Guess You Had To Be There

[Pretty Funky]

I don't have a problem with autotune on new work I guess but I personally think it should not be used for 'live' albums. Case in point, the C50. Over 70 concerts and not a half way decent version of every song....once? Bullsh!t.  

[Summertime Blooz]

Re: autotune. Some people are just blessed with really good pitch. If there is any pitch correction here it's very minimal, and that goes for Brian too. But to get away from the autotune debate... I'm so grateful that Brian regained his ability to sing "sweetly" again. His tone sounds so clear here, it's amazing. I can't remember the last time he sounded so comfortable and confident on a track. Listen to the way he sings "sharing" on the 2nd chorus. Or the way he comes in on "everything I ever wanted". Or "sippin on a new wine". He sounds so much better than the majority of the stuff he's put out in the past 40 years. His vocal swag is back!! He sounds 20 years younger than he did on Orange Crate Art. THIS is what "old" Brian should sound like. He's back on track guys. BRAVO BRIAN!

You're right. Brian just just sounds great on this track. The production is just fabulous. It's a shame the Musgrove sections detract so badly from what might've been something truly great. Surely, a re-record along the lines of Isn't It Time is warranted.

[seltaeb1012002]

Re: autotune. Some people are just blessed with really good pitch. If there is any pitch correction here it's very minimal, and that goes for Brian too.

The autotune debate has shifted though. It's no longer just a crutch for mediocre singers. Excellent singers are subjected to it too, simply because it's so en vogue and because it's just there to use. That's what's particularly frustrating (e.g. "From There to Back Again").

Sorry guitarfool2002, not to stir this up but, I agree the tuning on From There To Back Again was overkill in certain spots. Only certain spots. I don't think they intentionally wanted it to sound robotic though. As someone who works with autotune / melodyne on a daily basis, I can tell you it's really easy to get carried away and want things to be "perfect". There's a very thin line between natural and robotic tuning. It could've been done by an engineer who isn't familiar enough with vocal tuning to know when to scale it back a bit. And I doubt Brian would veto perfect pitch.

Also we don't know how many takes Al did, or was willing / had time to do. Al's amazing, but none of these guys are perfectly in tune anymore. Just listen to the live shows. So if some of the takes weren't on point, especially on straight held out notes with no vibrato, it's so so easy to slip into robot mode when tuning.  One would need to take extra special care to get it sounding natural, and even then it won't be completely unnoticeable. Stuff like budgets & deadlines, or lack of really caring could prevent that from happening.

That said, I think 'they' heard us because the stuff I'm hearing from NPP sounds a lot more natural. I'm sure there's tuning on every track - not for the sake of being cool, but to get things sounding really tight - and it sounds like they took good care this time around to not have it all sounding super robotic.   

Re: autotune. Some people are just blessed with really good pitch. If there is any pitch correction here it's very minimal, and that goes for Brian too. But to get away from the autotune debate... I'm so grateful that Brian regained his ability to sing "sweetly" again. His tone sounds so clear here, it's amazing. I can't remember the last time he sounded so comfortable and confident on a track. Listen to the way he sings "sharing" on the 2nd chorus. Or the way he comes in on "everything I ever wanted". Or "sippin on a new wine". He sounds so much better than the majority of the stuff he's put out in the past 40 years. His vocal swag is back!! He sounds 20 years younger than he did on Orange Crate Art. THIS is what "old" Brian should sound like. He's back on track guys. BRAVO BRIAN!

You're right. Brian just just sounds great on this track. The production is just fabulous. It's a shame the Musgrove sections detract so badly from what might've been something truly great. Surely, a re-record along the lines of Isn't It Time is warranted.

You think so? Never heard her before, but I really like her tone. I think she's clearly above your everyday female pop singer, vocally. But yeah, great production. So many light years away from Imagination JT on many levels. 

[the professor]

The Professor loves this song and calls it "bright and bouncy." This is a great album; I predict massive chart success and some grammys.

[runnersdialzero]

Yes and as stated vocal stacking or multi-tracking was used, not auto-tune.

You don't know that.

[♩♬🐸 Billy C ♯♫♩🐇]

Really nice song, and catchy as hell.

And for the record, that's not autotune...that's judicial use of plate reverb.

[Micha]

Do we know, by any actual source, how much Thomas has had to do with the production/mix of this album?

So we have identified Thomas as the auto tune guy? Really? TWGMTR was executive produced by Mike Love. Produced by Brian Wilson.  I guess Thomas is the guy that steals the tracks in the middle of the night, gets no production credit and auto tunes the vocals? That makes sense!  All while Mike and Brian are in the studio together writing Little Deuce Coupe Part II !  Seriously, Ive read in several recording mags that as guy named Siedleman is touting that he recorded Brian or The Beach Boys. He goes in to great detail about what microphones he is using etc. Whats his story?

Mike Love, as far as I know, is the only member of the Beach Boys to actually ever utter the word "autotune" in an interview. To ever address the existence of autotune on planet Earth, and most certainly the only BB to mention it in relation to BB music. On one hand, I respect that someone in the band mentioned it... despite that, the fact is that I believe the context of when he mentioned it was most likely a lame underhanded dig at finding fault in Brian's new music (in order to downplay its greatness, since it doesn't have Mike Love on it). But I doubt that Mike would have ever objected to the use of autotune on his own vocals, especially if it meant having to do less vocal takes and less time in the oh-so-laborious-for-him studio.

Consider this: Your post is a lame underhanded dig at finding fault in everything Mike says or does. I doubt that you would have ever objected to any other BB member saying something that many posters here actually agree with him about. I'm so tired of this. Why don't you folks just create your own finding fault in Mike thread, discuss your issues there and leave the other threads, those that aren't about Mike at all, alone with that subject?

[MyDrKnowsItKeepsMeCalm]

Half of this board thinks they're the Sherlock Holmes of autotune. I couldn't give a tuppenny f*** if Brian wants to use modern effects, enhancements or techniques. He's Brian Wilson, I'm not, he knows what he wants his records to sound like. Do these people go to magic shows with the sole intention of figuring out the illusions too? Personally I like to be swept away by the song, it's content and so on. You know, what do the kids call it...er...enjoying it?

+1

[Autotune]

Do we know, by any actual source, how much Thomas has had to do with the production/mix of this album?

So we have identified Thomas as the auto tune guy? Really? TWGMTR was executive produced by Mike Love. Produced by Brian Wilson.  I guess Thomas is the guy that steals the tracks in the middle of the night, gets no production credit and auto tunes the vocals? That makes sense!  All while Mike and Brian are in the studio together writing Little Deuce Coupe Part II !  Seriously, Ive read in several recording mags that as guy named Siedleman is touting that he recorded Brian or The Beach Boys. He goes in to great detail about what microphones he is using etc. Whats his story?

Mike Love, as far as I know, is the only member of the Beach Boys to actually ever utter the word "autotune" in an interview. To ever address the existence of autotune on planet Earth, and most certainly the only BB to mention it in relation to BB music. On one hand, I respect that someone in the band mentioned it... despite that, the fact is that I believe the context of when he mentioned it was most likely a lame underhanded dig at finding fault in Brian's new music (in order to downplay its greatness, since it doesn't have Mike Love on it). But I doubt that Mike would have ever objected to the use of autotune on his own vocals, especially if it meant having to do less vocal takes and less time in the oh-so-laborious-for-him studio.

Consider this: Your post is a lame underhanded dig at finding fault in everything Mike says or does. I doubt that you would have ever objected to any other BB member saying something that many posters here actually agree with him about. I'm so tired of this. Why don't you folks just create your own finding fault in Mike thread, discuss your issues there and leave the other threads, those that aren't about Mike at all, alone with that subject?

Best. Post. Ever.

This should be part of the board's guidelines.

[HeyJude]

I agree... Why are we assuming that Joe is responsible if it's something we don't like? Brian likes vocal effects? Double-tracking, echo, etc. Why not auto-tune (or whatever this is)? Maybe not everything he does is to the fans' taste.

I agree that it’s difficult to pinpoint an exact person who would or could be responsible for any autotune. I think Joe Thomas is one of very few candidates (the live C50 album is probably the most damning potential evidence), and I don’t think for instance that we shouldn’t wonder if it’s Thomas simply because he’s not technically a “co-producer” on TWGMTR for instance. I can’t be the only one to find the “Recorded by” credit a bit odd, especially for a studio album. I’m sure it’s not an unheard of credit. But typically, there are “producers” and “engineers” (and second or assistant engineers, etc.). The “Recorded by” credit reads to me like a concession for someone who wants a credit above “engineer” but who, for whatever reason, is not getting an actual co-producer credit.

In any event, the continual conflation of “other” studio effects Brian has used in the past and autotune, while certainly a conflation that anyone is allowed to make, is I think the source of why someone might not understand why some listeners find autotune unpleasant. To some, it’s a different ball of wax. While it is being ostensibly used as an “effect” (though I think some *do* still use it cover up wonky singing, or even actual pleasant imperfections in singing), the ubiquitous nature of its use (both in the industry as a whole and how it impacts individual albums or songs) is something that some simply find unpleasant to a degree far beyond something like “oh, they used too much echo there” or “that guitar would have sounded better dry rather than run through a Leslie speaker” or “they should have used an old ribbon mic on that track”, etc.

Also, and this may be a very fine distinction, some who don’t like some aspect of a recording aren’t attacking Brian (or whoever) for it, and, aren’t even advocating that it shouldn’t have been done. They are simply saying “I don’t care for that autotune”, or whatever the aspect is. The same as the ZILLION times on this and every other music board where somebody said they don’t like a song, or a riff, or a vocal. It’s what we do here. We talk about stuff. Yes, the autotune thing has become a loaded question, but maybe there’s a reason for that. Maybe, for some, it *is* something a bit more worth pointing out than “they should have mixed up the piano during that section.” 

[HeyJude]

Yes and as stated vocal stacking or multi-tracking was used, not auto-tune.

You don’t know this. I don’t know this. I don’t even say this is a way to subtly imply *I* think autotune was definitely used. But nobody here has engineered the sessions. I don’t think anyone has definitely said they know that no engineers at any point used any sort of pitch correcting plug-in on any song on the album.

Vocal stacking and multi-tracking *do not* always produce the same effect as autotune, nor does the use of vocal stacking and multi-tracking preclude the use of autotune. You can double track a lead vocal and still put autotune on one or both of those vocal tracks.

[MarcellaHasDirtyFeet]

The Musgrave vocal sounds a bit odd, but I would also agree that it sounds like more of a case of a "wall of Kaseys" than anything else. Brian's vocals throughout the songs we've heard so far-- and Al's and Blondie's, as well-- all sound great. None of the over-processing heard on TWGMTR. Perhaps Brian had more time and more willing participants this time around, and was allowed to be as demanding as he wanted and therefore didn't have to resort to as many digital tricks?

Love love love this song. Modern, but also distinctly BW. I despise modern country, but Brian clearly knew how to use Musgraves' voice to bring out the best. I like that he's using other singers. He's all over these tracks on backgrounds, and it's just such a neat, and realistic, approach to making a fully satisfying recording.

[HeyJude]

I'm sick of hearing about autotune in these threads. I'm not surprised others are expressing frustration too, it's not being "indignant" at all to push back at this regular flogging of the autotune subject. Put me at the top of the list, I've had it. When there are specific mentions of autotune not being used and backed up both by engineers who work with it regularly and in some cases some people who know exactly what was or wasn't done, and it's still "up for debate", it gets my blood pressure up. And I don't need that.  

2+2=4, some things like this either are or they aren't. Simple as that. If it's too difficult to accept others' words not to mention professional opinions on these things, then it's like trying to prove 2+2 does not equal 4. Don Quixote had a better chance with those windmills.

And honestly I think (though I may be wrong) a good number of people here are sick and tired of having "autotune" show up in these threads which does take away from the actual song discussion when people are getting excited about hearing something for the first time.

CenturyDeprived, TimbNash, 18thOfMay and a few others I'm missing...100% right on and I agree with what you're saying, I couldn't agree more. Enjoy the song and share the enjoyment with others, that's the best part of all this. Autotune doesn't amount to jack squat in the big picture of all this, and it distracts and diverts from what many probably come to these threads to do. Just my opinion, not "official" or anything of the sort, but a strong opinion at that.

What I saw in this thread was a few people who offered one-sentence descriptions that included the suggestion of autotune. I suppose folks could hedge what they say by saying “I think” rather than “it is”, but beyond that, I see some people quickly mentioning it sounds like autotune. It doesn’t even preclude someone from liking the song in question.

What I then see are much longer posts decrying the suggestion of autotune. The folks frustrated with the mention of autotune seem far more worked up about *that* than those who have said they think they hear autotune are worked up about thinking they hear autotune.

Seriously, if someone says they hate a song that’s okay, but if they say they hear autotune but still like the song, that’s more objectionable?

Seriously, the autotune thing is a legit topic, whether it was used on NPP or not. It was smeared all over TWGMTR and the C50 live album, to the point of testimonials from weird sources like Burton Cummings basically saying “Wtf?” The mere suggestion that some folks hear it on a vocal from a *guest vocalist* on NPP shouldn’t be attacked. Why is it not possible to just say “I don’t think I hear it” or something along those lines?

Seriously, I don’t think those who have uttered the word “autotune” are underhandedly trying to attack Brian.

[Autotune]

Frankly, I'm ambivalent to this new music. Having listened to the available songs already, it's possible to have a better idea of where NPP is going. I love the fact the Brian is creating new music; I appreciate the fact that this is fresh-sounding; and also that he is keeping away from production cliche/patchwork of some of his solo efforts (sleighbells, clip clops, etc.).

Having said that, I find it so hard to relate to the sensibilty of these new recordings, that I am starting to wonder if those commonplace production and arrangement traits (even if provided by deafult by his longtime band) are not part of the ethos and essence of this man's music that we all came to love. Fuethermore the problem for me transcends the arrangements into the compositions. There is a classic American feel to most of Brian's music; even his weaker efforts are usually devoid of pedestrian sentimentality and very much colored by jazzy/bluesy-flavored pathos. There is a certain joie de vivre in Brian's music, even in his most pathetic songs, that is lacking here. He may be into writing stock-and-trade sentimental music like this; or it may be Joe's sensibility as a songwriter. Whatever the reason, it is taking me long to get used to this, and I fear this may be the first totally-unrelatable BW album for me.

[HeyJude]

Half of this board thinks they're the Sherlock Holmes of autotune. I couldn't give a tuppenny f*** if Brian wants to use modern effects, enhancements or techniques. He's Brian Wilson, I'm not, he knows what he wants his records to sound like. Do these people go to magic shows with the sole intention of figuring out the illusions too? Personally I like to be swept away by the song, it's content and so on. You know, what do the kids call it...er...enjoying it?

That’s a fine position to take. But as I said before, some people are saying “autotune is on it but I still like it”, and they’re being attacked for suggesting it might be there. So it’s turning into another semantics debate about whether it’s there, as opposed to whether we like the song. There’s room for all the discussions and debates, but strong assertions that autotune definitely wasn’t used tend to undercut the argument that it doesn’t matter whether it was used.

[HeyJude]

Do we know, by any actual source, how much Thomas has had to do with the production/mix of this album?

So we have identified Thomas as the auto tune guy? Really? TWGMTR was executive produced by Mike Love. Produced by Brian Wilson.  I guess Thomas is the guy that steals the tracks in the middle of the night, gets no production credit and auto tunes the vocals? That makes sense!  All while Mike and Brian are in the studio together writing Little Deuce Coupe Part II !  Seriously, Ive read in several recording mags that as guy named Siedleman is touting that he recorded Brian or The Beach Boys. He goes in to great detail about what microphones he is using etc. Whats his story?

Mike Love, as far as I know, is the only member of the Beach Boys to actually ever utter the word "autotune" in an interview. To ever address the existence of autotune on planet Earth, and most certainly the only BB to mention it in relation to BB music. On one hand, I respect that someone in the band mentioned it... despite that, the fact is that I believe the context of when he mentioned it was most likely a lame underhanded dig at finding fault in Brian's new music (in order to downplay its greatness, since it doesn't have Mike Love on it). But I doubt that Mike would have ever objected to the use of autotune on his own vocals, especially if it meant having to do less vocal takes and less time in the oh-so-laborious-for-him studio.

Consider this: Your post is a lame underhanded dig at finding fault in everything Mike says or does. I doubt that you would have ever objected to any other BB member saying something that many posters here actually agree with him about. I'm so tired of this. Why don't you folks just create your own finding fault in Mike thread, discuss your issues there and leave the other threads, those that aren't about Mike at all, alone with that subject?

Not to derail things too much here, but are you familiar with the piece CenturyDeprived is referencing? Whether Brian has never been within a thousand feet of autotune software or if he uses autotune in the shower every day, that “interview” with Mike where he referenced autotune was most assuredly, in my opinion, a heavily backhanded, loaded statement. As I said at the time during discussion of that interview, it would be the same as Brian being asked about a new Mike album and answering “I’m sure it’ll be great, as long as Mike doesn’t reference old BB songs in the lyrics or reference surfing or beaches.”

In other words, it was an obvious dig based on previous criticisms of Brian’s (and/or Joe’s) work as well as probably contemporaneous, ongoing discussion of the song (“The Right Time”) in question.

[Paul J B]

Re: autotune. Some people are just blessed with really good pitch. If there is any pitch correction here it's very minimal, and that goes for Brian too. But to get away from the autotune debate... I'm so grateful that Brian regained his ability to sing "sweetly" again. His tone sounds so clear here, it's amazing. I can't remember the last time he sounded so comfortable and confident on a track. Listen to the way he sings "sharing" on the 2nd chorus. Or the way he comes in on "everything I ever wanted". Or "sippin on a new wine". He sounds so much better than the majority of the stuff he's put out in the past 40 years. His vocal swag is back!! He sounds 20 years younger than he did on Orange Crate Art. THIS is what "old" Brian should sound like. He's back on track guys. BRAVO BRIAN!

You're right. Brian just just sounds great on this track. The production is just fabulous. It's a shame the Musgrove sections detract so badly from what might've been something truly great. Surely, a re-record along the lines of Isn't It Time is warranted.

To each his own but I like her singing and I think it's great Brian has done something fresh. There will be plenty of tracks that Brian takes the full lead on. I did not realize how much better Brian is when he DOES NOT take the lead on everything until I heard TSS vs, BWPS. Same with TWGMTR. This to me is where Brian shines the best... his arrangements/songs/collaborations... and lots of other great voices.

This record has a modern feel to it and there is nothing wrong with that. It's 2015 not 1967.

[job]

Frankly, I'm ambivalent to this new music. Having listened to the available songs already, it's possible to have a better idea of where NPP is going. I love the fact the Brian is creating new music; I appreciate the fact that this is fresh-sounding; and also that he is keeping away from production cliche/patchwork of some of his solo efforts (sleighbells, clip clops, etc.).

Having said that, I find it so hard to relate to the sensibilty of these new recordings, that I am starting to wonder if those commonplace production and arrangement traits (even if provided by deafult by his longtime band) are not part of the ethos and essence of this man's music that we all came to love. Fuethermore the problem for me transcends the arrangements into the compositions. There is a classic American feel to most of Brian's music; even his weaker efforts are usually devoid of pedestrian sentimentality and very much colored by jazzy/bluesy-flavored pathos. There is a certain joie de vivre in Brian's music, even in his most pathetic songs, that is lacking here. He may be into writing stock-and-trade sentimental music like this; or it may be Joe's sensibility as a songwriter. Whatever the reason, it is taking me long to get used to this, and I fear this may be the first totally-unrelatable BW album for me.

I hear what you're saying, but it just sounds like a a long fart to me.

[CenturyDeprived]

Do we know, by any actual source, how much Thomas has had to do with the production/mix of this album?

So we have identified Thomas as the auto tune guy? Really? TWGMTR was executive produced by Mike Love. Produced by Brian Wilson.  I guess Thomas is the guy that steals the tracks in the middle of the night, gets no production credit and auto tunes the vocals? That makes sense!  All while Mike and Brian are in the studio together writing Little Deuce Coupe Part II !  Seriously, Ive read in several recording mags that as guy named Siedleman is touting that he recorded Brian or The Beach Boys. He goes in to great detail about what microphones he is using etc. Whats his story?

Mike Love, as far as I know, is the only member of the Beach Boys to actually ever utter the word "autotune" in an interview. To ever address the existence of autotune on planet Earth, and most certainly the only BB to mention it in relation to BB music. On one hand, I respect that someone in the band mentioned it... despite that, the fact is that I believe the context of when he mentioned it was most likely a lame underhanded dig at finding fault in Brian's new music (in order to downplay its greatness, since it doesn't have Mike Love on it). But I doubt that Mike would have ever objected to the use of autotune on his own vocals, especially if it meant having to do less vocal takes and less time in the oh-so-laborious-for-him studio.

Consider this: Your post is a lame underhanded dig at finding fault in everything Mike says or does. I doubt that you would have ever objected to any other BB member saying something that many posters here actually agree with him about. I'm so tired of this. Why don't you folks just create your own finding fault in Mike thread, discuss your issues there and leave the other threads, those that aren't about Mike at all, alone with that subject?

Not to derail things too much here, but are you familiar with the piece CenturyDeprived is referencing? Whether Brian has never been within a thousand feet of autotune software or if he uses autotune in the shower every day, that “interview” with Mike where he referenced autotune was most assuredly, in my opinion, a heavily backhanded, loaded statement. As I said at the time during discussion of that interview, it would be the same as Brian being asked about a new Mike album and answering “I’m sure it’ll be great, as long as Mike doesn’t reference old BB songs in the lyrics or reference surfing or beaches.”

In other words, it was an obvious dig based on previous criticisms of Brian’s (and/or Joe’s) work as well as probably contemporaneous, ongoing discussion of the song (“The Right Time”) in question.

Indeed. The context of autotune being mentioned in that article almost seems like the subject was hinted to him by someone else. Perhaps someone on this board, or who reads this board. Because IMO, the autotune thing is something that is actually a real problem (sometimes it has been used acceptably on this band's material, while other times quite atrociously), and while this is a legit and fair thing to be criticizing, it seems Mike in the interview in question was trying very hard to find a criticism which can be considered legit and difficult to find fault with, out of revenge because he couldn't take the press release which stated that a BB album was not to be (implying that had an iota to do with it. Ahem). The irony is that I agree with him. I think autotune is uncool and shouldn't be used. However, it was all about context.

And Micha, I get what you're saying. I was not trying to derail the thread. I just thought it was worth mentioning because someone *else* in this thread brought up Mike in relation to autotune. I feel that it's a very sad bummer that Mike most likely (as evidenced by the interview in question, as well as what we are most likely to see in future interviews) will not be able to give outright praise to the album without throwing in some negative bashing about it… and my entire point is that I don't think that would be the case if he were on it. I think it's pure sour grapes, and my ultimate point is
the things he's complaining about are things that wouldn't even bother him if he were on the album, writing in his own preferred way, to begin with. I wouldn't have brought up Mike in relation to autotune whatsoever, if Mike himself hadn't brought it up in that interview.

I apologize if that was brought up in this particular thread. I was simply stating my opinion about autotune, how I agree in many ways with Mike, and how I disagree with the context in which it was brought up. The irony is that I am complaining about the very thing that you're complaining about, which is what we both feel is instances of appropriate context. If anything, both Mike and myself were wrong with regards to our context. If anything, they're both worthy of criticism.

[Micha]

Not to derail things too much here, but are you familiar with the piece CenturyDeprived is referencing?

Yes I did read it. But there's two things that bug me: First, CentDep postulates Mike's behavior when he gets to benefit himself from using Autotune and takes that as further evidence of how low down a person Mike is. Had he actually found an interview in which Mike praises Autotune, CentDep would have a legit point, but in fact he just imagines a scenario. Second, it has nothing to do with the ongoing discussion at all. He only brings the subject up to accuse Mike once more. That's what gets on my nerves. Good that Pinder didn't read that, this thread would derail instantly.

[LostArt]

Yes and as stated vocal stacking or multi-tracking was used, not auto-tune.

You don’t know this. I don’t know this. I don’t even say this is a way to subtly imply *I* think autotune was definitely used. But nobody here has engineered the sessions. I don’t think anyone has definitely said they know that no engineers at any point used any sort of pitch correcting plug-in on any song on the album.

That is correct.  Nobody here knows.  So when the very first response to the OP was "nice thanks..... now this song HAS autotune..at least on Kacey's voice it does..", instead of commenting on the song, it ruffled a few feathers.  Mine among them.  Enjoy the music, if you're able.  Yeah, you can say, I don't like the slick sounding production, or whatever...that's fine.  Or maybe, "I think I'm hearing pitch correction going on...what do you guys think?"  Then maybe we can discuss it.  Cripes, a recording engineer from Nashville came on to say that he doesn't believe pitch correction was used on this particular recording, and the response was, "How do you know...were you there when it was mixed?"  No, he wasn't there, and neither were you.  But he works in the industry in Nashville, and his words hold more weight to me than those of the average Joe around here.  So, maybe, instead of arguing about sh*t that we know nothing about, how about if we talk about the music.  We all like music, right?

[Summertime Blooz]

Re: autotune. Some people are just blessed with really good pitch. If there is any pitch correction here it's very minimal, and that goes for Brian too. But to get away from the autotune debate... I'm so grateful that Brian regained his ability to sing "sweetly" again. His tone sounds so clear here, it's amazing. I can't remember the last time he sounded so comfortable and confident on a track. Listen to the way he sings "sharing" on the 2nd chorus. Or the way he comes in on "everything I ever wanted". Or "sippin on a new wine". He sounds so much better than the majority of the stuff he's put out in the past 40 years. His vocal swag is back!! He sounds 20 years younger than he did on Orange Crate Art. THIS is what "old" Brian should sound like. He's back on track guys. BRAVO BRIAN!

You're right. Brian just just sounds great on this track. The production is just fabulous. It's a shame the Musgrove sections detract so badly from what might've been something truly great. Surely, a re-record along the lines of Isn't It Time is warranted.

To each his own but I like her singing and I think it's great Brian has done something fresh. There will be plenty of tracks that Brian takes the full lead on. I did not realize how much better Brian is when he DOES NOT take the lead on everything until I heard TSS vs, BWPS. Same with TWGMTR. This to me is where Brian shines the best... his arrangements/songs/collaborations... and lots of other great voices.

This record has a modern feel to it and there is nothing wrong with that. It's 2015 not 1967.

In fairness to Musgrave, I don't like Country, so it would have to be someone exceptional to win me over. I think her vocal lacks the needed playfulness suggested by the track. She's just not expressive.  I have no problem with the idea of guest vocalists. I think the jobs done by Nate Reuss, Sebu, and Peter Hollens were very nice indeed.

[Autotune]

Not to derail things too much here, but are you familiar with the piece CenturyDeprived is referencing?

Yes I did read it. But there's two things that bug me: First, CentDep postulates Mike's behavior when he gets to benefit himself from using Autotune and takes that as further evidence of how low down a person Mike is. Had he actually found an interview in which Mike praises Autotune, CentDep would have a legit point, but in fact he just imagines a scenario. Second, it has nothing to do with the ongoing discussion at all. He only brings the subject up to accuse Mike once more. That's what gets on my nerves. Good that Pinder didn't read that, this thread would derail instantly.

I'm with Micha. Why on earth should the fact that Mike is supposedly unable of praising NPP be brought up in this thread?

[Steve Latshaw]

1.  Brian was one of the first to pioneer the use of new studio technology - always pushing the envelope.  Whatever the tools.  Decades ago he'd cut vocals in a lower key and speed them up to make the voices sound younger, something the Beach Boys have continued to do (California Dreamin).  All kinds of tricks at play in Smile and everything else.  While I take exception to auto-tune on the recent live album (the live version of Don't Back Down wins the award for the worst BB live recording ever), if it's at play here, I don't care.

2.  The song sounds GREAT, catchy, can't stop listening to it.

3.  No one has yet commented on the lyrics.  Is this Brian's subtle take on the 2012 reunion ending?

4.  The link from Esquire seems to have gone away.

[Wirestone]

4.  The link from Esquire seems to have gone away.

Still there, still working. Listening to it now.