aw yeah.

Ronnie's vocals, Ernie's guitar, Marvin's bass, Chris' keys, O'Kelly & Rudy providing background for Ronnie = PERFECT!

It's an org favorite for a reason. Excellent tune, and love Ernie's geeetar!

This song is just perfect.

Awesome track indeed!!!!!

Anyone know what kind of effect Ernie's usin on the intro ? I always thoguht it was him and Chris Jasper playin at the same time.....But on a bittersweet,this was playin on the radio the night my grandfather passed away

Perfect song from beginning to end.

Hell yeah! LOVE LOVE LOVE that tune...

funkyslsistah said:

Indeed!!

diamondpearl1 said:

Overdrive (probably a Big Muff Fuzz), chorus and reverb. You can also use a flanger with a low "rate" setting and get a similar effect.

BlaqueKnight said:

Based on the time period...



...a Maestro Phase Shifter might've also been in the mix.



tA

Tribal Disorder

http://www.soundclick.com...dID=182431

Some interesting commentary on Ernie Isley during a MIX magazine interview with engineers Malcolm Cecil and Robert Margouleff.


Classic Tracks: The Isley Brother's "That Lady"
Nov 1, 2003 12:00 PM, By Blair Jackson

The Isleys' second hit, in 1962, was “Twist and Shout” (later popularized by The Beatles); the next notable event in the band's history was the addition, in 1964, of a hot young guitarist who went by the name of Jimmy James: This, of course, was Jimi Hendrix, who recorded his first sides with the Isleys and later — after he became famous on his own — would have a tremendous impact on the Isleys' sound.

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

“Working with the Isley Brothers was much more business-like than working with Stevie,” Margouleff offers. “With Stevie, it was like living inside this world; it was a lifestyle, and we were really part of every aspect of the creative process: shaping the songs and getting sounds and all. We were much more on the outside of the Isley Brothers' trip than we were with Stevie. They were a very close-knit family, and with them, we were more like hired guns. They'd show up at the studio and that's where we'd see them. We didn't go to their rehearsals, we didn't socialize with them. They'd show up at the studio at 10 o'clock and work until 4:30. I remember them coming to the studio with a briefcase and paying us in cash,” he says with a laugh.

“That's the way they were with live performances, too,” adds Cecil, who joined in on our three-way interview from his New York area home. “Rudy Isley had a .357 magnum that he had a license to carry around. I think the Isleys always got paid,” he adds wryly.

“But I don't want to give the impression that we weren't into the Isleys; we were. They were great to work with and really good musicians. I mean, some of the guitar sounds we got with them were absolutely rippin'!”

Indeed, one of the most remarkable aspects of the group's sound, especially on “That Lady,” was Ernie Isley's incredible, obviously Hendrix-inspired lead guitar line.

Cecil says, “What happened was, Ernie Isley was nine years old when Jimi Hendrix was playing with his brothers, and he was very, very motivated by Jimi. Jimi came to him one day and gave him his first guitar, showed him a few things and said to him, ‘You know what, when you grow up, you'll be playing with your brothers.’ He was right, of course, and this totally changed Ernie's life!

“When he came to us, he brought his Stratocaster and I took him over to meet Roger Mayer, who was another Englishman I'd known since my childhood in England in the late '40s, when we'd go over to surplus stores on Edgeware Road in London to pick up old bits and pieces to build equipment, because that's what we liked to do. There were all sorts of surplus equipment around after the war. Roger went on to become Jimi Hendrix's guitar tech and then Jimi brought him back to the States. I bumped into him in New York and he helped me build some of TONTO, as well as working on audio treatments and [building] limiters.

“Anyway, he took Ernie's guitar and completely re-modified it exactly the way Hendrix had his, and he also built him an Octavia box, which is part of what allowed Hendrix to get that screaming sound. And Roger taught Ernie how to use it. So, we essentially Jimi Hendrix-ized Ernie when he was 18. He was so blown away and enamored with it; he took to it like a duck to water. He'd be in there just playing and playing; he wouldn't give it up.

“They were all marvelous musicians,” Cecil adds. “No one got away with anything. They were very disciplined and very self-policing in the studio. There were the younger brothers and the three older brothers —”

Margouleff: “And the olders made sure the youngers didn't look up from their instruments, I'll tell you.”

Cecil: “O'Kelly, who has since passed away, was like the lord and master.”

Margouleff: “He was the disciplinarian. Boy, nobody fooled around when he was in the studio! What he said went. I don't know if it was because he was the oldest or what. But he was also a really nice guy.”

Cecil: “He was like a big Buddha.”

Margouleff: “And Ronnie, who has that incredible voice, was modest and shy and would hardly say anything. I always thought that Rudy was jealous of Ronnie. He was a good singer himself, but let's face it, there's no one like Ronnie. He's just phenomenal.”

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Full article: http://mixonline.com/reco...hers_lady/


tA

Tribal Disorder

http://www.soundclick.com...dID=182431

Thanks for posting that, tA.

AlexdeParis said:

You're welcome but I forgot a few paragraphs...

The engineers say that the Isleys came into the studio very well-rehearsed, so the recording of basic tracks was quite straight-foward. “They knew exactly what they wanted to do,” Cecil says. “They had a complete plan when they walked in the door.” On “That Lady,” which was actually a slinky re-working of a mid-'60s Isleys tune originally titled “Who's That Lady,” the basics consisted of Marvin's bass line, a rhythm part by Ernie, electric piano from Chris Jasper, Truman Thomas' organ and drums from George Morland. Vocals, additional keyboards, congas (by someone credited only as Rocky) and the famous lead guitar line were added later.

The lead guitar part alone took several tracks: “We had the Octavia box, a direct from the guitar, a Berwin noise suppressor, limiters, all sorts of things going,” Cecil says. “The Octavia made a tremendous amount of noise, so we had to use whatever means were available to minimize it. One small turn of a knob and all the parameters would change. It was trial-and-error. Ernie would play a line and we'd try different sounds on it. He'd come back in the control room and we'd listen to it, decide if it was right. Then, when it came time to mix, because we had four or five tracks for the guitar, we'd find the blend that worked best. Ernie was always very cooperative, and he could really play.”




tA

Tribal Disorder

http://www.soundclick.com...dID=182431

Awesome Song!

I read that article a while back. Good read.

funkyslsistah said:

yup!

'Go For Your Guns' is the Isleys best album,imo.

Two of their most amazing slow jams:

"FootSteps In The Dark"
"Voyage To Atlantis"

Two of their funkiest uptempo jams:

"The Pride"
"Livin In The Life"

what more could you ask for? This album has it all.

I LOVE LOVE LOVE LOVE LOVE LOVE LOVE LOVE LOVE LOVE LOVE the Isley Bros.

Theres not one song I don't like