It would be much more typical of his style to play the same pattern over and over with little to no embellishment. Radle’s bass line on “Hear Me Lord” is a little uncharacteristic of his playing, in that he has a basic skeleton of a line that he continuously embellishes. The others feature Klaus Voormann on bass. Carl Radle plays on 11 of the album’s 23 songs. Harrison assembled an impressive cast of musicians to help him record, including Ringo Starr, Billy Preston, Klaus Voormann, the Apple band Badfinger, Dave Mason, Gary Wright, Peter Frampton, Bobby Keys, Jim Price, Alan White, and, famously, the band that would become Derek and the Dominos: Eric Clapton, Carl Radle, Bobby Whitlock, and Jim Gordon. By the time of its release in October, All Things Must Pass had swelled to a triple album, the third disc being comprised mostly of in-studio jams. Thus, when it came time to begin recording in May 1970, he had enough songs for a double album. ![]() Being allotted only two songs per Beatles album, Harrison had built up an extensive backlog of songs from 1968-1970. George Harrison kicked off his post-Beatles solo career with a bang, releasing the epic and exquisite All Things Must Pass. And when studying a bassist’s playing style-as is the purpose of this blog-investigating and questioning atypical choices can help shed light on the typical choices the player makes.įrom the George Harrison album All Things Must Pass And while it is an okay choice, it is an unusual choice for Radle. You can hear mistakes in many recordings from this era. Mistakes in and of themselves are not interesting. 33-35, are interesting artifacts in Radle’s playing. 73-78, along with the minor stumbles in mm. 29-32, 49-52 and 97-105), a section that would lend itself to improvisation, Radle is very consistent in what he plays. Even comparing the last four measures of each verse (mm. 53-68) is carefully constructed, to the point that it is being doubled by a guitar. The rest of this bass line has been worked out so well. The latter scenario seems somewhat difficult to believe. This alternate groove sticks out and makes me wonder if it was a mistake and he just went with it, or if he was still experimenting with the bass line and was just trying out a different option. In a section like this, usually he would have a set line he is going to play, and play it the same way each time that section appears. This may not seem significant, but it is actually extremely atypical for Radle. Radle again plays a one-measure pattern, but it is different from the line he played in the intro. 73-78 (starting at approximately 2:15 in the recording), which uses the same progression we heard in the intro. ![]() Thus, performance mistakes were much more common in recordings in the pre-digital age.Īnother item of interest is the groove Radle plays for the interlude in mm. ![]() If someone messed up, often it meant that the whole band would have to redo the entire take. If this had been recorded today, those errors likely would have been fixed in editing, but in the 1960s and 1970s, recording was done on tape. It just shows that the energy and feel of a performance is more crucial than 100% accuracy. Those little mistakes were certainly not significant enough to render this recording unusable.
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