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Author Topic: Which Beach Boys "Classics" are.. 'Not to your taste?'  (Read 39510 times)
runnersdialzero
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« Reply #150 on: November 04, 2012, 05:42:35 PM »

On a hunch, I feel that you have some sort of deeper bone to pick, maybe you think they're indulgent?

That's pretty close to the mark on how I feel about IJWMFFT. Too indulgent, bordering on whining.




The self-indulgence and sentiment of the lyrics are EXACTLY why it's one of my favorite songs of all time. I relate to that song so much, and I'm sure a lot of members here do to, although it's for a different reason than Asher/Wilson intended. Brian felt out of place in his time period, seemingly the man was ahead of his time - his ideas and thought processes on modular recordings alone testify to this. For myself, as long as I have been alive I have never felt quite 'with it' amongst my peers and today's society. I was obsessed with The Beatles and the 60s by the time I was 4. I've never stopped. I truly don't feel as if I was meant to be in this time period - I often feel kind of lost. It's a little messed up, and I don't let it get in the way of my life, but I feel like everyone I know is content to be living in the now, and I'm just not. So, when I really listened to the lyrics of that song for the first time, it just hit me in a totally different way than any other song had ever hit me. I felt that. Yeah, it's 'ego music'. I dig it.

Part of the genius of Pet Sounds is the way the music beautifully accompanies the lyrics - and on IJWMFTT they fit together so perfectly. It's another of many reasons why that song is such a knockout.

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« Reply #151 on: November 04, 2012, 06:55:24 PM »

The concept of personally "relating" to the lyrics of a song, as a positive or negative, is one major reason why true appreciation of a wide range of music is a thing of the past in most music circles. I don't "relate" to being a black blues musician in the 1920's being tormented by inner demons, but Robert Johnson is one of the greatest artists I have ever heard. The great artists can always make the feeling behind their music "relatable" on a purely emotional level.
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« Reply #152 on: November 04, 2012, 07:39:14 PM »

The concept of personally "relating" to the lyrics of a song, as a positive or negative, is one major reason why true appreciation of a wide range of music is a thing of the past in most music circles. I don't "relate" to being a black blues musician in the 1920's being tormented by inner demons, but Robert Johnson is one of the greatest artists I have ever heard. The great artists can always make the feeling behind their music "relatable" on a purely emotional level.

Don't get me wrong - as I said earlier, I read the lyrics to "IJWMFTT" a few minutes before hearing the song, and it was much more the music, the arrangement, the production, and the vocals that really drew me in. If there were ever a case to be made for a good example of putting a huge amount of "feeling" into their music that transcended lyrics, Brian would be one of the first people that would come to mind, for me. Smile is a great example, as I doubt most people who love "Heroes And Villains" (and other songs) have... y'know, been in the situation described in the lyrics. They're great lyrics that complement the song and experience well, don't get me wrong, but still, you know what I mean.
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« Reply #153 on: November 04, 2012, 07:48:43 PM »

The concept of personally "relating" to the lyrics of a song, as a positive or negative, is one major reason why true appreciation of a wide range of music is a thing of the past in most music circles. I don't "relate" to being a black blues musician in the 1920's being tormented by inner demons, but Robert Johnson is one of the greatest artists I have ever heard. The great artists can always make the feeling behind their music "relatable" on a purely emotional level.

Don't get me wrong - as I said earlier, I read the lyrics to "IJWMFTT" a few minutes before hearing the song, and it was much more the music, the arrangement, the production, and the vocals that really drew me in. If there were ever a case to be made for a good example of putting a huge amount of "feeling" into their music that transcended lyrics, Brian would be one of the first people that would come to mind, for me. Smile is a great example, as I doubt most people who love "Heroes And Villains" (and other songs) have... y'know, been in the situation described in the lyrics. They're great lyrics that complement the song and experience well, don't get me wrong, but still, you know what I mean.

Oh yeah, absolutely, I knew what you meant. You're a righteous guy and I agree with at least 90% of your posts here.
I just hear that relatability thing so much in Beach Boys-land, usually by people who criticize Mike Love for saying the Smile lyrics weren't relatable.
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« Reply #154 on: November 05, 2012, 10:38:23 AM »

okay, so Mike is pegged as this guy who wants all their songs to be about surfin' and hot roddin' and cruisin' and stuff. Well, how relatable are those things?

http://www.youtube.com/watch?v=b_aVYWYyMXk
"Hawaii" from The Lost Concert

How many of those kids in the audience have ever been in a drag race? exactly.

For me, I love to listen to music about things I can't relate to. It creates a whole new world in my mind.
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« Reply #155 on: November 05, 2012, 10:48:39 AM »

If I only listened to songs about stuff I had personally experienced then my music collection would be a hell of a lot smaller.
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« Reply #156 on: November 05, 2012, 11:47:35 AM »

I don't understand people's love of the In Concert version of "You Still Believe in Me". Sounds to me like Al can't hit those notes, it's an off-kilter (in a way not endearing) and paltry sounding rearrangement on an album where that is otherwise not so much a problem.

I think the same thing about "Don't Worry Baby," from that album.  The high notes sound very strained.
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« Reply #157 on: November 05, 2012, 12:54:04 PM »

I don't understand people's love of the In Concert version of "You Still Believe in Me". Sounds to me like Al can't hit those notes, it's an off-kilter (in a way not endearing) and paltry sounding rearrangement on an album where that is otherwise not so much a problem.

I think the same thing about "Don't Worry Baby," from that album.  The high notes sound very strained.

there is like a billion more soul in that version than in the original studio version. It sounds far more genuine in Concert. Al is really singing the words there as if they were applying to his situation right at that moment. Very few artists manage to pull that off as well as Al did that night!
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« Reply #158 on: November 08, 2012, 02:38:24 PM »

Sail on, sailor... I don't like that boat trip. I like the version without the vocals though.
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« Reply #159 on: November 08, 2012, 03:03:23 PM »

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I hate the lead vocal.
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« Reply #160 on: November 09, 2012, 09:13:59 AM »

I don't understand people's love of the In Concert version of "You Still Believe in Me". Sounds to me like Al can't hit those notes, it's an off-kilter (in a way not endearing) and paltry sounding rearrangement on an album where that is otherwise not so much a problem.

I think the same thing about "Don't Worry Baby," from that album.  The high notes sound very strained.

there is like a billion more soul in that version than in the original studio version.

People like an Al Jardine live vocal more than one of Brian Wilson's greatest studio vocal performances. Whatever.
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« Reply #161 on: November 09, 2012, 09:21:42 AM »

I don't understand people's love of the In Concert version of "You Still Believe in Me". Sounds to me like Al can't hit those notes, it's an off-kilter (in a way not endearing) and paltry sounding rearrangement on an album where that is otherwise not so much a problem.

I think the same thing about "Don't Worry Baby," from that album.  The high notes sound very strained.

there is like a billion more soul in that version than in the original studio version. It sounds far more genuine in Concert. Al is really singing the words there as if they were applying to his situation right at that moment. Very few artists manage to pull that off as well as Al did that night!

I disagree so much. It's totally the opposite way. There is more emotion in Brian's vocal on the studio cut than almost any other song in the catalog. Forgetting that the lyrics can also be construed as a car song (it's really not), I hear so much truth in that studio vocal. It's not like he's a singer describing a situation of another fake world scenario, like he is with something like No Go Showboat - this is REAL. Brian puts himself into that song as a person and it shows so much. Just one of the most beautiful things ever.
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« Reply #162 on: November 10, 2012, 04:38:46 PM »

It is funny that folks relate to I Just Wasn't Made For These Times because they love the 60's, when Brian wrote it about not relating to the 60's.
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« Reply #163 on: November 10, 2012, 05:53:05 PM »

It is funny that folks relate to I Just Wasn't Made For These Times because they love the 60's, when Brian wrote it about not relating to the 60's.

See my post - I totally get that. I relate to it for the reverse emotion Brian was feeling. But if it hits you in that way, and you realise the original intent of the song regardless, what does it matter? It makes me feel a certain way and that satisfies me.
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« Reply #164 on: November 10, 2012, 06:29:58 PM »

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« Reply #165 on: November 10, 2012, 07:17:17 PM »

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« Reply #166 on: November 11, 2012, 08:40:20 AM »

However, that doesn't stop me creating my own understanding of the song. I reckon everyone sometimes sees one or another song as sth. different than its original meaning. 

Absolutely! For instance, my own personal reading of God Only Knows relates to how incredible it is to eat roast potatoes with gravy on them. Yumsville.
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« Reply #167 on: November 11, 2012, 10:25:09 AM »

However, that doesn't stop me creating my own understanding of the song. I reckon everyone sometimes sees one or another song as sth. different than its original meaning. 

Absolutely! For instance, my own personal reading of God Only Knows relates to how incredible it is to eat roast potatoes with gravy on them. Yumsville.

I thought we all agreed that song was about blowing your fucking head off.
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« Reply #168 on: November 11, 2012, 10:32:37 AM »

However, that doesn't stop me creating my own understanding of the song. I reckon everyone sometimes sees one or another song as sth. different than its original meaning. 

Absolutely! For instance, my own personal reading of God Only Knows relates to how incredible it is to eat roast potatoes with gravy on them. Yumsville.

I thought we all agreed that song was about blowing your f***ing head off.

Of course. And then serving that head up with Roast potatoes and gravy. Cannibalism included there! (Brian is some sick minded freak!)
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« Reply #169 on: November 11, 2012, 01:36:25 PM »

A Day in the Life of a Tree

I hate the lead vocal.

You need to get past the dire vocals and hold out for the coda, pure magic.

You will understand one day
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« Reply #170 on: November 11, 2012, 02:10:37 PM »

Dance Dance Dance. Too teeny-bopper for me. For some reason I love Be True To Your School though, maybe because it has a really great melody.

Shut Down and Little Deuce Coupe. They both just sound like primitive 50s rock and roll. I don't understand the appeal.
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« Reply #171 on: November 11, 2012, 03:03:47 PM »

A Day in the Life of a Tree

I hate the lead vocal.

You need to get past the dire vocals and hold out for the coda, pure magic.

You will understand one day

Those vocals don't bother me at all, for whatever reason.  Although, a Brian or Dennis sang version could have really been something.
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« Reply #172 on: November 12, 2012, 11:31:58 AM »


Shut Down and Little Deuce Coupe. They both just sound like primitive 50s rock and roll. I don't understand the appeal.

Primitive 50's rock and roll? Awesome! Where do I sign up?

For me, I'm not so crazy about The Little Girl I Once Knew, Marcella or Add Some Music.
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« Reply #173 on: November 12, 2012, 03:35:39 PM »

In the Back of My Mind

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« Reply #174 on: November 13, 2012, 08:59:31 AM »

However, that doesn't stop me creating my own understanding of the song. I reckon everyone sometimes sees one or another song as sth. different than its original meaning. 

Absolutely! For instance, my own personal reading of God Only Knows relates to how incredible it is to eat roast potatoes with gravy on them. Yumsville.

I thought we all agreed that song was about blowing your f***ing head off.

Of course. And then serving that head up with roast potatoes and gravy. Cannibalism included there! (Brian is some sick-minded freak!)
That's why I like this community - because every time I discover something new here. Shame on me that I thought GOK is a ballad. Thanks to 3 of you for opening my eyes (or ears?). Hooray!


I do hope that you don't actually think that God Only Knows is in any way about eating human heads and roast potatoes.
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