"The Like In I Love You" Is Streaming
Shady:
Brian's interested, should be enough...
Oh wait *thinking of the people that surround Brian*, that's not enough ;D
Wirestone:
Brian and the folks around him still like major label release and distribution, FWIW.
Listen, I (and a lot of people here) would have loved to see BW just chuck the major label machinery some 10 years ago and release everything he thought of or coughed up online. And from what I read, he's continued to write and record with Scott B. since TLOS.
But it seems like, right now, labels are more interested in "projects" that can be easily sold. And, in the Gershwin case, at least it's a project that really seemed to interest and involve Brian.
Don_Zabu:
Did nobody besides me notice that Brian had hundreds of unfinished Gershwin segments to work with, and he only used two?
Wirestone:
I think that's all they asked for. He was signed to do a Gershwin covers album, using mainly well-known songs. The "new" stuff is a bonus, and the estate controls access to those unpublished song fragments very tightly. (I believe the estate is parceling out a couple of more such fragments for a Phil Ramone-produced album that will come out later this year.)
Sam_BFC:
Quote from: Wirestone on June 30, 2010, 09:15:15 AM
If someone is no longer a fan of Brian because he used autotune -- they should have dropped out after BW88. (That used an early type of pitch correction -- or so AGD's site suggests.)
Sorry to return to the subject of autotune/pitch correction, but do you know any more details about any pre-autotune pitch correction; it's interesting, I do for one gather that engineers would sometimes skillfully manipulate tape speeds to correct certain notes (?).
Cheers
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