SoftTouch
Aug 22, 2002, 09:22 AM
From a Relix magazine article: http://www.relix.com/frampton/
Q: What were the All Things Must Pass sessions like?
A: That was pretty much a major event for me. I had met George a little bit before. It was all around the time I was leaving Humble Pie, so '71ish. Through a mutual friend I met George when he was producing Doris Troy for an album; his first production for the Apple label, basically. They each produced an act. So he stuck me on guitar the first time I met hin the studio and then called back up and said would I like to come play on some of these acoustic... cause he needed... with Phil Spector there you needed as many acoustics as you... he was the first sort of like double tracking person. If there was a piano player, you needed two piano players. It was one of those things. It was basically Jim Gordon on drums with Ringo; just looking around the room it was pretty spectacular, you know? George on acoustic; Bad Finger- the whole band, on acoustic as well. And it was either Gary Ride or um, who else was it? The Commander from Procol Harum- my buddy, Gary. Gary Brooker.
So that's also how I sort of met Pete Drake, the pedal steel player from Nashville Skyline. That's how I knew of him, from Bob Dylan's record. He was obviously one of the top pedal steel players in Nashville. He got out a homemade talk-box in a slow moment and plugged it in. I didn't know what it was at the time obviously. He plugged this pedal steel into this little wooden box, put a plastic pipe in his mouth and the thing started singing to me, talking to me. Me thinks this a good idea me thinks [laughter]. So from then on, I started looking for a talk box and found one that was already handmade so I didn't have to make it. And that was it. So a lot came out of that period.
After the tracks were all done, George called me up. I used to say that he only got me in the studio cause I lived 'round the corner. [laughter]. So he called me up and said, "I'm just doing some over dubbing, you know, some more acoustics... Phil wants more acoustics." So I go 'round to Abbey Road studio and it's just him and me, for a couple hours in the afternoon, just overdubbing on stalls in the studio where they recorded Sgt. Pepper. Over dubbing on tracks I didn't even play on. People say, "How many tracks you play on" and I say "I don't really know. If there's acoustic on it, I'm probably on it." That was it. And when they would change reels for different songs, George and I would start jamming. That has to be one of the highlights of my life, you know? Sittin' there jamming with a Beatle. And a couple of Beatle songs as well to boot. It wasn't just all rock and roll. Anyway, that's basically what the sessions were like.
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“Friends are all souls that we’ve known in other lives. We’re drawn to each other. That’s how I feel about friends. Even if I’ve only known them for a day, it doesn’t matter. I’m not going to wait till I’ve known them two years, because anyway we have met somewhere before, you know.”
Q: What were the All Things Must Pass sessions like?
A: That was pretty much a major event for me. I had met George a little bit before. It was all around the time I was leaving Humble Pie, so '71ish. Through a mutual friend I met George when he was producing Doris Troy for an album; his first production for the Apple label, basically. They each produced an act. So he stuck me on guitar the first time I met hin the studio and then called back up and said would I like to come play on some of these acoustic... cause he needed... with Phil Spector there you needed as many acoustics as you... he was the first sort of like double tracking person. If there was a piano player, you needed two piano players. It was one of those things. It was basically Jim Gordon on drums with Ringo; just looking around the room it was pretty spectacular, you know? George on acoustic; Bad Finger- the whole band, on acoustic as well. And it was either Gary Ride or um, who else was it? The Commander from Procol Harum- my buddy, Gary. Gary Brooker.
So that's also how I sort of met Pete Drake, the pedal steel player from Nashville Skyline. That's how I knew of him, from Bob Dylan's record. He was obviously one of the top pedal steel players in Nashville. He got out a homemade talk-box in a slow moment and plugged it in. I didn't know what it was at the time obviously. He plugged this pedal steel into this little wooden box, put a plastic pipe in his mouth and the thing started singing to me, talking to me. Me thinks this a good idea me thinks [laughter]. So from then on, I started looking for a talk box and found one that was already handmade so I didn't have to make it. And that was it. So a lot came out of that period.
After the tracks were all done, George called me up. I used to say that he only got me in the studio cause I lived 'round the corner. [laughter]. So he called me up and said, "I'm just doing some over dubbing, you know, some more acoustics... Phil wants more acoustics." So I go 'round to Abbey Road studio and it's just him and me, for a couple hours in the afternoon, just overdubbing on stalls in the studio where they recorded Sgt. Pepper. Over dubbing on tracks I didn't even play on. People say, "How many tracks you play on" and I say "I don't really know. If there's acoustic on it, I'm probably on it." That was it. And when they would change reels for different songs, George and I would start jamming. That has to be one of the highlights of my life, you know? Sittin' there jamming with a Beatle. And a couple of Beatle songs as well to boot. It wasn't just all rock and roll. Anyway, that's basically what the sessions were like.
------------------
“Friends are all souls that we’ve known in other lives. We’re drawn to each other. That’s how I feel about friends. Even if I’ve only known them for a day, it doesn’t matter. I’m not going to wait till I’ve known them two years, because anyway we have met somewhere before, you know.”