead singer) and Eddie Ruffin, both of which would leave the band soon after this video was made. The song is called "Sorry Is A Sorry Word" and was produced by Motown writers Ivy Jo Hunter and Brian Holland (who stops the song mid-way through).
Some things to observe when watching:
1) As we'll see in upcoming posts, no one at Motown cared much about isolation between instruments since they were never going to replace anything anyway. Either the band got the track or it didn't, and no one ever came back to "fix" a part. Most of the songs cut in Detroit were cut on an 8 track recorder, so a lot of overdubs weren't much of an option anyway. They were only used for a bit of control over the final balance.
2) The usual Funk Brothers band consisted of a rhythm section of 2 drummers, tambourine, congas or bongos, bass, 3 guitars, and 2 keyboards which were all recorded at the same time in the same room! Horns and strings might also be cut at the same time as the rhythm section as well. Motown was only a house in the residential area of town and the studio was in the basement. Imagine doing that in your basement!
3) Only the arranger (the very talented William Witherspoon, who I believe was actually responsible for the early sound of Motown) used headphones. No one else needed them because they were all playing in the same room so they could hear themselves as if it were a rehearsal or gig.
Enjoy. Tomorrow, more Motown.
6. mar. 2010
17. feb. 2010
15. feb. 2010
Um mig / about me
- Siggidóri
- Bass player, father, husband, band member, musician, son, brother, hobby photographer, friend, coffee drinker,
