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jj · 03-01-2014, 11:23 AM

great comments, guys... I'm glad the I'm Not Supposed to Care and Spanish Moss weren't "disturbed" with orchestrations on the SD album

the PeeWee steel seemed to replace the desire for "sweeping" strings, then Heffernan similarly with keys following that era... Gord's Gold 2 is an entire different discussion... and there are some terrific archived thoughts online going back almost two decades ....i do like the slower pace to High & Dry and the subtle keys on GG2 version... i dont know if many listen to that version of the Wreck... it's really a live, off the studio floor album which is fun...a throwback to Back Here on Earth (a fave)

I think the $uccess of Sundown maybe have allowed Gord's people to contract Holdridge rather than Nick becoming too pricey... total speculation and this is the stuff I'd love to be included in a real "Lightfoot, the Story of"... and maybe that's why it's all so predominant in the mixes of half the GG1 album "we paid for all this, lets feature it!" lol

Remember Gord commenting about on of the 80s albums saying "well, we tried" ....i infer that he way saying that they thought they'd try try to keep his naysayers from labelling him "3 chord Gord" stuff "all sounds the same" as well as keeping up with the latest in the industry, Foster, and how about the VIDEO movement!? (fun, but yikes)... even tried the singer > actor thing... quite a guy

the ending section of Does Your Mother Know has me thinking I'm listening to Days of Future Passed or something... great stuff... I suppose this all started with Sir George Martin, no? later Jeff Lynne went big with it all...i dunno...any music historians?

i wonder if some of the orchestral work in albums is something that was discussed in pre-production or was the "sweetener" decision that came later after the record label listened and felt there was a need to embellish????

and i think Gord had to release some things that he may not have been content with due to contractual obligations and time deadlines... he always speaks of his songwriting motivation as his being under the gun... I'm pretty sure he and his people were happy with GG1 and still are, as most seem to be... I don't know why the Lee collaboration came to a halt (just to get back to your initial question, lol)

03-01-2014, 11:23 AM	#9
jj Senior Member Join Date: Aug 2004 Location: ontario, canada Posts: 5,265	Re: Lee Holdridge great comments, guys... I'm glad the I'm Not Supposed to Care and Spanish Moss weren't "disturbed" with orchestrations on the SD album the PeeWee steel seemed to replace the desire for "sweeping" strings, then Heffernan similarly with keys following that era... Gord's Gold 2 is an entire different discussion... and there are some terrific archived thoughts online going back almost two decades ....i do like the slower pace to High & Dry and the subtle keys on GG2 version... i dont know if many listen to that version of the Wreck... it's really a live, off the studio floor album which is fun...a throwback to Back Here on Earth (a fave) I think the $uccess of Sundown maybe have allowed Gord's people to contract Holdridge rather than Nick becoming too pricey... total speculation and this is the stuff I'd love to be included in a real "Lightfoot, the Story of"... and maybe that's why it's all so predominant in the mixes of half the GG1 album "we paid for all this, lets feature it!" lol Remember Gord commenting about on of the 80s albums saying "well, we tried" ....i infer that he way saying that they thought they'd try try to keep his naysayers from labelling him "3 chord Gord" stuff "all sounds the same" as well as keeping up with the latest in the industry, Foster, and how about the VIDEO movement!? (fun, but yikes)... even tried the singer > actor thing... quite a guy the ending section of Does Your Mother Know has me thinking I'm listening to Days of Future Passed or something... great stuff... I suppose this all started with Sir George Martin, no? later Jeff Lynne went big with it all...i dunno...any music historians? i wonder if some of the orchestral work in albums is something that was discussed in pre-production or was the "sweetener" decision that came later after the record label listened and felt there was a need to embellish???? and i think Gord had to release some things that he may not have been content with due to contractual obligations and time deadlines... he always speaks of his songwriting motivation as his being under the gun... I'm pretty sure he and his people were happy with GG1 and still are, as most seem to be... I don't know why the Lee collaboration came to a halt (just to get back to your initial question, lol)