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Originally posted by Stones! View Post
Just was listening to,
NOW, I'm gonna check out that Arena Holly docu.
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Excellent article;
- I hadn't known McCartney bought Holly's publishing rights. Not too surprising as McCartney's name appears frequently when reading about Music Publishing.
Two informative paragraphs I liked;
Like Dylan, whose vocal mannerisms he anticipated, Holly the songwriter was his own best interpreter - everything "straight," "square," and "innocent" in his sound became ironic. "Peggy Sue" starts out being vaguely sing-songy only to become persistent and then obsessive, and finally a sneer. Against his onrushing acoustic guitar, the "uh-oh"s and "Sue-hoo-hoo, ooh-ooh-hoo-hoo-hoo"s ring out like melismatic pebbles skipping water. If he caught Peggy's attention, it's because he became purely beguiling in his pursuit; if she went on acting like he didn't exist (and the song never decides), he repeated her name beneath his breath as the next best thing to holding her in his arms.
"Words of Love" was Holly's first experience with overdubbing. Although multi-track recording machines were not in use then, it was possible to add voices or instruments to a tape by playing the tape through again while performing new "live" sounds, and recording everything together on a second machine... On the final master, as far as the ear can tell, drums, bass, rhythm guitar (played by Holly) and one vocal were recorded first; Holly then added the lead guitar part and two vocal lines. Though Holly may not have consciously planned it that way, this order took advantage of the loss of fidelity caused by dubbing. By the time the recording was completed, the drumming had receded in to the background, providing a distant, rolling rhythm which can be felt and heard but does not obscure the vocal or guitar patterns. Similarly, recording the vocal last gave the song a close, intimate feeling, by placing the vocal in front of the varying guitar patterns. -- [Goldrosen and Beecher page 65]
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