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627202 Posts in 25168 Topics by 3581 Members - Latest Member: drummer_from_mars February 19, 2018, 01:53:14 AM
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 on: Yesterday at 12:17:02 PM 
Started by Hickory Violet Part IV - Last post by BeachBoysCovers
The Roy Orbison one sold ridiculously well in the UK - been in the Top 100 since release, spent 8 weeks in the Top 10, and is available in all the supermarkets.

Still I can't see a Beach Boys one having half as much promotion or sales.

 on: Yesterday at 11:46:47 AM 
Started by Hickory Violet Part IV - Last post by guitarfool2002
I agree with rab's post, and there is a very fine line between what was done with The Beatles' "Love" project for one example, and what seems to be the goal of this current project if the Aretha project was a precedent to consider. With "Love", you had Giles Martin among other notables within the Beatles circle deeply involved in the project, and I think with an eye toward maintaining that high standard regarding the original recordings. That's why I think "Love" worked so well.

Also, considering the remixes and reimagining of the original tracks as done by Atticus Ross with L&M's soundtrack and Rab's own work (which is superb - have a listen! ) in creating sound collages out of existing audio, that is a different kind of goal and outcome (and vision) being presented versus what seems to be the outcome of this current project. Again, if the previous examples like the Aretha and Elvis projects are considered a template or even a precedent for what will be done with the BB's.

And I have to "go there" with one element in rab's post. Mike and Brian input into this? What input can or would Mike have in terms of the musical arrangements which would serve as the bed for the original vocals? We just heard what Mike does or wants to do with the original tracks, courtesy disc 2 of Unleash The Love with the BB's remakes, and most specifically Mike's Do It Again remake with McGrath and Stamos. It's a disaster, to be blunt. It felt like Mike's goal was to recast the BB's original recording legacy in the form of his current band, and do these songs as a means to Mike's end rather than something to help enhance or boost the *music* itself. It's blasphemy when a triggered sample of McGrath saying "do it" gets in the minds of listeners rather than the original recording, as much as when Forever becomes more of an Uncle Jesse song than a Dennis Wilson song...and that seems to be Mike's goal all along.

So maybe one benefit or bright spot is that Mike wasn't consulted on this if that's the case, because we can all easily hear what Mike's vision has been for decades regarding remaking and recasting Beach Boys classics to suit himself. I can picture a scene where Mike would want his band, featuring Stamos on drums or percussion, laying down tracks at Abbey Road while mcGrath stood at an old U47 in the vocal booth and improvised various grunts and groans while the orchestra played.

 on: Yesterday at 11:45:47 AM 
Started by Hickory Violet Part IV - Last post by Wirestone
I don't really mind the added strings / orchestrations on those records, which are guilty pleasures of mine.

I do mind the re-recorded rhythm sections. They make the whole thing seem cheap.

 on: Yesterday at 11:24:05 AM 
Started by Hickory Violet Part IV - Last post by rab2591
I personally don’t mind hearing new takes on songs, as long as they’re done right. The Beatles Love album for instance was a new take on those songs (though I do realize those were 99% reworked with original instrumentals), and in one case even had modern strings overdub an original (that sounds better than the original if you ask me). But that project was meticulously worked on by people who had a great artistic vision. And actually an even better example of this is Atticus Ross’ Love and Mercy soundtrack - I wouldn’t say he made things sound better but he put a new spin on ‘In My Room’ and ‘Til I Die’ that will forever be played on my system. Or take Boyd and Linnet’s take on ‘Sail Plane Song’ for the MIC release - I know that got hated on a bit, but to me it sounds fuckin awesome with those drums and reverb heavy vocals. So I really don’t mind it when someone with a good vision and an overall creative respect for the original work does a mashup or adds some strings to original vocals or tracks.

That being said, the differences between the projects I just mentioned and what we’ll likely be getting with this release are staggering. Those Franklin and Elvis projects just seem like a cookie cutter form of making easy money. No heart, no soul. I mean, with this project you’d think they’d invite Brian and Mike into the studio to consult and give ideas...maybe they will, but for some reason I doubt it. From what I heard, like Guitarfool says, it really is like putting a prime rib on a seeded bun. Again, prove me wrong though.

 on: Yesterday at 11:03:44 AM 
Started by Juice Brohnston - Last post by guitarfool2002
Historically on this board, there has always been little interest in Mike's tour dates (certainly for a tour that tours all year, every year).

One can obviously interpret that as something that is more to do with this board, or more to do with the quality and/or ubiquitous nature of Mike's never-ending touring. I'd say it's mostly the latter.

Also, if one has followed Mike's tour and scheduling habits over the years, they will have found that Mike never really "announces" a tour. He never unveils a tour schedule. It just sort of continually exists and is updated on an ongoing basis. It takes a few months into the year for summer tour dates to fill out.

All of this is a result of over-extending the brand and never taking a break from touring. It would actually be a big deal, worth "announcing" a big tour, if Mike wasn't doing 150 shows per year, every year. There's no buzz factor. Mike's tour runs off of brand name recognition, pure momentum, and fluff pieces a week or two in advance in many of the markets he hits.

Lets be honest.  On this forum, it has a LOT to do with the former. 

KDS - You never explained your answer above.

So how about it? Just another chance to take an unnecessary shot at this forum with nothing to back it up? Please explain.

 on: Yesterday at 10:57:53 AM 
Started by Hickory Violet Part IV - Last post by guitarfool2002
The issue for me - conceptually AND aesthetically - is that Brian's original arrangements were PERFECT. Brian arranged those records in his 20's to where both heavily layered vocals and dense instrumentation and orchestration could coexist within their own sonic spaces in the final mix. There was a sympatico relationship between how the vocals and instruments blended to create *that sound* which everyone is still trying to figure out how did Brian do it consistently.

Messing with that in terms of grafting the original vocals onto modern don't normally put a prime cut of filet mignon on a seeded bun, put ketchup and mustard on it, and call it a "burger".

If this is what BRI has in mind in terms of expanding the audiences and uses of the BB's music in a modern sense, count me out.

And there is also my pet peeve about trying to improve on a stone-cold classic record decades after the fact by "fixing" it, as Bruce and Mike tried to do by writing a new bridge to "Please Let Me Wonder" to replace Brian's instrumental break on the original, or even Brian and Joe redoing Let Him Run Wild with late 90's production flourishes. neither did a damn thing to improve the originals, in fact they actually effectively whitewashed what made the originals classic.

 on: Yesterday at 10:50:18 AM 
Started by pixletwin - Last post by Gertie J.
the inner light

across the universe

 on: Yesterday at 10:46:36 AM 
Started by pixletwin - Last post by pixletwin
We need a tie breaker between Inner Light and Old Brown Shoe.

Where is everybody?!!?


 on: Yesterday at 10:37:08 AM 
Started by Hickory Violet Part IV - Last post by rab2591
Yeah, the more I listen to the Elvis and Franklin releases, the more I’m really disappointed in the idea of it. I really hoped it would be more artistically interesting, but those projects sound so bland and lifeless. What I hope to hear:

The Lonely Sea (4 string quartet, no drums)
Don’t Worry Baby (String section, heavy cello use, and French horns, no drums).
In My Room (violins plucking the intro riff, harp, a huge climax during the “laugh at yesterday” section, no drums)
I Get Around (heavy emphasis on the piano, have some violins play along with Brian’s falsetto, no drums)
Caroline, No (harpsichord, flute, basically what the Vitamin String Quartet did to this song only add the original instruments)

But we’ll probably end up getting a greatest hits package track list, there’ll be some cool moments in the symphony playing but you’ll be so distracted by a godawful sounding drums that you won’t even notice. But please prove me wrong.

 on: Yesterday at 10:30:44 AM 
Started by Hickory Violet Part IV - Last post by Pretty Funky
“ a Beach Boys session was held at Abbey Road studios yesterday......No members of the BBs were present”

Sad times, but I will search out the Aretha album on Spotify or the like for a listen.

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