Sunshine of Your Love - Live vs Demo

Pollyanna

Platinum Member
I pulled my brushes out for the first time in forever the other day. This reminds me I really to, uh... brush up for lack of a better term, , on my brush work.
I'll get my dusty brushes out of my stickbag and I'll start some practicing. :)
{Mr Smithers voice} Excellent ... excellent ...

If I make brushes seem appealing to you guys then I'm a happy gal.

They are a fantastic input device that need not be left just to jazz. It's been a shame to see them fall into relative disuse. You can make a fair bit of noise smacking them hard, plus there's sounds to be had with the handle and ring tip ... or Regal Tips that are wood-handled and non-retractable ... the wood handle is handy and they have stiff, strong bristles well-suited to non jazz. (Hmm, just had a cartoon idea).

Never really liked the plastic brushes. I've heard them sound good in others' hands but never in mine - it may be because they have a vary harsh "tak!" tone on the snare which I suspect doesn't carry much to the front, just to the "driver".
 

fixxxer

Senior Member
Very nicel! I liked the live version much better than the demo. It is an attitude thing. What can I say, I agree your brush work in that song is very cool!
Polly, you are really inspiring me to get some of my playing posted! Soon, very soon (with Mr. Smithers voice).......:)
 

Liebe zeit

Silver Member
I love this tune (current favourite is the Spanky Wilson version; check it out).

Your time and groove are great Pol. But I somehow found the drumming in the live version somehow unsatisfying, like it wasn't coming through enough to latch onto. But it came through far better on the studio version for me.

I find the singer a bit over-wrought for my tastes, but I love that he really gets into it.

Altogether it's great work tho and a great rendition of the tune
 

Pollyanna

Platinum Member
@ fixxxer ... oh dammit, I just realised it's Mr Burns, not Smithers :)

Thanks and, like I say, it's great to have your music heard by people who get it.


@ Liebe zeit

Thanks. I thought the best parts of the Spanky version were when they broke off the riff and funked out - some cool moments then. Ella Fitzgerald did a shocker of this song - even the greats blow it at times.

Yeah, the cymbals didn't cut through and that's partly my fault. If I crash my bright cymbal with brushes it's a fine line between getting the cymbal to open up and being overbearing. So I was mostly crashing my darker cymbal and it wasn't always cutting through as much as it should.

I've also wondered how I could take it to another level at the end without rocking out with sticks. At first I was playing 16th triplets instead of 16ths right at the end but I proved unreliable at speed lol
 

Liebe zeit

Silver Member
I've also wondered how I could take it to another level at the end without rocking out with sticks.
If I can't think where something can go I start to think about maybe starting somewhere different . . . . start with only bass drum, a tom hit, a hats chick, then brushes only on toms then later bring in the snare (and more vol)?
 

Pollyanna

Platinum Member
If I can't think where something can go I start to think about maybe starting somewhere different . . . . start with only bass drum, a tom hit, a hats chick, then brushes only on toms then later bring in the snare (and more vol)?
Nice thought, but I think the group (including me) need the groove to be anchored by the 8th notes. I still have some improvement in execution to go before I have it the way I want it, though.
 

MikeM

Platinum Member
I've also wondered how I could take it to another level at the end without rocking out with sticks. At first I was playing 16th triplets instead of 16ths right at the end but I proved unreliable at speed lol
I keep having these Moonie thoughts about accenting more of the 16th in some interesting driving kinda way at the end with some over the bar line phrasing that hints at some impending unhingement, but then I consider that your band is doing a very dark, haunting, almost funeral-dry version of this song, so sparse is probably the way to go. Your version is much scarier than the original and I like that about it.
 

Pollyanna

Platinum Member
Mike, from your postings it's pretty clear that, even though in a way we're at different ends of the spectrum, we both like spooky music :)

Don't know the mode Michael's playing but I'm a sucker for quasi-Eastern melodies. I like the idea of the music having a night time mood since it was written during an all-night session and watching the sun rise inspired the chorus and title.
 
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