The Savage single version

[GoldenStreet]

All excellent interpretations... and all different! Hank's original in the studio conditions of the time is unique to that period in 1961.

Bill

[Twang46]

I've never heard Hank play "The Savage" live as he did on the original single release.

Still remains one of the great instrumental solo breaks that even 62 years later get's the reaction "how on earth did he do that"

All part of the legend now

Dick.


ps............my favourite version is Phil's, but all the posted videos are excellent in there own way........just a matter of personal preference for me, nothing more or less

Dick.

[MeBHank]

In the 'fast free form' solo in the middle it's possible to make out a guitar note/sound in the background whining and dropping in pitch - presumably Hank, and sounding like the whammy bar being depressed. But at the same time he is playing 'un-bent' notes on top of it - how is that possible - or is not Hank making the sound?

Mike, if I understand rightly, you mean the open B string as heard here between 0:58 and 1:02? Is that right?



If so, I think the note is actually slightly out of tune with the fretted strings, probably caused by the force with which Hank is picking. When struck hard, open strings are more susceptible to pitch variation as the string settles into its natural path of oscillation. You may have found when tuning your guitar that the note starts high and drops by one or two increments soon after. I'm sure that's what you're hearing. The open B string is the one note on the whole guitar that shows up imperfections in pitch most obviously (eg: when trying to detect wow and flutter on an analogue echo it is invariably the open B string that is played).

Hank is also holding the tremolo arm during that passage, so it's possible there is some slight movement on it as his hand sweeps/rakes across the three strings.

Great question. Got any more? I love studying the idiosyncrasies of Hank's playing on these old tunes.

J

[ash]

I've watched all those you tube clips and you guys are all really good. Sounds great.
You've got the guitar, the echo box and amp so when considering what that missing element is the only thing i can really think of is that none of you is wearing glasses. Contacts can help but they're a bit like using a digital echo instead of analogue tape. Other than that i can't offer any serious suggestions.
What a brilliant single The Savage is. I was stunned when i read about the band being so unhappy with it. It has to be one of the best records (A and B side) of the era. Peace Pipe is brilliant too, probably a top 10 Shads track for me as is the top side.
Does anyone spend time figuring out Bruce's acoustic sound - it's also key to those early records. Bruce always puts himself down but he is unquestionably one of the greatest rhythm guitar players.Sounds like a very similar set up to the Fabs - is it all about that ceramic saddle on a Gibson thru a vox or was he mic-ed up for sessions (or both) ?

[GoldenStreet]

What a brilliant single The Savage is. I was stunned when i read about the band being so unhappy with it. It has to be one of the best records (A and B side) of the era.

Does anyone spend time figuring out Bruce's acoustic sound - it's also key to those early records. Bruce always puts himself down but he is unquestionably one of the greatest rhythm guitar players.Sounds like a very similar set up to the Fabs - is it all about that ceramic saddle on a Gibson thru a vox or was he mic-ed up for sessions (or both) ?

Couldn't agree more! I think for sheer excitement and raw power, it's in a class of its own.

I can't believe Bruce achieved his sound playing through an amp, Vox or otherwise. Surely, to reproduce the acoustic qualities of the Gibson (the J-200, I assume), he would have been mic'd up directly to the tape machine? Where are you, Malcolm Addey? We need you to provide some answers...

Bill

[MikeAB]

Yep Justin that's the bit I meant - near the end of your time slot. Yours is very possibly the only explanation?!

Only other question I can think of is to do with the Apache intro - a bit tame but using my home grown nomenclature of string/fret does it go

32 21 23(bend) 32 21 (slide into)55 53 50

or

32 21 23(bend) 32 21 32 (slide into)55 53 50

I hear the second version on the single - but is just the echo? Hank does not play it that way live - usually anyway.

Mike

[MeBHank]

Yep Justin that's the bit I meant - near the end of your time slot. Yours is very possibly the only explanation?!

Only other question I can think of is to do with the Apache intro - a bit tame but using my home grown nomenclature of string/fret does it go

32 21 23(bend) 32 21 (slide into)55 53 50

or

32 21 23(bend) 32 21 32 (slide into)55 53 50

I hear the second version on the single - but is just the echo? Hank does not play it that way live - usually anyway.

Mike

I'm pretty sure it's the first version, and that you're right about the echo. It's down to the way Hank quickly releases the notes, allowing the echo to drop in a ghost note which fits the timing of the tune.

HTH...

J

[hankb56]

The only comment I can make on The Savage re the rhythm part is I don't mean any dis respect to the guys but on Hanks solo tours it took Warren and Ben to reproduce that sound excellent as they were.

Ian

[ecca]

If you listen to it slowed down there's no trem, no note bending, he just hits the B string, possibly accidentally, probably not.
It's as clear as daylight.

[cockroach]

The whole tune is a testing piece, whether you are playing the lead, rhythm or bass parts, and maybe drums too...!

When we do it, if I'm playing rhythm, the boys will often kick up the tempo a little to wind me up! I've also played the bass on it, which again, like Bruce's rhythm part, takes some physical stamina and concentration to keep the runs in time.

As for the lead, in particular the 'improvised' part which modulates from A to Bb and back, I suspect it was a one-off on the original record by Hank, which he probably never played exactly the same again!

How many times does that occur? It's quite common whether recording or playing live, that a solo just turns out great- often even inspired!- but it's also often darn near impossible to reproduce it note for note again..?