Star Club photos & interesting stuff

[WOA76]

Sorry photos some not best Ted Taylor uses get ever photo he find of Star Club I may have 1965/1966 ones but place looks different

But from nearly every photo, including some of the ones with Jerry Lee Lewis you can see fenders

[WOA76]

Live at the Star Club was produced by Siggi Loch, who was head of the jazz department at Philips Records. In Joe Bonomo's book Lost and Found, Loch states that "...I realized that there were all of these young, mainly British, bands who were playing Chuck Berry and other white American rock & rollers, their big heroes...And I went to the owner and made a proposal to start recording bands at the Star-Club, which I did." According to Loch the recording setup was uncomplicated, with microphones placed as close to the instruments as possible with a stereo mike placed in the audience to capture the ambience. The results were sonically astonishing, with Bonomo observing that "Detractors complain of the album's crashing noisiness, the lack of subtlety with which Jerry Lee revisits the songs, the fact that the piano is mixed too loudly, but what is certain is that Siggi Loch on this spring evening captured something brutally honest about the Killer, about the primal and timeless center of the very best rock & roll..."

Sixteen songs were recorded over two sets, the first set comprising "Down The Line," "You Win Again," "High School Confidential," "Your Cheatin' Heart," "Great Balls of Fire," "What'd I Say (Parts 1 & 2) and "Mean Woman Blues." The second set featured "Good Golly Miss Molly," "Matchbox," "Money," "Whole Lotta Shakin' Goin' On," "Lewis Boogie," "Hound Dog," "Long Tall Sally" and "I'm On Fire."[9] "Down The Line," which was omitted on the original LP due to a sound fault at the beginning, was released on the French Mercury single Les Rois du Rock, Vol. 8 : Jerry Lee Lewis and included on later CD and LP releases from Bear Family Records. The tapes for "You Win Again" and his current single "I'm On Fire" are believed to have been lost.

For decades the album was available only in Europe due to legal constraints. In 2014, Lewis told biographer Rick Bragg "Oh, man, that was a big monster record" but that the record company "never paid me a penny." Speaking to Patrick Doyle of Rolling Stone in 2014, Lewis remained proud that he "stuck with rock & roll when the rest of them didn't, I kept the ball rollin' with that."

https://en.m.wikipedia.org/wiki/Live_at ... b,_Hamburg

[WOA76]

Because of having the privilege of speaking to Ted Taylor over the years I’ve learned a lot about the star club and I’m trying to find as many recordings as I can. Beatles are easy to find non-Beatles is what’s hard to find but we’re very lucky that with the in-house system that were used lotta recordings like the one above with Jerry Lee were recorded

[rogerwhatdidyoudo]

Wow, LR. Your work with Stowe and Star Club is just incredible!

By the way, there are so many pics of George at Hamburg in this pose for some reason... lol

[WOA76]

Wow, LR. Your work with Stowe and Star Club is just incredible!

By the way, there are so many pics of George at Hamburg in this pose for some reason... lol

Thank you for this photos

[Lord Reith]

Holy cow I've never seen photos of Jerry Lee and Gene Vincent at the Star Club before! Love JL's gold piano! Was that brought in specially for him?

According to Loch the recording setup was uncomplicated, with microphones placed as close to the instruments as possible with a stereo mike placed in the audience to capture the ambience. The results were sonically astonishing, with Bonomo observing that "Detractors complain of the album's crashing noisiness, the lack of subtlety with which Jerry Lee revisits the songs, the fact that the piano is mixed too loudly, but what is certain is that Siggi Loch on this spring evening captured something brutally honest about the Killer, about the primal and timeless center of the very best rock & roll..."

Rock and roll should always be recorded in a primitive way. The reason why all those old Chess and Motown records sound so awesome is because they DIDN'T use the greatest equipment and setup. When you record rock and roll all perfect, it loses all its magic. Just listen to Chuck Berry's later recordings.

Almost looks like Paul’s coffin bass cabinet. Not as busted up though. The Fender amps combined with the tape saturation make their instruments sound pretty modern to my ears. Doesn’t have that flat-wound-string-through-30-watt-Vox to my ears at all.

It's interesting to compare the sound of Stowe (just a few months later) with these sets. Matchbox for instance sounds so similar, and yet as you say the guitar sound is something else. The Vox's had a great, bright sound that I love and was probably better for them. The Fender's are far more bass heavy and George's even has a bit of overdrive which makes it sound about 4 years into the future.

It is amazing what has emerged from this last cleanup. The boxiness is definitely more noticeable but so are their vocal textures and huskiness from all the singing they were doing. Don’t know how they kept their voices in a smoky club, while THEY were smoking and drinking. Hearing these recordings, in this fashion, is scratching a decades old itch!

It's a pity about the boxy sound of the PA but short of doing an AI and replacing the vocals altogether I think we're stuck with that. That's okay for me though, because that was how it would have sounded if you'd been there. Warts and all as they say. The big problem before was that John's guitar was the lead instrument. When you bring the vocals forward, suddenly the emphasis shifts from that to the singing and it' sounds more like The Beatles. It doesn't have to be amazing quality, so long as it actually sounds like them!

[WOA76]

Holy cow I've never seen photos of Jerry Lee and Gene Vincent at the Star Club before! Love JL's gold piano! Was that brought in specially for him?

According to Loch the recording setup was uncomplicated, with microphones placed as close to the instruments as possible with a stereo mike placed in the audience to capture the ambience. The results were sonically astonishing, with Bonomo observing that "Detractors complain of the album's crashing noisiness, the lack of subtlety with which Jerry Lee revisits the songs, the fact that the piano is mixed too loudly, but what is certain is that Siggi Loch on this spring evening captured something brutally honest about the Killer, about the primal and timeless center of the very best rock & roll..."

Rock and roll should always be recorded in a primitive way. The reason why all those old Chess and Motown records sound so awesome is because they DIDN'T use the greatest equipment and setup. When you record rock and roll all perfect, it loses all its magic. Just listen to Chuck Berry's later recordings.

Almost looks like Paul’s coffin bass cabinet. Not as busted up though. The Fender amps combined with the tape saturation make their instruments sound pretty modern to my ears. Doesn’t have that flat-wound-string-through-30-watt-Vox to my ears at all.

It's interesting to compare the sound of Stowe (just a few months later) with these sets. Matchbox for instance sounds so similar, and yet as you say the guitar sound is something else. The Vox's had a great, bright sound that I love and was probably better for them. The Fender's are far more bass heavy and George's even has a bit of overdrive which makes it sound about 4 years into the future.

It is amazing what has emerged from this last cleanup. The boxiness is definitely more noticeable but so are their vocal textures and huskiness from all the singing they were doing. Don’t know how they kept their voices in a smoky club, while THEY were smoking and drinking. Hearing these recordings, in this fashion, is scratching a decades old itch!

It's a pity about the boxy sound of the PA but short of doing an AI and replacing the vocals altogether I think we're stuck with that. That's okay for me though, because that was how it would have sounded if you'd been there. Warts and all as they say. The big problem before was that John's guitar was the lead instrument. When you bring the vocals forward, suddenly the emphasis shifts from that to the singing and it' sounds more like The Beatles. It doesn't have to be amazing quality, so long as it actually sounds like them!

I am glad you like photos
Yea Ted had alot photos I have a few more ill try find them.....

thought with you seeing amps it help with music

from what told anything from 1963 was wired into house system as they setup Star Club Records this SUPER HARD find Ted said.....

[WOA76]

It's interesting to compare the sound of Stowe (just a few months later) with these sets. Matchbox for instance sounds so similar, and yet as you say the guitar sound is something else. The Vox's had a great, bright sound that I love and was probably better for them. The Fender's are far more bass heavy and George's even has a bit of overdrive which makes it sound about 4 years into the future.

We talked about that on the Stowe post remember the posted setlist and see how different it changed in 100 days

if you find a FLAC copy of Live At The Star Club 1962-Raw Tapes I have sadly mp3 but Ted's set is interesting to compare to The Beatles and how alot same songs John Lennon even said get the style of Twist and Shout from Kingsize

The Rebel Rousers Hully Gullys always been one my favors

its neat see John were Paul would be over years and Paul George is and George in John spot

[WOA76]

The Rhythm Brothers
The Rhythm Brothers were founded by Klaus Lukas in 1961. This band is still active today. In 1963 they took part in the Hamburg Starclub band competition with 31 other bands. They performed under number 21 and play the song "Say Mama" (this version was recorded later) which can be heard here. Rolf (Zotty) Brockhoff sings this song here, guitar Jochen Suhling, on drums Theodor Schierloh (who died in 2011). Bass Bernd Zamulo who moved to the Lords in October 1965. Rolf Brockhoff and Bernd Zamulo were only 17 years old at the time of the performance, so their legal guardians also had to sign the performance contract.

[WOA76]

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