Sleep Walk - what a lash up

[Uncle Roy]

Great article Basil, certainly an eye opener.

[Ken Byng]

Santo and Johnny's recording of Teardrop was the epiphany moment for me as a 14 year old. A guy in my class at school brought the 45 disc in for me to borrow, and it knocked me out. There was just so much feeling in the playing, and I knew that I wanted to learn more about the instrument that he was playing. I had been playing conventional 6 string guitar for about 5 or 6 years by that time (mainly Shadows stuff), but this was something else completely. I later saved up and bought S&J's first album, and near on wore it out. My poor parents must have been driven mad. In my mid to late teens I was later steered in the direction of Hawaiian guitar by one Kealoha Life, but in all honesty it was Santo Farina's understated playing that converted me to the steel guitar. I can understand Johnny Farina wanting to earn a crust from music these days, but the extreme way that he has carefully manipulated history is not good at all.

[Jif]

I like this version, a bit of a contrast to Johnny's version.

[Ken Byng]

A modern, bluesy version from Tom Brumley. Just goes to show that a great tune can can be carried by many different players as long as it is played with feel, great intonation and tone.

[Jif]

Superb, love it, nice way to start the morning

Some tunes are timeless and can fit into just about any genre, this is definitely one of them. Guess it just reaches the parts other tunes can't touch

[Uncle Roy]

Nice one Ken. Brumley certainly cuts the mustard for me on that tune just love that bluesy feel.

[Basil Henriques]

Actually this thread just serves as an example as to the depth of listening of steel guitarists in general. I suggest that everyone should look at the whole picture and not just the main subject, BECAUSE;
The Tom Brumley version is a fine display of superb steel playing: However the important effect of the 4m chord is totally negated and although Tom's playing is Par Excellence, he should have pointed out the Fm was missing, the arranger should be shot for such a bad mistake with the backing.

And the version by Bobby Iguana is flawed by the backing musicians not having a clue as to the the 12/8 feel or chord progression. Plus Bobby plays an incorrect note on the word "what am I TO do" and second time "Lingers like A song" and after the bridge "walk inside THE door" .. It should be a a C and he plays a D ? EVERY time so it's not accidental it's deliberate. He also misses out the C note that begins the middle 8 on the word "THE night fills etc" proving that the homework was not done either by the band or Bobby Iguano..whose tone and technique are superb..
As a matter of interest here is the correct words and chords and MOST importantly MELODY as written originally.

I suppose my point really is that the sheet music has always been available so there's no excuse For Tom Brumley's backing to have wrong chords, and likewise with Bobby's version Tome respects the melody, plays it correctly and embellishes it with SUCH good taste, whereas (To me) it appears as though Bobby Iguano just doesn't care.

Also one further point to make for those wishing to play it correctly, at the end of the bridge, point out to the band that it's an Ab9th and NOT a Bb chord as so many play..

[Jif]

I don't doubt that you are correct Basil, but I still enjoyed both versions

[Basil Henriques]

In this version the band is in "Dire Straights" ... Disgraceful for a Top Professional International show.They even miss the minor after the F in the bridge, when it's so obvious with the steel playing an Ab note..




At least the chords in this version (below) were correct, well it was EMI Abbey Road session men after all.

[Basil Henriques]

I don't doubt that you are correct Basil, but I still enjoyed both versions

Agreed Geoff,, but in my heart and soul I can't enjoy them when I know the musicians are not giving a damn about the tune..One can only give so much latitude before it changes from "Artistic Interpretation" to "DILIGAF"

In the case of Tom Brumley, his playing is SO good and the recording is pristine with obviously first rate musicians, it's hard to not think that someone somewhere just didn't give a shit about Santo's chords that were intended to be played under the melody. ! Tom cleverly avoids the harmonies at the point that would underline the chordal mistake, so I can presume that he modified those lower notes to suit the backing. It goes without saying that Tom would have been very familiar with the original and all its nuances: he shows that by his superb embellishments and grace notes.. No it's not his fault that the chords are wrong.. I praise him for maintaining the melody whilst playing over the incorrect chords.

But a question for you Geoff, how familiar are you with the original ? Just curious..



ANYONE notice anything unusual in this version ?

Last edited by Basil Henriques on Wed Feb 17, 2016 7:03 pm, edited 1 time in total.