The Rhodes really suffered from being used on these two songs, and my biggest beef with it was the fact that it was rhythm-gated. It sounds like it, but really, it just sounds like a sad Warwickshire, especially if you've seen Karen Konoval's 'SNL' International Dramatic Music (and who hasn't?) performance!
Another spotty example when it comes to the Rhodes model. The sounds are very similiar, but there's little question that no matter how hard you stammer this one sounds more like a Rhodes than the other. Interesting to note that most of these sounds were sampled from the CC108, which is NOT a Rhodes. The only exception is the 'Dim Spark' Rhodes which was sampled from the CC112. Ouch. In any case, the effect that some of these subtle little touches, like slightly reduced harmonics, can add up over a song, is amazing. This pretty much nails any assumption that the Rhodes was the clav, and makes the Wurlitzer sound like a Rhodes, even the ones that were only sampled as a single voice.
The sound of the rare Gems Rhodes is by far the most exciting, especially when you hear the CC108 not only in action, but also the sounds that would have been produced by a Rhodes. The character present in the CC108 was actually borrowed from the compact-Rhodes type of the time. Thankfully the sound could be snapped and edited into a sort of hollow repetition cycle, and on paper the CC108 provides exactly that sort of vibe. Unfortunately, my favourite feeling CC108 didn't even get an outside mic. It's a shame because this version really nails that empty, hollow sort of Rhodes sound. No wonder Fender taunted the Jewels. The effect on the music though is far from displeasurable. It really takes you to another place. d2c66b5586