Brian Reimagines Gershwin

[GuyO]

I'm guessing Mike D'Amico is on drums? I don't recognise Todd's style of drumming.

So far I like what I'm hearing, after three spins.

[Andrew G. Doe]

I'm guessing Mike D'Amico is on drums? I don't recognise Todd's style of drumming.

So far I like what I'm hearing, after three spins.

Todd's drumming on all but the 'new' tracks. Mikey's on "Like In I Love You", Scott on the other one.

[Andrew G. Doe]

I was rather surprised with how short of a time period it seems to have taken. The sessions ended almost before they began. At least, that's the feeling I get about it.

First sessions were just before the late fall US tour, wrapped in February with the sweetening.

[Andrew G. Doe]

[brain fart]

[The Heartical Don]

Rather depressing take on the NY listening event:

http://nyconversation.com/2010/08/07/of-talent-lost-and-found/?utm_source=rss&utm_medium=rss&utm_campaign=of-talent-lost-and-found

I mean, I appreciate the guy's writing, but does he even know that Brian released an album of originals less than two years ago?

At this point isn't it obvious enough that Brian just doesn't like doing publicity of any kind? He makes music. Everything else about the music -- its promotion, its distribution, and so on -- are probably kept in his mind, but no great weight is placed upon them. I don't think he really cares; in fact, it seems like he never has and proudly continues this tradition today. You know the Randy Newman song "Simon Smith and the Amazing Dancing Bear"? Brian is the very talented bear. To be less flippant, I am reminded also of the bit in Carlin's book where Brian is in the studio and his accountants are calling him, but distressingly they cannot reach him. They want to give the man thousands of dollars, and he's too busy making music to care. That seemed like 'Brian Wilson' in a nutshell to me, and something he has more or less kept up to this day, it seems to me.

I'm with ya.  I think Brian gets pleasure out of simple things, not saying he's a simple person but he wants the album to do good, and he wants people to like it, but when you get down to numbers I don't think he gives a merda.  I honestly think if you told him "Brian, it went GOLD! GOLD!" he'd be happy as hell, and if you said "Brian, it sold 500,000 copies!" he wouldn't be as happy.  Not that he's an idiot or a simpleton, just that he thinks a little less businessminded than most of the people around him. 

Shrewd post, very perceptive.

[hypehat]

With hindsight being 20/20, does anyone think Brian REALLY missed a trick by not doing 'Bess, You Is My Woman Now'?

http://www.youtube.com/watch?v=lgWO4PiaUU8

Can almost hear the harmonies at 2:30... such a beautiful melody. Would have preferred it to 'I Loves You Porgy', quite frankly.

Despite this, Brian's voice on 'I Loves You Porgy' is so ridiculously good! I love the way he sings 'Porgy'  That and the slightly cutesy way he coos 'S'Wonderful'. His singing is so, so, so good on this record.

Anyone else hear 'Tones/Tune X' in the string fade of 'Plenty O' Nuttin'?

[Andrew G. Doe]

With hindsight being 20/20, does anyone think Brian REALLY missed a trick by not doing 'Bess, You Is My Woman Now'?

http://www.youtube.com/watch?v=lgWO4PiaUU8

Can almost hear the harmonies at 2:30... such a beautiful melody. Would have preferred it to 'I Loves You Porgy', quite frankly.

Despite this, Brian's voice on 'I Loves You Porgy' is so ridiculously good! I love the way he sings 'Porgy'  That and the slightly cutesy way he coos 'S'Wonderful'. His singing is so, so, so good on this record.

Anyone else hear 'Tones/Tune X' in the string fade of 'Plenty O' Nuttin'?

There's little BB/Gershwin riffs dropped in the mix all over the album. 

[LostArt]

I'm not excited either because I can't get past Brian's lead vocal. 

This is the first I've heard anyone make a comment like this about this album.  Most say that Brian's lead vocals are his best in years.  One guy said that Summertime was a little shouty, but that's it.  Do you like Brian's vocals on That Lucky Old Sun or BWPS or any of his solo stuff?  Just curious. 

I haven't listened to any of the 30 second snippets, or the stream of the album.  I have listenend to The Like In I Love You, and whatever music is in the promo video, but that is it.  This will be the first BW album where I have resisted the urge to listen before the release date.  I really want to wait until I have the CD in my hands, and can play it on my stereo at home.  Eight days to go...I...must...resist.

[Howie Edelson]

I STRONGLY beg to differ with Peter Reum.

And I think that believing that anything is black and white within the life and career of Brian Wilson is as naive and misguided as listening to yet another HEAVILY TWEAKED and HEAVILY ASSISTED (this time) covers set and declaring, once again, "Brian's Back!!!" I think we're all old enough to accept the real truths regarding Brian's professional situations, no?

While interviewing Brian in 2005 on one of the "good days" (e.g. engaged, eye contact, humor, interest, "normal"), he said this in regards to performing, QUOTE: “The worst part of touring is going on stage. The traveling’s okay; the worst part is the concert.”

That was on a good day. That's was a "normal" day. Not rushed, not crazed, no sign of a one-word-answer.

So, to those in the know over the past decade, saying that Brian Wilson "doesn't do anything he doesn't wanna do!" is ridiculous and simply untrue.

This place feels like the Blueboard at times. That makes me uncomfortable.

[Wylson]

I STRONGLY beg to differ with Peter Reum.

And I think that believing that anything is black and white within the life and career of Brian Wilson is as naive and misguided as listening to yet another HEAVILY TWEAKED and HEAVILY ASSISTED (this time) covers set and declaring, once again, "Brian's Back!!!" I think we're all old enough to accept the real truths regarding Brian's professional situations, no?

While interviewing Brian in 2005 on one of the "good days" (e.g. engaged, eye contact, humor, interest, "normal"), he said this in regards to performing, QUOTE: “The worst part of touring is going on stage. The traveling’s okay; the worst part is the concert.”

That was on a good day. That's was a "normal" day. Not rushed, not crazed, no sign of a one-word-answer.

So, to those in the know over the past decade, saying that Brian Wilson "doesn't do anything he doesn't wanna do!" is ridiculous and simply untrue.

This place feels like the Blueboard at times. That makes me uncomfortable.

I absolutely agree with you Howie. People turn a blind eye, not maliciously just wishfully I think. Have you got the interview you refer to?

I'm not excited either because I can't get past Brian's lead vocal. 

This is the first I've heard anyone make a comment like this about this album.  Most say that Brian's lead vocals are his best in years.  One guy said that Summertime was a little shouty, but that's it.  Do you like Brian's vocals on That Lucky Old Sun or BWPS or any of his solo stuff?  Just curious. 

I haven't listened to any of the 30 second snippets, or the stream of the album.  I have listenend to The Like In I Love You, and whatever music is in the promo video, but that is it.  This will be the first BW album where I have resisted the urge to listen before the release date.  I really want to wait until I have the CD in my hands, and can play it on my stereo at home.  Eight days to go...I...must...resist.

LostArt - I urge you not to get your hopes up to high for the vocal. He does sound good, much much more expressive than any recording since the 70s. But it still fundamentally sounds like 'old' Brian, still slightly muffled. Anyone agree he sounds better when he's not double-tracked? Some moment when he captures a very pure sound though.

[Steve Mayo]

the more i listen to the lp the more i really like it. i'm impressed.

[Cliff1000uk]

Just my 2 cents after the first listen:

1. The vocals seem alot more relaxed than on TLOS

2. Full credit to Mertens-the arrangements are just brilliant. Subtle where they need to be and then, BAM! I'm guessing Brian was heavily involved in them too?

The great thing about this over TLOS is that I know after another 9 listens, I'll still be hearing parts that I hadn't noticed before

Can't wait for my vinyl to turn up in a couple of weeks.

[buddhahat]

I was feeling a bit cynical about the whole covers thing, but having listened substantially over the last day or so, I have to say most of the album (not into about 4 of the tracks) is really growing on me. It feels like there are a lot of great BW moments in here.

I was initially really dubious about the pet-sounds-by-numbers feel of Someone To Watch Over Me, but it has the most beautiful descending chord changes that are pure BW - right up there (and I'm loathed to say it because I'm so cynical whenever anybody else does) with vintage BW. This and Nothing But Love are maybe the standouts for me at the mo. The latter reminds me a lot of Message Man. What I love about MM is that it has a real spontaneity about it as if, just for a moment, BW and the band aren't worrying too much about creating a 'Brian Wilson' song and are just letting the music speak for itself. Nothing But Love also has that quality imo.

Oh and the "May We Never Meet .." bit of They Can't Take That Away From Me is also fantastic - has me reaching for the volume dial every time! There seem to be a lot of these great little Brian Wilsony bits - definitely more than TLOS. It's a much more fun listen imo, although I liked a lot of TLOS. I think if you can accept the fact that inevitably on any BW album now there is going to be a lot of Beach Boys pastiche going on, there is still a lot to love about the music he and the wondermints are putting out at the moment.

[Ron]

I think something that should be stated is that this album may be a cover album, but it's stale material.

I'm 31.  I don't own any Gershwin albums by anybody.  I'll bet I could look through all my records and cd's, and not find anything of his... I think I may have an old orchestral LP of "Rhapsody in Blue" somewhere, but hell I never listen to it. 

So this may be covers, but i'm not familiar with many of the songs.  This is exciting to me, because I'm aware of how great Gershwin was, and love Brian's stuff.  I've never seen Porgy & Bess! 

Of course I liked the Christmas album too though so what do I know. 

[Mr. Cohen]

One of the biggest events for me in regards to this album is the return of the Brian Wilson shuffle beat. It was such a big part of his early hits, but after "Wouldn't It Be Nice" it seems like he never used again. And a walking bassline with a shuffle beat? Again, never since "Wouldn't It Be Nice". That Hal Blaine drumming style left with the Wrecking Crew (where the drum is used in a more symphonic style, like how one might used a timpani, or it is played very jazzy), too, but it it is here again. I think a lot of the reason Brian never had a huge hit again was because he abandoned those musical ideas when he stopped working with the Wrecking Crew. The percussion became more sparse and the basslines had a tendency to be more droning and less melodic. It's not jumping between the 1/3/5/octaves notes of the chords as much. The strong descending bass lines are less present as well. "Love and Mercy" is one of the last songs with a classic Brian descending bassline. "Oxygen to the Brain" has it, and a track or two off of GIOMH ("A Friend Like You" and "You've Touched Me").

Maybe somebody should have told Brian that, and he would've made a hit!

[Runaways]

I think something that should be stated is that this album may be a cover album, but it's stale material.

I'm 31.  I don't own any Gershwin albums by anybody.  I'll bet I could look through all my records and cd's, and not find anything of his... I think I may have an old orchestral LP of "Rhapsody in Blue" somewhere, but hell I never listen to it. 

So this may be covers, but i'm not familiar with many of the songs.  This is exciting to me, because I'm aware of how great Gershwin was, and love Brian's stuff.  I've never seen Porgy & Bess! 

Of course I liked the Christmas album too though so what do I know. 

age isn't an excuse lol.  i'm 23 and love gershwin. plus he's old enough that age really doesn't apply anymore,

anyway, i dig this.  i'm only gonna listen once though.  Slash i'm kinda impressed by the riff on nothing but love. only one i might not get into is they can't take that away from me.  Just the clip i wasn't into, so that doesn't surprise me.

[Peter Ames Carlin]

Don't ever doubt Peter Reum and his insights into BW. Really.

And when it comes to the reviews, the serious stuff I've seen -- and I have no idea who that guy at the National is, b/c I don't know what the National is, other than headquartered in Abu Dhabi, it seems -- is almost entirely positive. On the page and in person the critics I talked to are thrilled with the album. Because it's a truly huge, important addition to BW's huge, important catalogue.

And honestly, I can't think of why anyone would diss the arrangements. They all sound perfectly appropriate, and beautiful, to me. The only thing that's better is BW's vocals. Shouting on 'Summertime'? I have no fuckin idea what you're talking about. He sounds great on that, and tender and vulnerable on "Porgy" (and anyone hip to BW's relationship with Murry, et. al should understand immediately how perfect the words suit him) and full of beans and magic on the rest.

Wouldn't it be nice if BW did another daring, surprising, beautiful album? Oh wait, he just did.

[mtaber]

Still resisting the temptation to listen, waiting for the 17th...

It would be nice (but totally unrealistic) to have everyone love this album... there are people who don't like Pet Sounds and there are those who love MIU... to each his own.

I think a lot of people rate Brian's albums based on things like "did he really write that song or is it 99% Scotty" or "it doesn't sound like his style of arranging" or "his vocal was auto-tuned".  Just listen and enjoy the thing based on its own merits - does it sound good?  That's all that should matter.

For example, I love the Spring album, whether Brian did a lot or a little on it.  Having David Sandler involved doesn't take away from the music.

I think some of us would only be happy if Brian did an album completely by himself... but then there would be those that would say that Melinda forced him to do it.

[Amy B.]

Still resisting the temptation to listen, waiting for the 17th...
I think a lot of people rate Brian's albums based on things like "did he really write that song or is it 99% Scotty" or "it doesn't sound like his style of arranging" or "his vocal was auto-tuned".  Just listen and enjoy the thing based on its own merits - does it sound good?  That's all that should matter.

I agree that this over-analyzing misses the point. I think part of the reason people are in love with the BBs is because the first time they listened, they just listened innocently and let it wash over them. They didn't analyze the details until after their love of the music was firmly entrenched. Now everything Brian releases is analyzed to death for any sign that it's somehow not pure or genuine. I will say that it sounds to my amateur ears like Brian was very involved in this. Brian's band is talented, but there's only one Brian Wilson, and they've said themselves that Brian is the one who can come up with the amazing changes and chords that no one else can. And those moments are all over this album.

[Curtis Leon]

Still resisting the temptation to listen, waiting for the 17th...

It would be nice (but totally unrealistic) to have everyone love this album... there are people who don't like Pet Sounds and there are those who love MIU... to each his own.

I think a lot of people rate Brian's albums based on things like "did he really write that song or is it 99% Scotty" or "it doesn't sound like his style of arranging" or "his vocal was auto-tuned".  Just listen and enjoy the thing based on its own merits - does it sound good?  That's all that should matter.

For example, I love the Spring album, whether Brian did a lot or a little on it.  Having David Sandler involved doesn't take away from the music.

I think some of us would only be happy if Brian did an album completely by himself... but then there would be those that would say that Melinda forced him to do it.

Hey! MIU was pretty good!  On a more serious note, however, I will say one thing. I can understand the hate toward auto-tune, but why is everyone suddenly coming out of the woodwork to bash double-tracking? Just about EVERY Wilson (and for that matter, every Beach Boy) vocal, both in and out of the Beach Boys, has been double-tracked, starting with the Surfin' USA album.

[b00ts]

Still resisting the temptation to listen, waiting for the 17th...

It would be nice (but totally unrealistic) to have everyone love this album... there are people who don't like Pet Sounds and there are those who love MIU... to each his own.

I think a lot of people rate Brian's albums based on things like "did he really write that song or is it 99% Scotty" or "it doesn't sound like his style of arranging" or "his vocal was auto-tuned".  Just listen and enjoy the thing based on its own merits - does it sound good?  That's all that should matter.

For example, I love the Spring album, whether Brian did a lot or a little on it.  Having David Sandler involved doesn't take away from the music.

I think some of us would only be happy if Brian did an album completely by himself... but then there would be those that would say that Melinda forced him to do it.

Hey! MIU was pretty good!  On a more serious note, however, I will say one thing. I can understand the hate toward auto-tune, but why is everyone suddenly coming out of the woodwork to bash double-tracking? Just about EVERY Wilson (and for that matter, every Beach Boy) vocal, both in and out of the Beach Boys, has been double-tracked, starting with the Surfin' USA album.

I am decidedly not a fan of autotune - I am a singer who has never used it on my own voice, but I can hear it in a second when it is used, even tastefully as on BWPS. I don't hear autotune on this album, except for on "The Like in I Love You" but I could be mistaken anyhow.

Anyway, I guess some people are beginning to lump double-tracking into the category of unnecessary vocal tricks with autotune. It is ridiculous to do so. What's next, are people going to bash Brian for overdubbing instead of tracking every single instrument and vocal live in the studio? These are all just tools to make a good recording, autotune included.

And for anyone who is against double-tracking, it is used on California Girls and tons and tons of other songs by the Beach Boys / Beatles / et. al.

[Jon Stebbins]

Don't ever doubt Peter Reum and his insights into BW. Really.

Don't ever doubt Howie Edelson's insights into BW. Really. He knows what he knows from his own experiences with BW. Brian does do things he does not want to do. Its a fact. I've witnessed his "handlers" (in angry tones) make Brian do things he didn't want to do...right in front of my face. More than once. Peter has his own perspective, maybe he never saw that...I did. Howie did. Peter has said Brian "does NOTHING that he does not want to do". Howie disagrees with that black and white assessment, as do I. You say tomato, I say clip job.

[Howie Edelson]

I'll make you a deal Peter; You don't steal original one-of-a-kind personal Dennis Wilson quotes from other author's books and I won't "doubt" Peter Reum, who made the most ridiculous and inaccurate quote about Brian Wilson that I have ever read. A quote so silly, backwards, and incorrect that I felt the need to immediately call him on it.  A quote so off that -- politics be damned -- YOU should have called him on it. It's a historian's DUTY to call people on inaccuracies -- even if they were a source for your book and even if you're riding high on being invited to some listening party.

Even if Peter.
Even if.

[Curtis Leon]

Still resisting the temptation to listen, waiting for the 17th...

It would be nice (but totally unrealistic) to have everyone love this album... there are people who don't like Pet Sounds and there are those who love MIU... to each his own.

I think a lot of people rate Brian's albums based on things like "did he really write that song or is it 99% Scotty" or "it doesn't sound like his style of arranging" or "his vocal was auto-tuned".  Just listen and enjoy the thing based on its own merits - does it sound good?  That's all that should matter.

For example, I love the Spring album, whether Brian did a lot or a little on it.  Having David Sandler involved doesn't take away from the music.

I think some of us would only be happy if Brian did an album completely by himself... but then there would be those that would say that Melinda forced him to do it.

Hey! MIU was pretty good!  On a more serious note, however, I will say one thing. I can understand the hate toward auto-tune, but why is everyone suddenly coming out of the woodwork to bash double-tracking? Just about EVERY Wilson (and for that matter, every Beach Boy) vocal, both in and out of the Beach Boys, has been double-tracked, starting with the Surfin' USA album.

I am decidedly not a fan of autotune - I am a singer who has never used it on my own voice, but I can hear it in a second when it is used, even tastefully as on BWPS. I don't hear autotune on this album, except for on "The Like in I Love You" but I could be mistaken anyhow.

Anyway, I guess some people are beginning to lump double-tracking into the category of unnecessary vocal tricks with autotune. It is ridiculous to do so. What's next, are people going to bash Brian for overdubbing instead of tracking every single instrument and vocal live in the studio? These are all just tools to make a good recording, autotune included.

And for anyone who is against double-tracking, it is used on California Girls and tons and tons of other songs by the Beach Boys / Beatles / et. al.

Well, yeah. Like I said, I could understand the complaints about auto-tune/pitch correction and such. I just wanted to say my piece for double tracking. Just about every band uses it in some way/shape/form. The Beach Boys have been using it all throughout their career. So why fault Brian Wilson for it, now?  

Seems like we walked in on a historian's debate, heh.

[Peter Ames Carlin]

Howie - I have no idea what you're talking about, quotes-wise. You want to clue me in? Though it's always nice to see an otherwise pleasant discussion devolve that quickly into ad hominem attacks based on, well, I don't know what.