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I actually think Young's solo on Cinnamon Girl is extremely effective, and at 2:58, it's hardly harshing your mellow too much. His incessant solos over Down by the River, by contrast, make it one of the most overrated guitar songs out there. I would also put Creedence's I Heard It through the Grapevine and Skynyrd's Free Bird in that category as well--could have been cut in half easily.
I think I remember reading somewhere that Dweezil Zappa thought Lou Reed had one of the worst guitar solos over...I believe on his Mistrial album. (Of course some people would say Metal Machine Music was the main crime against musicality.) Interestingly, Reed disparaged Frank Zappa early in their careers, but later came to respect him and actually gave the introduction to Zappa being inducted into the RNRHOF. Worth a read if you're interested...
It's very rare in life to know someone who affects things; changes them in a positive way. I've been lucky enough to have known some in my life: Andy Warhol, Doc Pomus. People whose vision and integrity was such that it moved the world a bit. People who, through the articulation of their talents and intelligence, were able to leave things better than they had found them. People who were not only not in it for the money, to paraphrase Frank Zappa. Frank Zappa was such a person and of the many regrets I have in life, not knowing him a lot better is one of them.
Whether writing symphonies, satirical broadsides or casting a caustic glow across the frontier of madness that makes up the American political landscape; whether testifying before Congress to put the PMRC in its rightful lowly place, or acting as a cultural conduit for President Vaclav Havel and the Czech government, Frank was a force for reason and honesty in the business deficient in those areas. As we reward some with money for the amusement they supply to the cultural masses, I think the induction of Frank Zappa in the Rock and Roll Hall of Fame distinguishes the Hall as well as the inductee. [applause]
Musicians usually cannot speak. That's why they communicate through their instruments. But Frank was one who could. And because music is pure, the musician is pure as well and when Frank spoke he demonstrated the power of purity. Who will do that now? I admired Frank greatly and I know he admired me. It gives me great pleasure to give this award to his daughter, Moon Zappa.
Whether he was writing symphonies, satiric broadsides or casting a caustic glow across the frontier of madness that makes up the American political landscape Frank was a force for reason and honesty in a business deficient in these areas.Last edited by Doctor Jeff; 04-23-2020 at 05:07 PM.
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04-23-2020 12:38 PM
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Originally Posted by MarkRhodes
I led what we called a rhythm & blues group (we'd now call it doo wop) in the late '50's to mid-'60's and had a large collection of records, not all of them classics.
On this one the overdubbed band apparently gave up at the bridge:
Danny W.
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Here is the story of the sax player:
RANDALL BEACH: Vinny played sax. The Five Satins needed a solo. The rest was history - New Haven Register
and of the producer:
The Standord Records Story - Various Artists | Songs, Reviews, Credits | AllMusic
TL;DR: Marty Kugell, a teenager with a two-track tape machine, recorded the song in the basement of a local catholic elementary school. Vinny Mazzetto, a congregant at the church that housed the elementary school and a local amateur musician, agreed to put in a word with the priest to use the basement if he could play sax.
Originally, on Kugell's own label, The Jones Girl was the A side, and Still of the Night was the B side. Then it was re-released by another small label, with the sides reversed. It was obviously not produced by professionals.
Vinny's fee for the recording just covered his entrance fee to the musicians' union.
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Great story
He probably got paid more than any of the Satins, of whom there were only four on the record.
Danny W.
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Originally Posted by BigDaddyLoveHandles
How was that put on vinyl ?
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Originally Posted by Ukena
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This thread had something nagging at me and I finally remembered what it was:
https://www.amazon.co.uk/Saxphony-Ho...c&sr=1-1-fkmr0
There in the sleeves notes is the story of Jimmy "One Note" Wright along with five excellent honking R'n'B tunes.
He certainly knows where to place that one note!
Derek
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Originally Posted by digger
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Adam Neely did video about this, that popped up in my YouTube feed just now. (It's worth a listen---going back to Illinois Jacquet's one-note solo on Lionel Hampton's "Flying Home" in 1942.)
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Thanks for that link, MarkRhodes. Adam Neely's take on this solo is terrific, and the video is fun to watch.
I especially like that he points out that it is an alternate take, and that there exists another take in which the sax solo would never have made a list of worst solos ever.
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I really dug the Adam neely Video on this. Especially the fact that He talked a good bit about Big Jay Mcneely, who is one of my Personal favorites. I think these honkers do are often overlooked in Jazz history/education.
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You know Wes references that one note sax solo style in his playing - you do the false fingering thing where you play the same pitch on two strings.... (usually a Bb) and then you have to slide or even bend it a little out of tune if you play it with three fingers and it’s just vibe in a can. I used that one to death on dance gigs.
definitely something about it. I think Prez started that style?
check 1:30
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Originally Posted by christianm77
This recording is from 1950 but T-Bone started recording in 1929. "Strollin' With Bones" is not first-use but favorite example (and better recorded than much of his earlier work.)
BB King did this too and he got it from T-Bone.
Chuck Berry did too but I think he got it from Carl Hogan (who played with Louis Jordan) is where Chuck got it. (That's something I read somewhere, perhaps in one of Dave Rubin's Guitar Player columns.) Chuck (and Carl) did it a lot with double stops.
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Might as well add some Carl Hogan from his days with Louis Jordan. (BB King played this song too-----BB played a LOT of songs Louis Jordan recorded.)
Carl's intro (this was in 1946) gave Chuck Berry a lot of signature stuff.
The solo comes at 2:15, late in the song. It's a tasty 12-bar solo indeed. Double stops is something you don't get from a sax...
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Here's Nino Tempo using the same technique but what a difference! Hope you enjoy?
Good playing . . . Marinero
P.S. I wonder what the guy at the table thought when Nino was honking his horn at his girlfriend????
Is the Bud 6 Really That Good?
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