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Author Topic: Analysis of the Live 50th Anniversary Tour CD  (Read 41340 times)
runnersdialzero
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« Reply #25 on: May 25, 2013, 06:58:57 AM »


With the latter, I'm nearly off the fence at 'it's BWPS' but I can't shake it - my first reaction was 'THAT'S HIS VOCAL FROM BWPS' and whilst it has been sped up, it really strikes me as it. It'd be a fucking d*ckhead move to use a nearly ten year old vocal on this release though.

Kind of a d*ckhead move to use vocals straight from the That's Why God album sessions, too.

Thanks fer the analysis, AlFall ^___________^ This is interesting stuff.
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drbeachboy
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« Reply #26 on: May 25, 2013, 07:05:19 AM »


With the latter, I'm nearly off the fence at 'it's BWPS' but I can't shake it - my first reaction was 'THAT'S HIS VOCAL FROM BWPS' and whilst it has been sped up, it really strikes me as it. It'd be a fucking d*ckhead move to use a nearly ten year old vocal on this release though.

Kind of a d*ckhead move to use vocals straight from the That's Why God album sessions, too.

Thanks fer the analysis, AlFall ^___________^ This is interesting stuff.
Did you just call Brian Wilson a d*ckhead? LOL I am sure Joe Thomas would not have done something like that without Brian's approval.
« Last Edit: May 25, 2013, 07:08:24 AM by drbeachboy » Logged

The Brianista Prayer

Oh Brian
Thou Art In Hawthorne,
Harmonied Be Thy name
Your Kingdom Come,
Your Steak Well Done,
On Stage As It Is In Studio,
Give Us This Day, Our Shortenin' Bread
And Forgive Us Our Bootlegs,
As We Also Have Forgiven Our Wife And Managers,
And Lead Us Not Into Kokomo,
But Deliver Us From Mike Love.
Amen.  ---hypehat
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« Reply #27 on: May 25, 2013, 07:09:39 AM »

If it IS his 2004 vocal, I'd love to be a fly on the wall at the session just to see how they did the acapella 'I been in this town so long' part - JT sweating his way through pitchshifting and timing FX to get a studio BW to match 10 dudes working around Brian's erratic live phrasing, or dousing BW's vox in fx to make to erratic live Brian sound like the rest of the song.

That bit is live. It's the first couple of verses and choruses that are definitely from 2004.
That Brian Wilson, what a fraud. Wink

It's only fraud if anyone was going into this thinking it was some sort of accurate representation of the shows. I suspect few people did so, and if they did, they had been disabused by disc one, track five, at the very latest.
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runnersdialzero
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« Reply #28 on: May 25, 2013, 08:36:24 AM »


With the latter, I'm nearly off the fence at 'it's BWPS' but I can't shake it - my first reaction was 'THAT'S HIS VOCAL FROM BWPS' and whilst it has been sped up, it really strikes me as it. It'd be a fucking d*ckhead move to use a nearly ten year old vocal on this release though.

Kind of a d*ckhead move to use vocals straight from the That's Why God album sessions, too.

Thanks fer the analysis, AlFall ^___________^ This is interesting stuff.
Did you just call Brian Wilson a d*ckhead? LOL I am sure Joe Thomas would not have done something like that without Brian's approval.

What makes you feel like Brian sat there and told Joe Thomas to use 80-90% of the vocals from the album version? I really doubt that's how it happened given everything we know, nor do I really think every decision is run by Brian before it's done or even before it's pressed to plastic and shipped out. Even if Brian had ordered it done, it'd still be a d*ckhead move. You don't have to agree with all of Brian's decisions over the years just because they were his.

It's one thing to do overdubs on a live recording (which I'm still not a fan of in terms of concept alone) or to outright re-record a song in studio and pretend it's live (again, not a fan), but to lift the fucking vocals (and other instrumental tracks) from the album version and put it on a live album? No. That's especially cheap, both insulting the intelligence of people who bought both and giving them something they already have while promising the exact opposite. If I wanted to listen to the album version, I'd listen to the album. They should be two unique experiences unto themselves and they were several hackjob edits ago.
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« Reply #29 on: May 25, 2013, 08:54:04 AM »

I'm confused. Has the wind changed against the live album again?

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drbeachboy
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« Reply #30 on: May 25, 2013, 09:23:35 AM »


With the latter, I'm nearly off the fence at 'it's BWPS' but I can't shake it - my first reaction was 'THAT'S HIS VOCAL FROM BWPS' and whilst it has been sped up, it really strikes me as it. It'd be a fucking d*ckhead move to use a nearly ten year old vocal on this release though.

Kind of a d*ckhead move to use vocals straight from the That's Why God album sessions, too.

Thanks fer the analysis, AlFall ^___________^ This is interesting stuff.
Did you just call Brian Wilson a d*ckhead? LOL I am sure Joe Thomas would not have done something like that without Brian's approval.

What makes you feel like Brian sat there and told Joe Thomas to use 80-90% of the vocals from the album version? I really doubt that's how it happened given everything we know, nor do I really think every decision is run by Brian before it's done or even before it's pressed to plastic and shipped out. Even if Brian had ordered it done, it'd still be a d*ckhead move. You don't have to agree with all of Brian's decisions over the years just because they were his.

It's one thing to do overdubs on a live recording (which I'm still not a fan of in terms of concept alone) or to outright re-record a song in studio and pretend it's live (again, not a fan), but to lift the fucking vocals (and other instrumental tracks) from the album version and put it on a live album? No. That's especially cheap, both insulting the intelligence of people who bought both and giving them something they already have while promising the exact opposite. If I wanted to listen to the album version, I'd listen to the album. They should be two unique experiences unto themselves and they were several hackjob edits ago.
And how do you suppose Joe got his hands on vocals recorded for another record company, or even at Brother Records? Believe me, something like that does not go undiscussed. That was a calculated decision, if in fact you are correct in your assumption. Personally, I believe Brian was re-recorded and then digitally pitched. No need to speed up to do that in the digital domain. As you well know, manipulation is much easier today than was in the analog past.
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The Brianista Prayer

Oh Brian
Thou Art In Hawthorne,
Harmonied Be Thy name
Your Kingdom Come,
Your Steak Well Done,
On Stage As It Is In Studio,
Give Us This Day, Our Shortenin' Bread
And Forgive Us Our Bootlegs,
As We Also Have Forgiven Our Wife And Managers,
And Lead Us Not Into Kokomo,
But Deliver Us From Mike Love.
Amen.  ---hypehat
runnersdialzero
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« Reply #31 on: May 25, 2013, 09:34:17 AM »


With the latter, I'm nearly off the fence at 'it's BWPS' but I can't shake it - my first reaction was 'THAT'S HIS VOCAL FROM BWPS' and whilst it has been sped up, it really strikes me as it. It'd be a fucking d*ckhead move to use a nearly ten year old vocal on this release though.

Kind of a d*ckhead move to use vocals straight from the That's Why God album sessions, too.

Thanks fer the analysis, AlFall ^___________^ This is interesting stuff.
Did you just call Brian Wilson a d*ckhead? LOL I am sure Joe Thomas would not have done something like that without Brian's approval.

What makes you feel like Brian sat there and told Joe Thomas to use 80-90% of the vocals from the album version? I really doubt that's how it happened given everything we know, nor do I really think every decision is run by Brian before it's done or even before it's pressed to plastic and shipped out. Even if Brian had ordered it done, it'd still be a d*ckhead move. You don't have to agree with all of Brian's decisions over the years just because they were his.

It's one thing to do overdubs on a live recording (which I'm still not a fan of in terms of concept alone) or to outright re-record a song in studio and pretend it's live (again, not a fan), but to lift the fucking vocals (and other instrumental tracks) from the album version and put it on a live album? No. That's especially cheap, both insulting the intelligence of people who bought both and giving them something they already have while promising the exact opposite. If I wanted to listen to the album version, I'd listen to the album. They should be two unique experiences unto themselves and they were several hackjob edits ago.
And how do you suppose Joe got his hands on vocals recorded for another record company, or even at Brother Records? Believe me, something like that does not go undiscussed. That was a calculated decision, if in fact you are correct in your assumption. Personally, I believe Brian was re-recorded and then digitally pitched. No need to speed up to do that in the digital domain. As you well know, manipulation is much easier today than was in the analog past.

Buh? I'm talking Joe Thomas taking vocals from three Joe Thomas productions/recordings from a couple years ago: "Isn't It Time", "That's Why God Made The Radio" and "Do It Again".
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AndrewHickey
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« Reply #32 on: May 25, 2013, 09:37:37 AM »

Buh? I'm talking Joe Thomas taking vocals from three Joe Thomas productions/recordings from a couple years ago: "Isn't It Time", "That's Why God Made The Radio" and "Do It Again".

Most of the discussion about use of studio recordings in this thread, though, has been about the fact that Heroes & Villains is blatantly the 2004 version with some minimal bits of live recording flown in.
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runnersdialzero
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« Reply #33 on: May 25, 2013, 10:04:34 AM »

diarrhea temperature









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Iron Horse-Apples
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« Reply #34 on: May 25, 2013, 10:06:43 AM »

diarrhea temperature











Try writng that withuot spellcheck
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drbeachboy
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« Reply #35 on: May 25, 2013, 10:16:58 AM »

No matter whether there are old recordings, new recordings, autotune, or even mixing issues, they had to have had meetings to discuss the shape that the album would take. This just isn't Joe Thomas forcing his will. I am convinced  Brian had a hand in all of the decisions that were made to produce this CD.
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The Brianista Prayer

Oh Brian
Thou Art In Hawthorne,
Harmonied Be Thy name
Your Kingdom Come,
Your Steak Well Done,
On Stage As It Is In Studio,
Give Us This Day, Our Shortenin' Bread
And Forgive Us Our Bootlegs,
As We Also Have Forgiven Our Wife And Managers,
And Lead Us Not Into Kokomo,
But Deliver Us From Mike Love.
Amen.  ---hypehat
Iron Horse-Apples
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« Reply #36 on: May 25, 2013, 10:25:13 AM »

No matter whether there are old recordings, new recordings, autotune, or even mixing issues, they had to have had meetings to discuss the shape that the album would take. This just isn't Joe Thomas forcing his will. I am convinced  Brian had a hand in all of the decisions that were made to produce this CD.

If the recent past has anything to do with it, Brian is played the final product, which he invariably says OK to.
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« Reply #37 on: May 25, 2013, 10:28:31 AM »

I'm wondering if "Sail On, Sailor" is the same performance that was included in that iTunes EP Isn't It Time single. There are parts of it that sound identical.
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drbeachboy
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« Reply #38 on: May 25, 2013, 11:07:37 AM »

No matter whether there are old recordings, new recordings, autotune, or even mixing issues, they had to have had meetings to discuss the shape that the album would take. This just isn't Joe Thomas forcing his will. I am convinced  Brian had a hand in all of the decisions that were made to produce this CD.

If the recent past has anything to do with it, Brian is played the final product, which he invariably says OK to.
Yes, if he had nothing more to do with it, but that is not the case here. He was involved with re-recording vocal parts and I would think that there were discussions before anything got under way. This was not Smile or greatest hits package being prepared. This was new recordings, albeit live.
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The Brianista Prayer

Oh Brian
Thou Art In Hawthorne,
Harmonied Be Thy name
Your Kingdom Come,
Your Steak Well Done,
On Stage As It Is In Studio,
Give Us This Day, Our Shortenin' Bread
And Forgive Us Our Bootlegs,
As We Also Have Forgiven Our Wife And Managers,
And Lead Us Not Into Kokomo,
But Deliver Us From Mike Love.
Amen.  ---hypehat
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« Reply #39 on: May 25, 2013, 11:14:43 AM »

I got this for Getcha Back, I wasn't disappointed. H&V is really the only DESTROYED track.
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« Reply #40 on: May 25, 2013, 11:22:20 AM »

I'm wondering if "Sail On, Sailor" is the same performance that was included in that iTunes EP Isn't It Time single. There are parts of it that sound identical.


I know I mentioned this before, but the NPR and Front Row Center versions of SOS were absolutely identical from start to finish. The iTunes version was identical with both of those other airings up *until* the latter part of the song, where it started to veer (e.g. Brian's growling "damn the thunder" on the latter is different).

Thus, I'm not home today and near my new CD, but one might be able to use the above as a rough guide in terms of a comparison and what they may have done, or how it compares to those others.
« Last Edit: May 25, 2013, 11:23:20 AM by Dave Modny » Logged
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« Reply #41 on: May 25, 2013, 12:43:59 PM »



 Mike thanks "my people the car people of Arizona" (I think probably from Tucson, but maybe Phoenix).


I don't have a copy of "I Get Around" from Tucson, but I do from Phoenix, and Mike drags out "Arizooooonaaa" just as he does on the new album. I'm betting Phoenix.

(Probably would have been easier to drag out the dvd, also, of course, from the Phoenix show... too bad I can't find it.) 
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« Reply #42 on: May 25, 2013, 02:35:35 PM »

The really well known songs (bar H&V, DBD, not so well known I guess) seem to be the most autotuned - California Girls. Kokomo. Surfin USA, Do it Again, Surfin Safarai (only had one listen so far) - Getcha Back has grown on me soooooooo much over the years, love Dave's Lead
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« Reply #43 on: May 25, 2013, 02:37:53 PM »

I'm wondering if "Sail On, Sailor" is the same performance that was included in that iTunes EP Isn't It Time single. There are parts of it that sound identical.

still say Brian can never sing that song, always murders it, maybe give it to Al
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« Reply #44 on: May 25, 2013, 02:39:08 PM »

I'd like to read AlFall's take on "Good Vibrations."
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Awesoman
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« Reply #45 on: May 25, 2013, 03:11:44 PM »

I'm wondering if "Sail On, Sailor" is the same performance that was included in that iTunes EP Isn't It Time single. There are parts of it that sound identical.

still say Brian can never sing that song, always murders it, maybe give it to Al

Pretty sure Al wouldn't fare much better.  You need a person with a soulful voice to handle it.  Maybe they should have given it to Darian? 
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« Reply #46 on: May 25, 2013, 03:13:59 PM »

Pretty sure Al wouldn't fare much better.  You need a person with a soulful voice to handle it.  Maybe they should have given it to Darian? 

Or Cowsill.
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« Reply #47 on: May 25, 2013, 03:30:42 PM »

Al would've at least been more in tune
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« Reply #48 on: May 25, 2013, 03:32:15 PM »

Pretty sure Al wouldn't fare much better.  You need a person with a soulful voice to handle it.  Maybe they should have given it to Darian? 

Or Cowsill.

Yeah. Darian does a decent job at some of Brian's solo shows, but Cowsill *really* should have taken that one -- he does a fantastic job when Mike & Bruce do it, and he deserved a lead at those shows.
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« Reply #49 on: May 25, 2013, 04:25:59 PM »

I guess SOS is only kind of a Brian song and was really put together with the help of a billion other songwriters to be a more "current" tune for its time.
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