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Author Topic: No Pier Pressure (board member reviews)  (Read 118182 times)
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« Reply #350 on: April 08, 2015, 12:34:34 PM »

I think it was a mistake leaving the 3 deluxe edition tracks off the standard album since it really changes the feel of the album in a positive way to have those 3 tracks there.
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« Reply #351 on: April 08, 2015, 12:44:39 PM »

4.74/5
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« Reply #352 on: April 08, 2015, 12:46:10 PM »

My guess is a lot of you did/are listening to this on a computer or portable pod/cd player. First listen at work yesterday on a small cd player I thought it was good. Played it at home on my old but good as new Onkyo set with tower speakers and really liked it. Played it a 3rd time on the small player at work again today and it really hit me what a difference your sound source makes. These songs are REALLY full of life on a proper system with the sound at an appropriate level. The harmonies, instruments and guest vocalists fill the room and pop in a way that does not compare to 3 or 4 inch speakers a foot from each other.

Not assuming this is a revelation...it just never hit me as I have fallen victim to an iPod and dock or my car for several years that I honestly did not realize what I was missing. If you are underwhelmed by NPP ..... You might try a different output source.
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« Reply #353 on: April 08, 2015, 12:48:08 PM »

I think it was a mistake leaving the 3 deluxe edition tracks off the standard album since it really changes the feel of the album in a positive way to have those 3 tracks there.

Seems kind of pointless to put out a "regular" and "deluxe" version of this album...why would anyone settle for the regular when you can get more songs on the deluxe?
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« Reply #354 on: April 08, 2015, 12:50:45 PM »

I think it was a mistake leaving the 3 deluxe edition tracks off the standard album since it really changes the feel of the album in a positive way to have those 3 tracks there.

Seems kind of pointless to put out a "regular" and "deluxe" version of this album...why would anyone settle for the regular when you can get more songs on the deluxe?

The regular version does not appear to be in many stores--the Best Buys around here do not have any copies.
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« Reply #355 on: April 08, 2015, 01:35:09 PM »

1. This Beautiful Day: What a start! This is one of the best 90 seconds or less songs I have ever heard. Brian's voice is better than I have heard in a while. 4/5

2. Runaway Dancer: Never would've expected this kind of song for Brian. Didn't like it as much as I thought I would but still good. 3/5

3. Whatever Happened: Verse are a bit boring but the chorus is beautiful. I wish Brian's lead was up a bit more. 3/5

4. On the Island: Nice little bossa nova song with a great vocal from Zooey. 3/5

5. Half Moon Bay: Decent instrumental. Was kinda expecting lyrics but glad there wasn't. 2/5

6. Our Special Love: One of Brian's more modern songs. Peter has a really nice voice. I like this song more and more with each listen. 4/5

7. The Right Time: Great vocals from Al and Brian. Can see why this was the single. 3/5

8. Guess You Had to be There: First time hearing Kacey. She has a nice voice. This is a nice catchy song too. 3/5

9. Don’t Worry: Another dance type song. Nice chord changes but a bit generic. 2/5

10. Somewhere Quiet: This is a remake of Summer Means New Love with lyrics. The lyrics are really nice. Thought this would be a throw away but it’s not. Actually…I think it's better than the original! 4/5

11. I’m Feeling Sad: Another “day in my life” song for Brian. Catchy tune with an unconventional but great chorus. One of Brian’s more unique arrangements. 4/5

12. Tell me Why: Another song that starts kinda slow but really shines on its chorus. 3/5

13. Sail Away: Nice intro along with a strong vocal from Blondie. Can hear the Sloop John B influence but it really isn’t distracting. 3/5

14. One Kind of Love: Can see why this will be played over the credits of Love & Mercy. Fascinating vocal from Bri. Amazing lyrics too. 4/5

15. Saturday Night: Intro kinda uses themes from One Kind of Love but quickly develops into its own song on the chorus. Very up tempo and easy to sing to. 3/5

16. The Last Song: Very sweet beginning that has a slow tempo to it.  Very touching lyrics, especially at the end. 4/5

17. In the Back of my Mind (1975 version): Can’t stop listening to this one. Heartbreaking vocal from Brian. Really like the chord change he makes before the second verse. 4/5 mostly for the historical significance.

18. Love and Mercy (2005): I dig this version a bit more than the released version. Not as overproduced. 4/5

So is it as good as "That's Why God Made the Radio?" Well...not quite. I give it an overall 3/5 but it is a high 3. Lot's of great chorus but some of the verses are a bit uninspired. This is still a must get and it is one of Brian's best solo albums.
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« Reply #356 on: April 08, 2015, 01:48:22 PM »

We treating the deluxe version as the standard album?  

No sir, this we is not. Are not. Whatever.

I'll be reviewing it was a 13 track album, and going over the bonus & super-bonus tracks separately. In one instance, very briefly as I dash for cover.
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« Reply #357 on: April 08, 2015, 01:53:31 PM »

We treating the deluxe version as the standard album?  

No sir, this we is not. Are not. Whatever.

I'll be reviewing it was a 13 track album, and going over the bonus & super-bonus tracks separately. In one instance, very briefly as I dash for cover.

I gotta say, I disagree with you here. At least in the U.S., the deluxe album is being sold as the standard. It's the default album for sale on Amazon, and in practically all stores. Most people are going to experience the record in the 16-track form, so that's the only logical way to review it.
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« Reply #358 on: April 08, 2015, 01:59:43 PM »

We treating the deluxe version as the standard album? 

No sir, this we is not. Are not. Whatever.

I'll be reviewing it was a 13 track album, and going over the bonus & super-bonus tracks separately. In one instance, very briefly as I dash for cover.
which instance?
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« Reply #359 on: April 08, 2015, 02:04:55 PM »

I think it was a mistake leaving the 3 deluxe edition tracks off the standard album since it really changes the feel of the album in a positive way to have those 3 tracks there.
Here here! 13 track version 3/5. Deluxe version 4/5.
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« Reply #360 on: April 08, 2015, 02:05:30 PM »

There's 479001600 possible combinations.

That's the number of ways twelve different notes can be ordered, if each note appears only once in the twelve-note sequence, a limitation which seldom applies, except in 12-tone music.
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« Reply #361 on: April 08, 2015, 02:13:56 PM »

We treating the deluxe version as the standard album?  

No sir, this we is not. Are not. Whatever.

I'll be reviewing it was a 13 track album, and going over the bonus & super-bonus tracks separately. In one instance, very briefly as I dash for cover.

I gotta say, I disagree with you here. At least in the U.S., the deluxe album is being sold as the standard. It's the default album for sale on Amazon, and in practically all stores. Most people are going to experience the record in the 16-track form, so that's the only logical way to review it.

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« Reply #362 on: April 08, 2015, 02:18:49 PM »

We treating the deluxe version as the standard album?  

No sir, this we is not. Are not. Whatever.

I'll be reviewing it was a 13 track album, and going over the bonus & super-bonus tracks separately. In one instance, very briefly as I dash for cover.

I gotta say, I disagree with you here. At least in the U.S., the deluxe album is being sold as the standard. It's the default album for sale on Amazon, and in practically all stores. Most people are going to experience the record in the 16-track form, so that's the only logical way to review it.

Do I look like Spock ?
now that you mention it, I do see the resmblance... 

   
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« Reply #363 on: April 08, 2015, 02:49:15 PM »

 Cool Guy Listening to ‘No Pier Pressure’ was supposed to be a perfect listening experience.  That was my one and only prerequisite from the absolute outset.  How it would all come together would happen effortlessly and fluidly.  The fates would certainly see to THAT.  I recall specifically picking up Beach Boys and Brian Wilson albums and cds dating all the way back to ‘Surfin’ Safari’ right up to and including That’s Why God Made the Radio’.  I remember where I bought them and not only where I heard them first but what specific piece of equipment or sound system I played them on.  Perhaps’ the first ‘listenings’ of ‘Pet Sounds’, ‘Sunflower’, and ‘Brian Wilson Presents Smile’ stand out most of all but my first audio ‘glimpses’ of ‘Surf’s Up’, ‘Holland’, ‘Brian Wilson’ and  ‘Smile’ aren’t far behind.

This time it was going to be at the very least a most important moment and memory.  The second it was announced that No Pier pressure was available to be ordered for it’s scheduled April 7th release I was all over Amazon.  I recalled at the time that they had previously sent me specific releases marginally in advance so that they would arrive at my door….or post office box…on the official release date.  I anticipated the arrival of ‘No Pier pressure’ yesterday here at my house as I now once again live in an area where home delivery is the way it’s done.

It didn’t come.

No ‘No Pier Pressure’.

I had come home early in order to be here when the post-lady would make her rounds.  She passed by the house as if it (and *I*) weren’t here.  No cd.  So I figured…It’s TOO important.  Amazon is having it delivered by one of the courier services.  I’d certainly paid enough for THAT to happen.    As of 11:00 last night.Huh  Still No ‘No Pier pressure’.  It wasn’t here this morning.  It wasn’t here when I got home from work.

Damn the Torpedoes.

I recently picked up a really cool used Mustang with an excellent Shaker Sound System.  I drove 35 minutes south to the city of Chatham [where the Beach Boys will be appearing live in concert this coming August 8], went to Walmart, found the cd…complete with all 16 songs and the 2 bonus tracks…and [along with the new Boz Scaggs cd] made my way back to the car.

It’s usually important for me to listen to a new Brian project, whether it be solo or with the Beach Boys, ALONE.  That way there are no interruptions or unwanted sounds.  This was perfect.  Alone in my car with a kick-keester sound system…the new Brian Wilson release fully loaded and ready to roll.  Together we hit the road.  No peer pressure.  No unwanted phone calls or knocks at the door.  Nothing but me, Brian [et al] and the road.  Maybe it’s not Pacific Coast Highway…but for my purposes…the 40 Highway was going to work perfectly.

‘No Pier Pressure’ came highly touted Ray Lawlor wasn’t the only person in an inside position to let us all know that Brian had put his heart and soul into this album.  I was expecting to be amazed.  Having heard snips of the songs leading up to yesterday I had an idea of what was in store.  There was not to be a letdown in any way, shape or form.

As I cruised north on “the 40” it revealed both the promised heart, soul and more. This Beautiful Day is as good an opener to any Brian project as I recall ever hearing..  Good stuff like THAT always seems too short.  But there was more to come.

Runaway Dancer has a very modern feel to it.  The difference?  The thing that says without a doubt that Brian isn’t just trying to do something modern sounding is the fact that there’s a SONG there.  There’s music…with a start, a middle and a finish.  Good on ya Brian.  THAT is how it’s done.  A bench mark for the young up and comers to work from.

Whatever Happened.  Thanks a bunch Brian.  There I am…fighting back tears why I’m trying to drive.  Thank goodness I was alone…or people would know what an old softie I am.

On the Island.  That’s fun.  Well done.  Way to get me smiling again there Wilson.  I’ve maintained for quite awhile that you never really wrote songs just for YOU to sing all of them.  You envisioned other voices portraying your music.  Well here you go.  Great pick.

Half Moon Bay.  Moon Dawg.  Passing Time.  Instrumentals with voices.  How Brian Wilson of You.  Good one.

Our Special Love.  You and Peter do make this song work.  Geez Brian…So far so great.  These songs would have worked anywhere along the way and would have been considered part of your front line songs and arrangements.  [except for Runaway Dancer obviously.  But that’s just ‘cause it’s so modern]

The Right Time.  Man that Jardine fella sure can sing a song.  Where’d you ever find HIM?  Nice to hear David with you too Brian.  This sounds way better off of a cd through an A-1 sound system too.  Those computer-squeezed files aren’t my cup of tea.  Too much good stuff lost or muffled out of human hearing range.  By this point I had passed through Wallaceburg and was now cruising north along the St. Clair River.  Ontario on my side...Michigan on the other...docks and piers scattered along the way.  All the while the water continued to flow...on its way, eventually,to the ocean.

Guess You Had to Be There.  According to the lyrics…I guess you WERE.  Kacey helps to make it work.  Cool tune.  Glad you can look back and see it all so clearly now Brian.  We’re all blessed because of it.

Don’t Worry.  Sounds very Motown like…with a Brian Wilson influence of course.  There are so many songs here which will open like flowers.  If it’s all there and immediately upfront I begin to question the depth.  This album is deep.

Somewhere Quiet.  Reminds one of an old Beach Boys tune…but then isn’t that what we would hope for on an album like this one specifically?  Just add some words…twist the melody a little…sprinkle some magical music dust on it and poof!!!  Here we are.  You’re an old softie too Brian.

I’m Feeling Sad.  My wife hasn’t yet moved to join me here.  Issues with her Mom and getting our house up north ready to put on the market.  I can relate to this one BIG TIME.  Here come those tears again.  And I forget why I’m doing what I’m doing too.  Nailed it Brian.  [unfortunately..but hopefully not for much longer]

Tell Me Why.  So you and Al investigate the other side of the coin.  Don’t want to experience that one.  Good song though.  I feel your pain there boys.

Sail Away.  Yes there is a Sloop John B ‘feel’ for a couple of seconds.  But why not?  Been a long time since we’ve heard Blondie.  Cool.  A tiny touch of Somewhere Near Japan in there too eh?  Overall…it’s its own song and it’s a really good one.  This is turning out to be your finest album of brand NEW material in a long, LONG time.  That Jardine fella still sounds like a ‘voice’ with a future.  He’s a keeper Brian.

One Kind of Love.  This is like a commentary on the various feelings expressed on Pet Sounds.  It took us ALL a long time to figure it out.  That’s life my friend.  Right on.  [again]

Saturday Night.  So you grabbed Nate to sing this one did you?  Good choice.  Variety is spice and ‘No Pier Pressure’ is spicey for all  the right reasons.  He’s kind of a 21st century Al isn’t he?  (Playing our music too loud…nice touch on that.  Small but effective.)  That David on the guitar solo?  I like it Brian.

The Last Song.  Well you can’t win ‘em all.  JUST KIDDING..  This is so touching…I needed to add a little levity.  You wish that you could give us so much more?  Mission accomplished YEARS ago Brian.  This is a fantastic closer.  It sews up a GREAT album…and then you bonus us with a song you co-wrote with your cousin.  Why?  Just on the off chance that maybe JUST MAYBE this album would be a success and then he’d be able to share in the royalties?  You have a BIG heart Brian Wilson.

In the Back of My Mind.  This is the 2nd time I’ve noticed that THIS is a very difficult song to sing.  At least THIS time…I get it.  So thanks for that.  And Mike is given a spot on the album as the co-writer.  He’s a lucky guy to have you in his life TODAY.

Love and Mercy.  To you and Melinda Brian.  Love and Mercy to your whole family…to Al, David and Blondie…to all the folks who contributed to ‘No Pier Pressure’.  This is your best solo album of NEW songs yet Brian.  It is one of the very best you’ve ever been associated with over these past 53 years..  It’s a 9.99 out of 10.  Approximately 30 seconds after the last note faded out?  I pulled into my driveway.  What a trip!!!

See you in Detroit in July…and Thank you.  

Your friend,

 Lee Marshall  Cool Guy
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« Reply #364 on: April 08, 2015, 03:29:03 PM »

Wonderful review Lee!
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« Reply #365 on: April 08, 2015, 03:44:03 PM »

We treating the deluxe version as the standard album?  

No sir, this we is not. Are not. Whatever.

I'll be reviewing it was a 13 track album, and going over the bonus & super-bonus tracks separately. In one instance, very briefly as I dash for cover.

I gotta say, I disagree with you here. At least in the U.S., the deluxe album is being sold as the standard. It's the default album for sale on Amazon, and in practically all stores. Most people are going to experience the record in the 16-track form, so that's the only logical way to review it.

Do I look like Spock ?

I'd like to throw my vote in for the "deluxe" version being the standard as well. It's like the difference between the two-disc and five-disc Smile Sessions sets.
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« Reply #366 on: April 08, 2015, 04:10:29 PM »

I listened to the first half of it on my drive to work today.... by the time it got to "Right Time", I was suddenly overtaken by this feeling of sadness, that we missed so much of the output Brian could have given us in say, the 70's, 80's, 90's.  Listening to that track (after all the others) it just hit me (again) that he could have been sharing beauty like this with us much more often than he did.  I was then hit with the idea that maybe I should donate to a charity that helps folks with mental illnesses.   Does Brian have a favorite charity that deals with that in particular?
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« Reply #367 on: April 08, 2015, 07:29:18 PM »

I think it was a mistake leaving the 3 deluxe edition tracks off the standard album since it really changes the feel of the album in a positive way to have those 3 tracks there.

Seems kind of pointless to put out a "regular" and "deluxe" version of this album...why would anyone settle for the regular when you can get more songs on the deluxe?

Marketing scam and nothing more. Everybody kinda loses in one way or another. It's fucked.

If the 16-track version is the album to you, then that's the album. Don't let a marketing gimmick dictate what "is" and what "isn't" the album because it was handed to you a specific way. Brian likely had next to nothing to do with relegating what was a "deluxe edition bonus track" on specific versions of the album and what wasn't. Do not validate this crap with "No, the thirteen track version is the album because some suit told me it was the album."
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« Reply #368 on: April 08, 2015, 07:34:11 PM »

Wonderful review Lee!
I'll second that. Great read!
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« Reply #369 on: April 08, 2015, 09:15:17 PM »

...it was just one of several examples on this album of Brian recycling Beach Boys material.

Really???

Here is the foundation of Western music for the past several hundred years:

In a "sharp" key:
C C# D D# E F F# G G# A A# B
In a "flat" key:
C Db D Eb E F Gb G Ab A Bb B

Those are the twelve individual notes or pitches that comprise all of what we'd call Western music. Whether named in sharps or flats, every chord and melody we hear comes solely from those twelve notes. All of the music we hear comes from those "ingredients".

As something of a musicologist, or historian, or whatever you'd call it, I could trace any number of songs to a previous melody or chord progression. I could pick something on a Beach Boys album and find a precedent on something written in the 1700's possibly as easily as something on a show tune from the 1920's as I could on a Bill Monroe record from the 40's. And on and on and on...

Point is, everyone who writes Western music uses the same ingredients. Just like everyone who writes or speaks the English language uses the same words available to every English speaking person, yet we can identify individuals by the way they write, the way they speak, and which words and phrases they choose to use.

To say Brian is "recycling" Beach Boys songs is, in my opinion, absurd. It becomes more absurd when it gets called out based on a descending chord progression that I could, on demand, find previous examples in any number of thousands of songs.

I just had a similar experience last night where a chord progression came up, and I used it based on what I call the "Hello Goodbye" progression. It's one of the things that simply works, that sounds good, and which writers can call on any time to deliver a hook that they know works and fits so many situations.

Did "All The Young Dudes" 'recycle' McCartney? Did McCartney recycle some Broadway tune from the 30's, or was it a Bach, Mozart, or Beethoven progression? How about Del Shannon's "Runaway"? Did Lennon/McCartney recycle it for "I'll Be Back", Arlo Guthrie with "Comin Into Los Angeles", Chicago with "25 or 6 to 4", Zeppelin with "Babe I'm Gonna leave You", etc?

Or is there a chorale that was heard in cathedrals throughout Europe in the late 1700's by an unknown writer that uses the same chord progression?

It's fun picking some stuff out like that, especially if you're into music history and lineage...but Kokomo?

Just be upfront about it, right? Recycling...no.

Or the next time a chef prepares a chicken noodle soup or something, and he/she puts their own twist on it by adding something unique, should they be accused of "recycling" a soup recipe that may have existed for how many hundred years yet everyone who makes it has an individual way of using the exact same ingredients everyone tthough history has used to create a chicken noodle soup.

Recycling? No way. There are only 12 notes to choose from when writing a song in the Western format...get a statistician to calculate how many unique combinations of those 12 notes could exist and consider what it is that makes individual songwriters immediately identifiable by their style.

And it can easily be traced well beyond the Beach Boys and a chord sequence on Kokomo if there is a genuine interest in tracing the history of Western music, versus anything subliminal or sounding like what some are seeing as a negative.

Thank you for the drive by lesson in music fundamentals.

I'm sure your musicianship is superb considering you view it at a stagnantly textbook level.

The similarities between any two songs have very little to do with the combination of notes, but how they are presented to the listener.


Tempo, meter, rhythmic value, timbre, voicing...and that's to name a few without even scratching the surface on production techniques.


I apologize if my word choice may have set off any negativity, but I don't recall implying that recycled was a bad thing...that's like the ex-CCR members suing John Fogerty for plagiarizing himself  LOL
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« Reply #370 on: April 08, 2015, 11:05:44 PM »

Quote
The regular version does not appear to be in many stores--the Best Buys around here do not have any copies.

I saw a copy of the 13-track version at Hastings today
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« Reply #371 on: April 09, 2015, 06:14:37 AM »

Nice review, Lee.  I totally get where you're coming from.  I, too, listened in the car immediately after buying the disc.  I don't usually do that.  Normally I would wait to get home and crank up the big system, but having just moved to a new house, the big system is not ready to crank yet. 

I wanted to hear the thing the first time by myself...alone..because I knew there would be tears.  And there were.  I steered my car to the first road heading out of town, and as soon as I was on a nice quiet back road in the country I let 'er rip.  I don't have a Mustang with a Shaker thingy, but I do have a decent stereo in my Buick (that's not a Buick).

I had read Craig's (guitarfool's) excellent review already, and there's nothing I can say here that he hasn't already said, and better than I could.  I am not going to go through each song here, but I'm going to come out and say that I think this is Brian's best solo album to date.  Some say they don't like the sheen.  The sheen is what Brian wants, folks.  I like the sheen.  As Craig said, the mix and the sonics are incredible on this album.  I will say this...after I returned home from my private mobile listening party, I played the disc again, this time at home through one of those TV soundbars with a subwoofer, and it didn't sound nearly as good.  I agree with whoever said that this album will sound much, much better if you listen on a decent system or good quality headphones.  This weekend I'll get my music room happening, and I'll play it through the big old speakers. 

Reading the reviews and opinions here, I find that this album is like every single other Beach Boys related album.  One person doesn't like anything except On The Island, and the next person likes everything except On The Island.  It's the old 'ask 100 Smiley Smilers what their favorite Beach Boys songs are, and you'll get 100 different answers' thing.  I don't think every song on this album is a masterpiece, but I think they're all very good, and some are excellent.  I think I'll give it another listen on my way home from work.  It gets better every time I hear it.

Art   
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Joel Goldenberg
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« Reply #372 on: April 09, 2015, 06:40:26 AM »

I like most of the album, including the very catchy Runaway Dancer. And I can't stop playing The Right Time and In the Back of My Mind.
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Paul J B
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« Reply #373 on: April 09, 2015, 07:44:29 AM »

I suppose this should be in a new thread or other music but I think On The Island is great and really did not know much about Zooey or She and Him but man... just watched this video and I'm buying their stuff tonight. Brian should have collaborated with these guys a long time ago. Great choice to put them on NPP. This record is actually getting me into new artists. I don't think that has ever happened with me.

https://www.youtube.com/watch?v=Ni75mYuwvlg
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HeyJude
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« Reply #374 on: April 09, 2015, 08:07:59 AM »

We treating the deluxe version as the standard album?  

No sir, this we is not. Are not. Whatever.

I'll be reviewing it was a 13 track album, and going over the bonus & super-bonus tracks separately. In one instance, very briefly as I dash for cover.

I gotta say, I disagree with you here. At least in the U.S., the deluxe album is being sold as the standard. It's the default album for sale on Amazon, and in practically all stores. Most people are going to experience the record in the 16-track form, so that's the only logical way to review it.

I wonder if anyone deep inside the inner workings of the industry can explain this "Standard" and "Deluxe" situation. "Deluxe" editions have been around for ages. But I'm seeing more and more cases like NPP, or McCartney's initial versions of "New" in 2013, where there are two versions that are pretty much identical except for the addition of three or so songs. In other words, you don't have a "Standard" version, say, in a jewel case, and then a "Deluxe" version in a fancy box/digipak with extra tracks PLUS a DVD, a booklet, postcards, stickers, whatever. The two products are largely indistinguishable (McCartney color coded his versions) other than one having more tracks.

I'm wondering if this is some sort of accounting trick or some way to impact sales or receipts or chart action or something. I admit I have no idea how this would be possible. The only immediate benefit I can see is that the "Standard" version is cheaper for someone who can somehow afford $12 or so but not $14 or $15, and Brian might see the sales numbers goosed a tiny bit by super hardcore collector fans that have to buy both versions.

Or it could be some sort of reverse psychology thing where the album is largely intended as a 16-track album but they label it "Deluxe" to make us feel like we're getting something extra special.

For all intents and purposes, the "Deluxe" version is the "Standard" version and the "Standard" version is like a day-and-date budget release with a few tracks stripped away.
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