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Author Topic: Listen to Sail Away in its entirety  (Read 13601 times)
guitarfool2002
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« Reply #25 on: March 23, 2015, 04:23:50 PM »

Improves on second listen… more akin to Somewhere Near Japan to my ears but perhaps that's partly down to Al's voice. Not keen on the "Sloop" references… thought this album was about contemporary Brian, after all. Maybe I need more time with this…

I took it as a wink-and-a-nod reference for the fans, since there is no mistaking what the reference is or would be for those who know the music. Maybe even more obvious of a choice and platform to do it since the guy who suggested to Brian that they record "John B Sails/Sloop John B" back in the 60's is singing on this one, and also the guy who sang "Sail On Sailor" in the 70's and all but owns the lead vocal identity of that song up to the present day is also singing on this new track about sailing. A total nautical theme, sailing and all that, with two of the musicians associated with the classic sailing themed hits of the past. Perfect fit for the instrumental reference as well, I think.  Grin

Or another way to consider it could be this, borrowed from the other discussion:

To borrow a masterful one-liner from another fan (whose name I do not know):

When you write Pet Sounds, you can quote whatever the f*** you want.  Grin
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« Reply #26 on: March 23, 2015, 04:25:23 PM »

This makes 4 really great tunes so far IMO.  Plus, from what I have heard of Saturday Night, I am certain that I will love that tune as well (the damn song has been stuck in my head just from that Soundstage snippet!).
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« Reply #27 on: March 23, 2015, 04:35:28 PM »

I think that Mike is, actually, blind to the quality of the work that Brian does without participation from him (Mike). He has constructed a narrative in which the only worthwhile BB music is that which he (Mike) has a hand in. Anything else isn't worth it.

As for the rest of it, I note that you pretty frequently imply in your posts that Mike has some sort of first hand knowledge that justifies his decision to not work with the full group. But you never quite come out and state what it is. So what does Mike know that we don't? I'm genuinely curious as to your answer.

My guess would be lot.  It's sort of like being a soldier in the trenches.  Unless you have been in there, you really can't speak to the experience.  I look at two quotes in particular one from Mike Love and the other from Al Jardine which justify to me at least that Mike's decision in not working with the full group.  In speaking of the C50, specifically his experiences working with Brian Wilson, Mike Love stated:

"The chemistry I had with Brian was back last year. It was just like it was when we were kids growing up together. I’m just pleased that we had the opportunity to work with each other last year, because it’s never easy with Brian. There are always obstacles."

You take what you can from a statement like this because quite frankly you get a little bit of everything.  Mike Love obviously gets very nostalgic and emotional when speaking of Brian Wilson but then you get the second part where he pulls backs.  Which is essentially what he did in terms of working with the full group.  It was fun, it was nostalgic, in the end it was enough for me.  He pulls back.  So take from that what you want and leave the rest but I personally respect his honesty.

Al Jardine mentioned on the onset of the demise of the C50: "We would love to have Mike and Bruce with us, but they don't want to work with us. So we can't force them to work with us."

My question is why would someone need to be forced if it was something they wanted to do in the first place.  My take on this is that people more times than not act in their own self interest and if there is not enough of an incentive to do something or if there are drawbacks to doing it then more times than not it's not going to happen.  
« Last Edit: March 23, 2015, 04:38:02 PM by JohnMill » Logged

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« Reply #28 on: March 23, 2015, 04:37:07 PM »

This makes 4 really great tunes so far IMO.  Plus, from what I have heard of Saturday Night, I am certain will love that tune as well (the damn song has been stuck in my head just from that Soundstage snippet!).

In another place and time, "Saturday Night" would be as about radio friendly as it gets.  It would've gotten some airplay if released under the "Brian Wilson" name and I wouldn't be surprised if it wouldn't have been a massive hit for the boys if released under the group's name.
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« Reply #29 on: March 23, 2015, 05:21:09 PM »

This song is very boring. I can't be alone in thinking that, can I? Also, I don't like Blondie Chaplin's voice at all.
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« Reply #30 on: March 23, 2015, 05:23:12 PM »

I think that Mike is, actually, blind to the quality of the work that Brian does without participation from him (Mike). He has constructed a narrative in which the only worthwhile BB music is that which he (Mike) has a hand in. Anything else isn't worth it.

As for the rest of it, I note that you pretty frequently imply in your posts that Mike has some sort of first hand knowledge that justifies his decision to not work with the full group. But you never quite come out and state what it is. So what does Mike know that we don't? I'm genuinely curious as to your answer.

My guess would be lot.  It's sort of like being a soldier in the trenches.  Unless you have been in there, you really can't speak to the experience.  I look at two quotes in particular one from Mike Love and the other from Al Jardine which justify to me at least that Mike's decision in not working with the full group.  In speaking of the C50, specifically his experiences working with Brian Wilson, Mike Love stated:

"The chemistry I had with Brian was back last year. It was just like it was when we were kids growing up together. I’m just pleased that we had the opportunity to work with each other last year, because it’s never easy with Brian. There are always obstacles."

You take what you can from a statement like this because quite frankly you get a little bit of everything.  Mike Love obviously gets very nostalgic and emotional when speaking of Brian Wilson but then you get the second part where he pulls backs.  Which is essentially what he did in terms of working with the full group.  It was fun, it was nostalgic, in the end it was enough for me.  He pulls back.  So take from that what you want and leave the rest but I personally respect his honesty.

Al Jardine mentioned on the onset of the demise of the C50: "We would love to have Mike and Bruce with us, but they don't want to work with us. So we can't force them to work with us."

My question is why would someone need to be forced if it was something they wanted to do in the first place.  My take on this is that people more times than not act in their own self interest and if there is not enough of an incentive to do something or if there are drawbacks to doing it then more times than not it's not going to happen.  

Conversely, it's never easy with the luhvster. There are always obstacles.  Smokin Smokin
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« Reply #31 on: March 23, 2015, 05:47:21 PM »

Guys I could cry this song is so good.

Thanks Brian, Al and Blondie, this song is incredible.
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« Reply #32 on: March 23, 2015, 06:12:15 PM »

Improves on second listen… more akin to Somewhere Near Japan to my ears but perhaps that's partly down to Al's voice. Not keen on the "Sloop" references… thought this album was about contemporary Brian, after all. Maybe I need more time with this…

I think the "Sloop" reference really works.  My taste must be much different than yours.  I'm celebrating the fact that we FINALLY get something from Brian that hearkens back to the day.  This one, contrary to the songs from NPP that have already been released, actually is blowing me away.  Thank freaking goodness we got (at least) one of those!  Not keen on Blondie's voice here (he sounds like a young Peter Cetera before the falsetto), but I can live with it.
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« Reply #33 on: March 23, 2015, 07:08:12 PM »

Nice song! Grin
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« Reply #34 on: March 23, 2015, 10:46:57 PM »

Guys I could cry this song is so good.

Thanks Brian, Al and Blondie, this song is incredible.
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« Reply #35 on: March 23, 2015, 11:03:25 PM »

It seems like Brian really enjoyed recording this album, I've always liked his kind of light hearted stuff a lot... I really enjoyed the Disney album because it was very childlike (different than Childish, mind you) and this song has a little bit of that careless magic to it too. 

Again I have to comment that the instrumentation is completely different than anything he's ever done, he's got some new players involved somewhere that have changed everything about how his sound, sounds.  Which I like. 

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« Reply #36 on: March 23, 2015, 11:03:44 PM »

BTW, anybody else get a McCartney vibe?
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« Reply #37 on: March 23, 2015, 11:29:10 PM »

what an homage to Al's and Blondie's work on Sloop and SOS respectively. A sea shanty indeed. What must Mike and Bruce be feeling now.  I know they had their reasons, but how could they not be mired now in regret that they are not part of this. Surely they hear where their own voices would go in the arrangement and mix.

May I say again that the absence of JF is the key component of the success of all thee NPP songs (or rather an important factor in their beauty and success)?

So far this album is far better than any BW solo album. You all now I like an Avengers movie with all the heroes in it, but I am facing the reality that this is not a BB album per se, while understanding that it has art within in that is as close as we may ever get to a BB album, in various guises.

Loving it all so far--including RD by that way.

Hey prof, I really like your post here. However, as far as how Mike and Bruce are feeling? I really don't know. I'm sure Bruce wouldn't have minded to be on this material. He seemed to dig being on the last Beach Boys album. However with Mike, I really don't know. I feel like he doesn't really care. And probably won't care unless somehow Brian got a number one single (which obviously does not have a great chance of happening). Shoot, even if Brian gets something like a top 10 or top 20 album, Mike will just pull the same stunt his did with TWGMTR and once again say something like, "yeah it's great Brian did that well....but you see, this material has no staying power like something like "Kokomo" which, mind you, still gets requested at every one of our shows! But anyways, the door is open to cousin Brian and I hope we can reunite once again and turn some of our legendary writing chemistry into something truly fun, fun, fun!"

Now as far as the lack of Foskett being a major plus to this material? I'm in 100 percent agreement with you there professor! I mean, I love pretty much everything on TWGMTR, but I do have to say, it might have been even better if it had Matt Jardine, Bruce or (dare I say it) Brian on the high parts instead. Regardless, "The Right Time" and "Sail Away" are both beautiful, and I really like "Our Special Love" as well. "Runaway Dancer" I'm liking too.

And lastly, even though I too wish we could have a new Beach Boys album, maybe this is better in a way. I'd rather have the four Beach Boys on it who really wanna be on it (Brian, Al, Blondie and Dave) rather than forcing somebody who's only interested in getting his way on song credits, rather than thinking about the art (guess who??).
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« Reply #38 on: March 23, 2015, 11:41:55 PM »

This song is very boring. I can't be alone in thinking that, can I? Also, I don't like Blondie Chaplin's voice at all.

Maybe it will take more listens. Personally, I would have preferred Brian to sing it himself, but he obviously made a lot of people happy by giving the lead to Blondie.
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« Reply #39 on: March 24, 2015, 12:16:12 AM »

This song is very boring.


Guys I could cry this song is so good.

I love the fact music can have different feelings to different listeners.
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« Reply #40 on: March 24, 2015, 01:47:06 AM »

This song is very boring.


Guys I could cry this song is so good.

I love the fact music can have different feelings to different listeners.

I hate that fact and would love to have the ability to get enthusiastic about that crap that is broadcast on the radio every day.
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« Reply #41 on: March 24, 2015, 02:33:31 AM »

Wow.

A kind of strange one for me - I actually quite like the "new" song, including the opening notes, which sound like they've been swiped from the Viacom corporate theme found on VHS tapes of old.

Great vox all round, with Al lifting it again - man, that guy just keeps delivering - that last brace of whoa-a-whoa whoa-ohhs in the last 30 seconds, just love it.  Fat Bass harmonica, great drumming. Feels a lot shorter than the 3:38 (or whatever) running time

What I'm not that fussed with the Sloop John B intro riff - and that song's up there in my BB top 5.  Perhaps I feel this new song was good enough to stand on it's own merits.
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« Reply #42 on: March 24, 2015, 02:41:37 AM »

The intro is great, the flute is my favorite instrument.
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« Reply #43 on: March 24, 2015, 05:59:26 AM »

This song is very boring. I can't be alone in thinking that, can I? Also, I don't like Blondie Chaplin's voice at all.

Maybe it will take more listens. Personally, I would have preferred Brian to sing it himself, but he obviously made a lot of people happy by giving the lead to Blondie.

Amen to that.

Al sounds superb. Brian sounds good. Blondie doesn`t to my ears.

I wish I liked Joe Thomas`s production style more but nothing new there.
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« Reply #44 on: March 24, 2015, 06:09:26 AM »

I feel I'd really like the song a whole lot better if the production was different.
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« Reply #45 on: March 24, 2015, 06:18:15 AM »

I would be happier if there weren't any hi-hats on the song-- sleigh bells forever, baby!  Cool
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« Reply #46 on: March 24, 2015, 07:33:27 AM »

Upon repeated listens, I again find myself wishing the falsetto was more prominent.  It seems like ever since Brian could no longer sing a sweeping, prominent falsetto, the falsetto parts in his songs have been purposely de-emphasized and buried in the vocal stack, despite the presence of really capable voices (Matt J. in particular). 

I maintain that if Brian really wants that sacred airplay, he'll get it by bringing the falsetto out of the shadows.  I've been conducting a little experiment over the last couple years.  I teach high school and college classes, and I play Beach Boys/Brian as the students walk in the room every day.  Interestingly, it doesn't take long for a few of them to start singing along.  Do you know what part they sing?  Almost every kid, regardless of course, year, or semester?  The falsetto parts.  Noticeable favorites are "Don't Back Down," "Hushabye," the last few seconds of "Kiss the Girl," "Surf's Up," the tag on "God Only Knows."

In case you're curious, none of my classes have seemed too impressed by "Runaway Dancer," the song ostensibly crafted just for the kids.  (Those looping electronica songs are a dime a dozen; nothin' special about RD.)

Sadly, it seems like so far NPP is shoving that signature falsetto aside, and I have no idea why.  Ray, you lurking?  Tell Brian to bring back the falsetto.  If he can't do it, Matt can.
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« Reply #47 on: March 24, 2015, 07:49:51 AM »

"sail away to a land without time, drink my water from a shell that i find"

who thinks Brian wrote this line?  Grin

(ps OMG love this song.  Love all the songs so far.  Guess I'm easy.  Lucky that way)
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« Reply #48 on: March 24, 2015, 08:08:13 AM »

"sail away to a land without time, drink my water from a shell that i find"

who thinks Brian wrote this line?  Grin

(ps OMG love this song.  Love all the songs so far.  Guess I'm easy.  Lucky that way)

My favorite line of the song!
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« Reply #49 on: March 24, 2015, 08:54:47 AM »

...
« Last Edit: March 25, 2015, 03:07:45 PM by Tomorrowville » Logged

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