| Notes and Quotes: "Shakin' All Over" |
| Brian Gregg: "We got to the day before the session and still hadn't come up with any ideas." (Hogg 1992) |
| Hogg: Sitting in Soho's Frieght Train coffee bar, the group began putting some rough ideas together, and arrived at the studio with a sketch of "Shakin' All Over." The song debuted on Jack Good's BBC television show, Wham. [Good may have been responsible for the theatrical transformation of Kidd and, in particular, his eye patch.] (1992) |
| Joe Moretti: Well, across the road again from the 2I's was a restaurant called the Golden Egg. It sold breakfast and waffles and syrup and cream and we'd go in there and smoke cigarettes and hang around and wait for something to happen. And in comes Clem with Johnny Kidd, Brian Greg, and Art Caddy. And it's the same old story. They said, "Listen, we've got a recording at EMI." Now Art wasn't, God bless him, he wasn't the greatest solo guitar player. So we used him on rhythm and again I got together with the guys and we rehearsed "Shakin' All Over" and I put the intro together, which was really a nick from "Move It" mixed with some other Dewey and Eddie sort of thing. Anyway, I came up with the introduction. It's almost the same notes in the same position, just a little bit of variance on them in the time and the feel, but that's where it came from. I put it together in desperation, simply because I had to do something. So we recorded that at EMI in the same big studio. I overdubbed the sliding cigarette lighter on the "bow." [Interview 17 July 2003] |
| Clem Cattini: The funny thing on "Shakin' All Over," where I do the drum bit in the middle, you can actually hear me singing. Listen, you can hear me going, "Ahhhh," while I'm playing the fill. I tend to do that anyway. I sing my fills to myself. I'm sure a lot of drummers do. [Interview 11 February 2001] |
| Clem Cattini (re. the drum fill): That's right, truly by mistake. Originally it was a two-bar and ended up as a four-bar, only because I miscounted completely. Peter Sullivan, the producer, said to me, "I like that. Keep that in." That was it. [Interview 31 January 2001] |
| The recording follows the usual AABA format, with a few twists. The sequence ABAC comprises the first two A's of the larger structure. A guitar solo in 12-bar blues format (with a drum introduction) is the core part of the B section. The final structural A is a truncated version of what happens earlier in that the verse has been omitted to focus on the refrain. The song is capped by a variation on the verse which repeats and fades. |
| Schedule |
31 January, 2012 |