"The Hand That Rocks The Cradle" original, full length (Decibelle Studios) posted on YouTube

Discussion in 'General Discussion' started by Erik, Dec 31, 2018.

By Erik on Dec 31, 2018 at 11:40 PM
  1. Erik

    Erik #23

    Joined:
    Jun 1, 2000
    Messages:
    384


    Description:

    The original Decibelle recording. Brings back so many memories. Thanks to Philipe Delcloque, one of the many unsung heroes of the late 70's, early 80's Manchester music scene.


    UPDATE Jan. 1:

    Additional clips added (Domu Kafe channel):








    UPDATE Jan. 3:

    Link posted by Famous when dead:

    Listen to The Smiths’ earliest studio demo from 1982 — including isolated guitar, vocals - Slicing Up Eyeballs


    Related item:
     
    Last edited by a moderator: Jan 3, 2019
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Comments

Discussion in 'General Discussion' started by Erik, Dec 31, 2018.

    1. dallow_bg
      dallow_bg
      FWD, where do you see that written description?
      EDIT: never mind, part of my ad blocker was not allowing the description.
      • Like Like x 1
    2. Anonymous
      Anonymous
      I've read the book twice, and Johnny makes no such claims. In fact he has said in interviews that Andy came up with the bass parts and he "produced" them - which is open to interpretation. It was Morrissey who said after the lawsuit that Johnny came up with Mike's drum patterns.
      • Like Like x 1
    3. Mayfly
      Mayfly
      And Morrissey never lies:)
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    4. Ketamine Sun
      Ketamine Sun
      :rolleyes::sleeping:


      If he did say that, he probably means that Johnny gave Mike an idea on how he would like the drums to go in a song, and not that Marr wrote out charts with drum notation for Mike to follow.
      Last edited: Jan 3, 2019
    5. Anonymous
      Anonymous
      Yes, exactly. Although on This Charming Man, the drums were programmed on a LinnDrum machine and then Mike added his tracks at the end, following the programmed drums. The same with Money Changes Everything. Maybe that's what Morrissey was referring to. As well as the sampled drum loops on The Queen Is Dead.
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    6. vegan cro spirit 222
      vegan cro spirit 222
      NOOOOOOOOO NOOOO!!

      :handpointright::guardsman::handpointleft: would NEVER EVER LIE!!:laughing:

      look up and watch the non existing comets blowin up stuff LOLLLLLL


      very crafty this DramaJ..... yes Andy wrote it but (it was such a clusterflock that ) I "PRODUCED" IT!!

      I PRODUCED ME DRAMAJ I PRODUCE EVERYTHING I AM PRODUCER HEAR ME ROAR!!:swear

      LOL too bad he didnt think of 'producing' the caterwauling known as Comet album.doh:
      • Funny Funny x 1
    7. Anonymous
      Anonymous
      Sad, indeed. Nigh on 30 years ago, the man himself penned this line:

      “It may all end tomorrow but it could go on forever, in which case I’m doomed”. Shame he didn’t take his own words at face value.

      Truer words have ne’er been uttered. ...except - perhaps - by Neil.

      “It’s better to burn out than to fade away.”

      Excellent post. Thanks for sharing. Happy memories but sad times for the Morrissey fans of days past.
      • Troll Troll x 2
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    8. vegan cro spirit 222
      vegan cro spirit 222

      :rolleyes:

      WTF???

      "NIGH"
      "NE'ER"

      its your cereal box that looks to be way past its expiration date FFS!!


      NIGH??!!:crazy:
      • Insightful Insightful x 1
    9. Anonymous
      Anonymous
      This is my favorite Smiths song of all time... it is special for me as it helped me through a very very dark time in my Life. I was sexually abused when I was 5 years old and I had a very hard time dealing with Life when I was a pre-teen/teenager which was the mid-'80s. When I first heard this song, I was 12 and it immediately spoke to me and I put myself as the object of Morrissey's child in the song and he was my "protector." I know it's silly, but this song (and the whole debut album) got me through many dark days and nights. Morrissey has said some really stupid things these past few years that have broken my heart, but I will always be thankful to him for writing this song (and many others) and for saving my Life.
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    10. Marco
      Marco
      Yep, but this has little to do with quality quest and a lot to do with curiosity. Thats all... Its usefull to the ones who are interested in knowing how the songs were made and how they developed from scratch to their final version; if there is a final version to it.
      • Like Like x 2
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    11. Famous when dead
      Famous when dead
      Today, we get the sum of the parts:
      Suffer Little Children full Decibelle Demo.



      MP3 available in the download forum.
      Regards,
      FWD.
      • Like Like x 2
    12. Anonymous
      Anonymous
      Very interesting to listen to.

      There are clearly some musicianship issues, but it still survives as a very powerful piece.
    13. bob-first
      bob-first
      Suffer is up on YouTube now..\
    14. Famous when dead
      Famous when dead
      Further to today's full demo:
      Suffer Little Children - full Morrissey vocals.



      From his description:
      Not as isolated as Cradle, it has to be born in mind that we were working with 8 tracks only, drums would have already been mixed down to stereo (2 tracks), there were two overlaid guitars (which have their own tracks), bass, vox and effects.
      This isnt about quality of recording, it is a documentation of a time when 3 kids were in a band, and spent a night in a studio.
      It survives for the curious, I highly recommend sticking it on headphones, sit in darkness, and transport yourself back to Decibelle xx
      From memory, Johnny played this (bass) alongside Stephen, I was in the control room.
      I think the vox mic picked up the bass, it was a semi acoustic bass.
      The recording of the bass on this track sounds un-electified, when compared to the isolated bass track, which was D.I.'d.


      MP3 now available in the download forum.
      FWD.
      Last edited: Jan 5, 2019
    15. The Wild Turkey
      The Wild Turkey
      Once again it goes to show ya that Moz's lyrics were the foundation of The Smiths.
      The bulb from which the flowers bloomed.
      Take away the music on Suffer Little Children and ya still got somethin' there.
      Take away the lyrics (and singin') and ya tangled up in jangle.
    16. bhops
      bhops
      Incredibly interesting to hear the very earliest version of these immortal tracks. Awesome of Dale to share.

      Also it seems as though the genesis of 'Asleep' was floating around since '82.
    17. Ragdale Road
      Ragdale Road
      Imperfect as it is. It is fascinating. The vocals, flat but emotive. I miss that earnestness.
    18. SuedeMoz
      SuedeMoz
      Agreed. Curious what you mean about the genesis of Asleep being around since '82?
    19. bhops
      bhops
      At the very end of the song you can hear a piano part which sounds very very similar to Asleep. Well it does to me anyways.
    20. Famous when dead
      Famous when dead
      From Songs That Saved Your Life:

      "As had been the case with ‘The Hand That Rocks The Cradle’, Morrissey had already written the lyrics to ‘Suffer Little Children’ before forming The Smiths while Marr had also been tinkering with its innocently tuneful chords many weeks before their first writing session. Originally he’d conceived the track with a separate melancholy piano epilogue tacked onto the end as included on its first demo prototype and the Troy Tate version. Although Marr recorded this coda with Porter, it would be axed from the final edit of The Smiths only to resurface in its own right in more mature form as 1985’s ‘Asleep’."

      Also:

      "Having spent a whole day in early August laying down ‘Rubber Ring’, at around eight o’clock in the evening, Johnny Marr announced to Stephen Street that he had ‘a little piano thing I want to put down with Morrissey’. The roots of Marr’s ‘little piano thing’ stemmed from the very origins of The Smiths in the summer of 1982, specifically the discarded piano coda of ‘Suffer Little Children’ which had featured a similarly morose melody. Three years later, ‘Asleep’ offered a more mature arrangement of that same blueprint.
      ‘Undoubtedly it is similar,’ confirms Marr, ‘because that’s how I play piano, I can’t play it any other way. That was another one worked out on the upright I inherited when I moved into the house in Bowdon, the same piano I wrote “Oscillate Wildly” on. It had a pleasingly eerie quality about it. You could only play certain things on it. Weird, doomy music, which suited us fine.’"

      Regards,
      FWD.
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