Tag Archives: 1974

Stones Song of the Day: “Time Waits For No One”


By Greg Prevost, from his book Rolling Stones Gear


A guitar effects processor called a Synthi Hi-Fli generated Keith’s sound on “Time Waits For No One.” He described the device as, “ … a white flat box that looks like a bathroom scale when you put it on the floor, and you can get a lot of different sounds out of it.” Mick Taylor used one as well. He remembered: “I only used it once. It had a fader like you have on a mixing board for fading in the octave, the octave above or the octave below. I had my guitar going through that on one of my favorite tracks, as far as my guitar playing goes, “Time Waits For No One.” I used a Fender Stratocaster on that simply because it was there and it sounded good. It’s not my usual sound, but it’s certainly one of my favorite solos. I added to the arrangement in terms of the middle section having a solo and it having a long fade and a guitar solo at the end. Apart from the original lead solo here was another solo that was overdubbed through this guitar synthesizer an octave below. I bought it somewhere in England and I brought it to Musicland Studios and I didn’t really know what I was going to use it for. I just happened to plug into it when we were recording “Time Waits For No One.”” David Cockerell designed the Synthi Hi-Fli for EMS in 1971. Electronic Music Studios Ltd. was a London company formed in 1969 as a manufacturer of synthesizers. The Hi-Fli was a spin-off of their Synthi range and was designed with the guitar in mind. It was considered as a synthesizer at the time but is more akin to a modern day multi-effects processor. The advertisement for the Hi-Fli claimed that it could produce a variety of effects including “Phasing, Pitch vibrato, ‘Waa-Waw,’ Meow, Sustain Fuzz, Sub-Octave and Ring Modulation.” Cockerell later went on to design effect pedals for Electro Harmonix, including the Electro Harmonix Micro Synth and Small Stone phaser. Fewer than 350 of the original Synthi Hi-Fli were manufactured by EMS.


Stones Song of the Day: “Sure The One You Need” (Ron Wood)


By Greg Prevost, from his book, Rolling Stones Gear


As Mick Taylor became increasingly disgruntled about his position in the group, Ron Wood became a close ally, slowly migrating into the role played by Taylor. Taylor remained with the band until the end of 1974, and Wood remained loyal to the Faces until their demise. Since Keith still lived in Switzerland, the Wick became his home away from home in London. Wood remembered his initial meeting with Keith in the early months of 1974: “I always regarded the Stones as my band long before I was in it. My involvement really started in 1974 when my ex-wife Krissy went down to Tramps one night and bumped into Keith there. He was trying to escape from some drug dealer, so she invited him back to hang out at our place in Richmond. Keith said, ‘Anything to get out of here. I’ve got to get away from these people.’ I was making my first solo album [I’ve Got My Own Album To Do], and he ended up staying four months.” Wood was joined by an impressive array of musicians for the recording, including, in addition to Keith, Mick Jagger, George Harrison, Eric Clapton, and, ironically, Mick Taylor. Jagger and Richards wrote two numbers for the album, “Act Together” and “Sure The One You Need.” Keith recalled: “Ronnie laid a trap for me. I couldn’t resist playing with him. I started out just doing a couple of overdubs, and the next thing I know I’ve been there for three weeks! Towards the end it got completely insane, I’d be up for days on end. Stones sessions all afternoon and evening and then down to Ronnie’s for recording all night.”

Stones Song of the Day: “Through The Lonely Nights”


By Greg Prevost, from his book, Rolling Stones Gear


The great, underrated “Through The Lonely Nights” appeared as the B side of “It’s Only Rock ’N Roll,” and finally got a proper release on the 2005 Virgin Records CD Rarities 1971-2003 (Virgin 9463 45401). Keith commented, “B sides do tend to get neglected. It’s a shame. But I’d rather have a neglected track than one that wouldn’t have been heard. ‘Through The Lonely Nights’ was recorded for Goats Head Soup and didn’t make it on, and, unless it was the B side this time, it wouldn’t have been heard.”

Album of the Day: Betty Davis, They Say I’m Different (1974, Just Sunshine)



Betty Davis, They Say I’m Different (1974, Just Sunshine)

Allmusic (4.5/5): AllMusic Review by John Bush

Betty Davis’ second full-length featured a similar set of songs as her debut, though with Davis herself in the production chair and a radically different lineup. The openers, “Shoo-B-Doop and Cop Him” and “He Was a Big Freak,” are big, blowsy tunes with stop-start funk rhythms and Davis in her usual persona as the aggressive sexual predator. On the title track, she reminisces about her childhood and compares herself to kindred spirits of the past, a succession of blues legends she holds fond — including special time for Bessie Smith, Chuck Berry, and Robert Johnson. A pair of unknowns, guitarist Cordell Dudley and bassist Larry Johnson, do a fair job of replacing the stars from her first record. As a result, They Say I’m Different is more keyboard-dominated than her debut, with prominent electric piano, clavinet, and organ from Merl Saunders, Hershall Kennedy, and Tony Vaughn. The material was even more extreme than on her debut; “He Was a Big Freak” featured a prominent bondage theme, while “Your Mama Wants Ya Back” and “Don’t Call Her No Tramp” dealt with prostitution, or at least inferred it. With the exception of the two openers, though, They Say I’m Different lacked the excellent songs and strong playing of her debut; an explosive and outré record, but more a variation on the same theme she’d explored before.

Track Listing:

Shoo-B-Doop And Cop Him 3:56
He Was A Big Freak 4:06
Your Mama Wants Ya Back 3:25
Don’t Call Her No Tramp 4:08
Git In There 4:43
They Say I’m Different 4:14
70′s Blues 4:59
Special People 3:21

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Album of the Day: Big Star, Radio City (1974, Ardent)



Big Star, Radio City (1974, Ardent)

Allmusic (4.5/5): AllMusic Review by William Ruhlmann

Largely lacking co-leader Chris Bell, Big Star’s second album also lacked something of the pop sweetness (especially the harmonies) of #1 Record. What it possessed was Alex Chilton’s urgency (sometimes desperation) on songs that made his case as a genuine rock & roll eccentric. If #1 Record had a certain pop perfection that brought everything together, Radio City was the sound of everything falling apart, which proved at least as compelling.

Wikipedia entry

Track Listing:

O, My Soul 5:35
Life Is White 3:18
Way Out West 2:46
What’s Goin’ Ahn 2:37
You Get What You Deserve 3:05
Mod Lang 2:42
Back Of A Car 2:42
Daisy Glaze 3:49
She’s A Mover 3:09
September Gurls 2:46
Morpha Too 1:28
I’m In Love With A Girl 1:45

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