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Author Topic: Endless Summer Quarterly feedback  (Read 85508 times)
Mikie
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« Reply #175 on: October 17, 2014, 10:29:57 AM »

As for the comments themselves, I'd be tempted to say I've never read such a fine, pristine and clear example of ass-hatterie (or is it hattery?) in my life. 

Are you just now figuring that out, Steve?
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I, I love the colorful clothes she wears, and she's already working on my brain. I only looked in her eyes, but I picked up something I just can't explain. I, I bet I know what she’s like, and I can feel how right she’d be for me. It’s weird how she comes in so strong, and I wonder what she’s picking up from me. I hope it’s good, good, good, good vibrations, yeah!!
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« Reply #176 on: October 17, 2014, 10:34:50 AM »

<People still read ESQ?>
<Why does it have Jan and Dean in there at all?  ( Is there anyone that cares about them anymore other than  Mark Moore?  )>

Well, counting me, that's two.  I don't think anyone with even average intelligence would argue the importance and relevance of Jan & Dean to the Beach Boys or vice versa throughout their checkered careers.  Especially the Beach Boys themselves.  And ESQ is an excellent magazine, well read by many, including the aforementioned Beach Boys.  As with any publication of this sort, one has to straddle a fine line between "approved" PR and real journalism but Dave and Lee navigate this path reasonably well.

As for the comments themselves, I'd be tempted to say I've never read such a fine, pristine and clear example of ass-hatterie (or is it hattery?) in my life.  If I was that sort of person.  Which I am not.


Evidently you are.
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Alan Boyd
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« Reply #177 on: October 17, 2014, 10:50:32 AM »

I really enjoyed the interviews with Steve Binder, Dean and everyone about the T.A.M.I Show.  Makes me want to go back and watch the film again.
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Emdeeh
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« Reply #178 on: October 17, 2014, 11:03:40 AM »

Just finished reading it last night. I concur with Alan on the TAMI Show article. I also found the BB Concert interviews informative. I've been enjoying ESQ's examinations of the earlier albums, which I think get less attention than they deserve. Some of us became BB fans when these albums were new and made the journey through their music as it was released.
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« Reply #179 on: October 17, 2014, 11:25:05 AM »

Excellent issue, David...and I will second Jim's post about Jan & Dean. Jan was pretty instrumental in the early Beach Boys' sound, including teaching Brian a number of studio production skills, co-writing some great tunes, and influencing some of the Beach Boys earliest backing vocals sounds. Dead Man's Curve, Surf City, Drag City, and Move Out Little Mustang are among my favorite tunes.
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« Reply #180 on: October 17, 2014, 11:25:44 AM »

I'll take ANY excuse to watch the T.A.M.I. Show again!

And what was with that anemic depiction of it in the James Brown biopic? His set was one of the most fantastic things I've ever seen and they made it look a made4tv movie!
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« Reply #181 on: October 17, 2014, 12:15:47 PM »

Enjoyed the recent issue of ESQ, as always.  The TAMI Show interviews were quite informative, especially with comments from director Steve Binder.  The Beach Boys Concert article and interviews were interesting as well, but IMO that article could have been more complete and thus significantly improved by providing more info the post production of the album, including vocal and instrumental sweetening and replacement and to what extent the scream track was overdubbed. 

I have subscribed to ESQ since issue # 1 and consider it to be essential element into my understanding and appreciation of the music of the BBs.

(As an aside, does anybody know where, when, and with how may young females the scream track used on BB Concert was recorded?  I've never done a direct comparison, but it reminds me  a lot of the scream track that was added to Ritchie Valens in Concert at Pacoima Jr. High a few years earlier.)


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The Cincinnati Kid
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« Reply #182 on: November 26, 2014, 12:38:36 PM »

Thanks guys for sending me the Beach Boys Concert and Jan and Dean LP!  I wasn't expecting that at all.  I look forward to writing you guys back.  It'll be a couple weeks, though as I'm getting ready for my finals.  Can't wait to get my next issue of ESQ!
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« Reply #183 on: November 26, 2014, 12:58:20 PM »

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« Reply #184 on: November 26, 2014, 01:03:11 PM »

I think it`s a dire name for a collection and they would be better off going for something potentially less offensive.

`Both of my brothers are worm food` should suffice...

Didn't know ESQ was looking for a change in name. Wink
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« Reply #185 on: November 26, 2014, 01:56:51 PM »

I think it`s a dire name for a collection and they would be better off going for something potentially less offensive.

`Both of my brothers are worm food` should suffice...

Didn't know ESQ was looking for a change in name. Wink

 LOL

Point taken. Serves me right for posting in the middle of the night...
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« Reply #186 on: November 26, 2014, 02:46:03 PM »

Thanks guys for sending me the Beach Boys Concert and Jan and Dean LP!  I wasn't expecting that at all.  I look forward to writing you guys back.  It'll be a couple weeks, though as I'm getting ready for my finals.  Can't wait to get my next issue of ESQ!

You're welcome!  Hope you have a turntable.  Send us a letter to the editor with a picture of you and the LPs.  We'll try to run in an upcoming issue.

Issue #107 was mailed today, and issue #108 will be mailed out just before Christmas.
http://esquarterly.com/merchandise.html#latefall2014

Have a great Thanksgiving!
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Andrew G. Doe
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« Reply #187 on: November 26, 2014, 10:46:23 PM »

(As an aside, does anybody know where, when, and with how may young females the scream track used on BB Concert was recorded?  I've never done a direct comparison, but it reminds me  a lot of the scream track that was added to Ritchie Valens in Concert at Pacoima Jr. High a few years earlier.)

Amazing as this may seem, the "scream tracks" were recorded at the exact same time as the rest of the shows, that is 12/21/63 and 8/1/64 in Sacremento. How many young females ? At a guess, anywhere between 50% and 75% of the capacity of the venue.

Somehow, I doubt anyone at the Valens show was shouting out for "Denny's Drums".  Grin
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« Reply #188 on: November 27, 2014, 12:05:45 AM »

(As an aside, does anybody know where, when, and with how may young females the scream track used on BB Concert was recorded?  I've never done a direct comparison, but it reminds me  a lot of the scream track that was added to Ritchie Valens in Concert at Pacoima Jr. High a few years earlier.)

Amazing as this may seem, the "scream tracks" were recorded at the exact same time as the rest of the shows, that is 12/21/63 and 8/1/64 in Sacremento. How many young females ? At a guess, anywhere between 50% and 75% of the capacity of the venue.

Somehow, I doubt anyone at the Valens show was shouting out for "Denny's Drums".  Grin

AGD, you seem to be agreeing with the liner notes on the album, which state, "For most 'live' albums, record companies commonly beef up the sounds of the audience reaction which, because of mike placement and other factors, seldom comes across on the record as it did in the actual theater.  But for this album, audience reaction was so overwhelming that Capitol's recording engineers had to use all their knowhow to subdue audience sounds so The Beach Boys could be heard!" 

But it seems like somewhere in the past I heard that some scream tracks were added, perhaps to help mask the transitions, since the tracks come from three different shows.  So, just to be clear, are you saying that all the screaming on the album came from one of the three concerts used to compile the album, and that no outside pre-existing scream tracks were used during song transitions to help mask those transitions?  It's certainly quite possible that could be the case, but somewhere along the line I thought I heard that some scream tracks were added.

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Ian
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« Reply #189 on: November 27, 2014, 03:36:44 AM »

Everyone knows that at least two of the songs on the album are not live
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« Reply #190 on: November 27, 2014, 03:46:57 AM »

Everyone knows that at least two of the songs on the album are not live

Yes, but does everyone know that words can hurt?
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« Reply #191 on: November 27, 2014, 04:17:25 AM »

(As an aside, does anybody know where, when, and with how may young females the scream track used on BB Concert was recorded?  I've never done a direct comparison, but it reminds me  a lot of the scream track that was added to Ritchie Valens in Concert at Pacoima Jr. High a few years earlier.)

Amazing as this may seem, the "scream tracks" were recorded at the exact same time as the rest of the shows, that is 12/21/63 and 8/1/64 in Sacremento. How many young females ? At a guess, anywhere between 50% and 75% of the capacity of the venue.

Somehow, I doubt anyone at the Valens show was shouting out for "Denny's Drums".  Grin

AGD, you seem to be agreeing with the liner notes on the album, which state, "For most 'live' albums, record companies commonly beef up the sounds of the audience reaction which, because of mike placement and other factors, seldom comes across on the record as it did in the actual theater.  But for this album, audience reaction was so overwhelming that Capitol's recording engineers had to use all their knowhow to subdue audience sounds so The Beach Boys could be heard!" 

But it seems like somewhere in the past I heard that some scream tracks were added, perhaps to help mask the transitions, since the tracks come from three different shows.  So, just to be clear, are you saying that all the screaming on the album came from one of the three concerts used to compile the album, and that no outside pre-existing scream tracks were used during song transitions to help mask those transitions?  It's certainly quite possible that could be the case, but somewhere along the line I thought I heard that some scream tracks were added.



I can clear this up: some tracks had audience sounds added, but they all come from different parts of the Sacramento shows. So, nothing "unauthentic" was added, just some moving-around.
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Ian
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« Reply #192 on: November 27, 2014, 06:10:56 AM »

But I get around and fun fun fun are studio recordings right?
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Debbie Keil-Leavitt
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« Reply #193 on: November 27, 2014, 07:19:27 AM »

Having been one of those little 12-year-old screamers in LA, Kansas City and Chicago concerts during ''64, '65, I can nearly guarantee you that they muted the sound of the audience a bit on the concert album.   I remember being lined up before the show with the other little teenies and pre-teenies in the entry hall when Brian and Mike peeked through one of the doors and the shrieking started at that point.  We then heard another shriek go up and saw Denny running down a set of stairs to the parking garage with a group of young girls right behind.  We wandered over to the top of the stairs.  A few minutes later the screams came echoing from below again, quickly followed by Dennis running past at the bottom of the stairs with the little shriekers right behind. He appeared later onstage unscathed.  It was all pretty surreal.

The screams, particularly when they introduced Dennis and Brian were as loud as anything you hear on Beatles live show videos.  I know if you weren't around in the 60's it's hard to imagine, but the screaming apparently started with Sinatra, then Elvis.  The Beach Boys' audiences were essentially the same period as the Beatles and they received the same reactions.  The sound is totally believable to me and as I said, muted so you can actually hear the show.   We were little Dionysian Maenads reincarnated, well without the blood bit...However Capitol put it together, they didn't have to fake a scream track.

Which reminds me, it's probably already been stated that was Fred Vail introducing them on the record.  He was the Sacramento promoter then and his choice of selling BB's tickets at the original Tower Records apparently helped put that chain on the map when we actually had lots of record stores, as I understood it from him.  When I started working for the BBs in 1969, Fred was my next door neighbor in Beachwood Canyon so I got to hear a lot of early days stories from him.  Fred might even know how the album was put together, since he was always close to them and worked for the BBs later.  He started in the Ivar offices in '68 or '69.

By the later '60's we were all too "cool" to scream of course.  It was a relief to be able to hear the show a lot better, I must say.
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« Reply #194 on: November 27, 2014, 07:53:30 AM »

But I get around and fun fun fun are studio recordings right?

Yes, and having not listened for a long time I think they also vari-speeded the tapes, maybe trying to give the illusion that the band played them faster on stage at the show (as many bands do), and assuming not many teenage listeners would notice the pitch/key was higher.
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Debbie Keil-Leavitt
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« Reply #195 on: November 27, 2014, 09:07:37 AM »

But I get around and fun fun fun are studio recordings right?

Yes, and having not listened for a long time I think they also vari-speeded the tapes, maybe trying to give the illusion that the band played them faster on stage at the show (as many bands do), and assuming not many teenage listeners would notice the pitch/key was higher.

Guitar Fool, I agree.  It's been awhile since I heard that album but I have the same memory. I also remember Brian really hating it when anyone "rushed the beat" in other instances, and I don't remember any of those shows being performed that way.
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Ian
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« Reply #196 on: November 27, 2014, 09:29:23 AM »

Of course Fred's intro comes from the December 1963 show.  In my book he explained that the DJ who was supposed to emcee the appearance didn't show in time-so he did it.   He did not introduce the guys at the August 1964 show.
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Debbie Keil-Leavitt
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« Reply #197 on: November 27, 2014, 09:43:58 AM »

Of course Fred's intro comes from the December 1963 show.  In my book he explained that the DJ who was supposed to emcee the appearance didn't show in time-so he did it.   He did not introduce the guys at the August 1964 show.

Thanks Ian.  I knew one of you scholars would come through.  I just know what Fred told me...
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The Cincinnati Kid
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« Reply #198 on: November 27, 2014, 10:20:21 AM »

But I get around and fun fun fun are studio recordings right?

Yes, and having not listened for a long time I think they also vari-speeded the tapes, maybe trying to give the illusion that the band played them faster on stage at the show (as many bands do), and assuming not many teenage listeners would notice the pitch/key was higher.

Yesterday was the first time I listened to the album and I noticed that right away.  Mike's voice sounded so high pitched lol.  But it wasn't too noticeable aside from a couple of songs.
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The Cincinnati Kid
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« Reply #199 on: November 27, 2014, 10:23:00 AM »

Thanks guys for sending me the Beach Boys Concert and Jan and Dean LP!  I wasn't expecting that at all.  I look forward to writing you guys back.  It'll be a couple weeks, though as I'm getting ready for my finals.  Can't wait to get my next issue of ESQ!

You're welcome!  Hope you have a turntable.  Send us a letter to the editor with a picture of you and the LPs.  We'll try to run in an upcoming issue.

Issue #107 was mailed today, and issue #108 will be mailed out just before Christmas.
http://esquarterly.com/merchandise.html#latefall2014

Have a great Thanksgiving!

Of course I do!  Smiley  I'll be sure to do that. 
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