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Author Topic: Runaway Dancer available for purchase on itunes  (Read 34222 times)
bonnevillemariner
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« Reply #25 on: March 17, 2015, 06:51:26 AM »

Just bought it.  Thoughts:

1. Different as it is, it really works.
2. Agree that one or two "departure" songs are fun, but if I could trade this track for another Al/Dave collab, I'd do it in a heartbeat.
3. There are BB/Brian songs that have really grown on me over the years (like 70's BB, most tracks on TWGMTR or TLOS), and I love those.  But dang I can't wait for a Brian song that blows me away from first listen.  It's been a long, long time.
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job
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« Reply #26 on: March 17, 2015, 06:54:15 AM »

It's actually a very good tune.  It has that club vibe while still maintaining the beautiful melody that we've come to expect from Brian.  It's no more of a departure than the Hollins collaboration is.  It's better than all but MAYBE 5 or 6 tunes from any of the BW solo records leading up to this (admittedly not hard to do).  Very well done, very catchy, 8/10.

Of course, now we will see this board's complete inflexibility at its finest today.
« Last Edit: March 17, 2015, 07:00:53 AM by job » Logged
phirnis
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« Reply #27 on: March 17, 2015, 06:54:39 AM »

Gave it a listen on Spotify, not a very subtle way to try something new.
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MarcellaHasDirtyFeet
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« Reply #28 on: March 17, 2015, 07:03:06 AM »

MWAH HA HA HA! I LOVE THIS SONG.

I've been on a big Daft Punk kick (thanks to this board-- who had the Get Lucky robot signature?) and this song makes me so happy. I like it a lot more than I did The Right Time.

The smooth sax is a little too smooth for my tastes, would have liked a funky guitar in its place. But man, I am stoked for this album.

WOOOOOO! Afro
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RONDEMON
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« Reply #29 on: March 17, 2015, 07:13:08 AM »

I love it. Great chords and melody. I'm a big fan of Capital Cities and this is what a lot of their stuff sounds like. Good for Bri to branch out.
Love that ending too!
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« Reply #30 on: March 17, 2015, 07:37:11 AM »

Wow. Mind blowing tune. I REALLY dig it! Get's better every time. If you don't like it immediately, you will. SO COOL!
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NickandthePassions
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« Reply #31 on: March 17, 2015, 08:05:46 AM »

I like the way these songs end. Sounds like the album will have smooth transitions from song to songs.

Anyone else notice Brian's Facebook likes decreased?
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GoodVibrations33
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« Reply #32 on: March 17, 2015, 08:09:35 AM »

Anyone else notice Brian's Facebook likes decreased?

http://washington.cbslocal.com/2015/03/15/facebook-to-remove-inactive-profile-accounts-likes-expected-to-drop/
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guitarfool2002
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« Reply #33 on: March 17, 2015, 08:10:42 AM »


Boom.
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« Reply #34 on: March 17, 2015, 08:21:14 AM »

I love it. Great chords and melody. I'm a big fan of Capital Cities and this is what a lot of their stuff sounds like. Good for Bri to branch out.
Love that ending too!

The line in bold is important to consider and one of the reasons I posted a link to "Safe And Sound" last night. If you have an idea of what Capital Cities does, the collaboration makes more sense musically because you're hearing Sebu do what fans of his music know he brings to the table combined with Brian's musical elements that he brought to the table which his fans know. So it becomes an interesting amalgam of the two fan bases' expectations and assumptions for what they'll be hearing and which elements they'll be listening for going into the deal. It's risky in that the possibility exists that one fan base won't know enough about the other, and the combination might not seem like a good fit at first, but when you consider that Brian in the 70's added his own unique chords and melodies to very analog-synth heavy tracks (thinking Love You, obviously), and Sebu with Capital Cities is known for analog-synth heavy sounding dance and club tracks featuring catchy pop melodies and interesting chords/arrangements, the collaboration fits into a more understandable context.

Whether fans of either artist end up liking the results is their own choice and opinion, but when each fanbase knows who the other artist is and what they're known for beyond the basic wiki history, it's a pretty natural fit and a good idea to bring them together to see what happens, IMO.
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"All of us have the privilege of making music that helps and heals - to make music that makes people happier, stronger, and kinder. Don't forget: Music is God's voice." - Brian Wilson
rab2591
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« Reply #35 on: March 17, 2015, 08:36:06 AM »

I love it. Great chords and melody. I'm a big fan of Capital Cities and this is what a lot of their stuff sounds like. Good for Bri to branch out.
Love that ending too!

The line in bold is important to consider and one of the reasons I posted a link to "Safe And Sound" last night. If you have an idea of what Capital Cities does, the collaboration makes more sense musically because you're hearing Sebu do what fans of his music know he brings to the table combined with Brian's musical elements that he brought to the table which his fans know. So it becomes an interesting amalgam of the two fan bases' expectations and assumptions for what they'll be hearing and which elements they'll be listening for going into the deal. It's risky in that the possibility exists that one fan base won't know enough about the other, and the combination might not seem like a good fit at first, but when you consider that Brian in the 70's added his own unique chords and melodies to very analog-synth heavy tracks (thinking Love You, obviously), and Sebu with Capital Cities is known for analog-synth heavy sounding dance and club tracks featuring catchy pop melodies and interesting chords/arrangements, the collaboration fits into a more understandable context.

Whether fans of either artist end up liking the results is their own choice and opinion, but when each fanbase knows who the other artist is and what they're known for beyond the basic wiki history, it's a pretty natural fit and a good idea to bring them together to see what happens, IMO.

Definitely. I think the combination works very well. I totally get that it's not everyone's cup of tea - but it is a really well done collaboration.
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« Reply #36 on: March 17, 2015, 08:46:26 AM »

it's on rhapsody now.......the Professor understands the genre and the playfulness; it sounds a bit like new order and late bad YES or Bananarama--pole-dancer music in Thailand.  It's not a disaster (well, it is), but I just don't like it. This kind of thing only makes the professor long for a BB album.  I could have lived with Pisces Brother  and more song title checks from Mike, rather than to endure this. Got to go and turn off that awful sound--back to TRT and OSL to restore spiritual harmony.
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Mendota Heights
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« Reply #37 on: March 17, 2015, 08:57:35 AM »

@The Professor

But David Marks plays the guitar on Runaway Dancer.
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« Reply #38 on: March 17, 2015, 08:59:22 AM »

it's on rhapsody now.......the Professor understands the genre and the playfulness; it sounds a bit like new order and late bad YES or Bananarama--pole-dancer music in Thailand.  It's not a disaster (well, it is), but I just don't like it. This kind of thing only makes the professor long for a BB album.  I could have lived with Pisces Brother  and more song title checks from Mike, rather than to endure this. Got to go and turn off that awful sound--back to TRT and OSL to restore spiritual harmony.

What if I told you that David Marks' south bay accent and guitar pyrotechnics were on the track?
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« Reply #39 on: March 17, 2015, 09:00:15 AM »

This song is my new jam, replacing the void that I so desperately wanted Goin to the Beach to fill.

I love it <3
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Matt Bielewicz
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« Reply #40 on: March 17, 2015, 09:07:58 AM »

...it sounds a bit like new order and late bad YES or Bananarama--pole-dancer music in Thailand.

Professor, as a long-term New Order fan, I have to say that I don't understand this comment at all, and must respectfully ask: what New Order track can you possibly be thinking of? I cannot hear the slightest similarity.

I've now listened to the full track myself. I've said this already: I'm a big fan of electronic music of all kinds, of techno and dance and all manner of modern pop and production. Though I like all kinds of music, I probably like electronic stuff more, on balance, than what most people would call 'rock'. In the Beach Boys' catalogue, I can nail my colours to the mast in no clearer way than to say, quite honestly, that there's only one track on the LA album I like more than the 1979 Here Comes The Night (it's Baby Blue), and I find most of the rest of the album forgettable. I know the disco production on HCTN '79 is reviled by a lot of fans, but I think it's great.

...and also, I really like 'Safe and Sound' by Capital Cities. So you'd think I'd be really into this. But it's not quite gelling for me. I'll happily admit that the 'Moonlighting'-type sax is not a favourite sound of mine, and it's here in spades.

You never know; it might grow on me yet; I'll give it a few more spins. But I'm neither instantly grabbed by it nor floored by 'what an amazing leap Brian has made out of his usual stylistic template', as others here seem to be saying.

And I'm absolutely not someone who just wants Brian to repeat the Pet Sounds or SMiLE (or indeed, Today or All Summer Long) sonic template forever. I *like* it when artists shake things up a bit. But I'm not sure this is working for me... yet.

EDIT: Amazing how from certain angles (though he's a lot shorter) Sebu Simonian, with his chunky 'victorian philsopher' box beard, kinda looks like 1979, Light Album-era Brian. This kind of era, you know...
« Last Edit: March 17, 2015, 09:18:53 AM by Matt Bielewicz » Logged
Rocket
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« Reply #41 on: March 17, 2015, 09:10:32 AM »

I hated the sample of this, but it ended up sounding great!

This was the only song on the album I was worried about, othe than the Kacey Musgraves track, but I'm sure it'll be fine.

This is going to be a great album! Possibly his best solo album ever!
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the professor
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« Reply #42 on: March 17, 2015, 09:16:18 AM »

Matt,
withdrawing the New Order analogy; they are too good for this. Sticking with Bananarama.  Thank you for your insightful and productive critique on the song and on my post.  Very well explained all around.


...it sounds a bit like new order and late bad YES or Bananarama--pole-dancer music in Thailand.

Professor, as a long-term New Order fan, I have to say that I don't understand this comment at all, and must respectfully ask: what New Order track can you possibly be thinking of? I cannot hear the slightest similarity.

I've now listened to the full track myself. I've said this already: I'm a big fan of electronic music of all kinds, of techno and dance and all manner of modern pop and production. Though I like all kinds of music, I probably like electronic stuff more, on balance, than what most people would call 'rock'. In the Beach Boys' catalogue, I can nail my colours to the mast in no clearer way than to say, quite honestly, that there's only one track on the LA album I like more than the 1979 Here Comes The Night (it's Baby Blue), and I find most of the rest of the album forgettable. I know the disco production on HCTN '79 is reviled by a lot of fans, but I think it's great.

So you'd think I'd be really into this. But it's not quite gelling for me. I'll happily admit that the 'Moonlighting'-type sax is not a favourite sound of mine, and it's here in spades.

You never know; it might grow on me yet; I'll give it a few more spins. But I'm neither instantly grabbed by it nor floored by 'what an amazing leap Brian has made out of his usual stylistic template', as others here seem to be saying.

And I'm absolutely not someone who just wants Brian to repeat the Pet Sounds or SMiLE (or indeed, Today or All Summer Long) sonic template forever. I *like* it when artists shake things up a bit. But I'm not sure this is working for me... yet.
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Matt Bielewicz
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« Reply #43 on: March 17, 2015, 09:27:55 AM »

Fair enough, Professor. I can now stop racking my brains to think of a New Order track that Runaway Dancer might be a bit like, then!

I predict there's going to be a lot of variety on this album, and that most fans of most eras of Brian's stuff will find some tracks on here that they love. But there might be a lot of tracks that they can't 'get with'.

But, you know, maybe that was the plan. A 'White Album'-style smorgasbord of all kinds of music, so you can't help liking something on there even if you don't like all of it.

(of course, I don't mean that NPP will SOUND like the White Album, or that it will have the same kind of music even; I'm suggesting it may have a similarly broad range of styles on it)

And of course with the smorgasbord approach, you might get a lot of new listeners on board who don't know much (or any) of Brian's other work...! Could be a good move...
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The Cincinnati Kid
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« Reply #44 on: March 17, 2015, 09:43:56 AM »

Runaway Dancer live

http://www.youtube.com/watch?v=FgQQKnT0hv4
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thatjacob
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« Reply #45 on: March 17, 2015, 10:06:46 AM »

I definitely prefer the live version to the recorded one upon first listen. Mostly, this just excites me about the rest of the live show for PBS. I was worried it'd be buried in too much post-production, but at least this track was nicely handled.
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the professor
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« Reply #46 on: March 17, 2015, 10:13:12 AM »

I agree; live version is more interesting, more musical, soem warmth, some folkloric rhythyms, a bit of an eastern european feel--somehow less techno, with a bit of that Dennis Wilson film noir soundtrack mode in the sax.  the Professor much prefers this version. Plus, Woodstock,  you can hear David Marks more clearly singing and playin in this live version.

I definitely prefer the live version to the recorded one upon first listen. Mostly, this just excites me about the rest of the live show for PBS. I was worried it'd be buried in too much post-production, but at least this track was nicely handled.
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Niko
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« Reply #47 on: March 17, 2015, 10:17:59 AM »

Plus, Woodstock,  you can hear David Marks more clearly singing and playin in this live version.

Indeed...that one thing raises the song from simply "being a song" to "being spiritually enlightening."

I like this Sebu. I'm gonna listen to some of his stuff  angel
« Last Edit: March 17, 2015, 10:18:59 AM by Woodstock » Logged

SMiLE Brian
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« Reply #48 on: March 17, 2015, 10:23:34 AM »

David Marks has his South Bay invisiblity cloak on.
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« Reply #49 on: March 17, 2015, 10:36:58 AM »

it's on rhapsody now.......the Professor understands the genre and the playfulness; it sounds a bit like new order and late bad YES or Bananarama--pole-dancer music in Thailand.  It's not a disaster (well, it is), but I just don't like it. This kind of thing only makes the professor long for a BB album.  I could have lived with Pisces Brother  and more song title checks from Mike, rather than to endure this. Got to go and turn off that awful sound--back to TRT and OSL to restore spiritual harmony.

This sounds nothing like New Order.  There is no such thing as bad Yes...and it also sounds nothing like any Yes.  Bananarama only wishes they sounded anything like this.
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