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Author Topic: TSS - All things Look  (Read 38005 times)
desmondo
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« on: October 28, 2011, 08:13:14 AM »

or Song for Children
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Richard
drbeachboy
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« Reply #1 on: October 28, 2011, 05:34:49 PM »

I'm not sure how I am feeling about this mix. It's not doing anything for me. Actually, JMZ's mix is more preferable to my ears.
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The Brianista Prayer

Oh Brian
Thou Art In Hawthorne,
Harmonied Be Thy name
Your Kingdom Come,
Your Steak Well Done,
On Stage As It Is In Studio,
Give Us This Day, Our Shortenin' Bread
And Forgive Us Our Bootlegs,
As We Also Have Forgiven Our Wife And Managers,
And Lead Us Not Into Kokomo,
But Deliver Us From Mike Love.
Amen.  ---hypehat
king of anglia
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« Reply #2 on: October 29, 2011, 01:31:59 AM »

It doesn't sound much different to any of the bootleg mixes.
And I wonder what happened to that "vintage" clarinet part they used in BWPS.
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drbeachboy
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« Reply #3 on: October 29, 2011, 08:16:38 AM »

Maybe it is just different instruments mixed forward and backward.
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The Brianista Prayer

Oh Brian
Thou Art In Hawthorne,
Harmonied Be Thy name
Your Kingdom Come,
Your Steak Well Done,
On Stage As It Is In Studio,
Give Us This Day, Our Shortenin' Bread
And Forgive Us Our Bootlegs,
As We Also Have Forgiven Our Wife And Managers,
And Lead Us Not Into Kokomo,
But Deliver Us From Mike Love.
Amen.  ---hypehat
Bubba Ho-Tep
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« Reply #4 on: October 30, 2011, 07:27:58 PM »

Of all the "fly-ins" these bug me the most.

And yeah....where are those "headphone bleed throughs"?
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Chris Brown
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« Reply #5 on: October 31, 2011, 08:22:31 PM »

Of all the "fly-ins" these bug me the most.

Me too - they're so minimal, to the point where it would have made more sense, in my mind, to just leave the track as an instrumental.  It's not like "I'm In Great Shape" or "Barnyard" where they were flying in a lead vocal, or "Fire" where the vocals make a big impact on the overall track.  It's almost distracting, since they come and go so quickly, and are relatively buried in the mix as it is (so as to hide digital artifacts I'm sure).
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Paul2010
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« Reply #6 on: November 01, 2011, 12:03:17 AM »

I made a mix replacing the fly in parts with the audio from the stereo sessions disc, folded down to mono. I like it better as an instrumental as well. The new mix sounds great though, in terms of sound quality/mix.
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Runaways
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« Reply #7 on: November 01, 2011, 02:13:19 PM »

this song has always been boring to me, still is
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Wrightfan
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« Reply #8 on: November 01, 2011, 03:35:33 PM »

I like the fly-in's. Just wished they didn't sound as rushed.
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trismegistus
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« Reply #9 on: November 01, 2011, 06:03:14 PM »

I thought I was going to hate the vocals, but they're subtle enough that they don't bother me. They don't really add to the song, but they may grow on me more as time goes on.
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thevigilanteoflove
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« Reply #10 on: November 01, 2011, 07:35:32 PM »

This is the only place in the album where I don't like the use of the flown in vocals. Because they are so sparse I think they could have just left them off. Either way, it doesn't ruin the song which is still a good one without all the vocals.
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Chris Brown
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« Reply #11 on: November 01, 2011, 07:44:12 PM »

Another thing I noticed today - they omitted one of the repetitions of the bit from "12th Street Rag" - the version I've always heard (which I've always thought was a vintage Brian mix) used it as a bridge between the 2nd chorus and 3rd chorus, and it doesn't do that anymore.  Between this and the fly-in vocals, this track is definitely one where I'm going to have to "roll my own."
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mammy blue
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« Reply #12 on: November 01, 2011, 08:48:31 PM »

Wow, after all the discussion of the vocals, I finally heard the track (I avoided the samples). I think they're great and subtle and really add to the mystery of Look. No problems here. Sounds like Carl.
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P.J.
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« Reply #13 on: November 02, 2011, 07:25:22 AM »

Euday Bowman is given credit in the notes for "12th St. Rag". And yes, I miss it in the "album" version.
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rab2591
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« Reply #14 on: November 03, 2011, 06:20:13 PM »

HOLY. This mix sounds PERFECT. If you have a subwoofer put it on max and crank the volume.
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Mahalo
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« Reply #15 on: November 05, 2011, 08:48:06 AM »

Just occurred to me, any chance Brian was working on this as a B-side to Good Vibrations? Look, as it is, represents the entire SMiLE! experience to me in a simple song form. The wandering/searching key figure, the faint descending flute(?) line,  drums, 12th st. rag... Somehow it all reflects Brian's creativity at the time.
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« Reply #16 on: November 07, 2011, 10:33:38 PM »

Look, as it is, represents the entire SMiLE! experience to me in a simple song form.

Well, to truly do so, it would need a section of two chords being changed back and forth, especially a I-IV progression... Wink 2
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Roger Ryan
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« Reply #17 on: November 09, 2011, 09:32:12 AM »

Wow, after all the discussion of the vocals, I finally heard the track (I avoided the samples). I think they're great and subtle and really add to the mystery of Look. No problems here. Sounds like Carl.

It is Carl, taken from the '71 "Surf's Up" sessions. I have no problem with the word "Child" being layered in there as it helps to link the song to the opening of "Child Is Father Of The Man".
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Jay
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« Reply #18 on: November 10, 2011, 12:34:21 AM »

About a year ago, I was tinkering with the idea of mixing parts of Look and CITFOTM together. I swear on my life. Somebody stole my idea, damn it!  Razz  LOL
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tansen
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« Reply #19 on: November 10, 2011, 12:41:49 AM »

Wow, after all the discussion of the vocals, I finally heard the track (I avoided the samples). I think they're great and subtle and really add to the mystery of Look. No problems here. Sounds like Carl.

I'm totally with you, the added vocals makes Look better than without them!
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Jay
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« Reply #20 on: November 10, 2011, 12:49:28 AM »

Ok, here's a question. Why didn't they include the "father of the man" vocals, instead of just the word "child"? It would've made more sense that way, I think.
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tansen
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« Reply #21 on: November 10, 2011, 12:55:25 AM »

Just occurred to me, any chance Brian was working on this as a B-side to Good Vibrations? Look, as it is, represents the entire SMiLE! experience to me in a simple song form. The wandering/searching key figure, the faint descending flute(?) line,  drums, 12th st. rag... Somehow it all reflects Brian's creativity at the time.

And of course the glockenspiel section in Look at around 0.36 is an obvious nudge to Good Vibrations' 'lalalalala-lalala' at around 3.30 (on CD1).
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mammy blue
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« Reply #22 on: November 10, 2011, 04:48:48 AM »

Ok, here's a question. Why didn't they include the "father of the man" vocals, instead of just the word "child"? It would've made more sense that way, I think.

I think because there isn't a sung melody in the BB vaults that fits the chords right all the way through. It's not just a pitch problem; the melody wouldn't fit at all. Same with flying in the "Rock Rock Roll" vocals into Holidays. Some fan mixes have done this, but that involves completely processing the original recording note for note and changing the melody, which I don't think Mark and Alan were willing to do.
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harrisonjon
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« Reply #23 on: November 13, 2011, 06:00:11 AM »

The percussion on Look is very similar to Good Vibrations, especially those organ chords that start at 1:13
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Menace Wilson
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« Reply #24 on: November 14, 2011, 08:57:33 AM »

I like the fly-in's. Just wished they didn't sound as rushed.

Seconded.  If this was a cut and paste job, they really should have taken more care to line the vox up with track.  They are most definitely rushed, and make the "Child" sections feel rushed as a result.
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