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


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:
 
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Comments

V

vegan cro spirit 222

Guest
I quite enjoyed Johnny's vocal styling. So raw, so vital.

:pray:
LORD help this lost CUCKdoh:

Most people reported to the forum adm that the forum had suffered an explosion only later
was 2 and 2 put together and it turns out it was DramaJ attempting to sing. he wont quit it trying to sing and upsetting populations.:head-smack:
 

Johnnie Ray

Active Member
:pray:
LORD help this lost CUCKdoh:

Most people reported to the forum adm that the forum had suffered an explosion only later
was 2 and 2 put together and it turns out it was DramaJ attempting to sing. he wont quit it trying to sing and upsetting populations.:head-smack:
Right!...who's DramaJ? Is that French, pronounced Dra'moj?
 

The Seeker of Good Songs

Well-Known Member
I was under the impression that, in the early days, the band would lay down all the tracks, and then later, Moz would come in and put the vocals over.
 

bhops

Last of the famous international screw ups.
Yes. I have been saying this for awhile. If this was college and The Hand That Rocks The Cradle was turned in as a term paper and the only other writing sample of that student was say...Who Will Protect Us From The Police or Bury The Living, there would be a plagiarism investigation.
You could make same case if you compared ‘Fatty’ with these lyrics. By this metric Moz has been done for 25 years.
 

Devoted101

Crashing Bore
More proof, if it was needed, of the importance of Andy's baseline. Dead without it. Fantastic track, thanks so much for releasing it.
I'm not 100% certain but in Set the Boy Free: The Autobiography by Johnny Marr, Marr takes if not full credit nearly full credit for all baselines & baseline arrangements. Marr basically implies Andy was no more than a studio musician playing what he's told. I write "no more than" just to say that there was no, or nearly no, creative input from Andy or Mike.
 

bhops

Last of the famous international screw ups.
I'm not 100% certain but in Set the Boy Free: The Autobiography by Johnny Marr, Marr takes if not full credit nearly full credit for all baselines & baseline arrangements. Marr basically implies Andy was no more than a studio musician playing what he's told. I write "no more than" just to say that there was no, or nearly no, creative input from Andy or Mike.
And Johnny would never lie would he? :brows:
 
A

Anonymous

Guest
I'm not 100% certain but in Set the Boy Free: The Autobiography by Johnny Marr, Marr takes if not full credit nearly full credit for all baselines & baseline arrangements. Marr basically implies Andy was no more than a studio musician playing what he's told. I write "no more than" just to say that there was no, or nearly no, creative input from Andy or Mike.
If he did write most of the basslines in The Smiths(which I don't believe), he surely isn't anymore, because the basslines in his solo outings are non existent. Johnny has never been backward in blowing his own trumpet. He's as bad as Morrissey in that respect, but seems to get away with it because he's seen as easy going compared to Morrissey. Andy was the most important Smith for me.
 

Famous when dead

Vulgarian
Moderator
Marr's comments from Set The Boy Free re: the recording session at Decibelle:
"Another condition of using Decibel was that the studio engineer, Dale Hibbert, would be around to watch us and essentially make sure nothing terrible happened as a result of my being there. Dale was a likeable fella who’d once helped me engineer a Freak Party demo. I didn’t know him very well, but we’d talked about The Velvet Underground, which gave us some common ground and which I always took as a sign of someone I could relate to.
When I’d first met Dale he was playing bass in a band, and although he didn’t look the part I asked him if he’d be up for playing on the demo for The Smiths, as not only was it the obvious thing but it would also give me a chance to play with a different bass player than Andy and see how it worked. Things seemed to be looking good for us until I got a call from Si to tell me that he was having second thoughts about playing with us and didn’t want to leave his job. It was a blow, and I couldn’t understand why it was so hard for other people to get on board, as I had such a strong sense that I was on the right track. I couldn’t let us fall at the very first hurdle, so I tracked down Bill Anstee from Sister Ray and asked him to play drums on the demo instead. He was sceptical at first, and then he agreed to come down to a rehearsal. I was relieved when he showed up, but I knew immediately that it wasn’t going to work and that he didn’t like my new band. Maybe it was because we were singing about the Moors murderers, but he was so nice about it I actually felt bad for him. There was no way I was going to let the chance of a free night in the studio disappear though, so I went back to Si with the biggest bag of weed I could get and he finally agreed to come down to play on the demo the following week.
All the while I was wondering about whether I was going to be able to find anyone as good as Andy on bass. I ran through the songs with Dale, but it didn’t sound right. I even packed him off to Andrew to get a decent haircut, but no, it still didn’t sound right. When the night came to finally make the demo, Si showed up with his kit and we ran both the songs down. We did ‘Suffer Little Children’ first and it went surprisingly well for our maiden voyage. I was pleased with how quickly it came together, and to hear ourselves in a studio for the first time felt like validation and a massive step. When we came to record ‘The Hand That Rocks the Cradle’ though, my doubts about Dale were there for all of us to hear. I had written the bass line, and even though it was just six notes repeated over and over, he just couldn’t get it. We tried a few times and were as supportive as we could be, but in the end I had to play the bass on the demo myself."

He then goes on to add the rather sad:

"We got into things quickly and Andy was great on bass. He and I picked up where we’d left off in the last band, playing off each other, and we all knew he was the right man for the job. The day then got a little strange when Mike informed us that he could see Dale looking in through the window in the kitchen upstairs. I assumed our drummer had been taking mushrooms again, but when I went to check it out I saw Dale myself, loitering in the garden and peering in through the window. I went out to say hello and see why he was there, and he went to great lengths to convince me that he just happened to be taking an impromptu look at the studio on the day we were in there recording. I was curious about why he wanted to check out a studio from the garden, but I gave him my best and left him to it."
Regards,
FWD.
 
V

vegan cro spirit 000

Guest
Marr's comments from Set The Boy Free re: the recording session at Decibelle:
"Another condition of using Decibel was that the studio engineer, Dale Hibbert, would be around to watch us and essentially make sure nothing terrible happened as a result of my being there. Dale was a likeable fella who’d once helped me engineer a Freak Party demo. I didn’t know him very well, but we’d talked about The Velvet Underground, which gave us some common ground and which I always took as a sign of someone I could relate to.
When I’d first met Dale he was playing bass in a band, and although he didn’t look the part I asked him if he’d be up for playing on the demo for The Smiths, as not only was it the obvious thing but it would also give me a chance to play with a different bass player than Andy and see how it worked. Things seemed to be looking good for us until I got a call from Si to tell me that he was having second thoughts about playing with us and didn’t want to leave his job. It was a blow, and I couldn’t understand why it was so hard for other people to get on board, as I had such a strong sense that I was on the right track. I couldn’t let us fall at the very first hurdle, so I tracked down Bill Anstee from Sister Ray and asked him to play drums on the demo instead. He was sceptical at first, and then he agreed to come down to a rehearsal. I was relieved when he showed up, but I knew immediately that it wasn’t going to work and that he didn’t like my new band. Maybe it was because we were singing about the Moors murderers, but he was so nice about it I actually felt bad for him. There was no way I was going to let the chance of a free night in the studio disappear though, so I went back to Si with the biggest bag of weed I could get and he finally agreed to come down to play on the demo the following week.
All the while I was wondering about whether I was going to be able to find anyone as good as Andy on bass. I ran through the songs with Dale, but it didn’t sound right. I even packed him off to Andrew to get a decent haircut, but no, it still didn’t sound right. When the night came to finally make the demo, Si showed up with his kit and we ran both the songs down. We did ‘Suffer Little Children’ first and it went surprisingly well for our maiden voyage. I was pleased with how quickly it came together, and to hear ourselves in a studio for the first time felt like validation and a massive step. When we came to record ‘The Hand That Rocks the Cradle’ though, my doubts about Dale were there for all of us to hear. I had written the bass line, and even though it was just six notes repeated over and over, he just couldn’t get it. We tried a few times and were as supportive as we could be, but in the end I had to play the bass on the demo myself."

He then goes on to add the rather sad:

"We got into things quickly and Andy was great on bass. He and I picked up where we’d left off in the last band, playing off each other, and we all knew he was the right man for the job. The day then got a little strange when Mike informed us that he could see Dale looking in through the window in the kitchen upstairs. I assumed our drummer had been taking mushrooms again, but when I went to check it out I saw Dale myself, loitering in the garden and peering in through the window. I went out to say hello and see why he was there, and he went to great lengths to convince me that he just happened to be taking an impromptu look at the studio on the day we were in there recording. I was curious about why he wanted to check out a studio from the garden, but I gave him my best and left him to it."
Regards,
FWD.

if Dale job was to make sure there was no DramaJ caterwauling captured on tape he failed miserably.:lbf:


and, why would a 55 old dude with :handpointright::guardsman::handpointleft: call his auto bio , 'set the BOY free' WTF??? was he hit by a comet?:guapimo:
 
V

vegan cro spirit 000

Guest
If he did write most of the basslines in The Smiths(which I don't believe), he surely isn't anymore, because the basslines in his solo outings are non existent. Johnny has never been backward in blowing his own trumpet. He's as bad as Morrissey in that respect, but seems to get away with it because he's seen as easy going compared to Morrissey. Andy was the most important Smith for me.
yes, he comes across and Mr Nice with a funny DO, but if you read his comments closely hes takes subtle shots at everyone. Dale, Andy, FH Mike, Moz.

Just because he 'claims' to have 'sorted' his hair doesnt mean that he has or that anyone believes he has.

Very tricky and truculent, the Dramatic One.o_O
 

Famous when dead

Vulgarian
Moderator
Wow!
It's currently scheduled for the end of the year...
Perhaps a mistake or a joke, but doubtful given what Dale has shared already.
The full version - now that would be amazing!


20190103_175841.jpg


Regards,
FWD.
 

SuedeMoz

Well-Known Member
I'm not 100% certain but in Set the Boy Free: The Autobiography by Johnny Marr, Marr takes if not full credit nearly full credit for all baselines & baseline arrangements.
I don't think that's surprising on these early songs. We're talking about their very first studio recording here. At this point in the story, wasn't it really just Johnny & Morrissey on the songwriting?
 

dallow_bg

the one he left behind
He just posted the full guitar and bass track for Suffer Little Children (6:38)
 

Famous when dead

Vulgarian
Moderator
Indeed.
Here's a link:


20190103_191428.jpg


MP3 now available in the downloads forum.
Regards,
FWD.
 
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