The very best of J.J. Cale
Edité par Warner/Chappell Music
Publié par IMP
International Music Publications Limited requested that I write a few lines about the songs contained in this folio.
So here are a few sideman comments and some tech info I remember about the songs, people, and places where they were recorded.
CALL ME THE BREEZE - This song was recorded on a 4 Track Ampex recorder with the Ace Tone Drum Machine into a Fender Twin Amp and then miked. The Rhythm Guitar was a Harmony Acoustic guitar with a Dano Electric Pick Up. The Lead Guitar was a Gibson ES 335 with Fender Twin Amp recorded by Audie using Teletronix Limiter and Ampex 2 Track Recorder giving slap back echo at 71/2 IPS for a saturated tape sound.
CRAZY MAMA - Same set up as "Breeze", with guitar tuned up to F#. Mac Gayden added Slide Guitar, playing on his lap. I think he was using a Lincoln Guitar, (Japanese Les Paul copy), with a Small Fender Amp.
MAGNOLIA - The Harmony guitar again recorded on 16 Track Ampex.
AFTER MIDNIGHT - This song was recorded with Norbert Putnam - Bass, Chuck Browning - Drums, Jerry Whitehurst - Piano. Chuck and I rehearsed the drum feel in the car on the way to Nashville. This is the second recording of this song by me. My first recording of "After Midnight" was on Liberty Records years earlier. The Liberty record became the demo when the song was played for Eric Clapton.
LIES - Recorded in Muscle Shoals, Alabama with the guys down there. Horns, Vocals, and my Harmony Acoustic Guitar, through a Fender Amp for leat, were over-dubbed in Nashville.
MIDNIGHT IN MEMPHIS - Recorded in Muscle Shoals with Barry Beckett on Piano, Roger Hawkins on Drums, and Jimmy Johnson on Rhythm Guitar. Horns, Bass and my Lead Guitar were over-dubbed in Nashville.
CAJUN MOON - Reggie Young on Lead Guitar. I'm noodling in the background. I over-dubbed Bass with Dano Electric Bass.
ROCK AND ROLL RECORDS - Karl Himmel playing Drums. Guitars over-dubbed.
COCAINE - Originally, when I wrote this song, I made a Jazz demo. After playing this demo for Audie, he suggested that we cut it as a Rock and Roll song. I'm glad we did and so is Eric. Audie, of course, is smiling like a Cheshire Cat. The riff was over-dubbed one String at a time. Later on, when playing the song "Live", I just laid my fingers across the sixth fret on the 2, 3, and 4th strings and got the same sound. During the recording, the Drummer, Ken Buttrey and the Bass player got into an argument and the Bass player left, so later I over-dubbed Bass. The track was recorded at Colombia Studio. Overdub lead by Reggie Young at Audie's house.
HEY BABY - Recorded at Chip Young's log cabin studio in Murfreesboro, Tn. This room was so small, Chip had an old phone booth for Vocals. Bass was Charles Dungey. Lloyd Green on Steel Guitar. Horns over-dubbed later.
I'LL MAKE LOVE TO YOU ANYTIME - The Snap Rhythm Guitar was done to augment the drum beat. You just mute the lower strings with the palm of your hand and snap the pick.
DON'T CRY SISTER - This is an early Korg Drum Machine, M3 Hammond Organ, 335 Gibson Electric Guitar recorded at my house in Nashville.
13 DAYS - Harmony Acoustic Guitar with low impedance Gibson Pickups recorded at Audie's house in Nashville. I do this song "live" a lot. Of course, it doesn't sound like the record. We left John Galley's name off the credits, but he's playing Piano on this cut.
SENSITIVE KIND - Buddy Harmon on Drums, Carl Radle on Bass, Cam Mullins - String Arrangement. Recorded at Audie's house.
CARRY ON - Russ Kunkel on Drums, Carol Kay on bass, Tommy Tedesco on Rhythm Guitar. Recorded at Capitol Studios, Hollywood.
ANYWAY THE WIND BLOWS - Ace Tone Drum Machine, Dano Bass, and two different rhythm tracks with the Harmony Acoustic Guitar. Recorded on Ampex One Inch 8 Track Recorder. lf you would like to hear a "polished" version of this song, check out Brother Phelps on Asylum Records.
DEVIL IN DISGUISE - Recorded in the "Alley" Rehearsal Studio, North Hollywood. Bill Boatman on Drums.
DON'T WAIT - Bob Moore on Bass, Terry McMillan on Harmonica. Recorded at Columbia Studio "A" in Nashville. Harmony Guitar through "4-10" Fender Bassman Amp for Rhythm, Harold Bradley on Tic Tac Guitar, I think.
MONEY TALKS - Jim Keltner on Drums, I played a Gibson S.G. on Lead, Spooner played Organ, Tim Drummond on Bass, and Glen D. Hardin on Piano. Recorded on a 3M 32 Track Digital Recorder (my first with digital) at Warner Bros. Studio in North Hollywood. This studio once belonged to Snuffy Garrett back when it was called Amigo Studio. I was the Engineer, recording anyone and everybody Snuffy could find. Interestingly, the studio was powered in those days by a series of car batteries hooked together and stored under the floor. There was no A.C. hum in the system.
HOLD ON - Buddy Emmons on Steel Guitar pulled this Jazz - Bo tune off. Thanks Buddy! "Hold on" is not on the Anthology Album, but it is on the Very Best Of J.J. Cale CD which, as a matter of fact, is the basis for this folio.
J.J. Cale Guitar Styles and how to play them
Edité par Columbia Pictures Publications
"What you are about to read is more than a collection of the songs of J.J. Cale. This influential singer, musician and songwriter has chosen to share more than his words and music.|
Cale takes us through the creative process - - sharing how he and the other musicians brought the songs to life in the recording studio.
With photographs and comments on each song, we gain insight on the artist's technical as well as creative talent. Cale also tells who worked on the original recording sessions of each song, what instruments were played and other details.
J.J. Cale is one of a kind. His songbook reflects his individual role in contemporary music.
Ellis Widner, Tulsa Tribune music critic
To friends who have helped along the way, artists who have recorded my songs and to those of you that have attended concerts and bought records, thank you.
Sincerely yours, J.J. Cale
AFTER MIDNIGHT - The rhythm is my Harmony guitar played acoustically and miked. The lead was overdubbed on the Harmony played through an old Fender Pro tube amplifier. Because Eric Clapton had an up-tempo hit with this song we decided to slow it down for a different feel. The conga effect is actually me beating on the sides of my guitar during the vocal overdub.
CAJUN MOON - The lead guitar on this recording was Reggie Young. He used a limited edition early 60's Telecaster. He played through a Garnett and a Fender Deluxe Amplifier with an Altec Speaker. Reggie also used a Fender Volume Pedal. The rhythm guitar and some of the staccato lead mixed back of Reggie, I overdubbed on two tracks using a Gibson-335 direct into a Quantum Recording console. I also overdubbed bass direct into the console on a Silvertone model.
MAGNOLIA - The Harmony guitar was used for the rhythm track which was cut live. It was miked as an acoustic. The lead was an overdub on the Harmony using the Danelectro pickup.
BRINGING IT BACK - There's a fade-in intro on this because we made a mistake on the front so we faded in to cover it. The horn arrangements by Bob Holmes were derived from the guitar riff. The break in the middle is Bb to Eb to C chords all done in barred positions in the middle of the neck. I played the 1962 Gibson-335 in this rhythm track.
DON'T GO TO STRANGERS - The guitar sound, rhythm and lead, on this recording is the Harmony guitar played through an old Fender Pro amp with one 15" speaker. The lead was overdubbed.
LIES - Jimmy Johnson of Muscle Shoals, Alabama, played the rhythm guitar on this recording. He used a Fender guitar. I overdubbed the guitar licks at Bradley's Barn using my old Harmony guitar with a Danelectro pickup in it through an old Fender four - 10's Bassman Amplifier, off miked six feet away with a Neumann U-87. I played with a pick.
CALL THE DOCTOR - The rhythm starting off the song is my Harmony through a 1964 Fender Twin Reverb amp. The lead is a 1962 Gibson-335 with a Bixby vibrato tail-piece, run through a home model Panasonic two-track tape recorder with built-in speakers and then miked with a Neumann U-87. The distortion and sustain was achieved with the Bixby and the Panasonics 3" speakers. The rhythm was live and the lead track was an overdub.
COCAINE - Reggie Young played the hot licks using an early 60's limited edition Fender Telecaster which has a special binding. His set up was as follows, Fender Volume Pedal, Garnett Pre-Amp. (Herzog) and a Fender Deluxe Amplifier with an Altec Speaker. I played the background guitar riff on my modified Harmony direct into an Auditronics mixing console. I overdubbed the riff three times, single string at a time. When I got through I found you could play the riff by barring a chord on the second, third and fourth strings alternating with your ring finger on the fifth fret and sliding to your first finger on the third fret. I played a similar single string riff on a Silvertone bass direct into the board.
ANYWAY THE WIND BLOWS - I tuned the guitar from standard tuning up one fret so I could play the rhythm in E. The rhythm guitar is a Gibson double pickup 125, direct into a Quantum mixing console. The slide solo in the middle is the 125 into a Pig-nose amplifier with the amp partially open and close-miked with a Neumann U-87. The boogie figure is played by alternating from the second fret to the fourth fret on the fifth (A) string, letting the sixth (E) string drone with a slight muting with the palm of the right hand. I played a silvertone bass direct into the console. The electric drummer is an acetone.
CALL ME THE BREEZE - The rhythm guitar work is a 1962 Gibson-335. The lead is my Harmony using the Danelectro pickup into a 1964 Fender Twin Reverb amplifier. The distortion on the lead is tape saturation. The Acetone electric drummer was used, and Carl Radle overdubbed bass. This song was cut on a four track Ampex tape recorder and mixed on an Altec tube board.
CHANGES - The rhytm guitar is the Harmony miked, cut live at Quadraphonic Studio, Nashville, Tenn. The lead is an overdub using the Harmony direct into a tube Altec board at Bradley's Barn.
CRAZY MAMA - This was done with an Acetone electric drummer. The rhythm guitar is my Harmony tuned to the key of F#. Bass was overdubbed by Carl Radle after the rhythm guitar and Acetone tracks were put down. Mac Gayden overdubbed slide wah-wah using a Lincoln guitar, a Japanese made Les Paul copy, and a Maestro Boomerang pedal through a Fender Deluxe Amplifier. Mac played this cut with his guitar laying on his lap, steel guitar style. This was an idea he picked up while playing with Weldon Myrick, a Nashvillc steel guitarist. It gives a cleaner sound.
FRIDAY - The rhytm guitar is a 1960 Sunburst Les Paul I played in the "D" position on the 4th, 3rd and 2nd strings only alternating from the 2nd fret to the 5th fret and played with the thumb and 2nd and 3rd fingers. I don't play the high E string. The riff starts off on the 5th fret. In places the rhythm track is doubled. I played the same rhythm pattern in a different meter to the track. A similar effect would be accomplished by using tape delay on a single guitar track. In some places there are two tracks of guitar fills also done on the Les Paul. Towards the end the wah-wah is a Vox patent pending. The vocal sound is from using a Neumann U-67 tube-powered microphone.
THE WOMAN THAT GOT AWAY - The first and second solos I played on the Harmony guitar. The rhythm fills are Gordon Payne and Chuck Browning on Fender guitars. I also played the slide licks on my Harmony. Bobby Woods played piano.
TRAVELIN' LIGHT - The high guitar riff is played on the first three strings starting on the ninth fret. The lead is my modified Harmony played through an Auditronics board. The lower rhythm is played in the barred F#m position on the second fret. I played the three big strings.
WOMAN I LOVE - The rythm is a 1962 Gibson-335 into a tube Altec board at Bradley's Barn.
CLYDE - The lead guitar is my Harmony direct into a tube Altec board at Bradley's Barn. It was an overdub done on two tracks. The original rhythm track was the Harmony miked. The last appearing guitar lick was done on a 1962 Gibson-335.
CRYING EYES - I tuned the guitar up to F# in standard tuning and cut the rhythm track live. The piano part is played entirely on the black keys. In the key of F#, it's easy to get the Chinese effect. For the lead fills there are several overdub guitar tracks, using the Harmony and the '62 "335"'.
EVERLOVIN' WOMAN - The rhythm guitar is an Ovation electric gut string mixed just back of Pig Robbins' Wurlitzer piano. The Ovation is amplified and also miked. The chord position is made by using a B7 chord on the first fret and playing with the thumb, first and second fingers of the right hand, on the four big strings, alternating the thumb between the 5th and 6th string to provide a rolling pattern.
I GOT THE SAME OLD BLUES - The guitars, Gibson 345, are all double tracked directly into a Quantum mixing board. I also took a lot of the bass off of the tone controls on the guitar and the board. I played with a pick and my second and third fingers with the pick hitting the fifth string and the fingers striking the fourth and third strings for the moving line. Mac Gayden played the solo in the middle and I triple tracked him. He played slide wah-wah on a Lincoln guitar, a Japanese made Les Paul copy, using a Maestro Boomerang pedal, through a Fender Deluxe Amplifier.
THE SENSITIVE KIND - The original rhythm track and the first solo were cut live on my modified Harmony guitar. The accent rhythm and some of the other solo work are overdubs done on a 1960 Sunburst Les Paul, direct into an Auditronics board with no effects.
My favorite guitar is this old fifty dollar Harmony, now backless for easier access to the electronics. Originally it was a round hole acoustic, but I've added five pickups for making records and playing concerts. Four of the pickups are Gibson, two of which are low impedance for recording direct. The other bar type pickup came from a Sears Silvertone guitar, it was manufactured by Dano Electro. The guitar has three high impedance outs and one low."