Badfinger (No Matter What)/Cream (Badge) Leslie Sound
gbuch
Badfinger used to get their leslie sounds.
I just picked up a Leslie model 25. I was wondering what they used to get
that particular sound where the guitar sounds like an organ.
Maybe it's just the model I'm using? or maybe I need to use the internal
amp? right now I'm using a fender vibroverb to drive the Jensen P12N.
Any help would be appreciated
Thanks
Greg
Kent Pearson
On 18-Jun-2001, "gbuch" <gb...@optonline.nospam.not> wrote:
> Can anyone tell me what setup clapton used on Badge or what the guys in
> Badfinger used to get their leslie sounds.
Not sure about Clapton . . . it may well have been a Leslie. But I'm
thinking of one Badfinger song in particular, not sure of the title . . . "I
could love you" (?) I swear it sounds like a Univibe set on heavy
intensity.
~kp
Jimmy
tone out of any leslie cab but driving with a tube amp is recommended.
In fact OVER driving is recommended as the natural compression creates
a dynamic more like an organ. The leslie modelsthat had the rotating
hi-end horn w/ compression driver sound the best for guitar as there
is considerable hi freq attenuation in the rotating drum lower
section.
On Mon, 18 Jun 2001 04:21:25 GMT, "gbuch" <gb...@optonline.nospam.not>
wrote:
Daniel
>> Badfinger used to get their leslie sounds.
>
>Not sure about Clapton . . . it may well have been a Leslie. But I'm
>thinking of one Badfinger song in particular, not sure of the title . . . "I
>could love you" (?) I swear it sounds like a Univibe set on heavy
>intensity.
>
than Leslie or a phaser like the Univibe. Could be vibrato mode on a Univibe I
guess.
George used the Fender Vibrotone sometimes as well as a Leslie 147 I think. You
can see one in the studio during the Let It Be sessions. Badge reminds me of
that kinda sound. When George was playing with Gary Wright on the Cavitt show
the guitar player was using a Vibrotone with an Ampeg head and it sounded a lot
like that sound. I'd guess No Matter What was a tube Leslie overdriven, it has
that really grinding overdriven Leslie sound.
Daniel
phantom309
"gbuch" <gb...@optonline.nospam.not> wrote in message
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Hector
Badfinger were pretty tight, Badfinger being both "the other 4 guys from
Liverpool", and the only other act on Apple Records. McCartney wrote some of
their songs ("Come and Get It", I think, among others... I'll have to pull
out the vinyl and check the credits.) Never occurred to me that the Beatles
probably sat in a lot in the studio, too.
Hector
"phantom309" <solsen4...@hotmail.com> wrote in message
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Kent Pearson
On 18-Jun-2001, son...@aol.comedancing (Daniel) wrote:
> But I'm
> >thinking of one Badfinger song in particular, not sure of the title . . .
> >"I
> >could love you" (?) I swear it sounds like a Univibe set on heavy
> >intensity.
> >
> Yeah, "I Can Love You" from Ass. It sounds like straight pitch vibrato
> more
> than Leslie or a phaser like the Univibe. Could be vibrato mode on a
> Univibe I
> guess.
Precisely what I was thinking. My Univibe in Vibrato mode sounds just like
that.
~kp
Scott McKnight
>You know, that may be. I don't have any inside info, but the Beatles and
>Badfinger were pretty tight, Badfinger being both "the other 4 guys from
>Liverpool", and the only other act on Apple Records. McCartney wrote some of
>their songs ("Come and Get It", I think, among others... I'll have to pull
>out the vinyl and check the credits.) Never occurred to me that the Beatles
>probably sat in a lot in the studio, too.
Another distinct possibility is that it's the Badfinger guys using the
Beatle's gear....
-Scott McKnight
Steve2000indeja
>Badfinger were pretty tight, Badfinger being both "the other 4 guys from
>Liverpool", and the only other act on Apple Records. McCartney wrote some of
>out the vinyl and check the credits.) Never occurred to me that the Beatles
>probably sat in a lot in the studio, too.
>
>Hector
I think Harrison produced some of their songs and McCartney produced some of
their other songs.
When you read the big Beatle anthology book you get the feeling that they were
sorta casting about with what to do with themselves (and their money) after
Epstein died.
They had quit touring and were pressing on in the studio- though growing
farther apart- and they came up with the Apple Corps idea (later just Apple)
which was to be a record label/aritist consortium with a business plan that
could only have been come up by the Beatles in the 60s.
They formed Apple to further the arts and sign recording artists to their
label. In this day and age it's unheard of, but they solicited tapes from
artists, actually listened to many, and wound up signing artists like James
Taylor, Mary Hopkin and Badfinger.
Badfinger were a bunch of talented guys who I can't help but think reminded
Beatles of themselves back in their teen pop days, so Harrison and McCartney
had a good time producing and writing stuff for them (tho there were good
songwriters in the group).
The late 60s early 70s George Harrison signature melodic slide guitar is
present on some of their pop hits. Dunno if he actually played it, but he at
least set the guitarist up for the sound and told him what to play. The
leslies- another Harrison trademark- were present on some songs.
And songs like "Come And Get It" were written, maybe produced by Paul, and that
particular tune sounds like those Beatle tracks where he played everything
(whether he did or not, that 'sound is there). Even the lead vocalist does a
the tune in a the McCartney croon style Paul frequently used.
Maybe some of this is coz a couple of Beatles were producing, writing for the
group and using the same studios and engineers to record them...so a strong
similarity to the certain-era Beatles sound would not be surprising.
Badfinger was a good pop group who got a big assist from the Beatles who were
going through a phase as 'businessmen' at Apple...and their influence on the
Badfinger stuff they worked on really shows through. Badfinger were too good to
be considered merely a vehicle for some Beatles work to come out using a
sound-a-like band. But the Beatle influence is very strong on some stuff.
Acidrocker
) wrote:
>And songs like "Come And Get It" were written, maybe produced by Paul, and that
>particular tune sounds like those Beatle tracks where he played everything
>(whether he did or not, that 'sound is there). Even the lead vocalist does a
>the tune in a the McCartney croon style Paul frequently used.
In fact, last November someone posted a demo of the song as performed
by McCartney. I probably got it from a.b.s.mp3.bootlegs. It sounds
remarkably close to Badfinger's version, and I wouldn't be surprised
if McCartney played the keyboards on the Badfinger song. It's amazing
how close the two versions are. But this is nothing against Badfinger,
'cause I love a lot of their music, no matter who wrote it.
Daniel
That demo is on Beatles Anthology 3.
Daniel
Stu
I bought a video from eBay last year of another band (the Cars?)and at the end was a
surprise, it was Badfinger on TV around '74
doing No Matter What and another song. These guys were
great, the lead singer had a wonderful voice (Peter Ham?)
the bass player sang the other song, sounded like Nazereth,
real heavy, totally different than the other stuff I know.
Great harmonies.
Stu
Kent Pearson
On 18-Jun-2001, Acidrocker wrote:
In my opinion, "Come and Get It" was one of the weakest tracks Badfinger
ever did. Joey Molland himself was quoted as saying that they never really
liked it much, and " . . mind you, if it was that good of a song, you
wouldn't have given it to us in the first place, would you Paul?"
George Harrison's involvement was minimal. He actually bailed out on an
album that he was supposed to produced to go play the Bangla Desh concert,
leaving the guys to hire Todd Rundren instead. IMHO, any association with
the Beatles was as much a curse as a blessing. How far would the Beatles
promote a band who did such a similar style of music, often times far
better? Think about it. Do you think they (the Beatles) might have even
held back a bit, simply by dragging their heels?
~kp
Don Waller
Steve2000indeja wrote:
> I think Harrison produced some of their songs and McCartney produced some of
> their other songs.
Didn't Todd Rundgren produce half of 'Straight Up'?
Todd's a Beatle freak of the first order (get Utopia's 'Deface The Music' for the
best non-Beatle Beatle songs this side of the Rutles). No doubt Todd set them up
with some pretty Beatle-riffic sounds as well.
D
--
"...This tube can make or break presidents, popes, prime ministers; this tube is
the most awesome goddamn propaganda force in the whole godless world, and woe is us
if it ever falls into the hands of the wrong people." -- Howard Beale, 'Network',
1976
Steve2000indeja
According to the Beatle Anthology book the lads were trying to start and run a
record company as part of the Apple effort. This meant acquiring talent to
record.
I always thought the Beatles or Paul or George, whoever signed and recorded
Badfinger coz they were the sorta the simple pop singles band the Beatles could
no longer be. And a talented group beyond that.
Sure, I could definitely see Paul giving them a very commercial pop single like
"Come And Get It" (which I never liked) as it was not what the Beatles were
currently doing. It was throwaway teen pop. Almost bubblegum, except for the
nice Beatle-esque production. The Beatles had left all that stuff behind.
Doesn't mean a prolific pop songwriter like Paul McCartney wasn't still writing
stuff like that - or maybe had it laying around for years in some songbook. If
he gave it to Badfinger as the simple teen pop tune it was, he wouldn't have to
do any major work on the simple lyrics to bring them up to Beatle standards of
the time.
By that point the Beatles were looked at as sorta musical/cultural leaders by
millions of rock fans around the world (when in fact they were actually
splintering behind the scenes).
Badfinger had some good songwriters (a couple of whose lives came to tragic
early ends) so I figure they could tell from pop schmaltz like "Come and Get
It." "Day After Day" is a much nicer song musically and a step of lyrically.
When you get to stuff like the late Pete Ham's (sp) composition "Without You" -
the tune covered by Nillson into a major hit...and eventually recorded by
dozens of others-you realize that members of Badfinger had the skill/songcraft
to write classics.
Too bad they got shafted professionally (maybe personally) and 2 members
committed suicide before they had the chance to show what they could really do.
The lyrics to "Without You" are chilling when you look at the way the writer's
life ended so quickly afterward.
imo
Steve
Craig S
this, it'll
be a number one', and it was...
Kent Pearson
So was "Tie A Yellow Ribbon 'Round The Old Oak Tree".
~kp
Miles O'Neal
the era around 1970. I remember in 73/74 we wore out
Nick Pomponio's copy of _Straight Up_. Sometimes
we'd leave teh turntab;e (the what?) on repeat on
one side or the other, and just listen to it all
day long...
Someone wrote:
> >In my opinion, "Come and Get It" was one of the weakest tracks Badfinger
> >ever did. Joey Molland himself was quoted as saying that they never really
> >liked it much, and " . . mind you, if it was that good of a song, you
> >wouldn't have given it to us in the first place, would you Paul?"
Since he wasn't doing too much outside Apple, he might have.
But I concur; that was my least favorite Badfinger song. I
never saw why it was a hit, other than being used in the
movie...
> >... IMHO, any association with
> >the Beatles was as much a curse as a blessing. How far would the Beatles
> >promote a band who did such a similar style of music, often times far
> >better? Think about it. Do you think they (the Beatles) might have even
> >held back a bit, simply by dragging their heels?
That would have been pretty stupid. Why sign them, then
not take them as far as possible? "Gee, we need a tax
writeoff, and this way we can screw them over..." I ghave
to doubt it.
Steve2000indeja responded:
> Sure, I could definitely see Paul giving them a very commercial pop single like
> "Come And Get It" (which I never liked) as it was not what the Beatles were
> currently doing. It was throwaway teen pop. Almost bubblegum, except for the
> nice Beatle-esque production. The Beatles had left all that stuff behind.
And Paul hadn't started doing it again as his second career, yet.
> Badfinger had some good songwriters (a couple of whose lives came to tragic
> early ends) so I figure they could tell from pop schmaltz like "Come and Get
> It." "Day After Day" is a much nicer song musically and a step of lyrically.
Day After Day, Baby Blue, No Matter What - these hits
were much better.
-Miles
Kent Pearson
On 20-Jun-2001, Miles O'Neal <m...@rru.com> wrote:
> Day After Day, Baby Blue, No Matter What - these hits
> were much better.
Yep. Then you get into such songs as "Should I Smoke", "Timeless", "Give It
Up", and the likes . . . incredible stuff.
~kp
Stu
It does not sound like the singer on their other
hits to me...
Stu
Greg
thing!
I don't care if it was Ringo playing guitar...anybody know what effect was
used??
Another Greg
"gbuch" <gb...@optonline.nospam.not> wrote in message
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Daniel
lead on Come and Get It.
Daniel
J Spellman
still tours under the name Badfinger? IIRC there was once
two different Badfingers at one time.
Stu
Kent Pearson
Pete Ham and Tom Evens both committed suicide. Joey Molland and Mike
Gibbons are the only living members left, and last I heard, they weren't on
speaking terms. It would be Joey Molland and his pickup band that tours
under the name Badfinger. The fact that there's only one member of the real
band touring with that name is one of the things that pisses Mike off.
Also, something about an alledgedly "dishonest" live Badfinger album that
Joey put out years after the fact.
~kp
Daniel
>> still tours under the name Badfinger? IIRC there was once
>> two different Badfingers at one time.
>>
>> Stu
>>
>> Daniel wrote:
>>
>> > Pete Ham, Tom Evans, and Joey Molland all sang lead on occasion. It was
>> > Tom on
>> > lead on Come and Get It.
>> >
>> > Daniel
>
>
>Pete Ham and Tom Evens both committed suicide
>Gibbons are the only living members left, and last I heard, they weren't on
>speaking terms. It would be Joey Molland and his pickup band that tours
>under the name Badfinger. The fact that there's only one member of the real
>band touring with that name is one of the things that pisses Mike off.
>Also, something about an alledgedly "dishonest" live Badfinger album that
>Joey put out years after the fact.
>
>~kp
>
so I'm guessing it is. Not a bad recording, but I would've chosen a better set
list.
Daniel
Kent Pearson
On 20-Jun-2001, son...@aol.comedancing (Daniel) wrote:
> Is that the Day After Day one on Ryko you're talking about? Joey did the
> notes so I'm guessing it is. Not a bad recording, but I would've chosen a
> better set list.
Yes it is. Mike was real pissed off, saying that Joey had mixed in
electronic drums without consulting him and "It doesn't even sound like my
drums", plus he redid a lot of the vocals. There's a web page somewhere
with all the details and Mike's side of the story, but I can't remember
where it is.
~kp
JJman
was great and the guitar tone was fantastic. The dude had a Tele
with a factory Bigsby. He was playing thru an apparent Blackface
Princeton. However, after I complimented his sound he told me the amp
was a Kendrick on the inside. I don't know what model.
JJman