Clem Cattini in the Guardian

[Old Wild Men]

http://www.guardian.co.uk/music/2010/mar/28/clem-cattini-paul-weller-zeppelin

[RayL]

Clem was interviewed about the Paul Weller recording on the Radio 4 arts program last Thursday (25th) at about 7.30pm.

Ray L

[tony parnham]

Hi Andrew,
There is no doubt that Clem was a prolific session drummer together with Bobby Graham during those early years. However these two great drummers sometimes get their discography mixed up as they did so many sessions. e.g.
In your above article Clem is down as being the session drummer on 'You really got me' but check this from Bobby Grahams web.

BOBBY GRAHAM RECALLS FIVE MEMORABLE VISITS TO THE STUDIO
The Kinks - You Really Got Me "PYE Number One, the big studio. Dave Davies did the solo, I was the only session man on the record. They ran through it twice. 'They would count it in, I'd dive in until I got the feel for it, and then start recording. There were these odd little drum breaks that Ray Davies wanted, he's able to convey what he wants, I'd met them before, for "Long Tall Sally", I got along fine with them. They respected me for the fact that I was a session man. There was some talk about me joining the Kinks but I turned it down because I'd had enough of touring and was a successful session man.

Another example is in the recent movie 'Telstar' in the Joe Meek story, they got Clem being the session drummer on 'Johnny Remember Me' but it was Bobby Graham. I recognised Graham playing the drums on the original video track on Youtube with the original Outlaws who were Joe Meeks house band at that time. Here is the Quote confirming from Clem in an email redirected to me on enqiry;
Answer from Clem Cattini
Tony it was in the film and they call it artistic licence no I did not play on JRM it was Bob but did play on wild wind
All the best and Happy new year
Clem
Thanks for posting
Cheers Tony

[gogarrio]

At this point, I'm starting to believe both Clem and Bobby were on "You Really Got Me", as I've heard so many references to both being there. As Clem likes to say, they were just sessions, here and gone in an afternoon. But there's no denying that's him on "Shakin' All Over", one of the greatest rock 'n' roll recordings of any generation, and one that keeps getting revived. There's a new version out now with White Stripe Jack White backing '50s rockabilly singer Wanda Jackson. But the original is still the greatest.

[Iain Purdon]

I heard a bit of the Clem interview on R4's Pick of the Week this evening and wish I'd heard the whole thing! He did so many records (45 No 1 hits!!) that he said he couldn't always remember the sessions he had done. He's not alone there, as we on this forum all know! Great guy.

I hadn't realised until this point that Mick Avory only played percussion on You Really Got Me while Bobby/Clem did the drums. See also Ringo Starr who played tambourine on the main version of Love Me Do while Andy White tackled the drum kit. And, stretching a point ridiculously, Cliff Richard's Chinese drumming on Apache!!

Iain

[cockroach]

Which is why the only real way to judge a musician's musical talent and ability etc is to see and hear them in a live performance...

So many great sounds , playing styles etc recorded over time are assumed to be the work of the recording artist or band named on the recording...when often, it was the work of an anonymous recording session player- who often was also employed as a sideman in the touring backing group.

Obviously, this situation has existed for many years, but was hushed up for obvious reasons!

As time has passed, more facts have emerged about who REALLY played what on which recordings- often disappointing to discover one's hero or heroes didn't actually produce some or all of the music that we loved, or were influenced by.

For many years, I have had a lot of respect for many session players who should have got more recognition and credit (and earnings!) in the past.

Some favourites of mine did eventually get that recognition and success- Tommy Emmanuel comes to mind, as does Glen Campbell....and in the Shads era in the UK in the late '50's through to the '60's, people like Big Jim Sullivan, Joe Moretti, and even dear old Bert Weedon, and Joe Brown, as well as Clem Cattini, Bobby Graham, and others...although Jimmy Page did OK later on....

[tony parnham]

Although I don't play bass I always loved that bass riff on 'The Love Affairs 'Everlasting Love' and many people still comment on it and most thought it was attributed to Herbie Flowers. Not so according to Glynn Stableford who had an email from Clem who confirms it was Russ Stableford who has a strange link to the Shads.
QUOTE.
From: Glyn Stableford
Subject: 'Everlasting Love' - The Love Affair
Hi Clem, Hi MD Robins

My son Henry (Russ's grandson) found this site and the reference to my Dad and Everlasting Love, what a surprise to find a site mentioning Russ Stableford and the infamous bass intro. It is so distinctive and every time we hear those first few bars I immediately know and smile...that's my Dad!!

Anyway to the question regarding the Bass, Clem is quite right my Dad only played Fenders, we still have all three, Jazz, a Precision and a Fretless Fender that belonged to a guy that was in the early days of the Shadows who was unfortunately electrocuted, Dad ended up buying the Bass from his widow. I know that Dad did tinker quite a bit with strings and dampers and pickups to try and get the right sound or a unique sound, which he clearly achieved. Like Clem I couldn't say for sure or with any certainty which of his instruments he used on "Everlasting Love".

By the way Clem you may or may not remember we met on a session once when I went with my Dad can't remember what the gig was but we met again at The Selsdon Park Hotel on a Tornados tour or reunion gig, I was with my Mum (Dad's widow Lilian).

Thanks for bringing back fond memories and for speaking so warmly of my Dad's undoubted talent... wishing you both well.
Kind regards
Glyn Stableford & my son Henry Stableford

Sounds very much like John Rostill to me.
Tony

[RayL]

If the fretless bass was bought from John Rostill's widow (and John died in 1973), then it couldn't have been the one used for Everlasting Love, which was a hit in 1968. Must have been one of the other two.

Ray L

[tony parnham]

Hi Ray,
I agree with that.
Tony