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You're No Good - how it really goes?


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In the chorus, there's more going on than what most people play.

 

It's basically Am7 and D7 (or the recording might be a half step higher) and sounds like maybe G-C moving to F#-C on "2 and" but it seems like it's changing subtly each time.

 

Has anyone figure it all out?

 

The ending kind of does something similar and it's easier to hear.

 

The "tag" on each line in the chorus seems to be A-D - G-C - E - A-D - F#-C - again with the F# in there for the D7 chord.

 

Any ideas?

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I think that's the very first 70's variety show performance I've ever seen that was actually live. Most of them are laughably lip-syncing - guitars not plugged into anything, strings on the recording but nowhere in sight on the stage, etc.

 

That band can really groove, and Linda had the pipes. Long before auto-tune and "backing tracks."

Muzikteechur is Lonnie, in Kittery, Maine.

 

HS music teacher: Concert Band, Marching Band, Jazz Band, Chorus, Music Theory, AP Music Theory, History of Rock, Musical Theatre, Piano, Guitar, Drama.

 

 

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In the chorus, there's more going on than what most people play.

 

It's basically Am7 and D7 (or the recording might be a half step higher) and sounds like maybe G-C moving to F#-C on "2 and" but it seems like it's changing subtly each time.

 

Has anyone figure it all out?

Yes. I play it in one of my bands. We absolutely love to play it - one of our faves.

 

It has a bunch of parts - EP and strings are the two I try to cover, but the split I have set up lets me play that awesome opening guitar lick in the middle break using a chorused electric guitar patch so the guitar player can do the follow up lick.

 

You are indeed a half step too low - Bbm7 to Eb. It's got a much cooler mood in that key.

 

I'll try to describe what I play on the chorus - sounds like you're pretty much hearing it already. I hold the Bb in the bass and right thumb and alternate the Eb G (right pinky, middle finger) and Db F (second, fourth finger) then change to an Eb bass but play the same eighth-note pattern with the right. On the outro we essentially play Bbm9, Db, Ebm, then Ab2 to Eb (2nd inversion) on the turnaround. If you listen to the eightnote guitar arpeggios (first one is Bb F Ab Eb, second is Db F Ab Db), you can get them - I pick that part up with the chorused guitar patch. The right hand Eb Bbm pattern from the chorus works it's way in there as well, as does a nice string line. We jam on the outro for a while - it's a killer groove.

 

Hope that makes sense.

 

dB

:snax:

 

:keys:==> David Bryce Music • Funky Young Monks <==:rawk:

 

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....... but the split I have set up lets me play that awesome opening guitar lick in the middle break using a chorused electric guitar patch so the guitar player can do the follow up lick......

 

dB

 

Dave, re this ^ - audiences (or indeed other band members) don't think this is too , hmmm, "out of place" for want of a better term? A keys player playing guitar sounds? I try doing that here and all I get is weird looks and not so positive reactions haha! Be great to have audiences and fellow musos who can accept it...especially as I really like doing guitar parts :)

There is no luck - luck is simply the confluence of circumstance and co-incidence...

 

Time is the final arbiter for all things

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Here's the original recording by Dee Dee Warwick, 1963, written by Clint Ballard, Jr. with production by Jerry Leiber and Mike Stoller.

 

[video:youtube]

These are only my opinions, not supported by any actual knowledge, experience, or expertise.
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....... but the split I have set up lets me play that awesome opening guitar lick in the middle break using a chorused electric guitar patch so the guitar player can do the follow up lick......

 

dB

 

Dave, re this ^ - audiences (or indeed other band members) don't think this is too , hmmm, "out of place" for want of a better term? A keys player playing guitar sounds? I try doing that here and all I get is weird looks and not so positive reactions haha! Be great to have audiences and fellow musos who can accept it...especially as I really like doing guitar parts :)

I actually do it a bunch, and it usually goes over pretty well. We even call it out and warn people in advance on some tunes: "Y'know, there are few things more musically dangerous than a keyboard player with a guitar patch...."

 

The key is the right sound and a believable performance. I voice the parts the same as I would if I were playing them on guitar, and I do kind of stack my hands over each other so I can effectively strum sometimes.

 

My two other faves are covering the acoustic guitar part in Long Train Rinnin' and the backup guitar in Long Cool Woman. I also have a killer 12 string electric patch I use for Ticket to Ride. Mind you, I'm capable of playing these parts on guitar - I actually think it's fun and unusual to do them on keys.

 

dB

:snax:

 

:keys:==> David Bryce Music • Funky Young Monks <==:rawk:

 

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....... but the split I have set up lets me play that awesome opening guitar lick in the middle break using a chorused electric guitar patch so the guitar player can do the follow up lick......

 

dB

 

Dave, re this ^ - audiences (or indeed other band members) don't think this is too , hmmm, "out of place" for want of a better term? A keys player playing guitar sounds? I try doing that here and all I get is weird looks and not so positive reactions haha! Be great to have audiences and fellow musos who can accept it...especially as I really like doing guitar parts :)

 

I play guitar so I actually have to keep the guitar on the whole song to play that one line!

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covering the acoustic guitar part in Long Train Rinnin'
Do you mean the strumming part, or the syncopated melodic line ( E F#-G e d B G..)? I've yet to find a keyboard patch that can do justice to the former.

Nor I. I do the latter part with a Kurz acoustic guitar patch.

 

dB

:snax:

 

:keys:==> David Bryce Music • Funky Young Monks <==:rawk:

 

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In the chorus, there's more going on than what most people play.

 

It's basically Am7 and D7 (or the recording might be a half step higher) and sounds like maybe G-C moving to F#-C on "2 and" but it seems like it's changing subtly each time.

 

Has anyone figure it all out?

Yes. I play it in one of my bands. We absolutely love to play it - one of our faves.

 

It has a bunch of parts - EP and strings are the two I try to cover, but the split I have set up lets me play that awesome opening guitar lick in the middle break using a chorused electric guitar patch so the guitar player can do the follow up lick.

 

You are indeed a half step too low - Bbm7 to Eb. It's got a much cooler mood in that key.

 

I'll try to describe what I play on the chorus - sounds like you're pretty much hearing it already. I hold the Bb in the bass and right thumb and alternate the Eb G (right pinky, middle finger) and Db F (second, fourth finger) then change to an Eb bass but play the same eighth-note pattern with the right. On the outro we essentially play Bbm9, Db, Ebm, then Ab2 to Eb (2nd inversion) on the turnaround. If you listen to the eightnote guitar arpeggios (first one is Bb F Ab Eb, second is Db F Ab Db), you can get them - I pick that part up with the chorused guitar patch. The right hand Eb Bbm pattern from the chorus works it's way in there as well, as does a nice string line. We jam on the outro for a while - it's a killer groove.

 

Hope that makes sense.

 

dB

 

Thanks. You can see my other response - I actually play guitar on that low line part!

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....... but the split I have set up lets me play that awesome opening guitar lick in the middle break using a chorused electric guitar patch so the guitar player can do the follow up lick......

 

dB

 

Dave, re this ^ - audiences (or indeed other band members) don't think this is too , hmmm, "out of place" for want of a better term? A keys player playing guitar sounds? I try doing that here and all I get is weird looks and not so positive reactions haha! Be great to have audiences and fellow musos who can accept it...especially as I really like doing guitar parts :)

I actually do it a bunch, and it usually goes over pretty well. We even call it out and warn people in advance on some tunes: "Y'know, there are few things more musically dangerous than a keyboard player with a guitar patch...."

 

The key is the right sound and a believable performance. I voice the parts the same as I would if I were playing them on guitar, and I do kind of stack my hands over each other so I can effectively strum sometimes.

 

My two other faves are covering the acoustic guitar part in Long Train Rinnin' and the backup guitar in Long Cool Woman. I also have a killer 12 string electric patch I use for Ticket to Ride. Mind you, I'm capable of playing these parts on guitar - I actually think it's fun and unusual to do them on keys.

 

dB

 

Ok thanks - I might have to "borrow" that line ;)

There is no luck - luck is simply the confluence of circumstance and co-incidence...

 

Time is the final arbiter for all things

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I'm sure Linda was aware of major blues elements in this rendering she did, so what's a blue note in Bb, come on guys, these songs boogie! Beginning with all major chords Bb Ab Eb isn't a bad starting point either, but getti g that whole sound of the production to proprrly reflect the accurately bent notes is not trivial, if you've got a decent piano sound to work with, it's an interesting song challenge, maybthe right chords shouldn 't just be given to anybody.

 

T

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Do you sing as well? If so, props...I"m not sure if I wanna deal with all those keyboard parts and singing with a guitar around my neck for one line...

 

The electric guitar sound I have on the Forte is actually quite good.

 

dB

 

No, thankfully in this band I don't have to sing. I had kind of hoped to only do keys but then I got roped in...

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Linda's lead vocal performance was wonderful, and I really liked how the band played behind her.

The only thing that was not great was the backup vocal arrangement. The backup singers seemed quite capable, but there is a killer 3-part vocal that can be sung on the chorus, but it wasn't attempted in the performance.

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Linda's lead vocal performance was wonderful, and I really liked how the band played behind her............

 

One of the best this woman for sure! Did you ever hear her collab album with Nelson Riddle?

There is no luck - luck is simply the confluence of circumstance and co-incidence...

 

Time is the final arbiter for all things

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Way back I played Wurly in a band with a great chick singer and a musically-challenged bass player with a two-string home made bass. She always introduced You're No Good with "This song is dedicated to our bass player, Lloyd."

 

We covered this song for many years. Once a band member introduced it by saying "here's a song my ex-wife wrote about me".

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.... Did you ever hear her collab album with Nelson Riddle?

 

I did hear that, and in fact my dad bought the LPs (I think there were 2?). My dad probably did this because he liked Sinatra's work with Nelson Riddle.

Linda was totally up to the task on those Nelson Riddle collaborations, and those arrangements really highlighted her vocal tone.

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