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Author Topic: New album info (as it rolls out...)  (Read 1055973 times)
Andrew G. Doe
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« Reply #100 on: February 17, 2012, 09:57:51 AM »

Apart from SURFIN' SAFARI and SURFIN' USA, has there ever been a Beach Boys (or solo) album that did not utilize a melody, song or track that had been sitting around for a couple of years or more?

I would be surprised if the new album is completely new.

Even they weren't 100% new -  "Surfin' USA" (the song) was hardly original, a fact not lost on Chuck Berry's lawyers, and of course the début album's title track was a re-recording (not forgetting "Surfin'", leased from Hite Morgan).
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« Reply #101 on: February 17, 2012, 10:25:49 AM »

Apart from SURFIN' SAFARI and SURFIN' USA, has there ever been a Beach Boys (or solo) album that did not utilize a melody, song or track that had been sitting around for a couple of years or more?

I would be surprised if the new album is completely new.

Even they weren't 100% new -  "Surfin' USA" (the song) was hardly original, a fact not lost on Chuck Berry's lawyers, and of course the début album's title track was a re-recording (not forgetting "Surfin'", leased from Hite Morgan).

Right. I guess I thought I would make an exception for material worked on within a year previously*.

*Using that barometer (and excluding albums that contained covers of songs released more than a year previously), I'm thinking ALL SUMMER LONG, FRIENDS and BEACH BOYS '85 (?) would be the only albums of all new original material that the band ever released!
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« Reply #102 on: February 17, 2012, 10:48:37 AM »

Apart from SURFIN' SAFARI and SURFIN' USA, has there ever been a Beach Boys (or solo) album that did not utilize a melody, song or track that had been sitting around for a couple of years or more?

I would be surprised if the new album is completely new.

Even they weren't 100% new -  "Surfin' USA" (the song) was hardly original, a fact not lost on Chuck Berry's lawyers, and of course the début album's title track was a re-recording (not forgetting "Surfin'", leased from Hite Morgan).

Right. I guess I thought I would make an exception for material worked on within a year previously*.

*Using that barometer (and excluding albums that contained covers of songs released more than a year previously), I'm thinking ALL SUMMER LONG, FRIENDS and BEACH BOYS '85 (?) would be the only albums of all new original material that the band ever released!

"Little Bird" has a "CIFTTM" riff... the track for "Drive-in" was cut at the 10/63 "LSN" sessions (thus could well have David on it), while "Do You Remember" was roughed out as "The Big Beat" at least a year earlier... and "California Calling" has been carbon dated to 1982 9composition, not recording)
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« Reply #103 on: February 17, 2012, 11:26:07 AM »

Well Do It Again  was a quick fix arrangement and recording to test the waters - that could maybe explain the autotune, as time wasn't plentiful to get takes 'just so'. Hopefully the album has more thought and care put  into the arrangements of the new songs. It looks like, from the studio photos, that Brian's band is on them - we haven't seen any other musicians, right - and that is heartwarming. I  just hope rushing the album for a summer release doesn't mean it's, y'know, rushed.

As I stated in my compilation post, we have reason to believe that Joe Thomas's session musicians could be on a chunk of the album's tracks. You know, the Imagination guys.

As for rushing, I wouldn't worry. Most of Brian's albums over the last decade have been recorded in the span of a couple of weeks. (Work on vocals sometimes continues for a couple of months, on and off.) Brian doesn't really have the patience for much else.
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« Reply #104 on: February 17, 2012, 12:03:44 PM »

Not to nitpick, but there are 11 tracks there. Given the time pressures, how many more do you think they could realistically finish, mix and master for a June-ish release?

As for archival stuff, I was thinking that the Boys might go back to the mid-90s just for the chance to get a couple of Carl vocals. Dancin' isn't great, but it is a BW/ML co-write, correct? Black Widow was a total shot in the dark. Maybe they'll go with Adult Child material instead.  Grin

Finally, I understand the desire for a Dennis tribute, but I don't know how it would work. Dennis's songs wouldn't really fit. What else is in the can that could be used for an album like this that wouldn't work better on an all-archival release?

I'd rather hear "Wouldn't It Be Nice To Live Again" in its original, archival form but maybe it's not outside the realm of possibility they'd rework it for a new album.  What would be cooler, maybe, would be doing vocals for "I've Got a Friend".

Re reworking WIBNTLA - no, no, no, no, NO! Please God, no. Either release the original - and seriously, why the hell not just re-release the original? - or just pay tribute to Dennis in the sleeve notes, but no covers please, guys. If you don't have enough decent new material then what you releasing an album for? I wouldn't want to listen to their new version of Do It Again when I could listen to the original, likewise any song from their 60s-70s prime.
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« Reply #105 on: February 17, 2012, 12:11:25 PM »

Has anyone heard an album produced by Joe Thomas in the last few years. Is the sound he is
getting nowadays, any different from the sounds he got on the Your Imagination album.

Thomas worked on songs dating back to the sixties for the Imagination album, so he
certainly wouldn't have an aversion to reviewing unreleased older material. If he is involved
on the new album.

What else has he done that people can listen to.


I had no idea Wilson's Gershwin and Disney albums were cut in a matter of weeks. what about
Lucky Old Sun ? Lucky Old Sun would have been a great Beach Boys album.

Hopefully we will get a preview of the album with a second single, the titles, That's why God Made the Radio
and Bill and Sue whatever it is, those titles don't remind me of Midnights another day that's for sure.
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« Reply #106 on: February 17, 2012, 12:16:42 PM »


Thomas worked on songs dating back to the sixties for the Imagination album, so he
certainly wouldn't have an aversion to reviewing unreleased older material.



Sometimes I get the feeling, people think it's not right no revisit old material that was never recorded or released. As long as tthe material is good and the new recordings are as well, I'm totally fine with it. If it turns out to be GIOMH-like, that's something else... But Imagination's "She says that she needs me" is great and doesn't even sound too sterile compared to much of the other recordings on that album.
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« Reply #107 on: February 17, 2012, 01:22:44 PM »

I wouldn't mind if the songs were old but never heard of. Besides, there's no way of telling if an unfamiliar song is new or old by merely listening to it.

Unless you've heard it before somewhere, of course.

In which case it wouldn't be unfamiliar.
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« Reply #108 on: February 17, 2012, 02:01:01 PM »

I had no idea Wilson's Gershwin and Disney albums were cut in a matter of weeks. what about
Lucky Old Sun ? Lucky Old Sun would have been a great Beach Boys album.

TLOS is more complicated. It originates with demos cut in the summer of 2006 -- many of Brian's leads on the album come from his demos.

The live performances in London were recorded and then used as the building blocks for the band's work in the studio (one of the reasons Bob Lizik, who had departed the band between the live shows and the studio recording, is credited as bassist for some of the tracks).

So the album was patched together from 1.) Brian and Scott's demos, 2.) the first live performances and 3.) some work at the Capitol Records studio. The time spent in the studio was pretty quick, though -- certainly closer to weeks rather than months.
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« Reply #109 on: February 17, 2012, 02:14:00 PM »

TLOS is more complicated. It originates with demos cut in the summer of 2006 -- many of Brian's leads on the album come from his demos.

The live performances in London were recorded and then used as the building blocks for the band's work in the studio (one of the reasons Bob Lizik, who had departed the band between the live shows and the studio recording, is credited as bassist for some of the tracks).

So the album was patched together from 1.) Brian and Scott's demos, 2.) the first live performances and 3.) some work at the Capitol Records studio. The time spent in the studio was pretty quick, though -- certainly closer to weeks rather than months.

I'm not aware of any live recording at the RFH in 2007: certainly no mobile was visible. There was an abortive attempt to record it in January 2008, then the sessions resumed in April. The liners make no mention of remote recording, and if any live shows had been used, then Jim Hines would have been credited as well, as he was also there in 2007. Not sure where you got that idea from, but it's spurious.
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« Reply #110 on: February 17, 2012, 02:30:59 PM »


Thomas worked on songs dating back to the sixties for the Imagination album, so he
certainly wouldn't have an aversion to reviewing unreleased older material.



Sometimes I get the feeling, people think it's not right no revisit old material that was never recorded or released. As long as tthe material is good and the new recordings are as well, I'm totally fine with it. If it turns out to be GIOMH-like, that's something else... But Imagination's "She says that she needs me" is great and doesn't even sound too sterile compared to much of the other recordings on that album.



I Love SHE SAYS THAT SHE NEEDS ME from the Imagination album. I had never heard of the song, in recent years I heard an original demo from the sixties
and realized it was an old tune. That they had used for the album in 99, or whatever year that was.

GIOMH has a couple nice tracks on it as well, Personally I like the one he wrote with Van Dyke and Soul Searchin, and one or two more. The song With
Elton John I didin't understand at all, it sounded like an Elton John record with harmonies by Wilson, and the one with McCartney had to be the biggest
letdown of the year. To think two people that great would finally cut a track and have it sound like that was baffling. It's awful that song. I love the Desert Drive song, that sounds like an old Beach Boys record, I love that one. I know thats an earlier song from some Paley sessions.

I find it interesting that Wilson cuts his albums in a matter of weeks or a couple months now. I expect TLOS is a more complicated album musically
than the new Beach Boys album will be.Anyway historically as AGD pointed out, almost all Beach Boy albums have tunes written a good deal earlier.
Wilson solo albums have the same thing.

Why Do people hate GIOMH, I hate parts of it, but I Like a few tunes, the one with Clapton is bad too, because its not a Wilson type of recording.


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« Reply #111 on: February 17, 2012, 02:40:55 PM »

I'd love to hear "Still A Mystery" and "Wouldn't It Be Nice To Live Again" given an official release on this new record. The latter would be a beautiful tribute to Dennis.
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« Reply #112 on: February 17, 2012, 02:41:14 PM »

http://www.emusician.com/news/0766/another-day-peering-into-the-creative-genius-of-brian-wilson/139364

Mark Linett:

"Some arrangement changes were made on the floor. This is something they had already played live as a 36-minute suite of songs at London’s Royal Festival Hall. Although this music had been performed, and we actually already recorded a live version at that point, once you get in the studio, things tend to change."
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« Reply #113 on: February 17, 2012, 05:45:42 PM »

The New York Times recently talked with Brian and Mike.  Some interesting tidbits on the album.  According to Brian, it's about "half way done". 

http://artsbeat.blogs.nytimes.com/2012/02/17/a-few-words-with-the-beach-boys/

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« Reply #114 on: February 17, 2012, 06:13:35 PM »

The New York Times recently talked with Brian and Mike.  Some interesting tidbits on the album.  According to Brian, it's about "half way done". 

http://artsbeat.blogs.nytimes.com/2012/02/17/a-few-words-with-the-beach-boys/




That's a great interview!  Thanks for the link.
Oh, and the new Wilsonism: "On the album, one song flows into another and that flows into another like that, until it’s over, until there’s no more album."
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« Reply #115 on: February 17, 2012, 06:40:15 PM »

It is noteworthy that Mike says that one song is as good anything they've ever done.  I hope he means it and that he's not talking meaningless hype.
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« Reply #116 on: February 17, 2012, 07:52:14 PM »

Am I the only who is not convinced the new 'Do It Again' will be on the album?  I mean, if it's really going to be a 'mellow' album with a suite at the end, this track would stick out like a sore thumb.  I've not seen any mention anywhere that this new recording will be on the new album.  It's been described as a recording made 'just to see what it would sound like' and seems to be used to promote the tour and the reunion in general.

in fact, by the time the album comes out, 'Do It Again' will be old news.  I'm sure the 'lead' track will be something else entirely.
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« Reply #117 on: February 17, 2012, 08:07:56 PM »

Given that both Brian and the Beach Boy have never been shy about including remakes on their past albums -- including remakes of big hits -- I don't think the inclusion of Do It Again 2012 is inconceivable. As a purely aesthetic matter, I would prefer it be left off, too. But maybe they think it's a hit.
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« Reply #118 on: February 17, 2012, 10:10:40 PM »

Am I the only who is not convinced the new 'Do It Again' will be on the album?  I mean, if it's really going to be a 'mellow' album with a suite at the end, this track would stick out like a sore thumb.  I've not seen any mention anywhere that this new recording will be on the new album.  It's been described as a recording made 'just to see what it would sound like' and seems to be used to promote the tour and the reunion in general.

in fact, by the time the album comes out, 'Do It Again' will be old news.  I'm sure the 'lead' track will be something else entirely.


I'll play devil's advocate and say, possibly, they might need to use the DIA remake if all the other material is
on the mellow side. Even a mellow album, might need one or two songs that rock a little, or offer contrast to the main
body of songs.

That New York Times article, the reporter says, Love and Wilson's description is a bit like Pet Sounds or SmiLe, and they
agree with the reporter, yes, there is a (he didn't say medley) a bit on the end, and Wilson says all the songs, flow into
one another, I Got excited as hell when I read that, and dreamed as big as the moon, wondering could there be the Smile
Sessions and a new album that was actually up there with their great work, WOW.


OK back to the question, Who knows, DIA could be a exclusive bonus track on Itunes or Best Buy, it could be on the album
proper, it could depend on the final sequence, the running time, if they end with a finished album of 36 minutes, might they
not be tempted, to , add DIA to add length. They could use it on the album, and say the reason, was primarily because
Dennis Wilson was included on the album that way. Because some of his playing was sampled.

I like to gamble when I have nothing at stake, I haven't a clue whether they will use it or not. I would say they will, if they
need another song that rocks a little. Even a mellow album needs one or two rockier songs, for contrast, in most instances.


OK now whats the over under on whether a theramin makes it to the album ?
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« Reply #119 on: February 17, 2012, 10:53:11 PM »

http://www.emusician.com/news/0766/another-day-peering-into-the-creative-genius-of-brian-wilson/139364

Mark Linett:

"Some arrangement changes were made on the floor. This is something they had already played live as a 36-minute suite of songs at London’s Royal Festival Hall. Although this music had been performed, and we actually already recorded a live version at that point, once you get in the studio, things tend to change."

A live version, and no mention of it either being from an RFH show or used at all in the final version.
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« Reply #120 on: February 17, 2012, 11:16:16 PM »

TLOS is more complicated. It originates with demos cut in the summer of 2006 -- many of Brian's leads on the album come from his demos.

The live performances in London were recorded and then used as the building blocks for the band's work in the studio (one of the reasons Bob Lizik, who had departed the band between the live shows and the studio recording, is credited as bassist for some of the tracks).

So the album was patched together from 1.) Brian and Scott's demos, 2.) the first live performances and 3.) some work at the Capitol Records studio. The time spent in the studio was pretty quick, though -- certainly closer to weeks rather than months.

I'm not aware of any live recording at the RFH in 2007: certainly no mobile was visible. There was an abortive attempt to record it in January 2008, then the sessions resumed in April. The liners make no mention of remote recording, and if any live shows had been used, then Jim Hines would have been credited as well, as he was also there in 2007. Not sure where you got that idea from, but it's spurious.

That Lucky Old Sun DVD.

In the bonus features. "Behind the Scenes in the Studio for the Making of the Album."

45 seconds in. Probyn, Sucherman, Scott Bennett, Jeff and Walusko get ready to play. (No bass player present.)

Probyn: "Oh, is there someone playing bass on this?"

Scott: "Yeah. I've got Lizik's live bass that I've pro tooled on with the clicks."

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« Reply #121 on: February 17, 2012, 11:53:57 PM »

Therefore.

The January TLOS sessions didn't work out. Bob Lizik was not part of the April sessions -- at least not as depicted in the DVD. So is it crazy to extrapolate that the reason he is credited on the TLOS album is because Scott pro-tooled in bass lines from a live show?

However.

I likely overstated my case in saying the live recording was used as a foundation for the '08 studio work. While bass parts are certainly foundational, that same doc suggests that elements from the BW/SB '06 demos were also used as guides in the studio.

I'll also admit that I have no idea where live recording was done. I had thought that the only place TLOS had been played live up to that point was in London. Looking at Eric's setlist archive, I see it was also performed in Manchester and Birmingham, so recording could have been done at either site.

Finally.

The fact that "The liners make no mention of remote recording" strikes me as a weak point in this case. Many of Brian's vocals on the album come from his summer 2006 work with Scott in his house. However, Scott receives no engineering or studio credit on the record, and those sessions are not mentioned.
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« Reply #122 on: February 18, 2012, 02:16:05 AM »

Apart from SURFIN' SAFARI and SURFIN' USA, has there ever been a Beach Boys (or solo) album that did not utilize a melody, song or track that had been sitting around for a couple of years or more?

I would be surprised if the new album is completely new.

Even they weren't 100% new -  "Surfin' USA" (the song) was hardly original, a fact not lost on Chuck Berry's lawyers, and of course the début album's title track was a re-recording (not forgetting "Surfin'", leased from Hite Morgan).

Right. I guess I thought I would make an exception for material worked on within a year previously*.

*Using that barometer (and excluding albums that contained covers of songs released more than a year previously), I'm thinking ALL SUMMER LONG, FRIENDS and BEACH BOYS '85 (?) would be the only albums of all new original material that the band ever released!

"Little Bird" has a "CIFTTM" riff... the track for "Drive-in" was cut at the 10/63 "LSN" sessions (thus could well have David on it), while "Do You Remember" was roughed out as "The Big Beat" at least a year earlier... and "California Calling" has been carbon dated to 1982 9composition, not recording)
I read somewhere(many years ago) that Getcha Back existed in some form when Dennis was alive. Is this true?
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« Reply #123 on: February 18, 2012, 02:37:06 AM »

I read somewhere(many years ago) that Getcha Back existed in some form when Dennis was alive. Is this true?

I'd not heard that, but it's just about possible - Hungry Heart came out in 1980, and Uptown Girl in September 83, so it's possible that between September and December either Love or Melcher said "Let's do Hungry Heart, but with the whoahs from Uptown Girl - and why not stick in the hook from Sail On Sailor, slowed down a bit and in four/four time?"

(It's not really the most original of songs)
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« Reply #124 on: February 18, 2012, 12:48:24 PM »

Therefore.

The January TLOS sessions didn't work out. Bob Lizik was not part of the April sessions -- at least not as depicted in the DVD. So is it crazy to extrapolate that the reason he is credited on the TLOS album is because Scott pro-tooled in bass lines from a live show?

However.

I likely overstated my case in saying the live recording was used as a foundation for the '08 studio work. While bass parts are certainly foundational, that same doc suggests that elements from the BW/SB '06 demos were also used as guides in the studio.

I'll also admit that I have no idea where live recording was done. I had thought that the only place TLOS had been played live up to that point was in London. Looking at Eric's setlist archive, I see it was also performed in Manchester and Birmingham, so recording could have been done at either site.

Finally.

The fact that "The liners make no mention of remote recording" strikes me as a weak point in this case. Many of Brian's vocals on the album come from his summer 2006 work with Scott in his house. However, Scott receives no engineering or studio credit on the record, and those sessions are not mentioned.

I believe TLOS was also performed in Australia, late 2007.  And I believe Bob's basslines were flown in from the demos, just like some of Brian's vocals.  The demos as they have been leaked are pretty elaborate & well-produced, and we know Scott and Darian worked on them pretty extensively while Brian and the rest of the band were touring Europe in the summer of '07, so it's not hard to imagine they had Bob in adding basslines at some point between 2006 and 2007.  Finally, Scott DOES receive studio credit on the record:  "Additional Production" (as well as co-mixing).
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