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Author Topic: Listen to this...  (Read 3201 times)
aeijtzsche
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« Reply #25 on: February 08, 2011, 07:26:25 PM »

Yeah, definitely this was obtained from the 5.1 audio--somewhere on his thread or elsewhere Mark talks about bringing out the guitar and some other elements when he did his remix.

Also, definitely a piano song.  Adam is absolutely right about that process.  There's an unbooted clip, I don't remember what exactly it is, of Carl playing some of the verse on Piano for somebody.  It's just like you wouldn't write IJWMFTT on guitar.
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« Reply #26 on: February 08, 2011, 07:34:40 PM »

I'm sure Adam can expand on this in greater detail, eloquence, and from more informed experience, but to my ears what Carl did was record an acoustic guitar foundation track either by himself, or with some sort of rudimentary time keeping thingy, a metronome or something he programed with the same box that they used for the "drums" on Till I Die.... and sang along with a scratch vocal track and then built the recording up around that and this is an in-progress mix while still stacking/experimenting with overdubs etc.

.... or something like that.

That may be, but if he wrote this on guitar, I'm stunned.  I'll tell you why.

I'm sure you're right here. I think I was just so surprised to even hear and acoustic guitar on this!!

Between the complexity of the chords and murkiness of the mix, this is easily THE MOST difficult Beach Boys song I have ever had to work out.  In fact, the thing made no sense to me at all until I stopped thinking about the relationships of the chords and started thinking about the SHAPES of the chords.  So much of this song is just certain chord formations moved up and down on the keyboard, or clustered chords where only one note shifts, while picking a note in the bass that clashes as much as possible.  The song simply doesn't make sense any other way then moving your hand around on a keyboard.  The chords are just that weird and they're impossible to keep straight without thinking of them visually as opposed to harmonically.  For me, anyway.  

So it's hard for me to believe that Carl wrote it on guitar and then figured out these bizarre voicings that never would transpose to or from guitar (or at least I wouldn't think they would).  Also, in the bridge, the foundational chord structure is gone in this mix.  You hear the synth flourishes but no chords.  That suggests to me that it's not that the basic keyboard bed wasn't recorded yet, but that it was mixed out (evidence of this is that I do hear a couple of notes of the Wurlitzer at one point on this mix).

So I vote remix for this.  It's pretty cool, anyway.
[/quote}



I think I was just so surprised to even hear an acoustic guitar on this, that my mind immediately just took that more typical route!

Listening it it now: Damn, was Carl in an MUSIC STORE when recording this and just walking past whatever instrument caught his eye and trying it out on the track?Huh

Also, who's playing drums on this? Is it one of Dennis'  "one-handed" drum appearances ala SDT, or is it Carl? It's a really deep nice pocket, so I have no idea!

Either way, my mind can't get around this song! I simply need to know what was recorded first!!! Should I assume piano by Carl alone?
« Last Edit: February 08, 2011, 07:39:55 PM by Erik H » Logged
adamghost
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« Reply #27 on: February 09, 2011, 12:03:54 AM »

I think Carl's pretty much everything on this track, drums included.  It's becoming more established that Carl did play rudimentary drums on occasion. The BBs (including Brian, supposedly, if David Marks is to be believed) do figure in on the backups.

Someone correct me if I'm wrong on this.
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« Reply #28 on: February 09, 2011, 12:08:06 AM »

I knew that this was on the EH dvd, and that it was probably a 5.1 mix. I was all set to post it on here. I finally knew something AGD didn't. But somebody beat me to it. Damn it.  Grin
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« Reply #29 on: February 09, 2011, 01:43:40 AM »

For curiosity's sake I had a bit of fun extracting the separate elements of the 5.1 EH mixes last year, although now I'm not even sure how I did it! IIRC the later tracks were the more revealing. This version of LPR sounds to me like the front left channel of the surround mix. Someone posted the centre mix of Surf's Up on Youtube awhile back which was quite interesting, although it's been taken down.
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« Reply #30 on: February 09, 2011, 02:33:34 AM »

For curiosity's sake I had a bit of fun extracting the separate elements of the 5.1 EH mixes last year, although now I'm not even sure how I did it!

Story of my life. Worked out how to do cold fusion in my microwave one afternoon, just going to write it down, phone rang and by the time I got rid of them, forgot how I did it.
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« Reply #31 on: February 09, 2011, 05:50:53 AM »

I'm sure Adam can expand on this in greater detail, eloquence, and from more informed experience, but to my ears what Carl did was record an acoustic guitar foundation track either by himself, or with some sort of rudimentary time keeping thingy, a metronome or something he programed with the same box that they used for the "drums" on Till I Die.... and sang along with a scratch vocal track and then built the recording up around that and this is an in-progress mix while still stacking/experimenting with overdubs etc.

.... or something like that.

That may be, but if he wrote this on guitar, I'm stunned.  I'll tell you why.

I'm sure you're right here. I think I was just so surprised to even hear and acoustic guitar on this!!

Between the complexity of the chords and murkiness of the mix, this is easily THE MOST difficult Beach Boys song I have ever had to work out.  In fact, the thing made no sense to me at all until I stopped thinking about the relationships of the chords and started thinking about the SHAPES of the chords.  So much of this song is just certain chord formations moved up and down on the keyboard, or clustered chords where only one note shifts, while picking a note in the bass that clashes as much as possible.  The song simply doesn't make sense any other way then moving your hand around on a keyboard.  The chords are just that weird and they're impossible to keep straight without thinking of them visually as opposed to harmonically.  For me, anyway.  

So it's hard for me to believe that Carl wrote it on guitar and then figured out these bizarre voicings that never would transpose to or from guitar (or at least I wouldn't think they would).  Also, in the bridge, the foundational chord structure is gone in this mix.  You hear the synth flourishes but no chords.  That suggests to me that it's not that the basic keyboard bed wasn't recorded yet, but that it was mixed out (evidence of this is that I do hear a couple of notes of the Wurlitzer at one point on this mix).

So I vote remix for this.  It's pretty cool, anyway.
[/quote}



I think I was just so surprised to even hear an acoustic guitar on this, that my mind immediately just took that more typical route!

Listening it it now: Damn, was Carl in an MUSIC STORE when recording this and just walking past whatever instrument caught his eye and trying it out on the track?Huh

Also, who's playing drums on this? Is it one of Dennis'  "one-handed" drum appearances ala SDT, or is it Carl? It's a really deep nice pocket, so I have no idea!

Either way, my mind can't get around this song! I simply need to know what was recorded first!!! Should I assume piano by Carl alone?


Brian has stated that he wrote "Til i Die" in a similar fashion, by moving his hands into different geometric shapes on the keyboard.  As for the acoustic guitar:  I've always been able to hear it in the official mix, just really subtly in the verses (especially the second verse, I think).   And as for the instrumentation, Mike introduces the song on one of the concert tapes from the era (Carnegie Hall, Sept. '71 IIRC), and says Carl pretty much played everything on it (I think he specifically mentioned guitar, piano, percussion, etc.).  On the AFM sheet, Carl's name is listed seven times, once for "Piano", then O.D. Guitar, O.D. Moog, O.D. harpsichord, O.D. Percussion, O.D. Drums, and O.D. Organ.  VERY strange way of filling it out, and I haven't seen any other AFMs done up like that!
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aeijtzsche
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« Reply #32 on: February 09, 2011, 07:02:03 PM »

Interesting about the AFM sheet, Craig.  I guess Carl just wanted to get paid for the coveted sextuple.  I will have to see if I still have a track-sheet for this.  Remarkable how the track retains a fairly cohesive, group sound, even though it is mostly OD work.
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