The Time Inbetween

[chas]

Ah yes... The Time In Between (alternatively known as Hymn To The Major Seventh Chord).

That's the Shadows, and as already noted above, Hank on Burns Marvin (with marked use of DeArmond 610 pedal).

JN

Jim,
I've listened to this track a lot over the last couple of years, and I'd convinced myself that I was hearing Hank on a Double Six (normal stringing),or is there some double tracking,... or am I hearing more than there really is....what do you think?
Chas.

[JimN]

Hi, Chas,

How are you?

After reading your comments (message 21 above), I've listened carefully to TTIB (using the stereo version on the CD "The Best Of Cliff"). I'm pretty sure that that is the sound of a Burns Marvin for the lead guitar sound, thought it may be double tracked in places (not that I could conclude latter bit that as a fact). One additional factor leading me to that conclusion is the prominent use of the tone/volume pedal (for a tone-shifting pre-Wah effect). In my (long) experience, I'd say the pedal doesn't work very well (as a tone shifter) with a twelve-string, possibly due to the clashing frequencies of pairs of strings.

If I recall correctly, the record was issued as a single in 1965. I don't remember any record by The Shadows (or Cliff and The Shadows) which post-dated the "Wonderful Life" film and featured an electric twelve-string guitar. Acoustic twelve, yes... any number (eg, The Girl From Ipanema, My Grandfather's Clock, Chelsea Boot - perhaps even a couple on the "Shades Of Rock" LP) ... but not the electric twelve.

Hope this helps. Were you listening in mono or stereo?

JimN

PS: See your band at Tilburg, I hope.

[flingal64]

Are we talking,the same album, 'just a little bit to late you came to take her dance'
hank , in the background,

[flingal64]

somebody looses somebody wins, is that b-side of blue turns to grey?

[JimN]

Are we talking,the same album, 'just a little bit to late you came to take her dance'
hank , in the background,

The album I mentioned was a compilation of Cliff Richard hits (his second one): "The Best Of Cliff" (1969, I think) which features hits from The Minute You're Gone through to Girl, You'll Be A Woman Soon. One of the tracks is The Time In Between from 1965.

Just A Little Bit Too Late was the b-side of On My Word (1965) and Somebody Loses was the B-side of Blue Turns To Grey from 1966.

Hope this helps.

JN

[chas]

Hi again Jim,
I was listening in stereo - still leaning towards my D6 theory....though I take on board your reasoning... I think what's influencing me is the notes don't seem to have the sustain you'd expect from the Marvin (the sound is also pretty dry which could be part of it), and I think I can hear some unison notes... I don't know - you're probably right!

Continuing my D6 (conventionally strung) thoughts, I also think that it was used on 'I'm The Lonely One' , 'Blue turns To Grey' and 'In The Country'.................. ?
(Reminds me of the Fender or Burns theories!)

In answer to your first and last questions - Very well, thanks & Yes we'll be there!

Chas.

[Iain Purdon]

I have always thought the guitar sound in The Time In Between was archetypal Burns Marvin - what else could sound like that?
I agree about 12-string on I'm The Lonely One
Iain

[Moderne]

Hi again Jim,
I was listening in stereo - still leaning towards my D6 theory....though I take on board your reasoning... I think what's influencing me is the notes don't seem to have the sustain you'd expect from the Marvin (the sound is also pretty dry which could be part of it), and I think I can hear some unison notes... I don't know - you're probably right!

Continuing my D6 (conventionally strung) thoughts, I also think that it was used on 'I'm The Lonely One' , 'Blue turns To Grey' and 'In The Country'.................. ?
(Reminds me of the Fender or Burns theories!)

In answer to your first and last questions - Very well, thanks & Yes we'll be there!

Chas.

It's a Burns Marvin on Blue Turns to Grey and In the Country. The Double Six is such a distinctive sound - whether conventionally strung or with the 'octave below' strings. As Jim says above, Hank seemed to prefer the acoustic 12-string in the late 60s. The Double Six was notoriously difficult to tune across any length of the neck more than a few frets. If you listen to e.g. the solo in I'm the Lonely One - it's all played across about four frets. Fans of the Double Six should listen to some Searchers songs from the mid-60s: When I Get Home is a good example, as well as When You Walk in the Room, of course. You Can't Lie to a Liar from the Take Me For What I'm Worth LP sounds like the 'octave below' Double Six to me.

Clive

[chas]

Hi Clive,
You're probably right - the odd double noted bits could be done on 6 string - The octave bits can often easily be played (at the same time) and unison bits could be double tracked (or could be an effect).
I suppose 'Don't Talk To Him' is a good example - I know the story of Hank intending to play it on the D6, then opting to double track the 6 string because of tuning (probably intonation) issues. I recently recorded the backing for that one, tried the D6, didn't sound quite right, so doubled tracked my Strat - sounds fine!

What about 'I Can Easily Fall' ?
Chas.