Nope. That's Cale playing both Piano and Bass; Sterling on guitar.

@@briangough7680 I thought the record was recorded live without overdubs? Hm. Maybe during live shows it was different

Waiting for the man was recorded by the band twice: once in Sceptre Studios NY with Norman Dolph, secondly in TTG studios LA with Tom Wilson. While Sceptre Studios appears to have been basic, TTG Studios is legendary and that's the version you hear on the record. The Banana album actually features three studios: Sceptre NY, TTG LA (later used for the third album) and Mayfair NY (used to record Sunday Morning). Similar to Sceptre, Mayfair sounds like it was a very basic setup BUT boasts one of the world's first 8 track desks, built by its owner who was good friends with Les Paul. So that facility may account for how they managed to achieve so much layering on that track (Celeste, Viola, Piano etc.) @@livecoilarchive1458

It's going to happen! It will all fall into place ; )

Thanks for letting me know. I’ll take a look at the settings.

It’s standard, but one whole step down - i.e. D G C F A D

No.

🤫

Thanks. And yes. Not covered in my video but was aware. However, not sure I fully buy it. Listening to the recently unearthed demos (which Reed mailed to himself) you can hear he's already tuned one step down. Not only that, but this - Lou's guitar is tuned one HALF step down for Heroin & Venus & Furs, both of course featuring Cale's Viola. The other song on that record that foregrounds Viola is 'Black Angel's Death Song,' which is in C. In this instance, Lou's guitar appears to be tuned one whole step down; meaning he's resting primarily on a D shape. Perhaps this should be my next video! : )

That's very kind of you, thank you very much

Very kind of you. I believe Cam is busy working on something very exciting - he's waaaaaay more productive than I am. Let me know if there are any particular tunes you're interested in learning more about.

@@briangough7680 I'd love to see you take a crack at Here She Comes Now man, I've never quite been able to figure out if Lou and Sterling are using a capo on the second fret or playing it straight in D standard.

Thanks Arthur. It's a little long winded but I did it on the fly, never expected much engagement. Thanks again!

I managed to do a cover of Venus in Furs based on your info. Worked out really well.

They were the geniuses, I'm just a bloke with a guitar. But thanks.

It’s a very simple figure 3,4,5,1 descending - in this instance, the key is F. So A • A# • C • F then G • A • A# • E etc. Then flip it for the ascent.

@@briangough7680 thanks SO much🙏

@@BeesWaxMinder My pleasure. Hope it does something for you.

@@briangough7680 🤞😉👍

I have a few pieces up my sleeve but I've been very lazy about publishing them. But perhaps today is they day! I was mistaken about the bass on Run Run Run. So mistaken in fact that I can't even recall saying it, although there it is, now on video and now on RU-vid • With regard to 'I can't stand it': yes, Lou's love of minimal solos is fully evident in both. If ever there was a solo that typifies Lou's soloing for me, it's that solo on 'I'm set free'; sliding his ring finger on the G string, substituting that falsetto vocal found on so many of the Doo Wop records he loved. However, the solo on 'Foggy Notion' (to my ear) is Sterling. And I'll tell you why I'm so confident. Sterling has a particular trade mark you hear towards the end of that solo, it's a twiddle. If ever you want to hear Sterling in classic noodling mode it's the instrumental of 'I'm going to move right in'. Loads of twiddle • With regard to Sister Ray: the trebly cheese grater sound is Sterling; the muted fuller sound is Lou At 4:23 you can hear that classic Lou read G string bending shizzle going on. Sterling is playing those fills between Lou's lines, very similar in style to the opening of Foggy Notions. And again, a fair amount of his trade mark twiddle happening • Good point about the amp tape, where the mic was positioned etc. - could be. But without knowing what mic was involved, the actual position of the recorder etc. it's difficult to confirm I reckon?

@@briangough7680 No argument about Sterling playing lead guitar on Foggy Notion!

Hah hah - yeah, I could have clipped them further

I probably over did it being honest. 11s would do fine.

Thanks, amazing what a difference a tuning makes. He appears to have only used it on All Tomorrow's Parties.

Thanks very much Ian. Apologies for the rambling explanation, I didn't expect it to take off in any way. If you want to learn more, I suggest you check out Cam Forrester's channel. Incredible passion for the same topic.

Yes, exactly. I should have mentioned this too. Nice catch.

That's understandable. I never intended on putting this up on RU-vid, I did it as an after thought. The content is poorly presented, I'll take the hit for that.

Thank you kindly. I have another one planned but it's a little more on the informative side. I may split it out over several vids.

@@briangough7680 subscribed, I'll wait for them :)

Maybe allow the “save” option for your videos for us savers. (Recidivists)

That's a loverly thing to say You know something crazy, I'd never figured that connection before. Thanks for that nugget!

Huh...never heard that song before, thanks for the tip. Vocal melody immediately reminded me of "Golden Retriever" by SFA, but I guess it's not exactly an original one.