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Author Topic: New album info (as it rolls out...)  (Read 559635 times)
Justin
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« Reply #2625 on: May 15, 2012, 08:10:42 PM »

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Ron
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« Reply #2626 on: May 15, 2012, 08:12:53 PM »

......mustn't...be...swayed....by.....the.....longer.....clips.....must...stick.....to.....my....guns....and....hold...out....for...the.....actual.....CD...................

I'm with you Justin, I'm just going to listen to the 30 second clips.  1.5minutes is pretty long, I'm afraid it'll spoil it for me. 

Hey it's only 3 weeks. 
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Justin
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« Reply #2627 on: May 15, 2012, 08:15:00 PM »

Yeah, Ron, 3 weeks...gotta stay strong!  In the meantime, I think I just might have to stop visiting this thread lol. 
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FatherOfTheMan Sr101
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« Reply #2628 on: May 15, 2012, 08:16:56 PM »

For all of you waiting, I'm gonna go right out and say, amazing job guys,
you're about to hear the best, most Pet-Sounds/SMiLE worthy tracks that are possible, and
While they may take some getting used to... Doesn't all good music?!
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**   危険な空 - Dangerous Skies  **
https://mikeleroy.bandcamp.com/album/single
**MIKE LEROY MAKES IT SIMPLE**
https://mikeleroy.bandcamp.com/album/makes-it-simple
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« Reply #2629 on: May 15, 2012, 08:19:48 PM »

Yes!  Some albums sound great at first, then wear out.  The truly great ones hardly ever sound great on first listen, they grow on you and never get old. 
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« Reply #2630 on: May 15, 2012, 08:30:44 PM »

The one song that really stuck out for me so far is "From There to Back Again".  Nice melody.  I will admit that a bunch of these songs kinda sound the same--same mid-tempo beat.  Auto-tune is a bit distracting.  That all being said, this album doesn't sound half-bad.  :-)  Hope it does well. 
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« Reply #2631 on: May 15, 2012, 08:32:58 PM »

And by using my amazing songwriter abilities, I'd say we're hearing the beginning half of "FTTBA"...

Who knows what happens next! (Besides PCH hahaha)
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**   危険な空 - Dangerous Skies  **
https://mikeleroy.bandcamp.com/album/single
**MIKE LEROY MAKES IT SIMPLE**
https://mikeleroy.bandcamp.com/album/makes-it-simple
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« Reply #2632 on: May 15, 2012, 08:48:40 PM »

With reference to 1998 through about 2005, it's a miracle they survived, as the Mike and Bruce shows sucked. People walking out. Complaining at the concessions stand about "that singer" doing Don't Worry Baby. I just about wrote them off. BWPS got me through at the end of that time period though. Never give up, but it was pretty bad for a long time. I was amazed Bruce didn't bail.
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Ron
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« Reply #2633 on: May 15, 2012, 08:51:19 PM »

And by using my amazing songwriter abilities, I'd say we're hearing the beginning half of "FTTBA"...

Who knows what happens next! (Besides PCH hahaha)

Using the context clues from the song title, I'll bet in the second half of the song they go back again. 
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runnersdialzero
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« Reply #2634 on: May 15, 2012, 08:54:02 PM »

Editing this because it was too long, but the biggest points of it I wanted to keep were...

"Shelter" - I've finally figured out the main reason I dislike Jeff's voice. Aside from the hoarseness/bloatedness, the constant cracking, the modification of Brian's written parts and sitting way too high in the mix, one of the biggest attractions for the Beach Boys for me was that their voices, despite being grown men, have almost always had this child-like quality to it. Even when Brian fried his voice with coke and cigarettes, he still had that quality to it. Even at 70 years old, the guys still have that quality to their voices. It's diminished a bit, some members more than others, but it's still very much there. It's playful, it has this energy to it that I can't really describe. It's just not there in Jeff's voice. At all. It's the opposite. Jeff's voice makes me want to do taxes and wash dishes. And there are times when it seems as though he's aware of it and tries to put a "silly" face on it, but it makes things even worse. I hate to bash the guy, it's just that all the things I just named combine and then clash with the other guys' voices, it creates some kind of dissonance (maybe not technically, but you know what I mean). This is the best I can describe this.

I promise this'll be the biggest negativity toward these songs that you'll see here, but I'm not a fan at all of him outright getting a lead vocal during the chorus of this one. He's not a Beach Boy and it shows. It's not even a difficult falsetto part! Al or Bruce easily could have nailed it. The song itself feels similar to the former track in terms of being a bit too adult contemporary, but there are some positives - that little vocal bit by Brian ("Make a little love" or whatever). The chorus, even if sung by someone else, doesn't do much. That big, dramatic minor chord that hits once it comes in is a bit goofy and the chorus just feels a tad too adult contemporary to me. Again, obviously I'll withhold final judgement until hearing the song in full.

"From There To Back Again" - This one, at its heart, sounds pretty impressive. The production again hurts it, and I'll again say that autotune has no place on an album by a vocal group who made their name in the 1960s. It just doesn't, it can only hurt things, and it does. That's not being irrational in the least and I'm not sure why people say it is. The vocal glitch on "clouds" is a complete joke, I really hate to say - how did everyone okay that? Using a bit of manual pitch correction instead of lazily applying an autotune filter over the entire vocal is all it takes. It's slightly more time consuming and you have to be a bit more attentive, but the results are a hundred times better. Don't be lazy.

Again, the song sound like it could be pretty good. Al, behind the obnoxious filter, is putting forth a really good vocal, and the arrangement is pretty nice.
« Last Edit: May 15, 2012, 10:49:48 PM by runnersdialzero » Logged

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« Reply #2635 on: May 15, 2012, 09:00:47 PM »

Have to say, I don't really hear any "Imagination" style arrangements. This sounds far, far better. Lots of little touches of BW humor.

Frankly, I'm beginning to wonder if Joe Thomas actually had much to do with the production of this. A large number of the songs simply sound like they were worked out with Brian's band, along with strings n stuff from Paul. The vocals are much more produced, yes, but the tracks are so far above the Imagination level it's not even funny.
« Last Edit: May 15, 2012, 09:01:49 PM by Wirestone » Logged
runnersdialzero
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« Reply #2636 on: May 15, 2012, 09:04:20 PM »

Have to say, I hear almost no signs of "Imagination" style arrangements. This sounds far, far better. Lots of little touches of BW humor.

Frankly, I'm beginning to wonder if Joe Thomas actually had anything to do with the production of this. A large number of the songs simply sound like they were worked out with Brian's band, along with strings n stuff from Paul. The vocals are much more produced, yes, but the tracks are so far above the Imagination level they're not even close.

To me, it's only especially apparent on a couple songs. "The Private Life" feels somewhat similar, especially that guitar part that comes in halfway through the clip, but has a playfulness to it that's lacking on that album. "Strange World" very much feels like an Imagination track, but is indeed a bit more playful - the bicycle bell made me smile. Still, the Lion King-esque timpani, the Spanish percussion, the adult contemporary-esque string hits, etc.
« Last Edit: May 15, 2012, 09:08:58 PM by runnersdialzero » Logged

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Jim V.
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« Reply #2637 on: May 15, 2012, 09:05:16 PM »

I noticed on "Beaches in Mind" that they actually say "fun fun fun".

Ick. Mike. Wow. Even though he always does it, I still can't believe it.
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runnersdialzero
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« Reply #2638 on: May 15, 2012, 09:11:14 PM »

I noticed on "Beaches in Mind" that they actually say "fun fun fun".

Ick. Mike. Wow. Even though he always does it, I still can't believe it.

The references to older hits is amusing and so cheesy, but I've come to expect it from the Lovester and it's kind of become... hrm, a trademark of his? I think it's more tastefully done on these songs than on Summer In Paradise, but that's me.
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Wirestone
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« Reply #2639 on: May 15, 2012, 09:12:43 PM »

Have to say, I hear almost no signs of "Imagination" style arrangements. This sounds far, far better. Lots of little touches of BW humor.

Frankly, I'm beginning to wonder if Joe Thomas actually had anything to do with the production of this. A large number of the songs simply sound like they were worked out with Brian's band, along with strings n stuff from Paul. The vocals are much more produced, yes, but the tracks are so far above the Imagination level they're not even close.

To me, it's only especially apparent on a couple songs. "The Private Life" feels somewhat similar, especially that guitar part that comes in halfway through the clip, but has a playfulness to it that's lacking on that album. "Strange World" very much feels like an Imagination track, but is indeed a bit more playful - the bicycle bell made me smile. Still, the Lion King-esque timpani, the Spanish percussion, the adult contemporary-esque string hits, etc.

I can see that. I'd be really interested to know if there are different backing band combinations on this. Because all the backing tracks do not sound the same. A number of them sound a lot like Brian's group (including arrangement-wise), some sound more AC, and a couple (Isn't It Time, for example) don't sound like any backing group I've heard before. Much more spare and BB85-like in some ways.
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« Reply #2640 on: May 15, 2012, 09:33:59 PM »

I noticed on "Beaches in Mind" that they actually say "fun fun fun".

Ick. Mike. Wow. Even though he always does it, I still can't believe it.

The references to older hits is amusing and so cheesy, but I've come to expect it from the Lovester and it's kind of become... hrm, a trademark of his? I think it's more tastefully done on these songs than on Summer In Paradise, but that's me.

I just think it's funny because he kinda has come across lately as "hey, I'm really trying to write good lyrics this time!"

Yeah. b.s. Mike.
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« Reply #2641 on: May 15, 2012, 09:42:21 PM »

I noticed on "Beaches in Mind" that they actually say "fun fun fun".

Ick. Mike. Wow. Even though he always does it, I still can't believe it.

The references to older hits is amusing and so cheesy, but I've come to expect it from the Lovester and it's kind of become... hrm, a trademark of his? I think it's more tastefully done on these songs than on Summer In Paradise, but that's me.

I just think it's funny because he kinda has come across lately as "hey, I'm really trying to write good lyrics this time!"

Yeah. b.s. Mike.

Well, there's no "Summer of Love," at least!
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« Reply #2642 on: May 15, 2012, 09:42:55 PM »

The tuning is nowhere near as bad as you might have thought.

If you can make a statement like that then i can state the opposite. That is simply not true. Not only is it as bad, it's worse, even more noticeable on the higher quality, longer iTunes samples.

As runnersdialzero said recently, i can't believe B-Pain made it onto the record. But it's not just Brian, AL JARDINE for heaven's sake, the guy who can still sing like he did in 1965, he is slathered in it. The amount of Autotune used all throughout these songs is enough that people who don't ordinarily hear it, will clearly hear it. And that's because it sometimes borders on Autotune as effect, and in some parts it's just blatantly effect. Can you imagine, of all groups/artists in the world, THE BEACH BOYS put out a new album and AUTOTUNE is audible all over it? And that's just in 1:30 samples. Slick production is one thing, but overuse of Autotune?

Well, either it was Brian's idea (or someone else's and he approved) or someone is ghost producing because the use of Autotune is a producer's call. So either way, Brian likes/wants Autotune. And yeah, let's hear it one more time, guyz: Autotune is JUST LIKE double tracking like they did in the 60s! Yeah, totally!  
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« Reply #2643 on: May 15, 2012, 09:58:45 PM »

Man, I really dig "Isn't it Time", it should be a single definitely.

It's probably the most rockin' cut on the whole album, and I love the vibe. The guys sound like they are having fun. The vocals sound great. I love the percussion. Doesn't really sound like anything they've done before. Great song.
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monicker
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« Reply #2644 on: May 15, 2012, 09:59:52 PM »

For all of you waiting, I'm gonna go right out and say, amazing job guys,
you're about to hear the best, most Pet-Sounds/SMiLE worthy tracks that are possible

That are possible in 2012, recorded digitally with really slick production, heavy, noticeable use of Autotune, written and arranged by a 70 year old who's been to hell and back, with help from a former wrestler turned MOR music producer? Yeah, i guess so.

On another note, i really like Isn't It Time. That is a GREAT backing track.
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« Reply #2645 on: May 15, 2012, 10:01:25 PM »

Monicker, you really do know how to spread some joy and light.
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« Reply #2646 on: May 15, 2012, 10:03:44 PM »

Editing this because it was too long, but the biggest points of it I wanted to keep were...

"Shelter" - I've finally figured out the main reason I dislike Jeff's voice. Aside from the hoarseness/bloatedness, the constant cracking, the modification of Brian's written parts and sitting way too high in the mix, one of the biggest attractions for the Beach Boys was that their voices, despite being grown men, have almost always had this child-like quality to it. Even when Brian fried his voice with coke and cigarettes, he still had that quality to it. Even at 70 years old, the guys still have that quality to their voices. It's diminished a bit, some members more than others, but it's still very much there. It's playful, it has this energy to it that I can't really describe. It's just not there in Jeff's voice. At all. It's the opposite. Jeff's voice makes me want to do taxes and wash dishes. And there are times when it seems as though he's aware of it and tries to put a "silly" face on it, but it makes things even worse. It clashes with the other guys, it creates some kind of dissonance. This is the best I can describe this.

For me what doesn't make his voice not always work in the band is that he doesn't always sing like he's in a blend.  If even he's singing just a part, it sounds like he sings it as a lead, when he should relax and let it blend in.  So it creates the dissonance, if that makes any sense. 
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« Reply #2647 on: May 15, 2012, 10:04:08 PM »

Jeff's voice makes me want to do taxes and wash dishes.

This is the greatest thing i've read in a long time. That is a brilliant way to put it. I always thought to myself that his falsetto (i will give him due for his mid range, which i think is pretty good) sounds like a grandma singing out of her range, trying to do a whacky imitation of The Beach Boys. But, yes, taxes and dishes.
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« Reply #2648 on: May 15, 2012, 10:09:37 PM »

i gave FTAB a 5 second listen because i gave the amazon.com clip the same.  I'm comforted that it doesn't sound like autotune anymore, and just a vocal effect.
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« Reply #2649 on: May 15, 2012, 10:10:00 PM »

The tuning is nowhere near as bad as you might have thought.

If you can make a statement like that then i can state the opposite. That is simply not true. Not only is it as bad, it's worse, even more noticeable on the higher quality, longer iTunes samples.

As runnersdialzero said recently, i can't believe B-Pain made it onto the record. But it's not just Brian, AL JARDINE for heaven's sake, the guy who can still sing like he did in 1965, he is slathered in it. The amount of Autotune used all throughout these songs is enough that people who don't ordinarily hear it, will clearly hear it. And that's because it sometimes borders on Autotune as effect, and in some parts it's just blatantly effect. Can you imagine, of all groups/artists in the world, THE BEACH BOYS put out a new album and AUTOTUNE is audible all over it? And that's just in 1:30 samples. Slick production is one thing, but overuse of Autotune?

Well, either it was Brian's idea (or someone else's and he approved) or someone is ghost producing because the use of Autotune is a producer's call. So either way, Brian likes/wants Autotune. And yeah, let's hear it one more time, guyz: Autotune is JUST LIKE double tracking like they did in the 60s! Yeah, totally!  
Yeah, it is pretty gross-sounding. It will instantly date this record to this era. This is really being used as an effect rather than a pitch correction tool, and it sounds arbitrary especially when applied to Al in a downtempo, introspective number. I'd always rather hear an Al Jardine vocal than an Al Jardine plus synthesizer vocal.

The analogy of pitch correction to double-tracking is apt, but double-tracking can yield myriad sounds, depending on the singer, microphones, room, etc. Autotune is much more homogenized; anyone with a DAW and pitch correction software can get that basic sound. Although the timbre varies somewhat from algorithm to algorithm, it is still very much 'that sound.'

I can also sympathize with Runnerdialzero about the Foskett leads. I am not a Foskett-hater, but I think he summed up the discrepancy between Jeff's voice and the other voices we have on record. It certainly stands out when it is centre-stage.

I'm glad that I can hear plenty of Al and Bruce vocals on the tracks I have listened to thus far. I like the production on "Isn't it Time" a lot and it doesn't sound like anything from Imagination. "Spring Vacation" is much closer to that Joe Thomas 1998 sound.

I am wondering if Darian, Scott, et. al. and Matt Jardine are on the record at all. I hope so. I love Darian's voice, and Matt Jardine and Christian Love would be great additions to the vocal blend.
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