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Author Topic: Getcha Back is such a tease!  (Read 13985 times)
LdC
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« Reply #25 on: June 27, 2012, 09:25:28 PM »

I always heard it as Brian, and it did confound me as well. He does very distinctive though, I admit I a psyched to see this live, so I hope they keep this for Sydney. I think its heaps cool David Marks is doing it!
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« Reply #26 on: June 27, 2012, 09:26:52 PM »

"Looped" meaning they got 4 good tripled-tracked bars out of him, and repeated it? Must have been a different loop for the trucker's gear change modulation, as I don't know if digital technology allowed for pitch shift without tempo change back then.
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« Reply #27 on: June 27, 2012, 09:34:35 PM »

Never really understood why Mike never handles the lead on this song anymore.  In recent years he's been handing it off to his song Christian.  Mike really does the best job with this song.  Marks' voice just isn't well suited for this song. 
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« Reply #28 on: June 27, 2012, 11:36:45 PM »

I think it's Brian too.  BTW, on the clip mentioned above, I do believe Brian IS trying the falsetto at the top of the song...and really not hitting it!  Listen carefully.  Perhaps again around 1:45 and later. The first half of the "whoa" falsetto is pitchy as hell, then someone drops out and it's in.  Brian seems to be singing, but it's hard to see.  Hard to imagine who else it would be...


Interesting hearing Dave do this one.  It's kinda cool.
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« Reply #29 on: June 28, 2012, 06:58:51 AM »

Hasn't someone on the board said that on the studio recording that it was Brian, coached and coaxed into it by Terry Melcher?

Perfect timing re 'coached and coaxed'. Take a look at this clip from the other night. At 1 min in Jeff is doing just that trying to get Brian to join in on the backing vocals! LOL


http://www.youtube.com/watch?v=FEBHAba7Yfg


Vocal highlight of that version is Mike's part. The rest of it sounds quite not right, perhaps because Brian, Al and Bruce are singing a different part than they should. Perhaps because Jeff doesn't really nail the falsetto part this time.
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« Reply #30 on: June 28, 2012, 07:14:58 AM »

Hasn't someone on the board said that on the studio recording that it was Brian, coached and coaxed into it by Terry Melcher?

many published reports have said something to that effect

That sounds about right to me - add in some studio wizardry and I think you've got it (i.e. EQ, pitch correction, looping, etc.).  I wouldn't discount the possibility of Foskett doubling it though.  I guess the more things change, the more they stay the same!

There was a thread about this 3 or 4 years ago (I remember reading it at my old desk) and somebody posted an interview with Terry Melcher where he said it's Brian, taped looped. There might have been other effects too, search for that thread and it should have all the details.
In an interview for my book, producer Steve Levine said "This is pre-Auto-Tune. It is tracked , but there is no faking."

What do you mean by "tracked"?

Probably the same thing as Terry Melcher meant by looping.  They're saying it is Brian making the sound, but admitting that they used sampling or looping or whatever to repeat the same performance of the falsetto line throughout the song.
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Mark Dillon
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« Reply #31 on: June 28, 2012, 09:41:37 AM »

Hasn't someone on the board said that on the studio recording that it was Brian, coached and coaxed into it by Terry Melcher?

many published reports have said something to that effect

That sounds about right to me - add in some studio wizardry and I think you've got it (i.e. EQ, pitch correction, looping, etc.).  I wouldn't discount the possibility of Foskett doubling it though.  I guess the more things change, the more they stay the same!

There was a thread about this 3 or 4 years ago (I remember reading it at my old desk) and somebody posted an interview with Terry Melcher where he said it's Brian, taped looped. There might have been other effects too, search for that thread and it should have all the details.
In an interview for my book, producer Steve Levine said "This is pre-Auto-Tune. It is tracked , but there is no faking."

What do you mean by "tracked"?

Probably the same thing as Terry Melcher meant by looping.  They're saying it is Brian making the sound, but admitting that they used sampling or looping or whatever to repeat the same performance of the falsetto line throughout the song.
I take it to mean Brian did a good take and they duplicated it and kept layering it over top the original, as Brian would do on his first solo album. Here's an excerpt from the book on the subject of Brian's singing at the sessions:

For Levine, making the album was a combination of “highs and extreme lows.” The defining event came a few days in at Westlake, after Brian had laid down a weak vocal. “It was just awful,” the producer recalls. “He walked in the control room and everyone’s going, ‘Hey, great, Bri, really great.’ Everyone was so unbelievably patronizing. And Brian says to me, ‘What do you think, Steve?’ And I said, ‘Do you want an honest answer? It’s sh*t. You need some singing lessons,’ at which point everyone in the room took a deep breath and Brian stormed out.”

The room cleared and Levine believed his critique had just earned him his walking papers. He returned the next morning to pack up, when the phone rang. It was Tom Hulett, who had replaced Stephen Love as Beach Boys manager years earlier. “Brian’s not coming to the studio today,” Hulett told a contrite Levine. “Do you know where he is? He’s having some singing lessons. Thank you.”
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« Reply #32 on: June 28, 2012, 10:07:37 AM »

By the way Mark, I picked up your book at the B&N at the Irvine Spectrum when I was in town for the Boys' show a few weeks back. I only bought it based upon the posts here, I kind of hedged actually.  Long story short, a great piece of work.  I find the book to be an absolute page turner.

* One question though, I always thought that Mike Love referred to himself as the "surf word man".  The quote in the book is "surfboard man".   Not suggesting my ears were right.
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« Reply #33 on: June 28, 2012, 11:24:08 AM »


I take it to mean Brian did a good take and they duplicated it and kept layering it over top the original, as Brian would do on his first solo album. Here's an excerpt from the book on the subject of Brian's singing at the sessions:

For Levine, making the album was a combination of “highs and extreme lows.” The defining event came a few days in at Westlake, after Brian had laid down a weak vocal. “It was just awful,” the producer recalls. “He walked in the control room and everyone’s going, ‘Hey, great, Bri, really great.’ Everyone was so unbelievably patronizing. And Brian says to me, ‘What do you think, Steve?’ And I said, ‘Do you want an honest answer? It’s sh*t. You need some singing lessons,’ at which point everyone in the room took a deep breath and Brian stormed out.”

The room cleared and Levine believed his critique had just earned him his walking papers. He returned the next morning to pack up, when the phone rang. It was Tom Hulett, who had replaced Stephen Love as Beach Boys manager years earlier. “Brian’s not coming to the studio today,” Hulett told a contrite Levine. “Do you know where he is? He’s having some singing lessons. Thank you.”

That's what I take the tape looping quote to mean as well, Brian sang the line once, then they used the same take repeated and layered throughout the track.

I'm looking forward to picking up your book this weekend, just found a $100 Barnes and Nobel gift card in my purse and you're book was the first thing I thought of using it on.
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« Reply #34 on: June 28, 2012, 11:44:21 AM »

Funnily enough, I've wondered before if Brian's falsetto was looped, it sounds TOO spot on, not just for mid 80's Brian but for anyone, for example the tag, both Brian and Bruce's 'waa-ooh' sound looped (although that may just be my ears, I'm sure Bruce was capable of pulling it off each time).
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« Reply #35 on: June 28, 2012, 11:58:25 AM »

By the way Mark, I picked up your book at the B&N at the Irvine Spectrum when I was in town for the Boys' show a few weeks back. I only bought it based upon the posts here, I kind of hedged actually.  Long story short, a great piece of work.  I find the book to be an absolute page turner.

* One question though, I always thought that Mike Love referred to himself as the "surf word man".  The quote in the book is "surfboard man".   Not suggesting my ears were right.
Thanks, southbay. I understand your hesitation. I had to ask myself before embarking on this two and a half year project whether the world really needed another Beach Boys book. I was certainly very fortunate in terms of who was willing to speak to me, and I would say, as a longtime fan, I found each interviewee to relay something that was revelatory to me. The "Getcha Back"  chapter is a good example. I think the 1985 album sessions have been quite underreported and it was fascinating to have Steve Levine run through the whole drama.

I just went back to watch the 1994 Mike Love interview. I think you're right. I'm optimistic about a second print run, which will give me an opportunity to fix it. Thanks!
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« Reply #36 on: June 28, 2012, 12:18:38 PM »

Wish I had that link to reference, but alas. Can't talk about something I'm not allowed to hear.
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« Reply #37 on: June 28, 2012, 12:42:36 PM »

By the way Mark, I picked up your book at the B&N at the Irvine Spectrum when I was in town for the Boys' show a few weeks back. I only bought it based upon the posts here, I kind of hedged actually.  Long story short, a great piece of work.  I find the book to be an absolute page turner.

* One question though, I always thought that Mike Love referred to himself as the "surf word man".  The quote in the book is "surfboard man".   Not suggesting my ears were right.
Thanks, southbay. I understand your hesitation. I had to ask myself before embarking on this two and a half year project whether the world really needed another Beach Boys book. I was certainly very fortunate in terms of who was willing to speak to me, and I would say, as a longtime fan, I found each interviewee to relay something that was revelatory to me. The "Getcha Back"  chapter is a good example. I think the 1985 album sessions have been quite underreported and it was fascinating to have Steve Levine run through the whole drama.

I just went back to watch the 1994 Mike Love interview. I think you're right. I'm optimistic about a second print run, which will give me an opportunity to fix it. Thanks!

Cool.  Can I get an acknowledgement? Kidding.
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« Reply #38 on: June 29, 2012, 06:18:39 PM »

Two things:

1) Hearing this song on this tour, a few weeks ago, was the first time I'd ever heard it. I thought it was pretty cool, and was looking forward to hearing the studio version. Upon seeing this thread, I loaded the song up on youtube, and immediately remembered why I've avoided this era of the band! It's just so damn 80s, which isn't really an adjective, but I think you'll know what I mean. So slick and drenched in reverb. I'm sure Joe Thomas loves it. Juuuuuuuust kidding. But seriously, I'm glad my first exposure to it was the live version, so I can at least stomach the studio version. I'm thinking the live cd of this tour will contain my definitive version of the song (if it's included that is).

2) More relevant to some of the discussion in this thread, I think the falsetto in the original is Brian. As mentioned above, the reverb is so thick, and the part layered so much, that it's hard to tell. Throughout most of the song I couldn't make heads or tails, and if someone had told me it was or wasn't Brian, I could be swayed either way. The turning point was the end of the song, where the key modulates up. The falsetto part is having to reach harder for the notes, and there's a more human element that breaks through where (I think) I can hear the voice as Brian.
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« Reply #39 on: June 29, 2012, 06:28:59 PM »

It's a funny tune. A ripoff of Hungry Heart, written by Mike and Terry Melcher (the only writing credit either one has on the record). Produced by Culture Club's Steve Levine, yet Brian seems to have had a hand in the arrangement (baritone sax). Brian did arrange the vocals, apparently. So a tune from a lot of hands, but one that manages -- in its own way -- to avoid some of the nostalgia traps of other BB material from that era.

I have to say, while the criticisms of the overall production sound are right on, I do love Brian's wo-wos and tag vocals on this. I'd dearly love for him to take them up in concert, too, but it seems like he doesn't want to.
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« Reply #40 on: June 29, 2012, 06:51:18 PM »

It's a funny tune. A ripoff of Hungry Heart....

Ah, you reminded me of something else I wanted to mention. When the song started up at the concert I was like "Hushabye?! With a Caribbean rhythm on it???!!!" The first 4 notes of the melody (and chords underneath it) are the same, and having not heard the song prior it fooled me for a second.
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« Reply #41 on: June 29, 2012, 07:31:49 PM »

Thanks for sharing that story, Mark. I'll be sure to check your book out.

I think a lot of good things can be said about the production on BB 85. I wouldn't say I like it, but I'd at least say its pretty interesting. The vocals sound great-in particular I don't think Bruce has sounded better. I also think that Getcha Back works best as it appears on the album. I've never heard a live version that I've liked.
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« Reply #42 on: June 29, 2012, 10:41:14 PM »

I've never heard a live version that I've liked.

How about this one then:
http://www.youtube.com/watch?v=wfAT-rTv-zw&feature=plcp

Reasons it rules:
  • 15-voice stack of Brian Wilsons. No overdubs required.
  • Mike's sweet jacket/hat combo.
  • Double-handed octo-pad percussionist with a mullet (pronounced "mull-ay").
  • The dancing. Enough said.
  • Al posing as an insurance salesman on tambo.
  • Bruce + Keytar = mother naffing win. Bitches.


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« Reply #43 on: June 29, 2012, 11:34:24 PM »

Has to be Brian - compare it to his falsetto on something like "In My Car" and imagine him in that voice, but doing a whole lot better, and it's pretty easy to see how it's him. Doesn't sound a thing like Jeff.

Doesn't really sound "looped" to me in the sense that he only sang it once - it's only sung twice per chorus and the melody varies a bit between the two. It's likely the same vocal on every chorus, but then Brian was doing that as far back as "Good Vibrations", so hay.
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« Reply #44 on: June 30, 2012, 12:43:05 AM »

LINK REMOVED BY MODERATOR: WHILE WE CERTAINLY APPRECIATE THE COURTESY, RULES ARE RULES.

To the mods ... I ask that you please not delete the link. It is a live song not on ANY album we can buy.

 Grin
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« Reply #45 on: July 02, 2012, 12:03:11 PM »

The video rules indeed! All of the original Beach Boys look good and in! The live singing sounds (almost) like a studio v-n! + I never saw Brian playing bass guitar, only in photos.   

I ain't hearing any live anything here. Pretty sure this is a pure lip-sync.
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« Reply #46 on: July 02, 2012, 01:54:47 PM »

The video rules indeed! All of the original Beach Boys look good and in! The live singing sounds (almost) like a studio v-n! + I never saw Brian playing bass guitar, only in photos.   

I ain't hearing any live anything here. Pretty sure this is a pure lip-sync.

"Solid Gold" performance.  That's not live. Nothing on Solid Gold was ever live.
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« Reply #47 on: July 10, 2012, 11:45:17 AM »

I've always felt it was Brian.  This discussion is great...but what about Mike's HORRID lead vocal (excuse me if this has been discussed before)!  Yes, we all know he can sound nasal...but there is just something so processed and fake sounding about this track that almost makes it unlistenable to me...which is too bad because it's a catchy song.  I like David handling the lead live these days.  It's a good song...but it's also a victim of its time.
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« Reply #48 on: July 11, 2012, 12:19:44 PM »

I've always felt it was Brian.  This discussion is great...but what about Mike's HORRID lead vocal (excuse me if this has been discussed before)!  Yes, we all know he can sound nasal...but there is just something so processed and fake sounding about this track that almost makes it unlistenable to me...which is too bad because it's a catchy song.  I like David handling the lead live these days.  It's a good song...but it's also a victim of its time.

While I enjoy the song (despite it's many, many performance/production shortcomings), Mike's lead is indeed among his worst. As you said, so over-the-top processed and "80s", and the guy has never sung out his nose quite as much as he did here. It was one of those, "Man, this lead vocal is so bad that it's amusing," that you go back to it a few times. Then you notice that holy sh*t, Brian sounds great. Then you notice that the song is pretty okay. And then you find yourself acknowledging the song comes dangerously close to being a flaming pile of sh*t but kind of enjoying it for what it is just the same ;(
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« Reply #49 on: July 11, 2012, 12:26:33 PM »

I've always felt it was Brian.  This discussion is great...but what about Mike's HORRID lead vocal (excuse me if this has been discussed before)!  Yes, we all know he can sound nasal...but there is just something so processed and fake sounding about this track that almost makes it unlistenable to me...which is too bad because it's a catchy song.  I like David handling the lead live these days.  It's a good song...but it's also a victim of its time.

While I enjoy the song (despite it's many, many performance/production shortcomings), Mike's lead is indeed among his worst. As you said, so over-the-top processed and "80s", and the guy has never sung out his nose quite as much as he did here. It was one of those, "Man, this lead vocal is so bad that it's amusing," that you go back to it a few times. Then you notice that holy sh*t, Brian sounds great. Then you notice that the song is pretty okay. And then you find yourself acknowledging the song comes dangerously close to being a flaming pile of sh*t but kind of enjoying it for what it is just the same ;(

Yeah, this pretty much sums up my feelings about "Getcha Back". Mike should be embarrassed of his lead vocal on this. However, his vocals on "California Calling" are even worse, more nasal. And the re-records with Adrian Baker top them all I think.
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