Tuesday, August 28, 2007

Rossington-Collins Band - Anytime, Anyplace, Anywhere demos


This is Both Demo Tapes in one. Very Very Cool!!!!! -Skynfan




One fascinating recording that has found its way to the community is a tape of assorted studio out takes from RCB's first album. However, these are all alternate studio takes and mixes.[1]
The origination of this recording comes from guitarist Allen Collins, who had downloaded the tracks from the master reels and onto a cassette tape for home listening, which was forgotton until it was found a few years later by Collins' friend Kent Griffith. Griffith restored the tape, transferred it with Allen's permission and later distributed it privately. However, the recordings have leaked through to a more public view.
This tape contains alternate takes for almost every song on the final album except for Winners and Losers. Unfortunately, some of the tracks are only piecemeal, as they came from Collins sifting through the master reels (of which they used many) to find the portions that he wanted to review outside the studio. Here is a breakdown of what's on it:



Prime Time - a brief 44 second bit of the song at the beginning of the first verse. No solo guitar can be heard.


Three Times as Bad - There are about 3 complete tracks for this one. One take features a completely different opening drum fill. Each version also has different solos.


Don't Misunderstand Me - Two little 30 second bits seem to come from a rehearsal section and have somewhat different guitar parts. The final complete track sounds almost identical to the final version with the exception of the vocals and Barry Harwood's solo mid-way in the song. The fade out also takes longer.


One Good Man - There are three complete takes for this one. The first is a longer track which features more fills during the first verse from Gary Rossington and also lacks a final fade out (and solo). It is interesting to hear the band loosely finish the track. At points on this take, you can hear Collins tweaking various tracks on the mixing board (e.g. - the dropped-D guitar on the second chorus and the sudden presence of the solo guitar at the end). The second take also features the extra fills but has a different middle solo from Rossington. The same fade out from the album version is present. Take 3 is almost identical to the studio version except for a different ending solo performed by Allen Collins.


Opportunity - One partial take comes from a rehearsal session. The sound is somewhat muffled on that take. The other full take seems to be the studio version without the various rhythm and harmony guitars laid down by guitarist Harwood.


Getaway - There is one complete take that cuts in shortly before the beginning solo fill. It features a different middle solo (where the dual clean solo would have been). You also hear Allen Collins on the final solo, trying to come up with ideas on a Fender Stratocaster, which seems to be the guitar that he used most during the studio sessions.


Misery Loves Company - There are two takes from this. Take one mainly features a different ending solo. It starts with Collins beginning the solo in the right channel and another take of it fading in on the left channel. Both sound like they were done on his Fender Strat. Take two features another different ending solo - performed by Rossington.


Sometimes You Can Put it Out - There is only a partial take of the ending of the song, following the fast solo from Allen Collins (after the end of the lyrics). This version features a different solo from Barry Harwood and the ending is more stripped down.


There is another rehearsal tape that is dated to some point in 1979, right around the creation of the band. The tape includes Allen Collins, Derek Hess, and a second guitarist, believed to be Barry Harwood. This tape showcases the writing stage of the song "Don't Misunderstand Me." On this recording you can hear Collins and the other guitarist discuss how many counts of a certain part are to be used and then you can hear the other guitarist mention how this change in count will be dictated to (bassist) Leon Wilkeson at a later time. The sound quality on this tape is crystal clear, as with the other outtakes. written by -Allansfirebird

I had to split this one int two parts

15 comments:

Anonymous said...

Great blog and long overdue thanks for all your posts.

Just to let you know that this one is only d/l as 70KB!

Skynfan said...

Sorry about that thanks for letting me know fixing right now.

Anonymous said...

I've got these demos and I highly recommend them for any Skynyrd fan!

BTW, I was the one who wrote out that synopsis for the Wikipedia article. Glad to see that it's being used elsewhere!

Skynfan said...

Thank You for useing so much detail in your synopsis. Would you like to have me pin a credit to it in your name? You wouldn't happen to be Kent Griffith would you? You seem to know so much about the demo's. Anyway thanks for stoping by my blog. I'm glad you like it.
-Skynfan

Anonymous said...

No, I'm not KG, I'm a member of the same Skynyrd message board that he posts on, though. My username on there and on Wiki are Allansfirebird. You could use that name for a credit if you like.

But, yeah, I've listened to the demos over, and over again since I found them last summer, they make for some really good listening, don't they?

Anonymous said...

Hello Skynfan! This is KG and I just wanted to say that the RCB recordings are not demos. They are actually unfinished rough studio out takes.

RCB did not need any demos which are used to try and sell the band to a record label to earn a recording contract.

RCB was automatically granted a continuing recording contract with MCA due to past successes and they did not ever even consider writing or producing anything to sell the band with such as demos. They did not need demos.

Keep up the good work in spreading the music of DIXIE!

KG

http://launch.groups.yahoo.com/group/skynyrdfrynds/

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