New Brian Wilson song just premiered on radio

[Wylson]

Brian is one hell of a vocal coach if he can get people to sing a completely straight note with no pitch variation at all

[JohnMill]

I liked it.  In fact it's absolute ear candy.  Everytime you forget how amazing that Beach Boys blend (even without M&B here) can be it comes right back and surprises the heck out of you.  If the rest of the record is anything like this I think we are in for a treat!

[Rocker]

Thank you for the link!

I like it. It has a sentimental sound with cool harmonies that - yeah it has to be said here - would have made this an interesting song for the Beach Boys.

Who does the falsetto? This doesn't sound like Jeff.


Thanks for the song Brian, Al and Dave!

[the professor]

Professor just hearing this for the first time: total Hawthorne reunion! Well,no Mike.  I love Dave's guitar,and whoever does not......well, I am baffled.

Chorus goes on a bit too long--or rather the chorus repeated as an extended bridge before the solo goes on a few bars too long. Dave's outtro is great.  Listen, this is not some revolutionary new sound nor some philosophical statement like Summer's gone, but I would listen to 5 albums full of BW, AJ, and DM playing together. Mike and Bruce on this? I wish. Mike and Brice on Our Special Love? I wish.

all this makes me want a new BB album with all the boys together.

love David's parts! what a joy to see the Lost BB found again and again!

 

[doc smiley]

Have to wonder who's on top of the mix?  Is it Brian Eichenberger, cause it doesn't really sound like Matt. Mind you, I haven't heard Matt doing much over the last few(ish) years so maybe his voice has changed a bit.

Still, I love the song, a wonderful 2:40 of ear candy  

[pixletwin]

I liked this track too.... In a L.A. Kind of way.

[baseball95]

Out of the songs I've heard from the album id definitely rate it below Saturday Night and Our Special Love. But still a solid song nonetheless!

[Dancing Bear]

I never cared much about Lay Down Burden. This one isn't bad but doesn't spark either.

Waiting for the rest of the tracks.

[puni puni]

It amazes me how everybody is now an expert on recording techniques and really has better  taste than Brian Wilson whenit comes to producing a song.

Brian just came here a few weeks ago to state that he dislikes the sound of hi-hats, so I'd say he has pretty good taste, and that his true preferences may not account for the (in my opinion) 1970s schlock rock arrangement on this track.

I'm sure the album will have stronger material.

[guitarfool2002]

Brian is one hell of a vocal coach if he can get people to sing a completely straight note with no pitch variation at all

I'd suggest listening to the Pet Sounds Sessions for one, then some of the comments from Carl, Dennis, Bruce, Mike, etc regarding how Brian would have them sing parts in the studio over and over again until it was just right. Listen to some of the longer sustained notes sung by various Beach Boys on those 60's records, like Mike on "That's Not Me", the various voices that "answer" Brian's falsetto on the vocal break of "You Still Believe In Me", and some of the vocals-only remixes that have appeared. On a majority of those 60's vintage tracks, if you applied Autotune or other software it wouldn't even trigger in noticeably on the notes because it wouldn't detect anything as being "out", enough to trigger the digital process to correct it. The only way you could have an audible Autotuned effect on most of Pet Sounds, for example, would be to deliberately program it to trigger in another key. The notes as is are/were right on the money for the most part. And that includes taking the correct breath before sustaining one of the longer-held notes to avoid flatting that note before the next phrase.

Unless someone had access to a time machine, hopped in that time machine carrying some version of Antares AutoTune software or rackmount effects unit or other effects, hopped into Western's control room, hooked it up for mixdown, then hopped back in the time machine and came back...

...how would they be able to get those completely straight notes on an album like Pet Sounds 40 years before Autotune was developed? Maybe the Beach Boys in those interviews and comments have the ultimate answer when they say they would sing these notes and phrases until it was just right.

And based on what at least one of the artists who sang on the upcoming album has said about the recording process for the new tracks in a television interview, Brian Wilson still does the same thing regarding singing on pitch in the studio. Take after take until it's right. Calling out flat or off-pitch notes from the control room. Just like the 60's.  

[Ray Lawlor]

Brian is one hell of a vocal coach if he can get people to sing a completely straight note with no pitch variation at all

I'd suggest listening to the Pet Sounds Sessions for one, then some of the comments from Carl, Dennis, Bruce, Mike, etc regarding how Brian would have them sing parts in the studio over and over again until it was just right. Listen to some of the longer sustained notes sung by various Beach Boys on those 60's records, like Mike on "That's Not Me", the various voices that "answer" Brian's falsetto on the vocal break of "You Still Believe In Me", and some of the vocals-only remixes that have appeared. On a majority of those 60's vintage tracks, if you applied Autotune or other software it wouldn't even trigger in noticeably on the notes because it wouldn't detect anything as being "out", enough to trigger the digital process to correct it. The only way you could have an audible Autotuned effect on most of Pet Sounds, for example, would be to deliberately program it to trigger in another key. The notes as is are/were right on the money for the most part. And that includes taking the correct breath before sustaining one of the longer-held notes to avoid flatting that note before the next phrase.

Unless someone had access to a time machine, hopped in that time machine carrying some version of Antares AutoTune software or rackmount effects unit or other effects, hopped into Western's control room, hooked it up for mixdown, then hopped back in the time machine and came back...

...how would they be able to get those completely straight notes on an album like Pet Sounds 40 years before Autotune was developed? Maybe the Beach Boys in those interviews and comments have the ultimate answer when they say they would sing these notes and phrases until it was just right.

And based on what at least one of the artists who sang on the upcoming album has said about the recording process for the new tracks in a television interview, Brian Wilson still does the same thing regarding singing on pitch in the studio. Take after take until it's right. Calling out flat or off-pitch notes from the control room. Just like the 60's.  

This !

[Matt H]

Ray,

Is this a lead single, or did these DJs just get a copy of the album and decide to play this song?  Do you know if there will be a lead single, and when it will be released?

Thanks,
Matt

[ForHerCryingSoul]

Brian is one hell of a vocal coach if he can get people to sing a completely straight note with no pitch variation at all
And based on what at least one of the artists who sang on the upcoming album has said about the recording process for the new tracks in a television interview, Brian Wilson still does the same thing regarding singing on pitch in the studio. Take after take until it's right. Calling out flat or off-pitch notes from the control room. Just like the 60's.  

That's really interesting!  I can see it now, I think you can even see it a little bit on the That's Why God Made the Radio promo videos.  I will however stand by my belief that there is some pitch correction software being used during post-production on this new album.   

[Ray Lawlor]

Ray,

Is this a lead single, or did these DJs just get a copy of the album and decide to play this song?  Do you know if there will be a lead single, and when it will be released?

Thanks,
Matt
[/quote

[adamghost]

Some of the comments comparing/equating/confusing/substituting pitch correction to/for Brian's recording techniques in the '60s are...well, interesting.  Guess I'll leave it at that.  As has been implied, if we weren't actually in the studio leaning over someone's shoulder, it would be impossible to intuit from mere listening how things were done, no matter how good one's ears are.  I guess.

The falsetto on this is fabulous. I wonder if it's the new guy?  Best I've heard in yonks.

The - um - well since it's a hotly debated topic, I will say what I perceived to be pitch correction on the band and in particular on Al's voice on the last album marred my enjoyment of same, and I am not a fan of pitch correction as "the sound" of current pop radio at all.  To me, it sucks the life out of everything.  Having said that, within those perimeters this one doesn't sound that egregious to me -- Joe Thomas' (for that matter, most current pop producers') engineering choices aren't to my taste, so I guess I was prepared for worse -- and I found the vibe and chord progression intriguing.  It's very early '70s Carole King-y with an ever so slight hint of the HOLLAND sound.  

I don't think hardcore Beach Boys fans are the target demo for this tune, but I think there is stuff here to like.

[Autotune]

Brian is one hell of a vocal coach if he can get people to sing a completely straight note with no pitch variation at all

I'd suggest listening to the Pet Sounds Sessions for one, then some of the comments from Carl, Dennis, Bruce, Mike, etc regarding how Brian would have them sing parts in the studio over and over again until it was just right. Listen to some of the longer sustained notes sung by various Beach Boys on those 60's records, like Mike on "That's Not Me", the various voices that "answer" Brian's falsetto on the vocal break of "You Still Believe In Me", and some of the vocals-only remixes that have appeared. On a majority of those 60's vintage tracks, if you applied Autotune or other software it wouldn't even trigger in noticeably on the notes because it wouldn't detect anything as being "out", enough to trigger the digital process to correct it. The only way you could have an audible Autotuned effect on most of Pet Sounds, for example, would be to deliberately program it to trigger in another key. The notes as is are/were right on the money for the most part. And that includes taking the correct breath before sustaining one of the longer-held notes to avoid flatting that note before the next phrase.

Unless someone had access to a time machine, hopped in that time machine carrying some version of Antares AutoTune software or rackmount effects unit or other effects, hopped into Western's control room, hooked it up for mixdown, then hopped back in the time machine and came back...

...how would they be able to get those completely straight notes on an album like Pet Sounds 40 years before Autotune was developed? Maybe the Beach Boys in those interviews and comments have the ultimate answer when they say they would sing these notes and phrases until it was just right.

And based on what at least one of the artists who sang on the upcoming album has said about the recording process for the new tracks in a television interview, Brian Wilson still does the same thing regarding singing on pitch in the studio. Take after take until it's right. Calling out flat or off-pitch notes from the control room. Just like the 60's.  

I dig what you say. Brian worked hard to achieve the best possible performances. He was not, however, a perfectionist in a contemporary way, I think. Of course, he used the technology he had to his advantage, but part of the reason he produced so much music and of such a great quality in a short time had to do, for me, with the pace he worked at, even if meant having to live with some mistakes or shortcomings. For instance, Brian + Joe 2015 would probably pitch-correct or re-record Brian's vocals for You Still Believe in Me. There's plenty of flat notes, easily noticeably in the voice-only track. Of course Brian knew that it wouldn't be of importance against the track once the vocals were doubled. But still, certain things that wouldn't be accepted today on an AC recording were part of the working day for Brian.

[Rich Panteluk]

I believe this is Matt Jardine on the high parts here.  Evidence being that the album was fully recorded before Eichenberger joined the band.  Jeff is on the record NPP but that sure doesn't sound like him on this track.  Also, during the live show in Vegas' performance of the song Matt Jardine was singing the high parts.

[Gregg]

Sounds like Matt to me as well. Besides the evidence that Rich states, just listen to the blend of the high voice with Al's part right below. It sounds like an extension of Al's voice into a higher register. That genetic thang.

[timbnash68]

Those guitar licks have no place in a Brian Wilson production.

I completely disagree. I love David Marks playing! It sounds to me like a Fender Telecaster, very Ventures meets  David Marks. It reminds me of a very blues oriented David Marks,who used to play guitar in The Beach Boys when he was like 11. And now he's lived his life and has an actual style. I think he fits very well! Great job Brian including him on your new album.

[Lee Marshall]

Well...it ain't carrots or celery.   Guitars-Shmitars. 

Hard to believe David...or Brian...progressed beyond the Surfin'  USA album.   

The freekin' 'nerve'!!! 

[the professor]

As much as the Professor wants a new BB album, for a 100 reasons, hearing Dave play so meaningfully and beautifully with B and A is just as good, since the song is good, and they seem emotionally pleased with the work. I would love to hear the three interviewed about their 2 songs, and I'm sure they would tell M and B, "come on back and be with us!"

[Pretty Funky]

Those guitar licks have no place in a Brian Wilson production.

I completely disagree. I love David Marks playing! It sounds to me like a Fender Telecaster, very Ventures meets  David Marks. It reminds me of a very blues oriented David Marks,who used to play guitar in The Beach Boys when he was like 11. And now he's lived his life and has an actual style. I think he fits very well! Great job Brian including him on your new album.

Just the right level and style for the song IMO. Often a solo is so over blown it ruins a tune but this hits the spot.

[Lee Marshall]

Let me suggest that anders wyller ...in making what looks to have been only his 15th post here...really gave us something cool to listen to and to talk about today.  He dropped the song on us...made one more comment...and left.

Hey... ... ...ANDERS... ... ...T H A N K  .  Y O U.

[donald]

Has a sound that I would compare to a cross between imagination and the 2012 lp.   and I couldn't help but recall the song Night Time from the 88 Wilson LP.   this is very  MOR and hooky.    I anticipate hearing this later as background in a movie or at the supermarket.  In a good way.   sounds a bit dated but then so are the fans and the artist.   don't know a damn thing about auto tune but I do know raw and real from overproduced.     I will buy the lp.   

[Mark H.]

Meat and potatos BW post 1995.  Nice and pleasant - sounds kind of like the theme to a TV show.