"The Like In I Love You" Is Streaming
brother john:
Quote from: slothrop on July 02, 2010, 10:55:52 AM
Quote from: brother john on June 29, 2010, 07:01:32 AM
However, it suffers from the usual BW Band problem - the massed vocals sounding just more MOR AOR than I'd like - just a little bit bland, the guts EQd and mixed out of them. This is mostly four or five men's voices but sounds too much like something from a Val Donnican Christmas Special. And also it would be nice if one could hear the individual parts as I bet these are gorgeous harmonies, but just sound like a vague wash. TLOS suffered from the same problem) Could be due to the low bitrate of the stream/mp3 and perhaps a little related over-compression.
The exact reason I don't really listen to TLOS or BWPS that often. I know it sounds crazy to many but I prefer GIOMH because at least Brian's backing vocals have some sort of feeling, a texture to them that is more listenable to me than the overly smooth sound when his band sings.
To the song: at first I wasn't that impressed but after several listens that's changed. Subtle, but very good. Wonderful arrangement. Another one of those far out tags, too. Definitely excited to hear the rest of the album.
Glad I'm not the only one who's mildly bothered by this.
The demo of TLOS was better in many respects that the official version in that the vocals were more rough and ready and better for it, especially Southern California which was ruined in the final version. The thing with the BVs on a lot of BW's stuff is that i hear no men... I know they're in there but there's none of the sweet rough honey we used to get with the Beach Boys, now its all wet blanket, spoonfull of blancmange, margarine. Can't believe it's not Beach Boys... (a joke probably just for the British). ;)
Wirestone:
Well, I prefer Southern California in the final version just because it's sung by Brian ...
Mr. Cohen:
I have a theory about Brian's work: you can tell how into a song/project he is by the work he puts into the outro. If he doesn't care, it's just a fade on a normal repeat of the chorus, or something like that. If he cares, you have what you where, an outro that takes the song somewhere else, somewhere it hasn't been before. For this song, I feel like the outro takes us out into the grand majestic expanse of the 'starlit' universe. But enough of my poor picturesque writing.
The track itself is a real interesting mix of Brian's Today and Pet Sounds styles, IMO, which is probably a comfortable sound for him. It has a lot of nice little production touches. For example, during a little instrumental break/bridge, a heavily phasered vocal comes in just for a few seconds, and the way the track breaks down to just the harpsichord/piano right before the outro gets me everytime. I love that. And how about the sleigh bells in the outro? Brian, you made us wait way too long for a new outro with sleigh bells.
It's a really cool set of melodies, too, isn't it?
Don_Zabu:
I didn't really love this song at first either, but it really grew on me very quickly. Since it's got the touch of both Gershwin and Wilson, I guess this shouldn't be surprising.
And I gotta say, the only part that sounds really pitch corrected to me is the bit that comes in around 2:52.
brother john:
Quote from: Wirestone on July 02, 2010, 12:22:12 PM
Well, I prefer Southern California in the final version just because it's sung by Brian ...
I think I prefer the demo because it isn't! :lol
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