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Author Topic: Post Release MIC Track Discussion  (Read 114560 times)
Iron Horse-Apples
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« Reply #250 on: August 29, 2013, 12:07:13 AM »


- The Beach Boys released the only good thing he ever did when the Beatles made all of their other songs suck with Rubber Soul (it's okay, but overrated. worst Beatles album>Pet Sounds)
- Hearing the greatest track to ever be released in the history of music a.k.a. Strawberry Fields Forever drove their leader crazy.
- Brian Jones started writing Smile to beat Sgt. Pepper but junked it and went to bed for 40 years when John Lennon phoned him from England and said "I'm better than you"


Ha, are those genuine Youtube quotes? Love 'em
« Last Edit: August 29, 2013, 12:08:09 AM by (Stephen Newcombe) » Logged
runnersdialzero
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« Reply #251 on: August 29, 2013, 12:16:10 AM »


Yes.

- The Beach Boys released the only good thing he ever did when the Beatles made all of their other songs suck with Rubber Soul (it's okay, but overrated. worst Beatles album>Pet Sounds)
- Hearing the greatest track to ever be released in the history of music a.k.a. Strawberry Fields Forever drove their leader crazy.
- Brian Jones started writing Smile to beat Sgt. Pepper but junked it and went to bed for 40 years when John Lennon phoned him from England and said "I'm better than you"

Read between the lines dungbrain. It makes perfect sense that when in bed Brian would grow jealous/obsessed with the amazingness of the Beatles which would make him want to try rip off their work to save his band who after 1966 sold a grand total of four records worldwide. Get a music education, idiot.

Look, I'm going to go masturbate to side two of Yellow Submarine but you can email me at xXtHE-be4tleS.inVent3d.r0ck'n'RoLLxx@hotmail.com if you have any questions/think I'm wrong (lol as if)

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« Reply #252 on: August 29, 2013, 12:16:11 AM »

Brian probably wrote the song in '66 and Paul stole it off him

Like I said to Paul when I met him at the Smile premier in '04 "You're here to steal the rest of it, knobhead?"



That knobhead wasn't even at the premier… he was two days late.


Premier Inn, perhaps.  Grin
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« Reply #253 on: August 29, 2013, 12:50:57 AM »

All of these CIF threads are starting to confuse me, so I guess I'll just put my comment here, and a mod can move it if need be. I was listening to Brian's demo of California Feeling, and I suddenly realized something that I thought was so coincidental that it was actually quite spooky. Remember that weird "outburst" Brian has during his CF demo(CAN'T YA FEEL IT?!?)? Well, isn't it really strange how Dennis basically does the same thing during his Be With Me demo(Come on, just you and me babe*)?  Grin



*slightly paraphrased, as I can't quite remember the exact words he said
« Last Edit: August 29, 2013, 12:55:35 AM by Diaphanous Moiety » Logged

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runnersdialzero
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« Reply #254 on: August 29, 2013, 02:55:03 AM »

"Warmth Of The Sun" and "Fun, Fun, Fun" definitely now have stereo elements that were previously missing...stereo backing vocals for WOTS and stereo backing track for FFF.  Interesting that these new mixes aren't noted in the track listing.

I guess they found another session tape from Shut Down Vol. II (the session from New Years Day, 1964 specifically).  I'm still holding out for the tape for the single version of "Be True To Your School" to be discovered some day.

Can anyone confirm that these two songs are new mixes? Crazy that they wouldn't be noted as being such.
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« Reply #255 on: August 29, 2013, 03:22:09 AM »

Supposedly this 'alternate mix' of It's Ok is the 1974 version track-wise and the backups may be of similar vintage. I dunno.

The 1974 session for "It's OK", unless Roy Wood was misremembering when I asked him, was just a basic track. No vocals. 'Course, there could have been a later vocal session he wasn't at.
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« Reply #256 on: August 29, 2013, 03:27:20 AM »

It's a melodic similarity in one section. Doesn't really warrant the assumption of Brian building the song around another. They're both very much their own songs, I'd hardly say it's "indebted" to the Beatles song.

Yeah, it's like the same four notes on an ascending line, that's it, that's where the musical similarities end.  There may be a lyrical similarity, in that both songs are about girls who have left, either permanently or temporarily, but that's really it.  

I dunno ... given all we know about BW idolizing the Beatles (and Paul specifically), and given the fact that about half of the folks on this board made the connection upon hearing the song, I don't think it's a stretch at all to say that Brian's song owes a debt to Paul's. After all, lots of songs are written by rewriting old ones; it's a time-honored trick of the trade, and it sounds like Brian started fiddling around with a phrase or two from the earlier tune and expanded it into this.

Well, it's plain to me that ALL Brian's songs owe a considerable debt to Paul. I mean, they all use notes, and chords, and keys... instruments and voices. Just like Paul did.

Pretty obvious when you stop and think about it, really. Dude never had an original musical thought in his life. The Beatles did everything first. No, really they did.
« Last Edit: August 29, 2013, 03:28:38 AM by Andrew G. Doe » Logged

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« Reply #257 on: August 29, 2013, 03:32:50 AM »

Pretty certain It's OK didn't have vocals before early 1976. Modern Recording (I think that was the title) did a terrific article on the session.
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Iron Horse-Apples
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« Reply #258 on: August 29, 2013, 03:35:47 AM »

Absolutely. Just check out any Youtube comments about the Beatles. They were The Greatest Musical Geniuses Ever!.

Bach, pah, bollocks. Beethoven - Borehoven more like. Wagner, vat a vanker.

No, before the Beatles music isn't even worth mentioning.
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« Reply #259 on: August 29, 2013, 03:40:08 AM »

Wagner, vat a vanker.

 Grin I'm gonna use that sometime
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« Reply #260 on: August 29, 2013, 03:41:49 AM »

Just A/B'd "ATIT" and have to say, I do NOT like the 2012 remaster. Dry, crisp, almost brittle: all the wonderful woolly warmth has been sucked out of it. Did the comparison because I seriously thought it was a remix. That noticeable.
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Iron Horse-Apples
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« Reply #261 on: August 29, 2013, 03:49:33 AM »

Wagner, vat a vanker.

 Grin I'm gonna use that sometime

I'd love to set up a t-shirt stall at the Bayreuth Festival.
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runnersdialzero
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« Reply #262 on: August 29, 2013, 04:04:43 AM »

i can't believe they remastered a tit
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Iron Horse-Apples
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« Reply #263 on: August 29, 2013, 04:53:32 AM »

i can't believe they remastered a tit

Yes, till it was dry, crisp and almost brittle.

If anyone's going to suck the wonderful woolly warmth from a tit, I'd like that someone to be me.
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« Reply #264 on: August 29, 2013, 04:55:53 AM »

Perverts. I'm trying to discuss hard-core Beach Boys fandom with a bunch of perverts.  Ahhh!  Thud
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Iron Horse-Apples
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« Reply #265 on: August 29, 2013, 04:56:45 AM »

Huh huh huh, he said hard-core, huh, huh
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« Reply #266 on: August 29, 2013, 05:33:22 AM »

Is there also pitch correction on sherry she needs me? Definitely sounds like it to me.
Over all, I'm loving what I'm hearing.

The EQ choices are a little wonky to my ears, though. Sounds too trebly.

Heh....mine's just the opposite: not enough treble. Nothing but middle, actually...
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« Reply #267 on: August 29, 2013, 06:41:21 AM »

Pretty certain It's OK didn't have vocals before early 1976. Modern Recording (I think that was the title) did a terrific article on the session.

Where did you see this article?
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« Reply #268 on: August 29, 2013, 06:44:00 AM »

Can't speak for Mike, but I saw it when it was published back in the day. There are a few compensations to being as old as we are.  Smiley
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« Reply #269 on: August 29, 2013, 07:31:43 AM »

I love "Where Is She", but it's pretty indebeted to "She's Leaving Home", isn't it?

No.

Runners, thanks to your post the other day ,I know you love me, and God Only Knows I love you too, but to the casual listener, this will ALWAYS be a She's Leaving Home rip-off. Think about the history... Paul played the song for Brian in April 1967 while the latter was trying to finish SMiLE, Marilyn cried and Brian obviously felt intimidated. Brian must have started playing around with that line of melody and WiS results. Consider: on the one hand you've got a song about a girl leaving home, and in the case of the Brian recording it's about wanting a girl to COME home. And Brian's song is clearly indebted to Paul's melodically — with no prompting and no idea what the song sounded like in advance, I heard the connection right away.

I don't think anyone's saying the *whole song* is just like SLH, but one clearly begat the other. It doesn't mean The Beatles are better than the Beach Boys (who gives a flying one about that stuff any more anyway...?), but ya gotta man up and admit the link.

I like Where Is She, but it's not a mindblowingly brilliant lost gem or anything. I can see why it sat in the vaults for years, especially if it needed some mix-footlery to make it 'acceptable' for release. I suspect a bit of mixing out of dodgy elements and flying in of choruses has gone on to make the MiC version. Not based on anything, just a feeling. And didn't AGD say round these parts recently that he'd heard a version of this that was totally forgettable, but then added more recently that the MiC version was way more impressive?

I do wish BW had finished Why?, though. That one IS a nutbuster, even without any vocals.
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« Reply #270 on: August 29, 2013, 07:57:01 AM »

Supposedly this 'alternate mix' of It's Ok is the 1974 version track-wise and the backups may be of similar vintage. I dunno.

The 1974 session for "It's OK", unless Roy Wood was misremembering when I asked him, was just a basic track. No vocals. 'Course, there could have been a later vocal session he wasn't at.


Or, because this is possible with modern technology, maybe a hybrid multitrack arrangement has been created that wouldn't have been possible in 1976 (or would have been very hard to do), which uses the 1974 recordings for the backing track and flies in the completed vocals from the 1976 multitrack. Voilà: you can now mix It's OK with completed vocals and the 1974 instrumental backing. I'm not saying that's what happened for sure, because I'm guessing (hell, I've never heard the 1974 track, so I'm in no position to judge), but it seems to me that this sort of thing is eminently possible these days, and seems to have happened all over MiC. For the record, I couldn't really give two hoots about 'historical accuracy': my most important yardstick with this stuff is always "Does it sound good? Do I like it?"

And I *love* the new mix of It's OK. I've always liked the original, but this lifts it to a new level for me.
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« Reply #271 on: August 29, 2013, 08:08:04 AM »

The master is sooo freaking loud, on half of the sounds every 'S' sound or snare hit the sound just distorts. It sounds like playing music with the pre-amp way too loud.

The mix of Little Saint Nick is the worst I've heard so far. The sleighbells sound horrible.

I'm at track 26 now and my ears are getting tired from listening to the compression. It feels like i've been wearing headphones for hours.

A genuine question, this: what are you listening on? Because I had an extended listening session on a fine stereo system this morning and could detect no excessive sibilance at all. The CDs didn't sound too overly compressed to me either — I was able to listen to the whole set at, uh, *extended* volume for over three hours without wanting to turn it off.

Also the waveforms don't look too bad (although this is an aspect I always consider AFTER listening and forming a judgement from that as to whether a CD sounds OK, not by looking first and deciding I don't like it before I even play the CD). They're certainly not brickwalled, or anything...

But maybe I've got tin ears. It IS a possibility — I listened to a lot of techno up far too loud on Walkmans in the 80s and 90s...
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« Reply #272 on: August 29, 2013, 08:11:03 AM »

Quote
Now we know the compilers worked their asses off to give us unique versions and mixes.

I got bitched at by the general public all the time at my jobs, and for what I'm sure is a lot less pay than what these compilers get (trust me, I get paid diddly squat). If they can't handle that half the reason music geeks listen to music is because they enjoy discussing the merits of the music, they should get jobs as janitors or something.
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Matt Bielewicz
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« Reply #273 on: August 29, 2013, 08:14:40 AM »

Amusement Parks USA has must be the first incident of a cuss word in the BB discography. (Which I never noticed until I heard this mix)  LOL

Er... do you mean the bit that I thought, on first listening, was Hal Blaine saying "Come on in and see Stella the snake dancer! She walks, she talks, she wiggles on her belly like a reptile! She got the biggest ass of any man or lady I've ever... [tails off]" and then, later: "Hurry, hurry hurry, folks — come on and see Stella. She shimmies, she shakes... she got the biggest ass..."

I think it's quite a witty joke, in fact. Isn't Hal *actually* saying "she got the biggest ASP..."?? That fits with the snake dancer angle, but is also risqué in a funny and witty way. I guess it was still too close to the line for 1965 though, because Brian and Chuck mixed it down or out back in the day.

I may be wrong, but I think it's ASP.

Or were you talking about a totally different swear word (as we call them on this side of the pond)...?
« Last Edit: August 29, 2013, 08:21:40 AM by Matt Bielewicz » Logged
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« Reply #274 on: August 29, 2013, 08:16:10 AM »

No, you're right. I was talking about that bit. I guess it could be ASP. I dunno.  LOL
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