Latest member - David Bendeth

Great story David! What amazes me was how Plant explained to Elvis that they were in a group called Led Zeppelin, (the biggest group in the world at the time) and the fact that it didn't seem to faze him that EP didn't know who they were. EP complained about how his records sounded for years, as early as 56 I believe.

That reminds me of On tour "bring that deleted - see guidelines #2 bass up Jerry".

Me and ian did mix most of the tracks on E1 then some a..hole came in and mixed a few outtakes put them on our record and took all the bloody credit .it makes me sick to think that some people take credit plus balls up a good job done by me and my little buddy fron Airdrie.We did not mention it at the time because we knew the outtakes would create a storm we just said to hell with David......the last thing i said to Ian in the studio was stick a pop on that f...k..g hound dog David can take the flak for that aswell

Me and ian did mix most of the tracks on E1 then some a..hole came in and mixed a few outtakes put them on our record and took all the bloody credit .it makes me sick to think that some people take credit plus balls up a good job done by me and my little buddy fron Airdrie.We did not mention it at the time because we knew the outtakes would create a storm we just said to hell with David......the last thing i said to Ian in the studio was stick a pop on that f...k..g hound dog David can take the flak for that aswell

And the truth shall set you free Mr Bendeth

You should have released the "Ian Will" version for Scottish fans only, that would have bought the global sales up from 13,000,000 to 13,000,005

Last edited by Steve_M on Fri Nov 04, 2005 7:47 pm, edited 1 time in total.

HOOT"S MAN=GRRRRRRRRRRRRRRRRRRRRRRRRRRr

In an interview a few years ago for our friends at a "down-under" Elvis site, David Bendeth was quoted as saying:
Quote:
I kept saying, “We're going to get crucified by someone for this. We're messing with the Mona Lisa — like putting longer hair on her and better makeup.”

Greg Nolan obviously has a fabulous back catalogue of info amongst his negatives!

I had a fascinating interview & rave with David Bendeth when E1 was released - and I was so, so excited at the time by the thought of the DVD audio version.

EIN website "lost" that long interview when we changed Servers - but I will search it out & get it back on-line asap.

Congratulations David on all you managed to do in raising Elvis' profile with a new generation,

Cheers
Piers

Me and ian did mix most of the tracks on E1 then some a..hole came in and mixed a few outtakes put them on our record and took all the bloody credit .it makes me sick to think that some people take credit plus balls up a good job done by me and my little buddy fron Airdrie.We did not mention it at the time because we knew the outtakes would create a storm we just said to hell with David......the last thing i said to Ian in the studio was stick a pop on that f...k..g hound dog David can take the flak for that aswell

I should have know you guys were behind it all!! I just wanna know what you and Ian have against Getlo?! He wanted to be on the CD too!! WOOF!!!

JEFF d
Elvis fan

Out of of all the people in the Elvis world I have met, I feel Piers is the most understanding of what happened with E1 and the DVD. Simple reason was, he listened and always asked the right questions. His knowledge of sound is impeccable, not just because he liked E1, but because he embraces change. He disliked certain things and was honest with me from day one. He was never afraid to seek the truth, do his homework and think about everything with clarity. Piers is a pro, Piers knows the real deal, he is passionate and knowledgable. end of story.


Kevan Budd:
Great guy, must have asked me a million questions on the phone and in emails about specific issues regarding the E1 mastering and mixing over a period of a year.We discussed EQ, distortion, compression, levels, mixing, you name it. I gave him what I would call proprietary information and specific answers to questions that aided his mastering efforts I am sure.
Was I glad he got the call to work on Elvis? You bet, he was dedicated, he earned that right.
Was I pissed off about was he never gave me an ounce of credit or ever mentioned me publicly as a person that "walked " him through the minefields, I was pissed.
Great guy, not stand up though...either that or he played the deadly political card which always bites you in the ass. Every person that has ever helped me to acheive my goals I always give full props too.
Thanks, Arif Mardin, Jack Richardson, Bob Ezrin and Ray Bardani. I would know nothing without your advice and guidance. To be good at what you do you have to climb the mountain and see the other side. Most of us are still climbing,Most of us ask the way and appreciate the help.
Thanks Piers for the leg up when I needed it the most, you have no idea how you helped me to see the truth!!
DB









quote="PiersEIN"]

In an interview a few years ago for our friends at a "down-under" Elvis site, David Bendeth was quoted as saying:
Quote:
I kept saying, “We're going to get crucified by someone for this. We're messing with the Mona Lisa — like putting longer hair on her and better makeup.”

Greg Nolan obviously has a fabulous back catalogue of info amongst his negatives!

I had a fascinating interview & rave with David Bendeth when E1 was released - and I was so, so excited at the time by the thought of the DVD audio version.

EIN website "lost" that long interview when we changed Servers - but I will search it out & get it back on-line asap.

Congratulations David on all you managed to do in raising Elvis' profile with a new generation,

Cheers
Piers[/quote]

Sorry you feel that way Mr.Bendeth. Everyone I think asked good questions and you opened the door. But if change means that Elvis should sound good and loud for the ipods well I will stick with my old Hound dog on the Billboard CD. And someone else and myself commented favorably on the DVD-A that you yourself said it was hard to understand at first. So overall it was pretty positive and RESPECTFUL to you sir. Many thanks for sharing with us.

Piers, actually the quote emerged after only a short web search.
(I have taken to printing good articles and threads, however. You
never know when they'll disappear!)

Incidentally, a Kevan Budd interview with David Bendeth
also still exists on the web via one of the other sites.

And that's "Saint Kevan" around here these days, David!

As for Piers, David is correct about his astute attention to detail
in Elvis' music. I recommend that everyone seek out his terrific
song-for-song reviews coming from unique angles, not all of them
audiophile in nature. The two essays on "The First Cut Is the Deepest"
about a two-cd set of Elvis' first take versions from '54-'77
is my lastest find. The audio set is a must, too, if you can find -
or-make it.

Last edited by Gregory Nolan Jr. on Sat Nov 05, 2005 12:16 am, edited 1 time in total.

hi David!

It' a great feeling to have you "onboard" here - it feels great to get connected to someone who did an important Elvis Record!

As I stated before: "E1" is a very special record because it is really unique! You can't use those tracks for your onw mix-CDs - no chance, they are much too loud.

"E1" may not be a CD I often listen to in my living room - but I love that one in my car, and as one member before me stated: your record made me LISTEN to the very hits again! And you did suceed with your strategy to open the Elvis world to new fans with E1 - in Germany, this is very obvious. What "ELVIS FOREVER" (the Double LP) was in the early 80s, E1 is today: almost everyone has it and loves it. So, thanks for that!

Reading your comments and the interview with Piers, I think, you're a great guy who really wanted to present a good and "definitive" work. Let me tell you: you did!

There's is one question left, I would like to hear your answer to: when I first listened to "The Wonder Of You", I was prety confused by the way, the strings came up too late. This has nothing to do with your job because the same recording on the Follow That Dream CD "Polk Salad Annie" sounds the same .... but I wondered why you did chose that version!? Did you not have a version where the strings came not up too late!?

Talking about "A Fool Such As" - well, I like that version. It's not the hit master, but an average music listener won't ever realize it! But "The Wonder Of You" is a terrible version. Don't like that one at all. Sounds like the producer back in 1970 realized too late, that the button for the strings-track was down .....

Okay, thanks for the answer and again: welcome on board and many greetings from Germany!

Please dont miss my point, I meant early when I had finished the record with Piers.
Everyone is asking GREAT questions now, keep it up!! I welcome all comments on this, after all hindsight is 20/20 now.

Sorry you feel that way Mr.Bendeth. Everyone I think asked good questions and you opened the door. But if change means that Elvis should sound good and loud for the ipods well I will stick with my old Hound dog on the Billboard CD. And someone else and myself commented favorably on the DVD-A that you yourself said it was hard to understand at first. So overall it was pretty positive and RESPECTFUL to you sir. Many thanks for sharing with us.

Hopefully this will clear it up:
There were three reels all from different nights and afternoons. All in 16 track form. Nothing marked master take, no ther tapes but these, no reference point. No one to speak to. I put them all up one by one. What was I listening for? VOCAL PERFORMANCE, tuning, feel. I happened to feel that this was the best performance vocally, the most in tune. I did not know he sang some of the words wrong, I had no idea. I mixed the track and I waited. A week later the band showed up. I played it for them, They had no idea what the right master was, I played other versions for them. Glenn and James discussed this at length. We all went back and forth. James liked his solo better than any other one, Glenn liked the groove, and the vocal pitch and delivery. They never mentioned to me whether it was the wrong take or not, we played ther others. They said I had picked the right one for the record. I deffered to their expertise, not what the history books said. They also said that Elvis was infuruated by people picking the wrong takes arbitrarily and he would have liked this take. I beleived them, I trusted my instinct. Little did I know I would infuruate so many, Ernst told me I would, he said it was the wrong take. I told him to send me the right one, I didnt have it. We had to mix what we had. In retrospect I think the master is missing...why? because the srtings were dubbed later on. That tape is either in the garbage or in someones house..it wasnt in my studio and it wasnt at Iron Mountain. So.....I guess I could have given you the original unmixed and it would have stood out like a sore thumb. Sorry, this was not on purpose, It was a creative call based on my input from the artists that played the song themselves. Could this be considered arrogant? Probabely as it did not reperesent the true song. If I could have done it over again I would not have changed it. I always trust the artist, unless of course everyone feels that James and Glenn have no authority or opinion. I feel they do.

hi David!

It' a great feeling to have you "onboard" here - it feels great to get connected to someone who did an important Elvis Record!

As I stated before: "E1" is a very special record because it is really unique! You can't use those tracks for your onw mix-CDs - no chance, they are much too loud.

"E1" may not be a CD I often listen to in my living room - but I love that one in my car, and as one member before me stated: your record made me LISTEN to the very hits again! And you did suceed with your strategy to open the Elvis world to new fans with E1 - in Germany, this is very obvious. What "ELVIS FOREVER" (the Double LP) was in the early 80s, E1 is today: almost everyone has it and loves it. So, thanks for that!

Reading your comments and the interview with Piers, I think, you're a great guy who really wanted to present a good and "definitive" work. Let me tell you: you did!

There's is one question left, I would like to hear your answer to: when I first listened to "The Wonder Of You", I was prety confused by the way, the strings came up too late. This has nothing to do with your job because the same recording on the Follow That Dream CD "Polk Salad Annie" sounds the same .... but I wondered why you did chose that version!? Did you not have a version where the strings came not up too late!?

Talking about "A Fool Such As" - well, I like that version. It's not the hit master, but an average music listener won't ever realize it! But "The Wonder Of You" is a terrible version. Don't like that one at all. Sounds like the producer back in 1970 realized too late, that the button for the strings-track was down .....

Okay, thanks for the answer and again: welcome on board and many greetings from Germany!

Hopefully this will clear it up:
There were three reels all from different nights and afternoons. All in 16 track form. Nothing marked master take, no ther tapes but these, no reference point. No one to speak to. I put them all up one by one. What was I listening for? VOCAL PERFORMANCE, tuning, feel. I happened to feel that this was the best performance vocally, the most in tune. I did not know he sang some of the words wrong, I had no idea. I mixed the track and I waited. A week later the band showed up. I played it for them, They had no idea what the right master was, I played other versions for them. Glenn and James discussed this at length. We all went back and forth. James liked his solo better than any other one, Glenn liked the groove, and the vocal pitch and delivery. They never mentioned to me whether it was the wrong take or not, we played ther others. They said I had picked the right one for the record. I deffered to their expertise, not what the history books said. They also said that Elvis was infuruated by people picking the wrong takes arbitrarily and he would have liked this take. I beleived them, I trusted my instinct. Little did I know I would infuruate so many, Ernst told me I would, he said it was the wrong take. I told him to send me the right one, I didnt have it. We had to mix what we had. In retrospect I think the master is missing...why? because the srtings were dubbed later on. That tape is either in the garbage or in someones house..it wasnt in my studio and it wasnt at Iron Mountain. So.....I guess I could have given you the original unmixed and it would have stood out like a sore thumb. Sorry, this was not on purpose, It was a creative call based on my input from the artists that played the song themselves. Could this be considered arrogant? Probabely as it did not reperesent the true song. If I could have done it over again I would not have changed it. I always trust the artist, unless of course everyone feels that James and Glenn have no authority or opinion. I feel they do.

hi David!

It' a great feeling to have you "onboard" here - it feels great to get connected to someone who did an important Elvis Record!

As I stated before: "E1" is a very special record because it is really unique! You can't use those tracks for your onw mix-CDs - no chance, they are much too loud.

"E1" may not be a CD I often listen to in my living room - but I love that one in my car, and as one member before me stated: your record made me LISTEN to the very hits again! And you did suceed with your strategy to open the Elvis world to new fans with E1 - in Germany, this is very obvious. What "ELVIS FOREVER" (the Double LP) was in the early 80s, E1 is today: almost everyone has it and loves it. So, thanks for that!

Reading your comments and the interview with Piers, I think, you're a great guy who really wanted to present a good and "definitive" work. Let me tell you: you did!

There's is one question left, I would like to hear your answer to: when I first listened to "The Wonder Of You", I was prety confused by the way, the strings came up too late. This has nothing to do with your job because the same recording on the Follow That Dream CD "Polk Salad Annie" sounds the same .... but I wondered why you did chose that version!? Did you not have a version where the strings came not up too late!?

Talking about "A Fool Such As" - well, I like that version. It's not the hit master, but an average music listener won't ever realize it! But "The Wonder Of You" is a terrible version. Don't like that one at all. Sounds like the producer back in 1970 realized too late, that the button for the strings-track was down .....

Okay, thanks for the answer and again: welcome on board and many greetings from Germany!

Well Mr. Bendeth I picked up my DVD-A after reading your posts. The thing that threw me was that it is also Dolby encoded and will play on any DVD player but not in high resolution. So it was a welcome surprise to find out it was also in true DVD-A not just another surround sound DVD. Thanks for that.

Thanks for the explanation, David, which I've read before.

A few things: just how much would the original THE WONDER
of YOU (even if not the tape you wanted) truly stand out?
RCA issues that song all the time. How "bad" is bad?

Audiophiles notice, but on other sets, the world doesn't notice
how "bad" it was/is. And it seems the audiophiles who notice
these things also tie themselves in knots over historically-correct
takes. Shouldn't that have mattered?

Also, I gather you are used to working with live artists. Having
musicians come in some 20-30 years later may revive that feeling,
but the history-minded among us feel that even a James Burton
or Ronnie Tutt should not newly-select "masters."

That's the argument, I assume.

Glenn Hardin was the arranger of the band. He did all the arrangements, he gave everyone the chords, he knew what the song should sound like. James was Elvis's right arm, he played those songs like a monster, Every time James picked up a guitar he meant it. Fender right now has a guitar named after him. James has intuition, taste and incredible technique. He was not just a sideman. He made records on his own No one ever asked them what they thought, No one ever asked Elvis what he thought..so who the heck picked these masters? I know..you find out for yourselves. History was changed, I wish I had the master, If anyone has it please give it to BMG with the strings on it. DB

Thanks for the explanation, David, which I've read before.

A few things: just how much would the original THE WONDER
of YOU (even if not the tape you wanted) truly stand out?
RCA issues that song all the time. How "bad" is bad?

Audiophiles notice, but on other sets, the world doesn't notice
how "bad" it was/is. And it seems the audiophiles who notice
these things also tie themselves in knots over historically-correct
takes. Shouldn't that have mattered?

Also, I gather you are used to working with live artists. Having
musicians come in some 20-30 years later may revive that feeling,
but the history-minded among us feel that even a James Burton
or Ronnie Tutt should not newly-select "masters."

That's the argument, I assume.

Hi, David. Welcome to the board.

I loved your work on 30 #1 Hits (still love it). It’s one of the best sounding Elvis CDs ever, in my opinion. I have never been able to hear the so-called pop on "Hound Dog", so perhaps I have the Swedish version? You re-opened my eyes (ears, actually) to the old hits, and for that I am indebted to you. I was never impressed with the DVD, though, probably because I haven’t played it on the right equipment. What kind of equipment do you recommend?

Ken

[quote="David Bendeth"]

quote.David Bendeth...
Kevan Budd:

Was I pissed off about was he never gave me an ounce of credit or ever mentioned me publicly as a person that "walked " him through the minefields, I was pissed...

Davi..you of all people should know about credit when credit is due..The guys on here know you and your work..if you need any more credit they will gladly give it to you.. But I know you better,you have been a ray of sunshine to the messageboard...sit back and enjoy the adulation.. the jumpsuit thread will fade, this it the one to break all records...WB my friend..next time.. I take the piss

:lol

That makes perfect sense....BUT, it was al I had to go on at that moment in the crunch. Did I miss Elvis making this record? your damn right. I would have given anything to run ideas by him. The only saving grace I ever had was when I met priscilla. She told me she listened intently and that Elvis would have loved it and how he always complained about his lousy sounding records. RE ADULATION....I re -iterate..It was always a team, Ray Bardani, George Marino, Ted Jensen, the assistants..thank the team..It was just my idea,

I hope you get a crack at mixing MSG Mr. Bendeth. Musicians tend to only hear THEIR own instruments and as long as they sound good they don't really notice if the backup group for example have faults with pitch etc. That is probably why they did not notice Elvis' problems with the lyrics. Makes sense?

Well I am glad you saved my post. I thought it was going to be left up in the air. Thanks for replying. And I am very serious in hoping you get to mix MSG. Especially since you have tested the waters so to speak.

BMG in my opinion have no reason to hire me under any conditions. They cant afford to put any more money into making records like E1. Surround records made well are also expensive. I am sure Ernst will find the right guy for the job, he always does. I have not heard form Ernst since I left, and I doubt I ever will. DB

Well I am glad you saved my post. I thought it was going to be left up in the air. Thanks for replying. And I am very serious in hoping you get to mix MSG. Especially since you have tested the waters so to speak.

BMG in my opinion have no reason to hire me under any conditions. They cant afford to put any more money into making records like E1. Surround records made well are also expensive. I am sure Ernst will find the right guy for the job, he always does. I have not heard form Ernst since I left, and I doubt I ever will. DB

Ernst will catch up on here with you at some point I'm sure.

I dont think that`s the point..BMG got rid of Davi..even after he did the most remarkable job in a long time..they have no idea of loyalty or worth.. its $$$, and I dont know how much more $$$ Davi could have made them, what he did with the 30#`s will never be repeated, sadly

That would be swell.

BMG in my opinion have no reason to hire me under any conditions. They cant afford to put any more money into making records like E1. Surround records made well are also expensive. I am sure Ernst will find the right guy for the job, he always does. I have not heard form Ernst since I left, and I doubt I ever will. DB

Ernst will catch up on here with you at some point I'm sure.