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Post by mikethedrummer on Sept 17, 2007 9:09:24 GMT -5
  Any help identifying the source of this article would be appreciated - I received it as a photocopy 30+ years ago. |
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Post by isis on Sept 17, 2007 19:08:07 GMT -5
Hey Mike...it's Go Magazine
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Post by gypsyball on Sept 17, 2007 23:23:59 GMT -5
Cools stuff there Mike  Thanks for posting it. |
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Post by mikethedrummer on Sept 18, 2007 8:22:35 GMT -5
Thanks Isis! Do you have any idea what month the issue is?
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Post by mr maltese on Sept 18, 2007 19:00:50 GMT -5
Very good article on BC - I like the pictures of them haning out and Dickie tuning his bass - great stuff and Thanks for sharing this with all of us here on the board.
Maltese
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Post by isis on Sept 18, 2007 21:29:50 GMT -5
Sorry Mike this is Disco Scene Magazine also....
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Post by Terence Belcher on Sept 18, 2007 23:07:12 GMT -5
Is that cool too, mr gypsyball? I`ll save you another useless post.
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Post by rowenafair on Sept 18, 2007 23:33:19 GMT -5
boys, puleez! take it outside!
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Post by gypsyball on Sept 19, 2007 7:16:33 GMT -5
Is that cool too, mr gypsyball? I`ll save you another useless post. Why don't you register an account here? Besides having rare pictures of the band posted here is a good thing. |
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Post by Son of Atom on Sept 19, 2007 8:49:26 GMT -5
Looks like Festooned Piglips, um Randy Holden is rearing his ugly head again  |
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Post by vonearschplitten on Sept 19, 2007 18:44:10 GMT -5
I remember looking at the credits on the album notes for "Outside/Inside", and I saw the name of a pretty-well known engineer during this period--Eddie Kramer. If this was the same Eddie Kramer who famously helped out on Led Zeppelin II, doing all the crazy spacy effects on the middle part of "Whole Lotta Love", this guy must have been the master of "headphone rock"! "Outside/Inside" has enough of those speaker-to-speaker effects to make the mind "dizzy"! He did the same kind of engineering work on the early Cactus albums.
It appears to me that Jimmy Page might have been secretly listening to "Outside/Inside" to get some ideas for spatial effects to use at a later date, and was paying close attention to who that engineer was, and to nab him when the time was right a year later.
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Post by rowenafair on Sept 23, 2007 11:32:22 GMT -5
eddie kramer is all over everyone inthe 60's and 70's - he worked at olympic in the early 60's, so he was on rolling stones stuff and started to make a name for himself. also olympic became the hip place to record - then he moved to the record plant which is where the cheer must have run into him, or maybe they knew he was there beforehand....he was the engineer on the recording of Woodstock. THEN he was at Electric Lady working with hendrix - and continues to work on cutting edge recording to this day...
phasing wasn't new with outsideinside, just the way it was used - itchycoo park (small faces) was 67 - that also came out of olympic. in those days there were a handful of great studios with great engineers who undoubtedly added to the experimenting going on in music.
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Post by Eric S Albronda on Sept 23, 2007 13:24:49 GMT -5
Eddie Kramer was requested by Blue Cheer due to his outstanding work with Jimi Hendrix
as a fact of the matter Eddie Kramer was at the Record Plant in New York working on Voodoo child by Hendrix. We scheduled around him and his sessions . During that time is when we were able to get to know Hendrix a bit as well As work with Eddie Kramer .
His fame to claim was his invention of " Phasing" which he accomplished by physically slowing down one machine or speeding up another by hand mind you ----shortly after his inventive nature the electronics wizards copied his inventions and put it into a box
a variable speed gadget---some of you might know the electronics better then me do , because that is my least favorite part of the entire business.
Suffice to say when Eddie Kramer asked us should we like to listen to the incomplete unmixed hot that day of Hendrix recordings of the Voodoo Child LP we said no and stick it in your face ----obviously I am kidding ----
I was in shock ---totally cool in every way--- , things like that made it all worth while for me . Who do you thank when you have such luck ?
Eric
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Post by mikethedrummer on Sept 24, 2007 7:33:39 GMT -5
Eric - Thanks as always for sharing your memories. I remember many a frustrating hour as a kid trying figure out how Paul got that tone out of his drums for the breaks on "Just a Little Bit" and some of the fills on "Sun Cycle" and "Gypsy Ball". Little did I know it was studio magic. Do you have a recollection of which songs on "Outsideinside" were recorded at which location (Pier 57, Muir Beach, etc.)?
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Post by Eric Albronda on Sept 24, 2007 12:35:29 GMT -5
Feathers From Your Tree 3:36 (Peterson, Stephens, Wagner), PIER NEW YORK Sun Cycle 4:17 (Peterson, Stephens, Wagner) BEACH MUIR Gypsy Ball 3:02 (Peterson, Stephens) SAUSALITO, Pier Come And Get It 3:19 (Stephens, Peterson, Wagner) Record Plant (I Can't Get No) Satisfaction 5:15 (Jagger, Richards) San Mateo, California The Hunter 4:37 (Jones, Wells, Jackson) Record plant Magnolia Caboose Babyfinger 1:36 (Stephens, Peterson) Pier New York Babylon 4:37 (Peterson) Record plant Some if not all had over dubs done in the studio with the basic tracks done outside frankly for all of the trouble doing it outside I still don"t know why we did it that way --- why not use Kramer on all the sessions where he was the most familiar which was the record plant------why?  because we could and afford it so why not --- I mean what the hell-- this is going to last forever , right ?? |
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Thanks for posting it.
because we could and afford it so why not --- I mean what the hell--