The Smiley Smile Message Board

Can someone repost?  The drop box link is nolonger working?  PLEASE?!?

"Up-it Again"

http://www.mediafire.com/?idb5zes084d9jll

Thanks!

Oh my God..
Tears to my eyes..

Sorry, I need to go to replay it.

And thank you, sir.  That's a beautiful thing

Thanks again.  This looks like an early version of the video, before the parts with David Marks were added in.  Can't wait to see the finished video!  But super great to hear and see this.  Mike's vocal does sound a lot less processed than in the snippet that we got a few days ago.  

So....just wondering...where did this come from and how did we get it?

I was fearing the worse.. and i am blown away.. the harmony kicks are really groovy..

Beautiful... simply beautiful to see the Boys back together doing what they do best and apparently having a great time with each other.  I love it!!!

It's crazy some of us were worried, how can you go wrong with "do it again"

If someone doesn't dig that, well I don't know. there must be something wrong with them.


The video hits a lot of iconic places in LA of the rock scene, not really the accurate places in
Beach Boy history, like South Bay, Laurel Canyon, the old studio's, but still. Mailibu and the
Sunset strip was part of their legacy too I suppose.

Most people at 70 cant rock, and they just did, so not bad. I really look forward to the
fresh material. But its' a lot of fun watching them back in the studio, I wonder if they'll
fade or clean up that ending.

I have problems with re-recordings. I won't go into detail here.
DIA is a great song and a natural choice for more than one reason. The title probably will be the theme of the reunion tour and if you ask Mike and Brian separately both will probably tell you that it's their favorite collaboration they did together. And it's a great song (I know I repeat myself)

Great video footage. Thanks a lot

Mike's beard is really cool!  ;D

Please do not post on YouTube, etc. until the legal status is determined. I was just told that it was cool to post the link, but its clearly not a finished video cut.

I don't get into re-recordings much myself. This would be an exception
to the rule, we get to see them in the studio! with old German Microphones
and baffles! and all the implications of further "new" recordings go
through my mind as I watch them.

The whole idea of seeing them and knowing there is an album cooking
with a restored Brian Wilson at least somewhat at the helm. I have fingers
crossed Brian or Brian and Mike write at least a couple of really good tunes.

sounds good.  never been big on do it again, but it sounds great

Sounds great. 

It seems, at the time this was edited, David wasn't included.
 
Jon, any details on the David timeline here?  You've posted he is on the track.  But if he's on the track of the music we are hearing here, why wouldn't he be in this video.  Or is this not the final mix of the song?

It could very well not be the final mix - has anyone A/B'ed the snippet from the youtube vid to this? I swear the guitars sound a little different , and that 'new' harmony in the bridge is mixed lower in this 'full' version, I think.


Also, er.... does anyone know how to extract the audio from a .mov file?  ;D ;D ;D

just type in youtube to mp3 converter and you can find several free online services
that extract the mp3 and you can download it, but the quality is only around 160kpbs

Handbrake to convert it to an .MP4 and TsMuxer to demux the .AAC stream then Foobar to convert to .MP3.

There's probably a simpler way, but that's what worked for me.  TxMuxer kept crashing trying to do the demuxing on the original .MOV file.

It's interesting...Mike's voice sounds less "nasally" than he does in concert.  Live, I always thought he always nailed the vocal and always retained that register pretty well.  For some reason, on this version, he's on a lower register and less nasal....wondering if it's a physical limitation or an artistic choice? 

It's great to see Brian interact with the guys too.  He actually looks very calm and very content.  Choosing "Do It Again" was probably the best choice...it's a song both groups still perform in concert....it's a song that's already been established....all they had to do was get around a piano and get a refresher course on the parts.  No stress about artistic differences or complicated decisions to make on any "new" song....this was a great way to test the waters on their first outing together.  Looks like it went fine.   Brian may have realized at the end of the session that hanging around his old friends wasn't as bad as he thought it was going to be...

We just watched that full version od DIA (me and the wife) ......We are knocked out and are already waitiing in line to buy the lp and concert tickets!!

Uh.....where should we stand?

Thanks to the poster of that piece of Christmas joy!

Anyone hear at the end where someone says "good enough Joe"?

Is that person referring to Joe Thomas...?

A few more cool moments:

-  at 2:22 and 2:40 we see just the musicians recording their parts with Brian sitting there...overseeing everything?  This explains why he gives Mike and Bruce's drummer an "ok" sign earlier in the video at 00:10...he was probably very happy with his playing.  That's high props considering Brian is used to working with his group.

- I like that they added a "around the mic" dialogue at the end...very reminscent to the fun studio chatter we've heard in the past, most recently all over the SMiLE box set...

- anyone thrown off that the wrinkles in Mike's pop filter is sort of shaped like an outline of a palm tree/branch?

What's up with the shot of Melinda?

haha, yeah, Melinda looks so angry.

Perception is an interesting thing, to me she looks relaxed and grooving to the music.

I'm more of a Brian Wilson fan than a Beach Boys fan and I wouldn't have thought the Beach Boys would let Brian have control and that bugged me. But in this video Brian seems really confident and they're all listening to him. On top of that this track to me sounds like something Brian would be happy with, I really like it, their voices sound good, nice arrangement, good sound overall. I hope they're having as good a time as they seem to be. I'm starting to get optimistic about this album.

Not only can you tell its an early version of the video due to the absence of David Marks, but also because just about every non-Beach Boys video has 'Gatty Imgaes' scrawled all over it!

Yes, and no David Marks parking sign at Capitol Records either.  Funny how history repeats itself  :o

I think it's pretty obvious David wasn't on-board when this thing started.  Wonder who stepped up and made it happen.
Maybe the band was listening to this 'highly influential' board?

'Walks off to cry in a corner'

I think, without overblowing our own trumpet, that this board has an effect.  When it comes to fandom, we do after all have "Beach Boys" tattooed on our hearts. Well, written on the back of my essay book. In invisible ink.

I think it's odd that you see the guitar player use the whammy bar during the solo, but you can't actually hear it.

Since the original poster said it was ok to make this video public, here it is on Youtube. It may be useful if you want to share the love on whatever social network you use.

http://www.youtube.com/watch?v=wt8jFdS6Mg4

Should anyone want this removed, ask me and I'll do it immediately.

The youtube poster's video credits say the saxophonist is unknown, but it looks like Mertens to me.

As good as i could have expected, and not embarrassing at all. Let's hope the album is this classy.

The credits are what AGD posted on this very message board a few hours ago, nothing more.

I happen to read this messageboard. I also read the following messages, posted after the ones you quoted -

Only trying to be helpful, that's all…  the link repeated elsewhere was the original Dropbox link -  there was a specific request not to post to YouTube.  Only trying to be helpful…

I know, and I'm taking the risk. I've stated on this board and in the video description that I'm willing to delete this video as soon as I'm asked to do it, if I'm asked to do it. Thanks for the heads-up anyway.  :)

This video is just too good to be ignored. I think sharing it is actually a good way of promoting the reunion!

Indisputable! Happy Christmas!  ;D

David reached out to Mike by picking up the phone and calling him.

good for Mike, then.

Regarding the DIA version, it sounds just so right, so authentic, that I like to think that this was created 43 years ago just for this celebration. And that  the endless nightly performance of this song (which always remained a somewhat obscure number, never a major hit) was a long rehearsal/preparation for this moment.

These guys are fulfilling our life-long dreams. This is something we'll talk about all of our lives.

 
Oh. So the board doesn't have an effect…   I'm off back to bed…  :'(


Merry Christmas.   :'(  :'(  :'(

Even in the early years Mike always sounded much more nasal in live appearances than on the studio cuts.

Must be coincidence, but I do like the SMiLE-era outfit Bruce is wearing.

 :lol :lol :lol @ 1.01 ... Jardine standing on the box!!  :lol :lol :lol

2:58: cross-fade from Mike in the booth singing to a couple of chicks in bikinis on the beach. Is that Mike's personal vision of heaven???

I guarantee you we have an effect on them. The powers that be probably have lackeys trawling this board 24/7 looking for things that shouldn't be posted such as videos and leaked news....

Not the effect you're looking for but it's pretty funny

Thought the same thing... :lol

If that's true, it's sad.  Al plays with David all the time.  Nobody thought about including David?  So David had to call????

It probably went something like this:

"Ring, ring"

Mike: "The Lovester here"

David: "Mike, hey, it's David"

Mike: "David who?"

David: "Um, David Marks, original Beach Boy"

Mike: "Um, um....... yeah"

David: "I hear all the guys are cutting new tracks.  How come nobody called me?"

Mike: "Um, um....... yeah"

David: "I think I should be included"

Mike: "Really, hadn't thought about that. Wow, now that's a great idea. Let me run it by the other guys" (Mike thinking about how much less $ this would cost him)

David: "Super!  I'd love to be involved"

Mike: dial tone

***********

Mike calls Brian

Mike: "David called. He wants in"

Brian: "Who is this?"

Mike: "Could be some really 'bad vibrations' press if David is left out"

Brian: "David who"

Mike: "Marks. He was in the band when we started - Surfing Safari, Surfin USA, Surfer Girl.........  Lived across the street from you.

Brian: "Whatever you want Mike.  You're the Executive Producer.  Dial tone..........."

No, that's my personal vision of heaven :)

I love the tom hit on the 3 in the initial stages of the tune, they should have some percussion thing keeping that on throughout - makes it SWAGGER

Brian doesn't do anything without Melinda. She's his rock - she gets him out of bed and gives him the courage to work. 

Bruce looks so happy like he's about to s*** his pants.  I feel the same way watching this!

Mike giving Brian a back rub! Priceless!

My $650 Grand Marshal VIP ticket for New Orleans is in hand.

Hell yes. I love that tom hit also, it is one of those very subtle touches in the arrangement that adds way more than it should to the song. It is kind of cool that it is only going until the whole band comes in, but I agree that it adds swagger, especially because it goes with the vocal syllables the way it does: "it's autoMATic when I talk with OLD friends and converSAtion turns to..." etc.

As you said, hypehat, if they could emphasise those beats (the 3 beat) more throughout the song, percussively, it would be a neat trick indeed.

I love that too.

Gawd, listening to and watching this makes me happy.

Yeah I dig it too. I read a bit of the Hoffman thread on this earlier, and got kind of bummed out
because, a number of posters were saying how awful they sounded, and how the modern recording
techniques make the recording robotic, sad and unlistenable.

I wondered to myself, "are these people idiots? Have they ever made a record"

It's true they are around 70 years of age, and they don't sound like they did in
1968, but between their current motivation, and some modern recording techniques
they sound better to me now, than say in 1988-1996.

So anyway, what I'm wondering about, I love this video, and I dig the track, how
much longer before we get a second one to listen to, hopefully a brand new song.
Do you think they will let another song and video slip through in the next couple months?

I wonder if recording has progressed further than they let on, I would think they want the album
finished and available for sale, by around the time of the first show in April, and they are playing
the grammys when ? In Feb ? so I would think we would hear at least one "brand new" song by
the grammys no ? Yes?

By the way is their any other recent footage of them together? I'd like to make a temp video of
Don't Fight the sea, so I can play two new Beach Boy tracks back to back, even though I am not
so keen on Don't Fight The Sea, it actually is a new Beach Boy track sort of.

Mike hating can suck it.

I believe there's only the rooftop reunion in 2006. Maybe some of the California Hall Of Fame induction but I haven't seen any and Brian wasn't there, bruce neither.

All jokes aside, he is pretty old.  Maybe he had and was trying to hide it, lol. 

Check out Mike strutting down the hall at the beginning - does he look the man or what?!! I hope I look that cool at 70!!*








*although with more hair obviously.

I enjoy the sh*t out of "Do It Again" but I also see what these people on the Hoffman board are on about. There is pitch correction all over the track, which is a Joe Thomas trademark, and it makes some of the vocals, especially Jeff's falsetto, sound like they are being tracked with a digital synthesizer (the way Brian used to track Fender bass with double bass).

Modern production doesn't have to be overly slick and antiseptic: witness Nigel Godrich's production of McCartney's Chaos & Creation and also McCartney and Youths' production of Electric Arguments. Modern sounding, extremely professional, but not too cloyingly slick. I think The Beach Boys unfortunately have precedence for this in the era you mentioned, with BB85, BW88, and Summer in Paradise, which was way ahead of its time (about 10 years ahead) in its use of Pro Tools to make an ultra-slick, sheen recording.

This kind of technique is so common nowadays that a lot of our ears are just used to it, hence people who don't understand what these Hoffman guys are talking about with regards to "Do it Again."

Anyway, to answer your question, Mike made it pretty clear in the interview with Rolling Stone that the new album is not really underway yet. Apparently, "Do It Again" may be the only track we hear for a few months.

OHHHH, so anybody who disagrees is just IGNORANNNNNT.  Oh I gotcha. 

There's also the possibility, though, however slim, that some people haven't gotten so arrogant that they actually still ENJOY music, instead of dissecting every little aspect of how it was recorded.   

What Mike hating?

For those complaining about the sound of the new DIA, listen to the Nascar mini-release from 1998. Now THAT was a terrible sounding project.

Agree.  These guys are what, 70ish?  They aren't 26 any more.  I know 70 year olds who can barely walk, let alone sing.
The track sounds great!  It ain't gonna get any better than this.  Mike pulls it off much better than expected.

For every new BB-related release, there are like 200 posts on the use of pro Tools. Always happens.

Now the BBS are fulfilling our lifetme dreams, beyond anybody's expectation, and we got a thread on autotune and how low the bass is mixed.

I only wish our homegrown recording geniuses finish their catharsis and their self-gratifiying soon.

DIA re-release now blocked on Youtube. Ok Capitol, bring on the real-deal.

It's just frustrating to hear people disrespect the effort, and slag off the
new Beach Boys recording (DIA)

Sure I would be the first to admit they don't sound like they did in 1966, but
I thought for a bunch of 70 year old guys it was remarkable. Even if they were
fifty years old, it would have been a worthy effort to sound that good.

So there is some autotune, big deal, welcome to 2011! Just the fact that they are using
those vintage microphones, and baffles, and recording at Capitol, tells me they are doing
some things in an old school manner, they probably need the autotune so what.

They sound better at seventy on that record than 99% of recording artists half that age.

Could the new DIA have been better? Could they have picked a better guy to co produce than
Joe Thomas? maybe, So what

I hear autotune on Paul McCartney or just about anybody else, Nigel Godrich just did a better
job with McCartney hiding Paul's age, using falsetto where he would have used full voice
ten years earlier, doing the backing carefully to work with his age.

Mike Love sounded good, so did they all.

Yup. It had been uploaded by 4 different accounts, and all 4 videos are blocked.

I hate the Hoff site, but in their defense...it is an audiophile site. And I have to say the overwhelmingly autotuned Foskett is an anticlimax to an otherwise enjoyable experience. IMACO

The sound of the processing on Foskett's voice [if it is processed] does bother me but I'm willing to over look it if the treatment even makes to the album.

So if the treatment makes it to the album you'll overlook it?

What if it doesn't?

What if Jeff's horribly out of tune?

Will you be very cross?

What's 'IMACO'? Does it stand for "In My Apple Core Opinion"? :lol j/k

If you'll take your tampon out, you'll see that I was just saying these techniques are commonplace nowadays, so people are more used to them. This is a board for discussing the minutia of Beach Boys music. This includes recording and production techniques. If the discussion is too in-depth for you, or if it hurts your feelings and makes it impossible for you to enjoy the music, then just f*** off.

McCartney hasn't used auto-tune on his studio albums. Godrich and Youth did a good job by allowing Paul's voice to sound like it does at his age, naturally.

I agree that the backing instrumentation on "Chaos and Creation" suits McCartney's age well. I think the new "Do It Again" did a good job of the same with Mike and Brian's lead vocals, pitch correction or none. They sound like they do at the age they are at, and that's cool - I think age has improved Mike's voice in some ways, and Brian has gotten immeasurably better over the past decade. His lead vocal on "Do It Again" continues Brian's pattern of excellent studio leads.

The backing track also has a good, timeless feel to it, with real-sounding instruments that aren't slathered in echo (Imagination) or over-gated/compressed (Summer in Paradise).

We're all happy about the reunion and speaking for myself, I enjoy "Do It Again" a lot. Nay-sayers piss me off too, but if any bit of observation about the production of the new song affects you so much that you can no longer enjoy it, then I don't know what to tell you.  This isn't the Blue Board.

Awwww, did boots get his widdle feelings hurt?

Fact: You're acting like an ass, and just said in what I quoted, that the reason others dont' hear it is because they don't understand.  That kind of arrogant bullshit really shows what an ass 'audiophiles' can be.  Calm the hell down, get off your elitist kick, and then come back and apologize to me when you get your sh*t together.

NEXT!

By the way... Jeff sounds FUCKING FANTASTIC on this video. 

Thanks for the advice, cutie-pie. I'm going to work on getting my sh*t together, i.e. not posting anything that could conceivably disrupt your delicate sensibilities. Also, thanks for telling me exactly what I said - I'm really glad you cleared that up for me!

P.S. Life's too short for this stupid BS. You've been rhetorically bodyslammed enough so go ahead and have the last word, I won't be subjecting others to this crap any further.

Nope, I'll overlook that too. At least it will sound like a real voice. I'll be happy either way.

wtf?

Shut up, you guys!

Actually, I'd bet there's some autotune on Memory Almost Full and the other David Khane-produced record. Just a feeling.

No!

In My Always Correct Opinion

Obviously.......

I vote for letting them sound like old men because they are old men and the deal is old men getting back together to celebrate their oldness together.

There is definite pitch-correction / auto-tune enhancement on MEMORY ALMOST FULL, more blatant than what's been used on Brian's recent recordings. Not gratingly abused like on most Top 40 recordings, but there nonetheless whether it was needed or not.

This one is still alive

http://www.youtube.com/watch?v=xb6l9W_ve7o (http://www.youtube.com/watch?v=xb6l9W_ve7o)

I think the album title should be something along the lines of this post.

I don’t understand why there has to be only extremes for this autotune issue. Can’t there be some nuance to this issue? Why does it have to turn into some sort of weird anti-intellectual, “just enjoy what they’re giving you” debate?

Yes, some people are just snobby about recording techniques and “purity” of the recording. Some people do seem to listen more for audio quality than what the actual song and performance sounds like.

At the same time, one can take issue with this autotune based solely on this particular case. The issue of whether using it at all is a “cheat” or whatever is a separate issue. My issue with the autotune on in this case is that it goes beyond fixing any potential flat or sharp singing. Once you know what autotune sounds like and what it does to a vocal in some cases, it’s kind of like when you finally hear that splice in “Strawberry Fields Forever.” It’s really hard to “un-notice” it. Autotune can make a voice sound very electronic, a bit “robotic.” It sounds like a very subtle version of singing through a vocoder or something.

It’s an often-cited example, but a good one to use that Cher song “Believe.” On that song, they purposely over-applied autotune in order to get that sort of phasey/vocoder sound on her voice. Other artists have also used autotone as an “effect” rather than to cover up poor singing. In these cases, it is very similar to the 60’s recordings using flanging or phasing, etc. (... and it's use as an "effect" in "modern" recordings has itself become tiresome and annoying). 

However, when autotune is simply heavily used to provide a “note perfect” performance rather than as an effect, it can in some cases be very distracting. The degree varies from recording to recording. Producers and engineers have to know how to use this tool like any tool from any period of time.

In any event, I think it’s overkill to suggest that anybody that picks out and dislikes autotune in a recording is some sort of audiophile nerd who just nitpicks everything. Some people can hear autotune, some people can’t. But to minimize the opinion of those who can hear it and suggest they are just looking for flaws is ridiculous. I know many non-musicians, many people who aren’t involved in music in any other way other than listening to it, who can spot autotune. It not only sounds the way I described above, it also can be picked out simply by hearing something that sounds “too perfect.” It’s not about trying to deny the singing ability of someone. There are natual tones and timbres to the singers we know and enjoy, and when you know those voices well, when you know what they sound like now without autotune, then it’s very easy in some cases to tell where autotune has been used.

Having said all of that, “Do It Again” is not  “ruined” for me. It’s noticeable, that’s all, and I think it would be better both in terms of integrity and actual performance quality to not use it. I’m enjoying this re-recording. It’s exciting primarily to see and hear them sing together again; I don’t think many fans are dying specifically for a re-recording of this song. But I enjoy it, and am still hopeful a new album will sound good.

I think all the songs should be peppered with old timey catch phrases and not quite right recently past catch phrases and ought to be about prostate problems, bad backs, rude youth, dentures, lewd exaggerations about old girlfriends, way past Presidents, unintentional racism, long rambling stories about Medicare, grandchildren and the divorcee next door.

I think they should do a cover of "Sue Me, Sue You Blues".

 :-D

Are you referring to "Feet on the Ground" where it's used as a vocoder effect? I had no idea that there was any other autotune on the album. That is interesting to find out. I know he used it on "Good Evening NYC" but I didn't know he had ever used it in the studio.

While we are on the subject, I remember reading that Brian used a synclavier on BW88, and that he used it to sample and  fix bum vocal notes. Interesting stuff.

I don't use pitch correction myself but I agree that it is only a tool and there is a such thing as a happy medium. My ears seem to have a problem with it when it is at the level where it sounds like the vocal is tracked with a synthesizer - sometimes I will hear a commercial or something from the other room and for a split second I will think that an ultra-pitch corrected vocal is actually a synthesizer.

Woo Hoo!

Thank God Al Gore invented Teh Internets!

As "Hey Jude" stated, there are a lot of varying degrees in which auto-tune can be used. It is most blatant as a deliberate effect such as heard on Britney Spear's latest or on something by T-Pain. But it tends to get used on almost everything that reaches the Top 40 these days to give the vocals a real shine. This is where the application can easily be misused. A great example of a wrong-headed use was on Michael Buble's hit "I Just Haven't Met You Yet" - here's a guy who can hit the notes without any problem and, while his hit song's backing track sounds fairly organic, the vocal is doused with enough auto-tune to actually diminish his performance.

Now, McCartney's MEMORY ALMOST FULL is not nearly that bad in its use of the effect, but it's pretty obvious in "Ever Present Past" and "Mr. Bellamy" to pick two. I'm grateful that Brian's output has had a subtler use of the effect. "The Like In I Love You" is the only one were it really stands out in my mind.

Yes, it's just bizarre in this case. He literally does sound like a robot at times in the song -- and there's no reason why! It's distracting.

The worst autotuned Brian is actually not on Imagination -- it's the Bacharach collab of a few years back. And that was produced by Phil Ramone, so clearly autotune overuse isn't limited to hot new producers.

Yep, it still makes me happy just the way it is. I love when they bounce back from the mic at the end of the vocals.

Interesting. I agree about "The Like in I Love You" -  the autotune stood out to me when I first heard it. It stands out more when the rest of a production is so classicist as on BWRG. AGD said that to his knowledge there was no autotune on that song, but it really seems to kick in on the high notes. I also notice it a bit on BWPS but the echo and double tracking help to obscure it and as you said, it is used judiciously.

I love Memory Almost Full and I enjoy Driving Rain, but Kahne is a bit of a weak producer when it comes to the actual sound. I will have to listen for the autotune on "Mr. Bellamy." Godrich is a better producer and I love Chaos & Creation but I think Kahne allows McCartney to be himself more, instead of subduing his more fanciful traits as Godrich did.

I have an axe to grind with the technique because nowadays people sometimes assume that I use pitch correction on the block harmonies I do, and I never have.

Also I agree that running the vocals of a talented singer through autotune, which is often mandated at a high level by record companies/TV producers, is unnecessary. It is done for that "modern sound" regardless of whether the singer is hitting the notes, but I think in 10 years it will make current productions where it is not used judiciously sound dated, the same way recordings from the 80s and early 90s sound dated with their ridiculous gated snare sounds (I happen to like some of these sounds, but McCartney's Press to Play album is an example of this - as is "Still Surfin'" on Summer In Paradise).

For those curious about how auto-tune sounds in a relatively isolated, easy-to-spot setting --

"What Love Can Do." Just listen to Brian's verse vocal early on in the song here ... note how he sounds synthesized. Particularly the words "help me out, tell me it's real." This is more extreme that Imagination, which at least retained some of his actual vocal tone.

http://www.youtube.com/watch?v=n8A_J4KSvRg&ob=av2e

To contrast, listen to "I Loves You Porgy," also a ballad. Note how different Brian sounds ... the frail and frayed tone, the sheer variance in approach. He's still in tune, but he sounds more "realistic," for want of a better word.

http://www.youtube.com/watch?v=zbqQ4jSygx0

Another artist, already mentioned -- "I Just Haven't Met You Yet" by Michael Buble.

http://www.youtube.com/watch?v=1AJmKkU5POA

Now, here's the song as performed live, without the processing . . .

http://www.youtube.com/watch?v=z6dv9Hw8IPk&feature=fvsr

Forgot that there of course was the Ronald Reagan-concert earlier this year with Mike, Al and Bruce

Any best guesses on when we will see the final DIA video and when
we will see a second new song on video. I'd be happy with one more
pending the release of the album. Then i could play two songs over and
over on my video player instead of just one!

New interview with David Marks: http://www.examiner.com/beach-boys-in-national/david-marks-is-ready-to-do-it-again

Hi all. new here.

wanted to mention something that I found really interesting to watch. At the very end of the DIA video, as Brian is taking off his earphones, someone off camera says something like "Brian, Brian, there's one thing. . ." and Brian starts, it seems, to hurry toward...what, the mixing booth?  This is all speculation (forgive me!!) but it seems like he's being called over to listen to see whether something just recorded was o.k. I just love the intense and interested look on his face and the scurry...seems like a good sign, perhaps

Welcome Jardine (no relation).  The way I think it works is maybe he has somebody else doing most of the mechanics and kind of gives his stamp on the way things sound, in the videos that have popped up over the years it does seem that when he's interested at least, he wants things to sound exactly how he wants them to sound and complains when somebody sounds flat, sharp, etc. 

So they probably WERE running something by him to make sure he was o.k. with it. 

I also think in general, everybody around him truly believes he's a musical genius, so it behooves them to make sure he's down with everything... if not only to exploit that talent for production as much as possible.  ESPECIALLY when we're talking about backing vocals, he's easily as great at arranging that as he ever was. 

It sounded like Foskett calling his name to my ears...

To mine too

Yeah, it's Jeff Foskett.

Brian has great song writing craft, he has pauses, amazing changes and always keeps it interesting. But his arranging seems to be overlooked a bit. He really is a great arranger and it is this that often makes his work such an aural delight to listen to, he sculpts with sound. The later BB albums really suffer for the absence.

From watching this video I too got the impression that Brian was active and very engaged in the recording and that more than anything makes me optimistic about what may emerge.

It's nice to see them all together in the video but the rendition itself is eh.  I mean it's not bad, but it's nothing special.  My favorite version is Brian with his daughters in I Just Wasn't Made For These Times. 

http://www.youtube.com/watch?v=N0DWT-VO5pQ (http://www.youtube.com/watch?v=N0DWT-VO5pQ)

I think this kind of lacks that energy, it sounds too slick.

Keep in mind that the song has not been released officially yet.

But when it is it will no doubt be lacking in energy and too slick! :lol