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673359 Posts in 27142 Topics by 3992 Members - Latest Member: Ray Shackleford January 21, 2022, 12:14:21 PM
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 1 
 on: Today at 11:36:48 AM 
Started by JK - Last post by JK
You had a big voice and a big heart to go with it. Reunited with Jim Steinman -- heaven better watch out! Roll Eyes

https://www.youtube.com/watch?v=HVvXWUAKtus

 2 
 on: Today at 10:09:30 AM 
Started by HeyJude - Last post by Rocker
Watch two new clips from Brian Wilson documentary ‘Long Promised Road’


https://www.rollingstone.co.uk/music/news/watch-two-new-clips-from-brian-wilson-documentary-long-promised-road-9919/?fbclid=IwAR0EXIujNzmy-ZTMJ0J0m-g0t6HutxzYV-NIOyfYdGHCLmBZUoSTQ3xKL_U

 3 
 on: Today at 09:38:22 AM 
Started by Dave in KC - Last post by BJL
The Beach Boys are coming to town next month with TV ads sprinkled throught the day. In the venue's description they state that Mike Love was the band's chief lyricist. Anything to sell tickets I guess.  Sad.

Mike Love *was* the band's chief lyricist! He wasn't the *only* lyricist! But chief lyricist? No one else, however talented or important, co-wrote more than 10 songs or so. More importantly, his approach unquestionably defined the band's lyrical style for most of their career, however much some of us might wish it hadn't.

 4 
 on: Today at 08:35:38 AM 
Started by Dave in KC - Last post by HeyJude
I gave up on getting worked up about that stuff years ago. If they didn't just say "the Beach Boys' lyricist", then we should probably count ourselves lucky.

What's strange is that Mike pays to license the "Beach Boys" name so he doesn't have to start naming members and whatnot. Being able to call it "The Beach Boys" is what sells the tickets, not pointing out the band has one original member.

 5 
 on: Today at 08:24:08 AM 
Started by TheWonderfulHarpsichord - Last post by Joshilyn Hoisington
The backing track.  They used take 20 for the bulk of the backing track, but the tag of that take was deemed subpar, Brian then had the band do a pickup starting at the tag (he might have rejiggered some instrumentation for it) which I think was two takes.  Then he edited the body of take 20 with the tag pickup piece to create the full backing track, and then all that was mixed to mono in preparation for the vocal sessions.

Wow, thanks. It appeared that Brian used the splicing technique quite a lot even before the recording of “Good Vibrations”~

Certainly -- as did everyone else.  It's a nice easy way to combine the best parts of different takes, very common from the very birth of magnetic tape recordings.

 6 
 on: Today at 07:42:00 AM 
Started by Dave in KC - Last post by Dave in KC
The Beach Boys are coming to town next month with TV ads sprinkled throught the day. In the venue's description they state that Mike Love was the band's chief lyricist. Anything to sell tickets I guess.  Sad.




 7 
 on: Today at 07:12:21 AM 
Started by rab2591 - Last post by Awesoman
Yeah it's been a little hard to listen to McCartney's more recent stuff with his voice having aged so considerably.  And hearing him live in the past few years has been rough with him sounding so wobbly.  A few years ago he actually still sounded pretty good.  I have a nice boot of one of his shows in Japan from about 8-10 years ago and he sounded mostly great.  And I'd argue he sounds okay for a near 80-year-old and still delivers a lot of energy in his performances.

Compare that to Brian where in recent shows he just looks completely checked out. Check out this recent performance of him and Al doing "Help Me Rhonda" (https://youtu.be/i_zTAvpFVdg).  He just randomly steals the verses from Al as if he were confused and then near the end of the song looks like he's asleep.  You have to wonder if he even wants to be there especially if you're just a casual fan that isn't fully aware of all his mental health issues. 
 

 8 
 on: Today at 06:51:49 AM 
Started by joshferrell - Last post by HeyJude
Okay, so did Brian use Carl's shirt several years later, or did they both get the same shirt at some point?

These are the meaningless important questions we need answers to....




 9 
 on: Today at 06:51:10 AM 
Started by TheWonderfulHarpsichord - Last post by PickupExcitations
The backing track.  They used take 20 for the bulk of the backing track, but the tag of that take was deemed subpar, Brian then had the band do a pickup starting at the tag (he might have rejiggered some instrumentation for it) which I think was two takes.  Then he edited the body of take 20 with the tag pickup piece to create the full backing track, and then all that was mixed to mono in preparation for the vocal sessions.

Wow, thanks. It appeared that Brian used the splicing technique quite a lot even before the recording of “Good Vibrations”~

 10 
 on: Today at 06:20:53 AM 
Started by rab2591 - Last post by HeyJude
I think one of the many things that complicates things is that, in the McCartney scenario above, both things can be true. Folks can have a great time, and he also doesn't have a voice anymore.

I bow to no one in my love for McCartney and his work, including even some of his most recent stuff. But his voice has been shot for years. It's a different thing than the thing with Brian's voice. But I'll absolutely not back down from the pretty-darn-close-to-objective fact at this point that McCartney's voice is shot. But I don't have any interest in saying he should quit, or that people shouldn't go see his show. And, I'm not even prepared to say how "shot" it is. It's pretty well toast at this stage, but I mean, it could be even worse. I mean, at this stage, I'd pay to *not* hear him try to sing "Maybe I'm Amazed" ever again, but his voice holds up better on some solo acoustic stuff and, ironically, some of the throat-searing things like "Helter Skelter" that don't require the pristine voice.

And then calling for an artist to quit is complicated as well by live shows versus studio work. I think both McCartney and Brian Wilson can muster at least slightly better vocal performances in the studio, and also with or without the aid of studio techniques or tricks, some of the issues can be smoothed out. Not completely. But I dunno, I think Brian's "Right Where I Belong" is worth having. And some of the stuff off "McCartney III" is worth it. He may be croaking through "The Kiss of Venus", but it's still good, and your brain can almost kinda just fill in imagining like 1968 (or hell, even 1982) McCartney singing it.

Also complicating things is the status of their non-vocal work. McCartney is still an excellent musician; there's some great instrumental work from him on recent albums, including the most recent "McCartney III."

Brian can still lay out stuff on the piano.

So I guess the idea is that I think it's fair to raise the issue of retirement or semi-retirement from some aspects of their careers, and it's obviously true more than anything that we just make our own decisions as fans/scholars/consumers of the artist. I'm mostly done seeing McCartney. I saw him a bunch of times in 2002, 2004, and 2005. His voice was stunningly quite good in 2002, and held together somewhat through the end of that decade. But in recent years his voice has vastly deteriorated, and that coupled with high ticket prices and *larger* venues (I have no desire to pay for a stadium show where I'm just watching the video screen the whole time) has dictated that I haven't sought his show out in a number of years.

And I'm in a similar spot with Brian shows, although it's more difficult with Brian because his ticket prices are more reasonable, he has Al and Blondie and Matt still singing great at his shows, and Brian's decline in live shows has kind of been more sporadic and more difficult to discern because his voice has been challenged for so many years.

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