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Author Topic: Brian in 1977  (Read 26644 times)
Jukka
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« Reply #25 on: September 18, 2014, 11:55:18 AM »

The story about the tour bus driver seeing Brian is tragic.

I haven't heard this one, please do tell more. Although I guess I can guess the gist of it...
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« Reply #26 on: September 18, 2014, 03:52:58 PM »

Did Brian actually lose interest in the Love You songs, or did he feel that he finished them and that they were fine the way he left them? Obviously "somebody" felt that the songs needed something a little extra.

Anyone who's heard the Love You tracks in their original state will tell you that if Brian thought they were fine, his judgement was way off at that point. They were barely past the demo stage. Carl did everyone a service.
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Sheriff John Stone
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« Reply #27 on: September 18, 2014, 04:07:52 PM »

Did Brian actually lose interest in the Love You songs, or did he feel that he finished them and that they were fine the way he left them? Obviously "somebody" felt that the songs needed something a little extra.

Anyone who's heard the Love You tracks in their original state will tell you that if Brian thought they were fine, his judgement was way off at that point. They were barely past the demo stage. Carl did everyone a service.

I have heard the tracks in their original state, and I know that Carl did everyone a service, but it doesn't answer the question WHY Brian left them in that original state. Did he LIKE them that way, or did he quit on them? Yes, I think Carl improved them, but in a rawer, simpler way, the earlier tracks weren't THAT bad.

And, was it a band and/or a record company decision to do the additional work - or just Carl's idea?   
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urbanite
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« Reply #28 on: September 18, 2014, 04:13:53 PM »

I think abuse of amphetamines can cause paranoia.
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« Reply #29 on: September 18, 2014, 04:14:53 PM »

I personally prefer Carl's vocal on the demo version of The Night Was So Young. On the released version, was it at the wrong speed, or was he strung out on horse during the session?
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« Reply #30 on: September 18, 2014, 04:21:14 PM »

I heard "Night Was So Young" was about someone.  Who was it about?
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« Reply #31 on: September 18, 2014, 04:26:04 PM »

Debbie Keil.
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« Reply #32 on: September 18, 2014, 04:39:13 PM »

That's what I thought.
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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 #33 on: September 18, 2014, 10:34:03 PM »

I personally prefer Carl's vocal on the demo version of The Night Was So Young. On the released version, was it at the wrong speed, or was he strung out on horse during the session?

I'm guessing... the latter.
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« Reply #34 on: September 18, 2014, 11:03:42 PM »

Kind of figured...not a popular opinion, but I was not a fan of his vocals from 15 BO onwards, with a few exceptions (BB85 immediately springs to mind)
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« Reply #35 on: September 19, 2014, 12:47:54 AM »

Kind of figured...not a popular opinion, but I was not a fan of his vocals from 15 BO onwards, with a few exceptions (BB85 immediately springs to mind)

Personally, I think Carl sounds fine again from the L.A. album on. Different to his younger self, but not as stewed sounding like on 15BO/LY/MIU. Brian sounds better than Carl does on MIU, probably because Landy didn't let him snort cocaine for a while.
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« Reply #36 on: September 19, 2014, 12:54:20 AM »

Good Timin' aside (and that was from 1974 anyway), I couldn't stand his vocals on LA Light, but part of it was because the songs were quite frankly boring as hell.
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« Reply #37 on: September 19, 2014, 03:03:04 AM »

Good Timin' aside (and that was from 1974 anyway), I couldn't stand his vocals on LA Light, but part of it was because the songs were quite frankly boring as hell.
I once literally fell asleep while listening to Full Sail.  Grin
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« Reply #38 on: September 19, 2014, 06:27:15 AM »

I agree that Brian is the star of miu. His singing is great and my Diane is the best thing on the lp. If only the other songs he had to sing didn't have such banal lyrics.
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« Reply #39 on: September 19, 2014, 07:13:25 AM »

Good Timin' aside (and that was from 1974 anyway), I couldn't stand his vocals on LA Light, but part of it was because the songs were quite frankly boring as hell.

What about 'Baby Blue'?
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« Reply #40 on: September 19, 2014, 08:34:49 AM »

Good Timin' aside (and that was from 1974 anyway), I couldn't stand his vocals on LA Light, but part of it was because the songs were quite frankly boring as hell.

What about 'Baby Blue'?
Agreed, very nice vocals on Baby Blue. Also, whether you like the arrangement or not, Carl's vocals are great on Here Comes The Night. Yes, by L.A., Carl had cleaned up and was vocally back to form.
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« Reply #41 on: September 19, 2014, 08:43:39 AM »

In my opinion, that string of albums - L.A. Light Album, KTSA, BB1985, Still Cruisin', Summer In Paradise - is Carl's best vocal work...ever. He was the star of those albums; it's too bad he didn't have better material to work with. I think Carl grew as a singer and I liked his more mature voice.
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Steve Latshaw
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« Reply #42 on: September 19, 2014, 10:00:20 AM »

Carl's voice matured in 1978... late that year and early the next he got very focused on improving his vocals, range, etc.  His vocals, in my view, from LA LIGHT on, are stellar, the best he was ever singing.
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« Reply #43 on: September 19, 2014, 10:07:29 AM »

I also don't understand the constant bashing of LA LIGHT... it was an excellent CBS debut at the time, and the last of the Beach Boys albums to feature contributions from all.  There's some brilliant stuff on there; everyone, with the exception of Brian, is bringing their best game - and it fit very well with the time... alongside two other excellent albums from other 60s icons... BACK TO THE EGG from WINGS, and McGUINN, CLARK & HILLMAN (Byrds).

The primary problem with the album is a weak side two, which, I suspect, had more to do with internal politics and the lack of finished material, more than anything else.

Ditto MIU, which, while suffering from some weaker than average songs, is a strong, lush production, and a real gift, sonically, to those of us reeling from the wonderful songs but weak production of 15 BIG ONES and LOVE YOU.
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« Reply #44 on: September 19, 2014, 10:13:35 AM »

Couldn't it just be that Brian agreed with who he agreed and disagreed with who he disagreed? We always try to second guess Brian's motive and feelings.
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« Reply #45 on: September 19, 2014, 11:07:15 AM »

Good Timin' aside (and that was from 1974 anyway), I couldn't stand his vocals on LA Light, but part of it was because the songs were quite frankly boring as hell.

What about 'Baby Blue'?

Crap...I forgot about that! Yeah. obviously throw it in. And yeah, his vocals are the best part of the disco HCTN, but...can't even listen to it, really.

What kills the album for me is that it is so boring . Not only do I prefer MIU, I actually prefer KTSA (except Oh Darlin-which to me the version with Brian on lead is better- and Endless Harmony). Goin South is in my bottom five songs they've ever done.
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« Reply #46 on: September 19, 2014, 11:15:57 AM »

Good Timin' aside (and that was from 1974 anyway), I couldn't stand his vocals on LA Light, but part of it was because the songs were quite frankly boring as hell.
I once literally fell asleep while listening to Full Sail.  Grin

Wow.  I love that song (except the line "Frisco Bay".  It's "San Francisco", buddy).
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« Reply #47 on: September 19, 2014, 11:20:55 AM »

Good Timin' aside (and that was from 1974 anyway), I couldn't stand his vocals on LA Light, but part of it was because the songs were quite frankly boring as hell.
I once literally fell asleep while listening to Full Sail.  Grin

Wow.  I love that song (except the line "Frisco Bay".  It's "San Francisco", buddy).
Tell that to Otis.
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« Reply #48 on: September 19, 2014, 11:29:06 AM »

I know I can probably research and find some answers to this, but I'm curious since this discussion went beyond 1977 and into the CBS era.

After Keepin The Summer Alive in 1980, especially the years 1981-83 up to Dennis passing, the Beach Boys had no new studio albums. Obviously Carl did his solo record, but beyond that I'm curious of the reasons why there was such an obvious drop-off in the recording area. From 15BO onward to KTSA, the band had at least been consistent with releasing something every year...success of those releases notwithstanding.

How was CBS reacting to their band which they had given a pretty lucrative album deal simply not recording or releasing anything for several years? And again, was there a specific reason or was it a whole mess of reasons?
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« Reply #49 on: September 19, 2014, 11:55:17 AM »

Beach Boys 85 is just a disappointment.  Not much of anything on there to get excited about.
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