I have that interview, it's in RayGun magazine.  Another strange part is when Sean Lennon says, "Sometimes I wish my dad were still around to give me input on songwriting," and BW just says, "Yeah."

I'm a Gemini too (for what it's worth...I don't know about all that stuff).  I also have a huge problem finishing projects, and furthermore, I'm a really really really slow worker. 

Right now I'm producing a short film that I wrote in May.  So in 4 1/2 months, all I've done is cast 9 actors, held a couple read-throughs, and bought a few costumes.  What a disappointment.  Maybe y'all are the same way, but I'm also obsessive about things so now I'm focusing on channeling my obsessiveness toward my work ethic and ability to complete this project.  At least I can say that, while the movie is going slowly, it is going steadily.

For me, it's important to want to work.  The recent Woody Allen movie, Whatever Works, was meaningful to me because the point is, life can be a big letdown and full of turmoil sometimes, so you'd better find what distracts you and gives you a modicum of comfort and just indulge in it.  "Creation" is a healthy indulgence, the way I see it.

and I'd pretend that I'm Marilyn (although I have a chin).

That is the hardest I've ever laughed at anything on the internet. 

Old thread, I know, but I didn't see the use in a new one.  Conservation and all that.

Anyway, I've been listening to the "Definitive Burt Bacharach Songbook" and really enjoying it.  I can't believe the moods he can create with his tunes.  I used to skip a lot of the songs where the melody wouldn't strike me instantly but it unexpectedly grew on me; songs like "There Goes the Forgotten Man" and "A House Is Not a Home."  Other songs hit me right away, like I was immediately into "Tower of Strength" and "The Man Who Shot Liberty Valance."

Does anyone find Bacharach's songs on the "craftsman" side or the "inspired" side?  Obviously most successful songwriters have a little of both... I just think it's weird how some of his tunes are so natural and others -- while great tunes nonetheless -- seem more "worked on."

His songs are up with the Beach Boys in my top favorite music to listen to.  I love the Dionne Warwick and Dusty Springfield stuff (what a sensual, sexy voice).  And like I said before, I can't believe how strange of a mood his music has.  When I listen to "Always Something There to Remind Me" I feel like I'm watching a movie at the same time.  Only song I don't care for so far is "Don't Make Me Over" and it's only because I don't like the singing on the "accept me for who I am" parts.

Would you guys say that the best collection if his music is the box set?  I'm thinking about getting it.  The "Definitive Burt Bacharach Songbook" is good, but it has Gabrielle's version of "Walk on By" instead of Warwick's for some reason.

Glad I read this... I'll be seein' you at O'Malleys!

Finally gave this album a few listens.  I have to agree with what most have said about the bad production.  I'm surprised more people aren't completely put off by the lyrics.  The album would have to be a production masterpiece to make up for those lyrics.  I try to tell myself that it's no big deal, but I just can't accept that anybody would approve these words on a collection of songs.  It must have been sneaked past somebody.

Exaggerations aside, I think it's a mediocre solo attempt with some promising moments that are ultimately shot to hell by Joe Thomas' involvement.  And that's WITHOUT factoring in the lyrics.  Some of them are harmless, but some make me kind of do a mix of this:    ...Your Imagination, Lay Down Burden, and Sunshine come to mind as particularly bad.  Your Imagination and Lay Down Burden are good songs and their production would be forgiveable if the lyrics weren't so boring and unsophisticated.  Lay Down Burden is still great thanks to its hook, but you see my point.  South American is just not good all around.

I like his vocals on this album.  I dig Let Him Run Wild and She Says That She Needs Me and I think Happy Days is cool.   

Any live recording of "Darlin'" is better than the studio version...the 1980 Knebworth one always makes my playlists.

Even though most of the Knebworth "Darlin'" was post-dubbed in the studio ? Reportedly Carl's vocal and guitar are the only truly 'live' parts.

Carl's vocal is the best part of the whole thing!  No, but seriously, you ruined it for me.  I'm changing my answer to the Live in London version...are we safe on that one? 

Any live recording of "Darlin'" is better than the studio version...the 1980 Knebworth one always makes my playlists.

I was thinking, "Which melody does he need to use:  verse, chorus, bridge, second bridge, etc.".  It ended up being the "Gotta keep those lovin' good / vibrations a-happenin' with her" melody.  If I'd scripted the show, he woulda had to try a couple different ones before he got the right one! 

I was thinking the same thing! I was thinking 'What Melody do you need to use? Ahhh!!! You're not gonna make it Charlie!"

Great show.

I was thinking that too.  Then they copped out and had him punch in the code as if he was a proficient keypad player and pretended that there was only one melody to work with... not that I think the Lost writers need to spend more time on "Good Vibrations" then the episode's plot...

Yeah, that was cool.  I was hoping they would end the episode with the song.  I think it would've been effective.

Exactly the info I was looking for.  Thanks!

Just curious (if anybody happens to read this again) what it would mean to have a "'scores book'" mentioned above as opposed to this book.  Thanks.

Biden makes some comments about Obama and everything ends for him because of his shameless bigotry , but McCain makes a comment about making a hostile move on a country -- a move that indiscrimanately kills and would undoubtedly lead to the deaths of innocent people -- and he gets off with little to no backlash?    Can I chalk this one up to more inconsistencies of the American Political Mind?

For the record, neither comment bothered me at all.  I'm happy as long as we're not actually bombing Iran.  But I'm amused at the way these things unfold.

To be fair, I didn't watch the entire thing.  But my observations on what I did see:  I still support Ron Paul, and -- as I suspected, and just like the Democratic debates -- nobody else's predictable "give-'em-what-they-wanna-hear" answers jibed with me at all.  I also think the debates are structured poorly, which I attribute partly to the fact that these are Q&A sessions and are much different than a debate, but I guess that's nothing new.  These things always leave me pretty unfulfilled.  I'd like to see full on, less moderated discourse between the candidates.  I know it's unrealistic, but it's the only way I can see the party debates actually being revealing and worthwhile.

And let it be remembered that Brian isn't totally innocent in this regard. The Ringo Starr party, anyone ?

Que?  What happened?

Awesome!  Where do you record?

Terrible.  Forget the subject matter and the circumstances surrounding the book for one second -- it's still poorly composed with bad metaphors and descriptions that only serve to "inspire emotion" and stir up the drama.  However, it fails to earn any kind of sober reaction because it reads like a 13 year old girls diary!  "Nobody would listen to me!  They didn't care about my problems!  They wouldn't let me stay home when they went to Australia!"     It's embarrassing to think that people out there are under the impression that BW wrote this.

Nonetheless, I'm enjoying the book the same way I'd enjoy watching a Lifetime presentation of Brian Wilson's life, starring Lindsay Lohan as Marilyn and who cares who plays BW as long as he comes off as a vindictive little baby.

People in my school love the beach boys, I very rarely meet a hater, maybe that's because pet sounds is on our course.

Sounds like a school I would wanna attend. 

A couple of my friends got kind of into the Beach Boys after I exposed them to the stuff they weren't used to and the rest of my friends just respect my obsession but still aren't into it.  One of my friends and a co-worker both described the Beach Boys as "the Backstreet Boys/N'Sync of the '60s," however.   

I'm not sure.  The same could've been said when it was decided that BWPS would be performed and recorded.  However, there were people to share the burden with (or, I guess, as some say, others to shoulder the burden entirely and only consult BW for a "yes" or "no.")  I see "That Lucky Old Sun" as a similar situation.  Sure, it's fundamentally his creation; but if he -- and this is obviously an extreme situation -- decided it was too much work and no longer wanted any part in it besides the performance, others surrounding him would probably gladly finish it off.  This is all assuming that it's not a completed work yet, of course.

  It could be one of those things I have a blind spot for recognizing that it's bad.

noname might have been joking because he also named Sum 41. 

[please]

I can listen to, if not appreciate much of recorded music before 1970.....But after there it get's iffy, I become very selective.....Just the way the music is recorded nowadays......no foundation insturments, a gazillion distorted guitars playing the same power chords and a tambourine, and maybe a one note synth line is a clever arrangement.....Maybe its just all the alternative/emo stuff I hate...Yea, and whatever happened to hipsters liking good music, I thought they used to like jazz n stuff?....now I guess you like radiohead or something.......If you dig that stuff, fine.......but Just, please don't blast it in your car without asking me, I don't have random people in my car and start blasting "Fun, Fun Fun" or something......I just...am I tactful, or I just assume people arent going to care for my music, or I know how much it sucks to be forced to listen to unplesant music......goshdarnit.......The way the Music is recorded it hurts my damn ears.......the drums are always too damn loud.....its either that its too simple, or people are so afraid of being derivative, they have to be really damn weird for the sake of weird........Im no Nirvana fan, but has there been a classic record since nevermind......I mean a real hands down, we'll be listening to this in fifty years classic, and not just a personal favorite......I have a couple of newer albums I'vre enjoyed, but nothing I can imagine we'll be an all time favorite.....

I'm with you, man.  I'm well aware of the exceptions out there, and sure, there's some really good stuff being released in the sphere of modern pop music .  But I prefer (as stated somewhere before in this thread) those older methods of production that are so much more moving to me.  All I can hear in a lot of the music my friends are into, which would probably fall under Alternative Rock, is incoherent electric guitar and some drumming with simple bass lines.  Then there's the "singer/songwriter with a guitar" stuff coming out where a musician makes too much use of an acoustic guitar and some simple lyrics.  That, or the reggae/rap/rock vein which can be decent when it tries but was overdone for a while and has little to offer. 

I want to see a larger array of instruments.  You don't have to fit as many as possible into one production or Wall-Of-Sound the song, I just want to see more gentle, lucid combinations -- you know, more piano, horns, and violin.  On top of that, it would be nice if musicians would harmonize and explore a little more vocally.  This is also where I would ask to please tone down on the screaming.  It simply doesn't contribute anything for the most part. Use synthesizers more sparingly and with more discretion and eliminate computers except for mixing.  In essence, yes, I am asking for a return to old ways.  But that's just my taste.

I also want to say that I agree, noname.  I think Rob Thomas is somebody who's making worthwhile stuff.  He's a good lyricist, in my opinion.