It might, but for now, it makes the interruption less stark and sudden. It was any easy, obvious snip, even with my amateurish skills. It makes the track easier to listen to now, while I try to track down the true fix in the mean time.
I agree, but I can at least listen to the track without getting annoyed while the corrected disk is in the works.
I've done a fix for my play in the car disc. Can you really see "jp.com" sending out thousands of replacement discs for an extremely minor tenth of a second glitch, I can't, I would not expect one either.
Has anyone received a replacement CD yet? I've not even had the email, despite reporting the problem to them.
Good point. I don’t expect one, as this is perhaps too small of an error, and the release itself perhaps too niche?
Maybe so, but they won't know who has a faulty disc unless "one" complains, It's doubtful fixed discs are going to be sent out en-masse. I think (IMO) that if you don't ask you won't get..
Yeah, the April '67 Stockholm radio show (included in this fine release https://www.amazon.co.uk/gp/product/B00000765P/ref=oh_aui_detailpage_o00_s00?ie=UTF8&psc=1) has the OUSD coda for I'm A Man and it works well there.
The last part of my original Ugly Things story was a short interview I did with original Yardbirds manager/producer, Giorgio Gomelsky. We talked about how he steered them away from R&B and toward what became psychedelia. ANCIENT PSYCHEDELIA’S SHAMAN One of the unsung heroes at ground zero of psychedelia is The Yardbirds first manager. Giorgio Gomelsky did more than just manage the band. He took the band under his wing and nurtured them musically, exposing them to influences that the blues-loving teenagers probably would have never heard otherwise. Further, Gomelsky’s production ideas set The Yardbirds apart from their contemporaries. Here Gomelsky explains the development of three songs that were pivotal in the launching of a new genre within rock n roll. For Your Love: The harpsichord came about because I had a friend who collected Wanda Landowska (perhaps the greatest ever harpsichordist) records and harpsichords. An amazing instrument, to say the least. When I heard the demo of "For Your Love," I thought the intro was tailor-made for that instrument. I was managing and producing Brian Auger at that time too, and I asked him to play on the session. As you probably know, he's a great musician and being a pianist/organist he picked up the harpsichord without too much trouble. The trouble however, was in tuning it up after it had been brought to the studio. It almost took us longer to do that than to record the whole song. Heart Full Of Soul: My dad, a doctor, had a great interest in eastern philosophies and many Indian friends who often visited our house and played their music, classical Indian ragas mostly. I must have been around 13-years-old when I first heard them. Being very interested in percussion (I later played drums in a jazz band!), I just loved those polyrhythmic phrases. Years later, in an Indian restaurant in London I heard quite a lot of Indian music. It wasn't very well known outside small circles of people interested in folk and ethnic music like myself. Again, when I heard Graham Gouldman's second song, I visualized sitar and tablas on the intro, so I hired two guys from the Indian restaurant for the session. Unfortunately western time signatures and bar-counting were very different from what they were used to and since we were recording "live" we couldn't get then to stop after the 4 bar intro, even after many tries! We only had a limited amount of time in the studio, so Jeff took an amp into the bathroom (here we go again) and after 20 minutes had worked out how to get a sitar-like sound on his guitar. I paid the Indians and politely dismissed them. They didn't miss out though, because Jimmy Page was visiting the session that day and when he heard the sitar, he freaked out. This is funny, but he decided he wanted to buy the sitar from them, which after some negotiations, he did for some 25 pounds, which was a lot of money then! I remember him at the end of the session, walking down the street with the sitar wrapped up in an old Indian carpet. The next day he showed it to Big Jim Sullivan (a great London session guitarist), who a few days later showed it to George Harrison. Still I’m Sad: Among other schools (many!) I went to in my youth, I spent some time in a Benedictine Monastery where the monks had a choir and were singing Gregorian chants every day and the students had to learn them. I mean, I was into boogie-woogie then ("devil's music" of course), but what can you do. Besides these chants were quite amazing. Years later, by accident of nature, while Keith (Relf), Sam (Paul Samwell-Smith) and I were "shaking our commas" (taking a leak) in the toilets of the Aylesbury Town Hall, in between sets during a tour, I started singing a cappella some bass voice parts from those Gregorian chants and bathrooms having good acoustics for vocals, it sounded pretty impressive! You know about singing in the shower, well this is singing while taking a piss! So on that occasion I started off some deep melodic lines and Keith's and Sam's ears pricked up instantly. From then on, every time we met in bathrooms we kept getting more and more into those improvised chants until, one day the song appeared . . . it was, guess, "Still I’m Sad"! Apart from slow blues numbers there was no cool repertoire for slow, "ballady" tempos and I thought it important to invent some so as to have a broader "dynamic" range in the performances. By the way, the bass voice on the recording belongs to yours truly! Planetary Pop Music: You have to know that before producing British R&B I was exposed to a lot of jazz, classical and ethnic music. I liked Middle Eastern, African and Caribbean music a lot too. My concept was that one day there would be a "planetary" popular music (they call it "world music" these days) and that The Yardbirds could distinguish themselves from other groups by exploring and promoting it. That's the story, morning glory. Giorgio Gomelsky and The Yardbirds parted ways in 1966. Some of the creative spark went out of the band at this point as they fell into the hands of two successive managers who were not really interested in the music itself. Without Gomelsky’s artistic input, the band sometimes failed to attain a balance between dazzling innovation and pop success they had previously. Gomelsky went on to work with The Blossom Toes and Julie Driscoll among others. Recently, he was featured in Richie Unterberger’s marvelous book, Urban Spacemen And Wayfaring Strangers. Gomelsky himself is kicking around the idea of finally writing his own biography
The live disc really deserves its own stand-alone release, at long last. That's one possible solution to the 'glitch' problem. A repress run and single-disc release. The studio tracks are nice to hear and all, but, as McCarty has said, they're kind of throwaways. Make people buy the album in a fifth incarnation! Get it right this time around.
That 'whoever' was me, and now that I have the new vinyl to compare to the CD glitch, I can hear that I was wrong. The end of the final note is 'lost in the gap', not edited. So it will be interesting to see whether JP.com does actually correct the CD, rather than just delete the gap...
just got off the phone with Chris, finishing my second interview in three days... now I'll have to actually sit down and write out the entire piece, but I will share a short thing from our interview... asked him about going to Jimmy's studio to hear the Anderson/studio sketches mixes... very poignant quote from Chris follows: "Jim and I went to hear the mixes. Jimmy was quiet, studying us to see what our reaction would be. I heard it right away. I was blown away. The energy came off the tapes and what he did with them was incredible. A young band today would give their right arm to sound like that. I thought this thing was lost in the ether forever. But here it is. Jimmy worked wonders. It’s a miracle," Chris Dreja explained. "Jimmy really loved working with the Yardbirds. We were good friends. You have to understand, he didn’t want the band to break up in the first place… he was fortunate in that he found those players in Zeppelin and took our approach to its logical conclusion, but when we broke up he obviously had no clue he was going to be able to get a great group together that quickly and easily," Dreja continued. "He was extremely sad that the Yardbirds came to an end. He was proud to be a Yardbird. This album really was a labor of love for him. It’s a masterpiece."
Thanks Yardbyrd. I hope this causes those who parrot the line that the Yardbirds was just a stepping stone for JP and he wasn't that bothered when they broke up, to think again. It's obviously a major part of his musical life.
"Jimmy's tenure wasn't as commercially successful as the Beck years so that era of our reputation has suffered critically for a long time. I think in retrospect that won't prove to be the case and a lot of it has to do with this new release. I think this album goes quite a ways in redressing the balance. We were just as innovative and experimental as we'd always been especially onstage and when given our head. We'd always stretched out and enlongated things in a way that was reminiscent of jazz... with Jimmy, though, it was heavier and freakier. He's obviously the ideal producer for the Yardbirds, not Mickie Most," Dreja finished.
Clapton's interviews always harbor resentment when the Yardbirds are brought up. Beck can be very ambivalent and ambiguous. Page is always appreciative in interviews, though. I just asked Chris why he thought that was so. "I think Jeff can be very forthcoming and fond of the Yardbirds one moment and then turns bitter the next because he never forgets the fact that we sacked him. He's never let go of that all these years later. It's very different with Jimmy. He loved us as a band and wanted to be a Yardbird. He's always very enthusiastic about the Yardbirds. He didn't want us to break up."
Mine's more of a question mark... @YardByrd thanks for this thread, one of the best the Music section has had in a while. The interviews are revelatory, especially Gomelsky. Even as a kid in 1968, I suspected that his name missing on the Little Games LP had something to do with its less-than-Roger impact. Do love the album, though. Miraculously, I did hear Think About It spun exactly once, on Omaha AM radio. As was I. For me, the Yardbirds are THE dividing line whereupon Rock'n'Roll became Rock. They always top my list of regret over live shows I never saw. OK, maybe tied with Jimi. All I gotta do now is line up this CD, glitch be damned.
Thanks a GREAT lot for sharing your very insightful interviews. Say, did you happen to ask the two if they knew of or even condoned the edits that Jimmy applied?
Yes, I'm sure he overlooked all the snarky and derogatory comments about his next band, read your subjective opinions stated as facts and said to himself, this clever lad is right. I must get that Anderson Theater recording out ASAP. I'm sure that's exactly what happened. Love, Billy
It helps when you have the original (unaltered) tapes in your possession. The freaky coincidence with the Yardbirds and Zeppelin was their last live shows were both on July 7th (1968 and 1980 respectively) and the interesting thing I didn't know till after I read the Yardbirds' 68 book (included in the lp/cd release) was that Jimmy played with Keith Relf way back in 1963.
