The Clash Studio Logs/Sessionography

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matedog
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Re: The Clash Studio Logs/Sessionography

Post by matedog »

Kory wrote:
23 Mar 2021, 2:56pm
matedog wrote:
22 Mar 2021, 6:25pm
Heston wrote:
22 Mar 2021, 6:16pm
matedog wrote:
22 Mar 2021, 6:07pm
Kory wrote:
22 Mar 2021, 5:27pm


The sessionography at the beginning of this thread is a damn fine record of all we know at this point. But basically the rule of thumb is, if it's one of the more complicated songs, it's probably not Paul.
What are assumed/confirmed to be NWR? Wikipedia has a specific list: Mag 7, Call Up, Lose This Skin, and Lightning Strikes. Those all seem likely, but I don't know where that comes from. Anything else we suspect is NWR? Other than CDS.
Something is nagging in the back of my mind that I've read he plays on Something About England as well. Where I've read this - again - I'm not sure. First edition of LGiT?
Just reread Passion is a Fashion excerpt I cited and it corroborates "half a dozen tracks" in the April Electric Lady sessions:
The Call Up
The Magnificent Seven
Lightning Strikes
Every Little Bit Hurts
Lose This Skin
Stop the World

The assumption is they didn't play the Wessex sessions later that summer.
I think it's highly likely NWR is on Hitsville, Look Here, and One More Time. I might be convinced on SAE, but I have a pet theory that Mick just played bass on all the songs he had vocals on, to save studio time if nothing else.
Oh yeah, Hitsville and Look Here have to be NWR. Especially with how stylistically different Look Here is from anything else Paul was familiar with.
Look, you have to establish context for these things. And I maintain that unless you appreciate the Fall of Constantinople, the Great Fire of London, and Mickey Mantle's fatalist alcoholism, live Freddy makes no sense. If you want to half-ass it, fine, go call Simon Schama to do the appendix.

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Re: The Clash Studio Logs/Sessionography

Post by Kory »

matedog wrote:
23 Mar 2021, 3:57pm
Kory wrote:
23 Mar 2021, 2:56pm
matedog wrote:
22 Mar 2021, 6:25pm
Heston wrote:
22 Mar 2021, 6:16pm
matedog wrote:
22 Mar 2021, 6:07pm


What are assumed/confirmed to be NWR? Wikipedia has a specific list: Mag 7, Call Up, Lose This Skin, and Lightning Strikes. Those all seem likely, but I don't know where that comes from. Anything else we suspect is NWR? Other than CDS.
Something is nagging in the back of my mind that I've read he plays on Something About England as well. Where I've read this - again - I'm not sure. First edition of LGiT?
Just reread Passion is a Fashion excerpt I cited and it corroborates "half a dozen tracks" in the April Electric Lady sessions:
The Call Up
The Magnificent Seven
Lightning Strikes
Every Little Bit Hurts
Lose This Skin
Stop the World

The assumption is they didn't play the Wessex sessions later that summer.
I think it's highly likely NWR is on Hitsville, Look Here, and One More Time. I might be convinced on SAE, but I have a pet theory that Mick just played bass on all the songs he had vocals on, to save studio time if nothing else.
Oh yeah, Hitsville and Look Here have to be NWR. Especially with how stylistically different Look Here is from anything else Paul was familiar with.
The closest he got to it was Jimmy Jazz, but they're both cod walking lines.
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Re: The Clash Studio Logs/Sessionography

Post by matedog »

Kory wrote:
23 Mar 2021, 5:31pm

The closest he got to it was Jimmy Jazz, but they're both cod walking lines.
"cod"?
Look, you have to establish context for these things. And I maintain that unless you appreciate the Fall of Constantinople, the Great Fire of London, and Mickey Mantle's fatalist alcoholism, live Freddy makes no sense. If you want to half-ass it, fine, go call Simon Schama to do the appendix.

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Re: The Clash Studio Logs/Sessionography

Post by Kory »

matedog wrote:
23 Mar 2021, 5:41pm
Kory wrote:
23 Mar 2021, 5:31pm

The closest he got to it was Jimmy Jazz, but they're both cod walking lines.
"cod"?
Inauthentic.
WWK: I feel confident we haven't heard the last from Dr. Harvey Camel.

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Re: The Clash Studio Logs/Sessionography

Post by matedog »

matedog wrote:
22 Mar 2021, 6:13pm
I emailed Pat Gilbert asking him because why not? He responded about the Style Scott info, so maybe he'll know something.
Hey Pat replied! Not terribly helpful though:
Aah... Who plays what on Sandinista may never be settled!

Remember the MOJO piece from last year? The guy 'J.P. Nicholson' was fairly sure he played on The Call Up and others... I kinda downplayed his role because I didn't want to throw Norman's exact contributions into any more confusion.

The problem is that you only need to play four bars of anything in tune and in time and it can looped and copied. I think there's a hell of a lot of editing and studio craft on Clash records. Bill Price was a genius at that kind of thing.

Charlie Don't Surf could be Norman, or J.P., or even Mick, who played bass on stuff before Norman arrived - maybe a combination of all three. Maybe Paul overdubbed it when he came back from Canada, though if you've already got a good take in the bag you probably wouldn't mess with it. Paul would have done all the reggae stuff and more, definitely.

That probably doesn't help, but without access to the original master tapes (which are apparently damaged anyway), it's hard to tell...

Also, there's was an awful lot of weed on that session, making things even more obscure.
Look, you have to establish context for these things. And I maintain that unless you appreciate the Fall of Constantinople, the Great Fire of London, and Mickey Mantle's fatalist alcoholism, live Freddy makes no sense. If you want to half-ass it, fine, go call Simon Schama to do the appendix.

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Re: The Clash Studio Logs/Sessionography

Post by Marky Dread »

matedog wrote:
01 Apr 2021, 9:23am
matedog wrote:
22 Mar 2021, 6:13pm
I emailed Pat Gilbert asking him because why not? He responded about the Style Scott info, so maybe he'll know something.
Hey Pat replied! Not terribly helpful though:
Aah... Who plays what on Sandinista may never be settled!

Remember the MOJO piece from last year? The guy 'J.P. Nicholson' was fairly sure he played on The Call Up and others... I kinda downplayed his role because I didn't want to throw Norman's exact contributions into any more confusion.

The problem is that you only need to play four bars of anything in tune and in time and it can looped and copied. I think there's a hell of a lot of editing and studio craft on Clash records. Bill Price was a genius at that kind of thing.

Charlie Don't Surf could be Norman, or J.P., or even Mick, who played bass on stuff before Norman arrived - maybe a combination of all three. Maybe Paul overdubbed it when he came back from Canada, though if you've already got a good take in the bag you probably wouldn't mess with it. Paul would have done all the reggae stuff and more, definitely.

That probably doesn't help, but without access to the original master tapes (which are apparently damaged anyway), it's hard to tell...

Also, there's was an awful lot of weed on that session, making things even more obscure.
So the weed played bass on Sandinista! :mrgreen:
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Re: The Clash Studio Logs/Sessionography

Post by gkbill »

Marky Dread wrote:
01 Apr 2021, 10:54am
matedog wrote:
01 Apr 2021, 9:23am
matedog wrote:
22 Mar 2021, 6:13pm
I emailed Pat Gilbert asking him because why not? He responded about the Style Scott info, so maybe he'll know something.
Hey Pat replied! Not terribly helpful though:
Aah... Who plays what on Sandinista may never be settled!

Remember the MOJO piece from last year? The guy 'J.P. Nicholson' was fairly sure he played on The Call Up and others... I kinda downplayed his role because I didn't want to throw Norman's exact contributions into any more confusion.

The problem is that you only need to play four bars of anything in tune and in time and it can looped and copied. I think there's a hell of a lot of editing and studio craft on Clash records. Bill Price was a genius at that kind of thing.

Charlie Don't Surf could be Norman, or J.P., or even Mick, who played bass on stuff before Norman arrived - maybe a combination of all three. Maybe Paul overdubbed it when he came back from Canada, though if you've already got a good take in the bag you probably wouldn't mess with it. Paul would have done all the reggae stuff and more, definitely.

That probably doesn't help, but without access to the original master tapes (which are apparently damaged anyway), it's hard to tell...

Also, there's was an awful lot of weed on that session, making things even more obscure.
So the weed played bass on Sandinista! :mrgreen:
Hello,

I know Weed played a large role in a lot of Grateful Dead recordings. That guy got around.

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Re: The Clash Studio Logs/Sessionography

Post by Kory »

matedog wrote:
01 Apr 2021, 9:23am
matedog wrote:
22 Mar 2021, 6:13pm
I emailed Pat Gilbert asking him because why not? He responded about the Style Scott info, so maybe he'll know something.
Hey Pat replied! Not terribly helpful though:
Aah... Who plays what on Sandinista may never be settled!

Remember the MOJO piece from last year? The guy 'J.P. Nicholson' was fairly sure he played on The Call Up and others... I kinda downplayed his role because I didn't want to throw Norman's exact contributions into any more confusion.

The problem is that you only need to play four bars of anything in tune and in time and it can looped and copied. I think there's a hell of a lot of editing and studio craft on Clash records. Bill Price was a genius at that kind of thing.

Charlie Don't Surf could be Norman, or J.P., or even Mick, who played bass on stuff before Norman arrived - maybe a combination of all three. Maybe Paul overdubbed it when he came back from Canada, though if you've already got a good take in the bag you probably wouldn't mess with it. Paul would have done all the reggae stuff and more, definitely.

That probably doesn't help, but without access to the original master tapes (which are apparently damaged anyway), it's hard to tell...

Also, there's was an awful lot of weed on that session, making things even more obscure.
Thanks for reaching out on that, this is interesting to read even though it doesn't provide any actual info. Who is this JP Nicholson guy?
WWK: I feel confident we haven't heard the last from Dr. Harvey Camel.

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Re: The Clash Studio Logs/Sessionography

Post by Marky Dread »

Kory wrote:
02 Apr 2021, 8:30pm
matedog wrote:
01 Apr 2021, 9:23am
matedog wrote:
22 Mar 2021, 6:13pm
I emailed Pat Gilbert asking him because why not? He responded about the Style Scott info, so maybe he'll know something.
Hey Pat replied! Not terribly helpful though:
Aah... Who plays what on Sandinista may never be settled!

Remember the MOJO piece from last year? The guy 'J.P. Nicholson' was fairly sure he played on The Call Up and others... I kinda downplayed his role because I didn't want to throw Norman's exact contributions into any more confusion.

The problem is that you only need to play four bars of anything in tune and in time and it can looped and copied. I think there's a hell of a lot of editing and studio craft on Clash records. Bill Price was a genius at that kind of thing.

Charlie Don't Surf could be Norman, or J.P., or even Mick, who played bass on stuff before Norman arrived - maybe a combination of all three. Maybe Paul overdubbed it when he came back from Canada, though if you've already got a good take in the bag you probably wouldn't mess with it. Paul would have done all the reggae stuff and more, definitely.

That probably doesn't help, but without access to the original master tapes (which are apparently damaged anyway), it's hard to tell...

Also, there's was an awful lot of weed on that session, making things even more obscure.
Thanks for reaching out on that, this is interesting to read even though it doesn't provide any actual info. Who is this JP Nicholson guy?
Studio engineer on Sandinista! Also known as J P. Nichols.
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Re: The Clash Studio Logs/Sessionography

Post by matedog »

Just noticed this on the COB wikipedia (https://en.wikipedia.org/wiki/Clash_on_Broadway) for Midnight to Stevens:
"recorded at People's Hall, Frestonia, London in 1981"

That doesn't match up with any of the locations on the sessionography. Anyone have a COB booklet handy to see if there is more information on this? I'm showing there was the Marcus Music sessions in April 81 and Ear Studios in September 81 (I believe both are London) before the Electric lady/NYC sessions.
Look, you have to establish context for these things. And I maintain that unless you appreciate the Fall of Constantinople, the Great Fire of London, and Mickey Mantle's fatalist alcoholism, live Freddy makes no sense. If you want to half-ass it, fine, go call Simon Schama to do the appendix.

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Re: The Clash Studio Logs/Sessionography

Post by Heston »

matedog wrote:
14 Apr 2021, 9:53am
Just noticed this on the COB wikipedia (https://en.wikipedia.org/wiki/Clash_on_Broadway) for Midnight to Stevens:
"recorded at People's Hall, Frestonia, London in 1981"

That doesn't match up with any of the locations on the sessionography. Anyone have a COB booklet handy to see if there is more information on this? I'm showing there was the Marcus Music sessions in April 81 and Ear Studios in September 81 (I believe both are London) before the Electric lady/NYC sessions.
Ear studios was part of the People's Hall.
There's a tiny, tiny hopeful part of me that says you guys are running a Kaufmanesque long con on the board

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Re: The Clash Studio Logs/Sessionography

Post by Marky Dread »

As Heston says above.

Here are some addresses and info that might help.

Marcus Music, Kensington Gardens Square, London.

Ear Studios, The People's Hall, Frestonia, London.

Glyn Johns Garden Studio, Warnford, Hampshire.
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Re: The Clash Studio Logs/Sessionography

Post by matedog »

Marky Dread wrote:
14 Apr 2021, 10:22am
As Heston says above.

Here are some addresses and info that might help.

Marcus Music, Kensington Gardens Square, London.

Ear Studios, The People's Hall, Frestonia, London.

Glyn Johns Garden Studio, Warnford, Hampshire.
Thanks guys. I'll assume M2S was from the Ear Studios sessions and revise accordingly.
Look, you have to establish context for these things. And I maintain that unless you appreciate the Fall of Constantinople, the Great Fire of London, and Mickey Mantle's fatalist alcoholism, live Freddy makes no sense. If you want to half-ass it, fine, go call Simon Schama to do the appendix.

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Re: The Clash Studio Logs/Sessionography

Post by Marky Dread »

matedog wrote:
14 Apr 2021, 10:36am
Marky Dread wrote:
14 Apr 2021, 10:22am
As Heston says above.

Here are some addresses and info that might help.

Marcus Music, Kensington Gardens Square, London.

Ear Studios, The People's Hall, Frestonia, London.

Glyn Johns Garden Studio, Warnford, Hampshire.
Thanks guys. I'll assume M2S was from the Ear Studios sessions and revise accordingly.
Silly question but you are aware of this site?

https://clash.fandom.com/wiki/Midnight_To_Stevens
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Re: The Clash Studio Logs/Sessionography

Post by matedog »

Marky Dread wrote:
14 Apr 2021, 11:13am
matedog wrote:
14 Apr 2021, 10:36am
Marky Dread wrote:
14 Apr 2021, 10:22am
As Heston says above.

Here are some addresses and info that might help.

Marcus Music, Kensington Gardens Square, London.

Ear Studios, The People's Hall, Frestonia, London.

Glyn Johns Garden Studio, Warnford, Hampshire.
Thanks guys. I'll assume M2S was from the Ear Studios sessions and revise accordingly.
Silly question but you are aware of this site?

https://clash.fandom.com/wiki/Midnight_To_Stevens
I contributed to that site a loooooong time ago, so I was aware, but totally forgot about it. Looks pretty thorough too. Those dates are great too.
Look, you have to establish context for these things. And I maintain that unless you appreciate the Fall of Constantinople, the Great Fire of London, and Mickey Mantle's fatalist alcoholism, live Freddy makes no sense. If you want to half-ass it, fine, go call Simon Schama to do the appendix.

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