#You ain t going nowhere the byrds archive#

By the way, there were background vocals that never got put on because there was no room on the tracks. Greene and Stone thought we’re gonna release an album and have the next Beatles. It’s contrary to everything around it.”ĭickie Davis: ‘Clancy’ sinks and drowns and the Buffalo is stunned. But in the middle of Hit Record Land, where everything had to be moving and they wanted bright colors and bright sounds in the music, this is a dead slow serious lament. It was a hit record that had a very long shelf life and is still being played, discussed and sampled many years later. Think about it this way: this is a hit record that went top ten. Of course, we know they could both play far more. I think Dewey Martin has a great role on that particular record, and Bruce is also playing pretty minimal stuff. Kirk Silsbee (Writer): I don't know who arranged 'For What It’s Worth' but the pacing was brilliant. He started complaining, ‘Everybody is gonna think we’re a two bit protest band!’ And I would say things to him like, ‘Stephen, you wrote the song,’ you know. It was a protest song and Stephen, the minute that song was a success. Which was what we thought we had to do to be successful. Now, it wasn’t a ‘Beatles-style’ dance tune. It was kind of like Neil’s gonna sit in the booth and do this.

The clarity of those notes have to do with there’s not an amplifier and a microphone involved. Stephen sang the vocals, there were some background vocals worked out, Neil’s contribution of the harmonics, were done by plugging straight into the board in the studio. And Phil and I listened, looked at each other and agreed, and that’s the record that came out.”ĭickie Davis: (BS Road Manager) I remember, maybe after Gold Star, going to Columbia. And I want you and Phil to tell me which mix you like.’ So Phil came down to Gold Star. The guy did a job in the studio, and I want you and Phil Spector to listen to two mixes.

“The next morning I got a phone call from (Atlantic Records) Ahmet Ertegun. I said, ‘look guys, all you got to do is get the vocals around here and put some fills in between the vocals.’ After we got the track sounding like a track at 2:00 a.m. So we put together the rhythm sound, basically. That’s a sound and technique I worked on at Gold Star many years ago. Not using the drum but using the back beat of the frets of the guitar. And I wanted to take the guitar and wrap some paper around the frets and I wanted a back beat. We have eight tracks here, and I want to be able to put the kick drum on track boom ‘Boom boom.’ boom boom. I thought the drummer shouldn’t use his foot, and wanted someone to use a hand mallet. “I heard the song and had a great idea for the drum rhythm. after telling them ‘all you got to do is put the vocals here and put some guitar fills in.’ We didn’t have 8-track when Buffalo Springfield came in, that’s why they went to Columbia ‘cause they had a 8 track machine. I have two hours and I have to get some sleep for a session tomorrow morning. The kids were on the floor, and having a good time. We’re sitting here and nothing is happening.’ Tom May and I went over to Columbia. I then received a call at 11:30 that night. I was in Gold Star with engineer Tom May working with Sonny Bono on a song, ‘Sunset Symphony.’ Charlie Greene and Brian Stone called and said Buffalo Springfield had wanted to cut that night too, but the studio wasn’t available. They called me late at night to go up to Columbia studio and help fix the song. Buffalo Springfield did their first LP at our studio. Stan Ross: (Engineer) On ‘For What It’s Worth’ it was a sound that I had worked on at our Gold Star recording studio. 'Neil Young Heart of Gold,' currently published in 6 foreign language

#You ain t going nowhere the byrds archive#

Had these interviews in my archive that I conducted and own that might

Monica Civic Auditorium I didn't see this coming! Saw Buffalo Springfield debut this tune in December '66 at the Santa ' Stevie Nicks just released her version of 'For What It's Worth.' When I