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Author Topic: TSS - All things Look  (Read 16201 times)
runnersdialzero
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« Reply #25 on: November 14, 2011, 01:24:53 PM »

It sounds like someone had a seizure ;(
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« Reply #26 on: November 20, 2011, 10:12:27 PM »

The fly-ins bothered me a little at first, but I really don't mind them at this point.
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« Reply #27 on: November 21, 2011, 09:47:13 AM »

Does anyone know if it is in any way possible to isolate the clarinet line in the chorus of "Song for Children" aka Look (the 2004 recording)? Can it be OOPsed or something?
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« Reply #28 on: November 24, 2011, 05:51:27 AM »

I have always thought that this track was probably one of Brain's "other projects" which he started working on during the Smile sessions- but not necessarily intended for the Smile album. It was reported that he was going off in all sorts of directions and wouldn't focus on delivering Smile because he wanted to create more music before the old music was finished !
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« Reply #29 on: November 24, 2011, 08:43:46 AM »

I have always thought that this track was probably one of Brain's "other projects" which he started working on during the Smile sessions- but not necessarily intended for the Smile album. It was reported that he was going off in all sorts of directions and wouldn't focus on delivering Smile because he wanted to create more music before the old music was finished !

He was certainly working on other things.  A lot has been written and said about the "humor" project (which gave us such treasures as "George Fell Into His French Horn", "Brian Fell Into His Piano", "Brian Fell Into His Microphone", "Vegetable Arguments", etc.), and really, who knows what else was going on in his mind at the time.  But I've never doubted that "Look" was intended for some incarnation of SMiLE mainly because of its use of a melody that also is used in the "Good Vibrations" sessions (and on the final mix as well).  On the other hand, was "Good Vibrations" ever meant to be part of SMiLE?  No...so it just all seems to melt together into a body of work that we might as well call "The SMiLE Sessions"...oh, that's what they just did...OK, nevermind...
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« Reply #30 on: November 25, 2011, 06:16:01 PM »

Does anyone know if it is in any way possible to isolate the clarinet line in the chorus of "Song for Children" aka Look (the 2004 recording)? Can it be OOPsed or something?

I tried isolating the clarinet per someone's instructions. It wasn't totally do-able, there's some extra percussion that came through... sounds like a tambourine. Still, I put it into Look which is crossfaded with Wonderful.

I also changed the sequence of Look a little bit and took out the fade at the end so it goes directly into Child. Child is sequenced like BWPS and crossfaded with Surf's Up.

WonderLook:
http://www.sendspace.com/file/t18oo1

Child/SurfsUp:
http://www.sendspace.com/file/nqd35j


« Last Edit: November 25, 2011, 06:24:50 PM by bossaroo » Logged
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« Reply #31 on: November 26, 2011, 01:03:03 PM »

Although Disc 3 Track 15 starts off with dialogue stating "take 1" it doesn't match the take 1 off of Unsurpassed Masters Vol. 17. What take is it really? Is it take 3, which is missing from UM17 or is it take 5, which fades out on UM17?

Speaking of the Unsurpassed Masters. What take of LOOK do they use in UM16?
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« Reply #32 on: November 26, 2011, 01:05:14 PM »

Although Disc 3 Track 15 starts off with dialogue stating "take 1" it doesn't match the take 1 off of Unsurpassed Masters Vol. 17. What take is it really? Is it take 3, which is missing from UM17 or is it take 5, which fades out on UM17?

Speaking of the Unsurpassed Masters. What take of LOOK do they use in UM16?
Ah! Found it. It's Take 6!!
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« Reply #33 on: November 26, 2011, 04:30:32 PM »

I have always thought that this track was probably one of Brain's "other projects" which he started working on during the Smile sessions- but not necessarily intended for the Smile album. It was reported that he was going off in all sorts of directions and wouldn't focus on delivering Smile because he wanted to create more music before the old music was finished !

He was certainly working on other things.  A lot has been written and said about the "humor" project (which gave us such treasures as "George Fell Into His French Horn", "Brian Fell Into His Piano", "Brian Fell Into His Microphone", "Vegetable Arguments", etc.), and really, who knows what else was going on in his mind at the time.  But I've never doubted that "Look" was intended for some incarnation of SMiLE mainly because of its use of a melody that also is used in the "Good Vibrations" sessions (and on the final mix as well).  On the other hand, was "Good Vibrations" ever meant to be part of SMiLE?  No...so it just all seems to melt together into a body of work that we might as well call "The SMiLE Sessions"...oh, that's what they just did...OK, nevermind...

What evidence is there that any of those tracks were intended for something other than Smile?  And why believe the humor album wasn't Smile?  Why would Smile incorporate humor and health themes if he was planning separate humor and health albums?
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runnersdialzero
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« Reply #34 on: November 26, 2011, 08:01:04 PM »

was "Good Vibrations" ever meant to be part of SMiLE?  No

wat
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« Reply #35 on: December 31, 2011, 03:56:41 PM »

So has there been discussion of Look/I Ran as an earlier version of CIFOTM? Is that even feasible?
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« Reply #36 on: January 06, 2012, 09:57:11 AM »

So has there been discussion of Look/I Ran as an earlier version of CIFOTM? Is that even feasible?

That was always my guess.  I figured he "finished" "Look" (as the early version of Child) and planned to use PARTS of it with the stuff from the actual "Child" sessions to complete the song.
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« Reply #37 on: January 10, 2012, 02:33:16 AM »

So has there been discussion of Look/I Ran as an earlier version of CIFOTM? Is that even feasible?

I don't know if there was discussion, but there are similarities between the two. And the way "Song for Children" turned out on BWPS, it is perfectly possible that the line "Child is father of the man/son" was originally in "Look", like "Plymouth Rock roll over" might originally have been in "Holidays". No proof to that at all though.
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« Reply #38 on: February 01, 2012, 01:34:49 AM »

Has anyone managed to isolate the vocals from the JMZ mix of Look? Out of all of the fly-ins I've ever heard for this song, JMZ's have worked the best, at least for the beginning ("one, one, wonderful".) He also flew them in very well, quality wise, IMO.

So has anyone isolated those suckers? I'm just not educated enough in the field of audio manipulation to pull off something like that.
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« Reply #39 on: February 02, 2012, 10:26:05 PM »

The one, one wonderful vocals are on TSS as part of the Smile Vocals montage.  What we really need is for someone to isolate the vocals from the piano CIFOTM which JMZ used in his Look mix.
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« Reply #40 on: February 03, 2012, 12:46:48 AM »

The one, one wonderful vocals are on TSS as part of the Smile Vocals montage.
Not really. If I'm hearing JMZ's fly-ins correctly, they appear to be Mike's(?) "one, one, one..." backing vocals found in the first verse (Bruce's(?) have been digitally removed) played against Brian's "one, one, wonderful" line from the main vocal (with everything time-stretched and pitch-shifted to match, of course.) It's difficult to re-create for an audio-manipulation novice such as myself, mainly due to the vocal extractions involved. The backing vocals are found in the montage, of course, but I can't separate Mike's "one"s from Bruce's. And, obviously, I can't extract Brian's lead from "Wonderful". Errg... Why is everyone so stingy when it comes to sharing their vocal-extractions? We're not all experts! I can't even find a vocal extraction of the mono vocals from "Good Vibrations", which I thought would be easy! "Roll your own" they say... pshhh!  Angry

What we really need is for someone to isolate the vocals from the piano CIFOTM which JMZ used in his Look mix.
I have mixed feelings about those fly-ins. While I like the way that they're used in the JMZ mix, I can't help but feel like the song just becomes "Child Is Father Of The Man, Part 1" with them included. I guess that's essentially what "Look" is in a lot of ways, but.... I don't know. I'm on the fence.
« Last Edit: February 03, 2012, 12:48:42 AM by robertgotshall » Logged
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« Reply #41 on: February 03, 2012, 12:10:45 PM »

was "Good Vibrations" ever meant to be part of SMiLE?  No

wat
Originally planned to be on PET SOUNDS (if on any album), no?
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runnersdialzero
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« Reply #42 on: February 08, 2012, 08:25:49 PM »

was "Good Vibrations" ever meant to be part of SMiLE?  No

wat
Originally planned to be on PET SOUNDS (if on any album), no?

It was worked on during the Pet Sounds sessions. It was held over for the single, and then intended to go on Smile.
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« Reply #43 on: February 22, 2012, 12:37:32 PM »

This track - as with I'm In Great Shape/Barnyard/etc - sounded just plain WRONG to me at first, but think it was just the shock of the new. To me, this track sounds really nice. It's just a pity this whole middle section of the album is so imcomplete vocals-wise, but if they weren't ever recorded there aint much could be done...
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« Reply #44 on: March 15, 2012, 11:56:56 PM »

This track - as with I'm In Great Shape/Barnyard/etc - sounded just plain WRONG to me at first, but think it was just the shock of the new. To me, this track sounds really nice. It's just a pity this whole middle section of the album is so imcomplete vocals-wise, but if they weren't ever recorded there aint much could be done...

Having heard Christian Love do God Only Knows, I think there is something that could be done... Wink 2
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« Reply #45 on: May 18, 2012, 07:04:19 AM »

When do we get to hear the headphone bleeds with the clarinet melody? Or is it just a myth like the sasquatch?
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« Reply #46 on: August 02, 2012, 08:18:32 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

A long, long time ago (Smile Shop Message Board in 2000 or 2001) somebody mentioned that the instrumental session sheet for Child Is Father of The Man clocks out at 2:40, which happens to be, give or take a couple seconds, the running time for Look.

It's hard to mix, though.  Look is in G# I think and Child is in Em (or D/B)?  Not impossible, but difficult.
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« Reply #47 on: September 23, 2014, 10:49:44 AM »

I dunno..... the slowed down "Chi-chi-child"s sound very silly to me.
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« Reply #48 on: October 01, 2014, 07:57:30 AM »

You can make bits of the `67 vocal sessions for CIFOTM work in Look without too much pitch shifting. I did it for the chorus and bridge of Look and it sounds reasonable. However, I'd guess that by April of 67 (?), when those vocals were recorded, that the original instrumental sessions from 1966 were already for the bin in Mr Wilson's mind, with him moving toward a simpler arrangement of a number of songs. Hence, even if these vocals had been intended for a new version of Look (or CIFOTM for that matter) then they might have been recorded in a different key. Compare how the Carl version of Surf's Up is in a different key to the Brian one.
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« Reply #49 on: January 14, 2015, 10:55:01 PM »

this song has always been boring to me, still is

Really? To me, I always considered it their most underrated instrumental. Then I discovered it was supposed to have lyrics. Now I consider those missing lyrics to be perhaps the greatest loss of the entire SMiLE Era. It's a great little backing track Brian had...with the right lyrics it could have been a fantastic song.

I have always thought that this track was probably one of Brain's "other projects" which he started working on during the Smile sessions- but not necessarily intended for the Smile album. It was reported that he was going off in all sorts of directions and wouldn't focus on delivering Smile because he wanted to create more music before the old music was finished !

I just think it's a track he worked on at the time for possible inclusion but very quickly lost interest in and moved on from. The trombone dixie of SMiLE, as others have called it. Shame, because it's actually one of my favorite tracks from the era, even without its lyrics. I think it evokes all the pure carefree joy and growing pains of childhood all in about 2 minutes.

I have always thought that this track was probably one of Brain's "other projects" which he started working on during the Smile sessions- but not necessarily intended for the Smile album. It was reported that he was going off in all sorts of directions and wouldn't focus on delivering Smile because he wanted to create more music before the old music was finished !

He was certainly working on other things.  A lot has been written and said about the "humor" project (which gave us such treasures as "George Fell Into His French Horn", "Brian Fell Into His Piano", "Brian Fell Into His Microphone", "Vegetable Arguments", etc.), and really, who knows what else was going on in his mind at the time.  But I've never doubted that "Look" was intended for some incarnation of SMiLE mainly because of its use of a melody that also is used in the "Good Vibrations" sessions (and on the final mix as well).  On the other hand, was "Good Vibrations" ever meant to be part of SMiLE?  No...so it just all seems to melt together into a body of work that we might as well call "The SMiLE Sessions"...oh, that's what they just did...OK, nevermind...

What evidence is there that any of those tracks were intended for something other than Smile?  And why believe the humor album wasn't Smile?  Why would Smile incorporate humor and health themes if he was planning separate humor and health albums?

I agree. I think everything recorded from the first H&V session to February was at least briefly considered for SMiLE. The only things we consider SMiLE Era recordings that didn't serve some purpose to the album or related singles are the Jasper Dailey tracks. My take on it, anyway.

You can make bits of the `67 vocal sessions for CIFOTM work in Look without too much pitch shifting. I did it for the chorus and bridge of Look and it sounds reasonable. However, I'd guess that by April of 67 (?), when those vocals were recorded, that the original instrumental sessions from 1966 were already for the bin in Mr Wilson's mind, with him moving toward a simpler arrangement of a number of songs. Hence, even if these vocals had been intended for a new version of Look (or CIFOTM for that matter) then they might have been recorded in a different key. Compare how the Carl version of Surf's Up is in a different key to the Brian one.

Would you be interested in sharing your work?



I also cant stand the fly-ins here. They truly do sound half-assed and I agree that trying to fit that clarinet in would have been a better idea if that was possible.
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