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Music Clarence White
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Author | Topic: Clarence White |
nick allen Member From: France |
posted 25 February 2003 04:47 AM
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I think quite a few of you (Jason Odd, hope you're reading this!) may be interested in the new Clarence White album being released, described about 1/3 of the way down this page: http://users.skynet.be/byrdsflyght/news2.htm If I understand right, it's stuff recorded after the (original) Kentucky Colonels, and before the Byrds... |
Jason Odd Member From: Melbourne, Victoria, Australia |
posted 25 February 2003 06:27 AM
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Yep, 1966 electric sessions by the non-original KCs (the White brothers with Jimmy Crain, Dennis Morse and Bob Warford, although Clarence wasn't really a full time member), and the rest is mainly from the studios of Gary Paxton (Hollywood, then Bakersfield), and Darrell Cotton's Ion studio in Hollywood. The cover pic is actually from 1964, the original KCs recorded with electric instruments back in '65, and overall there's a lot more solo Clarence material from Paxton's studio that sadly wasn't utilised. If this set does well, then I suppose the next Ace/Big Beat reissue will be the complete Gosdin Brothers (1966-73 singles and their 1968 Capitol LP with CW and Paxton). Apparently all of this has fired up John Delgatto of Sierra REcords and John has his own comp on the way from the same era. |
Tom Olson Member From: Spokane, WA |
posted 25 February 2003 11:07 AM
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Speaking of Clarence, I've read bits and pieces here and there about a never released Clarence White solo album that was supposedly at least partially recorded post KC's and possibly post Byrds (I can't remember). I wonder if it will ever be released? |
Tom Olson Member From: Spokane, WA |
posted 25 February 2003 11:10 AM
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Oh, by the way -- does anybody know who played Dobro on the Byrds "Sweetheart of the Rodeo" expanded edition bonus track "You've Got a Reputation?" There is most definitely a Dobro in there, but there is no credit given for a Dobro player anywhere in the liner notes. |
Jason Odd Member From: Melbourne, Victoria, Australia |
posted 26 February 2003 05:47 AM
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Clarence White cut a solo deal with Warner Bros Records in 1973, Warner Reprise had Gram Parsons and Emmylou Harris, Muleskinner, the New Riders Of The Purple Sage and Clarence as part a big push for country-rock. Of course the New Riders were complete stoners, and Gram and Clarence died before the year was out, in the end the country-rock thing was pretty much a bust, but they (Warners) did push Emmylou Harris in '75, and we all know how that turned out. Clarence cut a series of tracks in 1973, some of them were issued on a country-rock anthology of Warner artists by Sierra Records. The Sierra record was called Silver Meteor and is long out of print. The album did have a working title, but it was not completed. Tom, that dobro could be Clarence, or even Red Rhodes who is apparently the steel player on the instrumental included with the Sweetheart CD reissue. |
Mike Weirauch Member From: Harrisburg, Illinois**The Hub of the Universe |
posted 26 February 2003 07:59 AM
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Lloyd Green asked me to post this: Red Rhodes is not playing anything on the "Sweetheart Of The Rodeo" album/CD. The only steel players featured are J.D. Maness and me. On the expanded version, the song "You've Got A Reputation" was recorded at Columbia Studio "A" in Nashville, on Thursday,March 14, 1968. I played dobro on this track. It was actually a Sho-Bro belonging to Shot Jackson which I had borrowed for the occasion. "All I Have Are Memories" was recorded at Columbia studios in Hollywood during the week-end of April 6&7, 1968. I had flown to Hollywood to complete this album with the Byrds. The steel player is me, the guitar player, Clarence White. It sounds as if vocals were to be added later since it is not a typical insrumental track. Clarence and I were simply playing fills and doodling, but if it had been meant as an instrumental we could have made it much better and more musically articulate than this incomplete sounding result. As you Byrd's fans will note, the CBS liner notes do not always coincide with my statements as to dates and musician omissions. This is due to their maladroitness. My statements are factual and accurate. I wish CBS had been more diligent in their research before releasing this historical musical document. Lloyd Green |
Steve Hinson Member From: Hendersonville Tn USA |
posted 26 February 2003 11:30 AM
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There's a NEW rerelease of'Sweetheart"? |
Craig Stock Member From: Westfield, NJ USA |
posted 26 February 2003 02:07 PM
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Steve the one I have is from 1997 Columbia/ Legacy CK65150. It has 8 Bonus tracks and alternate takes. ------------------ |
Larry Miller Member From: Gladeville,TN.USA |
posted 26 February 2003 03:35 PM
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Mike W. thanks for posting Lloyds' statement! Lloyd, I surely wish you would join the SGF, although posting through Mike ain't too shabby! Thanks! |
Dave Long Member From: Charlotte, N.C. |
posted 26 February 2003 05:46 PM
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Speaking of the Warner Brothers Country Rock stable, was Mason Profit on the same label? I I can remember, they were pretty good...anyone kept up with them? |
Butch Foster Member From: Pisgah, Alabama, USA |
posted 26 February 2003 06:01 PM
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Mike, thanks for all the information you pass on to us and also thanks to Lloyd for his very informative and interesting contributions. |
Tom Olson Member From: Spokane, WA |
posted 26 February 2003 10:21 PM
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Lloyd and Jason -- thanks very much for the very interesing information. It's interesting that Kevin Kelly (the Byrds drummer) is credited as the author of "All I Have Are Memories." I wonder if he actually came up with a melody, or just a cord structure? The whole process of recording is a mystery to me. I was wondering, Lloyd, if you and Clarence (as well as who ever was playing bass) were provided with a melody for that song, or just a cord chart. In general, did you get any sort of direction from anyone on that album as far as what to play or how to play it, etc., or was it pretty much left entirely up to you? What's also very interesting is to listen to the earlier takes of various songs provided on the expanded edition and compare them to the originally released versions. At least in some cases you can really hear how the song progressed from one take to another. Furthermore, and as I believe has already been discussed here previously, it's amazing to note that the alternate version of "You're Still On My Mind" is listed as take #43(!!) Interesting stuff! [This message was edited by Tom Olson on 26 February 2003 at 10:24 PM.] |
Steve Hinson Member From: Hendersonville Tn USA |
posted 27 February 2003 12:52 AM
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Mike...next time you talk to Lloyd tell him I said thanks-and his is on the way....thank you-Steve |
Bob Knetzger Member From: Kirkland, WA USA |
posted 27 February 2003 08:18 AM
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For all you Sneaky Pete fans, go here to hear a great live Byrds/FBB show from 70's Amsterdam. Sneaky Pete is particularly good here; relaxed, fluid, and plays lots of nice fills and solos. http://pages.vpro.nl/3voor12/shows/index.shtml?2534202+3594015+4746439+5260810 [This message was edited by Bob Knetzger on 27 February 2003 at 08:19 AM.] [This message was edited by Bob Knetzger on 27 February 2003 at 08:20 AM.] |
scott murray Member From: Orange Park, FL |
posted 27 February 2003 02:39 PM
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I believe JayDee said that after 43+ takes of that song, they ended up using the first take. Sneaky Pete also has a new project called Burrito Deluxe with Garth Hudson, Gillian Welch, and others. |
Mike Weirauch Member From: Harrisburg, Illinois**The Hub of the Universe |
posted 27 February 2003 04:55 PM
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Lloyd again asked if I would post this response, so without further ado: Since this was such a seminal album for the infancy of Country/Rock, I believe it is important to furnish more information which has never been revealed.So this is in response to Tom Olson's questions. On the instrumental song, "All I Have Are Memories" my recollection is that we just made up a chord structure in the studio in Hollywood and I wrote my own chart. We ran thru it a time or two then asked Roy Halee, the engineer, to roll the tape. I'm uncertain as to whether or not we did more than one take. Perhaps Clarence White and I should have been given co-writer status since we invented the "melodies" we played. But Kevin Kelley, the drummer, was a "Byrd", Clarence and I, hired musicians, so that was okay that he is the writer. Now as to what sort of directions I was given,this is what happened. When we started working on the first song in Nashville's Columbia studio, "You Ain't Going Nowhere", I asked - to no one in particular - "Where do you guys want me to fill?" they all answered," Everywhere, every fill!" I was used to doing an intro maybe, laying out a verse, then filling a chorus, in other words a more structured framework. But I liked this attitude and I said, "ALLRIGHT!" You listen to "Nowhere", and you'll hear me virtually from the first note to the last. They sure had my vote. More steel! An obscure addendum to this song. Sometime later, after the album was released Bob Dylan, the writer, was really upset that a "g" was added to "goin'", his original spelling, and made quite an issue of it. He most certainly thought they had made an improprietous change in the title of his song. One more thing, I think Chris Hillman was the only bass player on, "All I Have Are Memories"; electric bass.On the Nashville sessions, Junior Huskey played upright bass but I was the only Nashville player to go to California to work on the rest of the album. J.D. Maness played on a number of the cuts before I flew to L.A. He and I are forever joined as steel players by both being part of this wonderful moment in time. I hope this information further illuminates this important album of the 1960's. Lloyd Green |
Tom Olson Member From: Spokane, WA |
posted 27 February 2003 09:05 PM
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Lloyd (and Mike), Thanks very much for the info. I agree that the Sweethearts of the Rodeo album is an absolute landmark work, and it's really the main reason I became interested in steel guitar and country music. I've seen where there are plenty of people who feel the same. I think it has a certain timeless quality about it and it seems like I'll never get tired of listening to it (by the way, Lloyd, I'm glad the Byrds didn't restrain you in any way -- the results speak for themselves!). I'm really glad that the expanded version of "Sweethearts" was released. I think the extra tracks really add valuable insight into the album. That's interesting, Lloyd, that you and Clarence came up with the bulk of "All I Have Are Memories," yet Kevin was given sole credit. It's quite a nifty little gem of a song. That's also an interesting tidbit about Bob Dylan and "You Ain't Goin(g) Nowhere." -- I had read somewhere that Bob Dylan made some reference to the words having been sung incorrectly on the "Sweetheart" version of that song, but I had not heard about the issue surrounding the title. Apparently, all is well between Roger and Bob now because I understand that they toured extensively together within the last few years. Thanks again for the interesting posts [This message was edited by Tom Olson on 27 February 2003 at 10:32 PM.] |
Chandler Holt Member From: Durham, North Carolina, USA |
posted 28 February 2003 06:20 AM
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This is unbeleivable info!! Clarence White is truly the most fantastic acoustic & electric player I have ever heard! Does anybody have a complete list of eveything he has recorded? (session work included)I WANT TO HEAR EVERYTHING HE HAS DONE! I have heard from John Delgatto (Sierra Records) that he is planning on putting out a Clarence White box set. I have also heard a rumor that Clarence & James Burton play together on a couple of Arlo Guthrie records. Can anybody verify any of this? |
Roger Rettig Member From: NAPLES, FL |
posted 28 February 2003 06:37 AM
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More of Clarence can be heard on the Everly Brothers song, "I'm on my Way Back Home Again" from around '68 - it's a fine example of his great B-bender playing, and is, I believe, one of the earliest recordings to feature this technique. I almost had a wreck the first time I heard it on my car radio! Who's on 'Drug Store Truck Driving Man'? That's my favourite... ------------------ [This message was edited by Roger Rettig on 28 February 2003 at 06:39 AM.] |
Tom Olson Member From: Spokane, WA |
posted 28 February 2003 09:22 AM
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Jason -- from the following synopsis of Clarence's career, he apparently recorded an entire solo album for the label "Bakersfield International" before forming "Nashville West." Additionally, Clarence apparently partially recorded a second solo album shortly before his death, neither of which were released. FROM ALL MUSIC GUIDE: Clarence White was a gifted guitarist who was one of the pioneers of country-rock in the late '60s. Although died young, his work with the Byrds and the Kentucky Colonels, among others, remained celebrated among country-rock and bluegrass aficionados in the decades following his death. Born in Maine but raised in California, White began playing the guitar at an early age, joining his brothers' band, the Country Boys, when he was just ten years old. The band eventaully evolved into the Kentucky Colonels. Clarence left the Colonels in the mid-'60s, becoming a session musician; he played electric guitar on many rock and pop albums. He also began playing with the duo of Gib Gilbeau and Gene Parsons in local California clubs. Gilbeau and Parsons frequently worked with the Gosdin Brothers, so the duo was able to land a cameo appearance for White on the Gene Clark and the Gosdin Brothers album. Around the same time, Clarence recorded a solo album for Bakersfield International which the label didn't release. In 1968, White joined Nashville West, which also featured Gene Parsons, Gib Gilbeau, Sneaky Pete Kleinow, Glen D. Hardin, and Wayne Moore. Nashville West recorded an album for Sierra Records, but the record didn't appear until 1978. White was invited to join the Byrds in the fall of 1968. Roger McGuinn was rebuilding the Byrds' lineup after the departure of Chris Hillman and Gram Parsons, who went on to form the Flying Burrito Brothers. Clarence White fit into the revamped Byrds' country-rock direction. He played on the group's untitled album, which spawned the single "Chestnut Mare." While he was with the band, he continued to work as a session musician, playing on Randy Newman's 12 Songs (1970), Joe Cocker's eponymous 1969 album, and the Everly Brothers' Stories Would Could Tell (1971), among others. Once the Byrds disbanded in 1973, Clarence White continued his session work and joined Muleskinner, which also featured David Grisman, Peter Rowan, John Guerin, Bill Keith, John Kahn, and Richard Greene. Muleskinner only released one album, which appeared later in 1973. After the Muleskinner record was finished, White played a few dates with the Kentucky Colonels and began working on a solo album. He had only completed four tracks when he was killed by a drunken driver while he was loading equipment onto a van; he died on July 14, 1973. Following his death, several posthumous albums of his work with the Kentucky Colonels and the Byrds appeared, as did various albums that featured his playing, including Jackson Browne's Late for the Sky and Gene Parsons' Kindling. -- Stephen Thomas Erlewine **copyright All Music Guide**
Aden Topsiders (2002)Guitar It's also interesting to note that the above lists Clarence as providing vocals on the "Sweethearts of the Rodeo" album. My copy of that album credits Clarence only with guitar and not vocals. Perhaps Lloyd Green would know whether Clarence did, in fact, provide vocals for that album. [This message was edited by Tom Olson on 28 February 2003 at 09:31 AM.] |
Chandler Holt Member From: Durham, North Carolina, USA |
posted 28 February 2003 11:09 AM
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Thanks Tom!! This is a great list. I have a lot of friends that will be excited about seeing this. Do you know if Clarence & James Burton appear on any of the Arlo records together? Also, here is an interesting little factoid: Correct me if I am wrong. One artist on the Clarence list is Terry Melcher. I beleive this is the guy that rejected Charles Manson's attempt to make it big in music! In "Helter Skelter" Bugliosi talks a lot about how Melcher really upset Manson and sort of released a lot of Manson's wild behavior. Kind of interesting to see that name pop up. |
Chandler Holt Member From: Durham, North Carolina, USA |
posted 28 February 2003 11:31 AM
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One more thing: The Scotty Stoneman Live in L.A. record is not showing up on Rural Rhythm's website. I would love to get a copy of that disc!! Scotty & Clarence together is no less than awesome. Does anybody have any info on this? I'm 25 & Jamgrass is starting to grate on my nerves. What happend to that classic sound? |
Tom Olson Member From: Spokane, WA |
posted 28 February 2003 12:16 PM
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Hi Chandler -- hope you find the list helpful. Unfortunately, I'm not that familiar with Arlo's records (yet, at least), and I don't know if Clarence White and James Burton appeared together on any of them, or together on any other record for that matter. I did read in another post here on the forum that Clarence and James were friends. I also don't know much about the "Live In L.A." record. It's possible that you could get a copy through Elderly Instruments. They seem to carry a lot of that kind of thing. Or, maybe try Sierra Records. With regard to Terry Melcher, that's an interesting story. I haven't had a chance to read "Helter Skelter" yet. I don't know much about Terry Melcher, but I had always thought of him as more of a producer than anything else. I believe he produced several of the Byrds albums, but I'm not sure which ones. Here's an interesting tidbit -- on the Byrds' "Sweetheart of the Rodeo" expanded edition CD, at the beginning of bonus track #15, you can hear two of the Byrds discussing the harmony parts of the song, when suddenly a buzzer sounds-off momentarily. Somebody (perhaps Chris Hillman?) then says, "that's Terry Melcher's favorite toy," to which somebody else (presumably Melcher?) says, "sorry about that, I hit it by mistake -- OK, take 11." However, Terry Melcher is not listed anywhere in the credits of that CD. The only other thing I know about Terry Melcher was that he was Doris Day's son, and that he was involved with Surf music in the early 60's, maybe with the Beach Boys (?). Also, one of the houses targeted by Manson's gang during it's murder spree was formerly owned by Terry Melcher. This of course fueled the rumor that Manson was out to get Melcher. But, I've never heard anything definitive with regard to that premise. |
Chandler Holt Member From: Durham, North Carolina, USA |
posted 28 February 2003 03:43 PM
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Terry Melcher was very involved with the Beach Boys. He & Brian Wilson were very good friends. Brian Wilson did Manson a favor by getting Melcher to hear Manson play. Melcher basically laughed in his face. As you can expect Manson did not like this. The rest is history. Anywho, great info & long live Clarence's legacy. thanks! |
Jason Odd Member From: Melbourne, Victoria, Australia |
posted 28 February 2003 04:08 PM
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Tell Mr. Green I'm sorry for my mistake regarding the Rhodes credit that I inferred. I was told by an authority (who I won't name) that Red was one the session that day. In regards to Mason Profit, they were on the Happy Tiger label, home to Red Rhodes and The Detours in the late 1960s. Another Warner/Reprise act was Arlo Guthrie, his 1969 Reprise album "Running Down the Road" is now on Cd via Koch, and featured Clarence and James Burton. It's a pretty solid Guthrie style folk album meets country-rock. The AMG CW bio is workmanlike, and accurate to a point. Eg: Clarence did not record anything for Paxton in 1966, although the bio suggests that it was around the time that he recorded the album with Gene Clark and the Gosdin Brothers, which was cut in 1966. Recording a solo album would indicate that an actual solo LP and deal were under way, which wasn't really the case. "In 1968, White joined Nashville West." "Nashville West recorded an album for Sierra Records, but the record didn't appear until 1978." There's a couple of Clarence White's as noted, one's a gospel singer. [This message was edited by Jason Odd on 28 February 2003 at 04:11 PM.] |
Tom Olson Member From: Spokane, WA |
posted 28 February 2003 04:32 PM
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Thanks for the post, Jason. I've also noticed that the AMG info frequently contains inaccuracies. |
Jason Odd Member From: Melbourne, Victoria, Australia |
posted 28 February 2003 05:23 PM
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I forgot: Clarence was playing electric with the Kentuckly Colonels in 1965, they added a drummer to try this format for a time. The Dillards did a lot better with this later on, although they had a drummer on some sessions and live gigs in 1964. James Burton and David Cohen (not the guy from Country Joe & The Fish) helped get Clarence into the studio scene, although his early sessions were through friends like the Gosdin Brothers, Chris Hillman, Gene Clark, Gib Guilbeau and Gene Parsons, while he did some acoustic sessions in the early 1960s through his recordings with the KCs and the interest that the group attracted. Tom, although I'm quick to point out anomalies, the AMG is a really good source and it's extremely helpful to refer to. |
Larry Miller Member From: Gladeville,TN.USA |
posted 01 March 2003 04:54 AM
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quote:It sounds like Jim McGuinn said the first part, more than likely it was Gary Usher who replied. [This message was edited by Larry Miller on 01 March 2003 at 04:59 AM.] |
Jason Odd Member From: Melbourne, Victoria, Australia |
posted 01 March 2003 04:45 PM
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Larry, I agree, it sounds like McGuinn. |
scott murray Member From: Orange Park, FL |
posted 03 March 2003 04:25 PM
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It's Gram, then Terry. |
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