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Author Topic: David Leaf  (Read 11289 times)
Lonely Summer
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« Reply #25 on: May 25, 2016, 06:18:41 PM »

My point was, if the albums are only going to sell to us diehard fans, then why not just let Brian run loose in the studio? I'd like to hear what he would come up with without being pushed in a particular direction. Instead of thinking "if we bring in guest stars, we'll get a hit" or  "if we put out a really polished, AC type album we'll get a hit". Just let Brian create - as he was doing with Andy circa 1995.
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Jim V.
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« Reply #26 on: May 26, 2016, 11:43:11 AM »

TLOS had a strong stamp of a co-writer that didn't sound very Brian-like to me.

You know, I'm glad somebody said it. A reasonable chunk of TLOS, while really nice, didn't sound like Brian to me. And I'm not just kicking Scott Bennett while he's down cuz of the whole rape thing. It just seems like TLOS got this rep as this ultimate BW album beyond his other solo stuff, and I kinda don't get it.
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« Reply #27 on: May 26, 2016, 04:24:09 PM »

TLOS had a strong stamp of a co-writer that didn't sound very Brian-like to me.

You know, I'm glad somebody said it. A reasonable chunk of TLOS, while really nice, didn't sound like Brian to me. And I'm not just kicking Scott Bennett while he's down cuz of the whole rape thing. It just seems like TLOS got this rep as this ultimate BW album beyond his other solo stuff, and I kinda don't get it.

I also agree Jim.  I still remember hearing it for the first time and thinking it was someone trying to make it sound like a Brian Wilson production rather than Brian himself.  Some enjoyable songs though, and Morning Beat sounds like a Brian production.
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Lonely Summer
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« Reply #28 on: May 26, 2016, 06:30:16 PM »

TLOS had a strong stamp of a co-writer that didn't sound very Brian-like to me.

You know, I'm glad somebody said it. A reasonable chunk of TLOS, while really nice, didn't sound like Brian to me. And I'm not just kicking Scott Bennett while he's down cuz of the whole rape thing. It just seems like TLOS got this rep as this ultimate BW album beyond his other solo stuff, and I kinda don't get it.

I also agree Jim.  I still remember hearing it for the first time and thinking it was someone trying to make it sound like a Brian Wilson production rather than Brian himself.  Some enjoyable songs though, and Morning Beat sounds like a Brian production.
It probably isn't pure BW, but it's still the second best solo album he's done - after BW88; unless we count Orange Crate Art, which he didn't write ANY of. I'm more confident in Brian's singing ability these days than his songwriting and production abilities.
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« Reply #29 on: May 27, 2016, 07:19:58 AM »

I enjoy about four tracks from it - about the same as NPP and Imagination and slightly more than GIOMH, though the arrangements and production there rendered good songs almost unlistenable. Production aside, I still really like 88. All of it.
« Last Edit: May 27, 2016, 07:20:49 AM by Smilin Ed H » Logged
Lonely Summer
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« Reply #30 on: May 27, 2016, 04:52:39 PM »

I enjoy about four tracks from it - about the same as NPP and Imagination and slightly more than GIOMH, though the arrangements and production there rendered good songs almost unlistenable. Production aside, I still really like 88. All of it.
I know we're not supposed to say anything good about Landy here, but it seems like he really got Brian energized about writing and recording again in the 80's. 2 solo albums plus a bunch of tracks doled out on singles, soundtracks, etc; and most of it was high quality.
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« Reply #31 on: May 29, 2016, 01:42:37 PM »

TLOS had a strong stamp of a co-writer that didn't sound very Brian-like to me.

You know, I'm glad somebody said it. A reasonable chunk of TLOS, while really nice, didn't sound like Brian to me. And I'm not just kicking Scott Bennett while he's down cuz of the whole rape thing. It just seems like TLOS got this rep as this ultimate BW album beyond his other solo stuff, and I kinda don't get it.

I also agree Jim.  I still remember hearing it for the first time and thinking it was someone trying to make it sound like a Brian Wilson production rather than Brian himself.  Some enjoyable songs though, and Morning Beat sounds like a Brian production.

Like the ones written with Joe Thomas, the Scott Bennett co-writes (despite the more classic feel of TLOS production) many times have chord changes that are very un-Brian. IMHO, Andy Paley was the best in composing with Brian songs that sounded like Brian.
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mikeddonn
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« Reply #32 on: May 29, 2016, 04:12:24 PM »

TLOS had a strong stamp of a co-writer that didn't sound very Brian-like to me.

You know, I'm glad somebody said it. A reasonable chunk of TLOS, while really nice, didn't sound like Brian to me. And I'm not just kicking Scott Bennett while he's down cuz of the whole rape thing. It just seems like TLOS got this rep as this ultimate BW album beyond his other solo stuff, and I kinda don't get it.

I also agree Jim.  I still remember hearing it for the first time and thinking it was someone trying to make it sound like a Brian Wilson production rather than Brian himself.  Some enjoyable songs though, and Morning Beat sounds like a Brian production.

Like the ones written with Joe Thomas, the Scott Bennett co-writes (despite the more classic feel of TLOS production) many times have chord changes that are very un-Brian. IMHO, Andy Paley was the best in composing with Brian songs that sounded like Brian.

I agree about the chord progressions.  That's why I said they were trying to sound like Brian.  But they didn't succeed which is probably why I was a little taken aback when I heard it.  GIOMH sounded like Brian but not everyone likes that one!

The Paley sessions yielded some decent stuff like In My Moondreams and Getting In Over My Head but a lot of it was nothing special IMHO.
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« Reply #33 on: May 29, 2016, 05:55:56 PM »

TLOS had a strong stamp of a co-writer that didn't sound very Brian-like to me.

You know, I'm glad somebody said it. A reasonable chunk of TLOS, while really nice, didn't sound like Brian to me. And I'm not just kicking Scott Bennett while he's down cuz of the whole rape thing. It just seems like TLOS got this rep as this ultimate BW album beyond his other solo stuff, and I kinda don't get it.

I also agree Jim.  I still remember hearing it for the first time and thinking it was someone trying to make it sound like a Brian Wilson production rather than Brian himself.  Some enjoyable songs though, and Morning Beat sounds like a Brian production.

Like the ones written with Joe Thomas, the Scott Bennett co-writes (despite the more classic feel of TLOS production) many times have chord changes that are very un-Brian. IMHO, Andy Paley was the best in composing with Brian songs that sounded like Brian.

I agree about the chord progressions.  That's why I said they were trying to sound like Brian.  But they didn't succeed which is probably why I was a little taken aback when I heard it.  GIOMH sounded like Brian but not everyone likes that one!

The Paley sessions yielded some decent stuff like In My Moondreams and Getting In Over My Head but a lot of it was nothing special IMHO.

Mikedonn and Pablo - I'm curious, what parts/chord changes on the TLOS album seem un-Brian like to you? IMO, the most un-Brian like chord change to my ears on a BW album is the nylon guitar chord change on "Cry" just before the first verse lyrics kick in.
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« Reply #34 on: May 29, 2016, 05:58:09 PM »

My point was, if the albums are only going to sell to us diehard fans, then why not just let Brian run loose in the studio? I'd like to hear what he would come up with without being pushed in a particular direction. Instead of thinking "if we bring in guest stars, we'll get a hit" or  "if we put out a really polished, AC type album we'll get a hit". Just let Brian create - as he was doing with Andy circa 1995.

There are different ways for an artist and their inner circles to manage the twilight years of the artist's career.

Bruce Springsteen, for instance, is probably never going to have Born In The USA or Born To Run sales again.  But he's catering to his large and devoted audience by giving them spectacular concerts which are recorded and sold directly to those fans, as well as new albums and well done repackages of older albums.

Brian Wilson's approach appears to me to be more directed to building a legacy and body of work that will largely benefit his survivors when the sad day comes that we lose him.  Yes, there's plenty for his fan base too, especially the concerts.  But sometimes the new albums and the overall handling of his career feels more like a musical 401K for his immediate family than a love letter to his fans.
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« Reply #35 on: May 29, 2016, 06:18:47 PM »

My point was, if the albums are only going to sell to us diehard fans, then why not just let Brian run loose in the studio? I'd like to hear what he would come up with without being pushed in a particular direction. Instead of thinking "if we bring in guest stars, we'll get a hit" or  "if we put out a really polished, AC type album we'll get a hit". Just let Brian create - as he was doing with Andy circa 1995.

There are different ways for an artist and their inner circles to manage the twilight years of the artist's career.

Bruce Springsteen, for instance, is probably never going to have Born In The USA or Born To Run sales again.  But he's catering to his large and devoted audience by giving them spectacular concerts which are recorded and sold directly to those fans, as well as new albums and well done repackages of older albums.

Brian Wilson's approach appears to me to be more directed to building a legacy and body of work that will largely benefit his survivors when the sad day comes that we lose him.  Yes, there's plenty for his fan base too, especially the concerts.  But sometimes the new albums and the overall handling of his career feels more like a musical 401K for his immediate family than a love letter to his fans.

God bless him, I hope it is.
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« Reply #36 on: May 29, 2016, 06:47:16 PM »

My point was, if the albums are only going to sell to us diehard fans, then why not just let Brian run loose in the studio? I'd like to hear what he would come up with without being pushed in a particular direction. Instead of thinking "if we bring in guest stars, we'll get a hit" or  "if we put out a really polished, AC type album we'll get a hit". Just let Brian create - as he was doing with Andy circa 1995.

There are different ways for an artist and their inner circles to manage the twilight years of the artist's career.

Bruce Springsteen, for instance, is probably never going to have Born In The USA or Born To Run sales again.  But he's catering to his large and devoted audience by giving them spectacular concerts which are recorded and sold directly to those fans, as well as new albums and well done repackages of older albums.

Brian Wilson's approach appears to me to be more directed to building a legacy and body of work that will largely benefit his survivors when the sad day comes that we lose him.  Yes, there's plenty for his fan base too, especially the concerts.  But sometimes the new albums and the overall handling of his career feels more like a musical 401K for his immediate family than a love letter to his fans.

God bless him, I hope it is.

Hope what is?
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« Reply #37 on: May 29, 2016, 07:26:04 PM »

A musical 401K for his family.
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« Reply #38 on: May 30, 2016, 04:18:59 AM »

A musical 401K for his family.

Ah, okay.  Nothing wrong with Brian doing that for his current family.  Sometimes we forget that these aren't just artistic endeavors, they are businesses and machines that are going to keep chugging along, long after the artist is gone.
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Lonely Summer
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« Reply #39 on: May 30, 2016, 12:29:25 PM »

A musical 401K for his family.

Ah, okay.  Nothing wrong with Brian doing that for his current family.  Sometimes we forget that these aren't just artistic endeavors, they are businesses and machines that are going to keep chugging along, long after the artist is gone.
  I can't imagine that Brian's kids will be hurting - the Beach Boys catalog keeps selling, year after year, the hit songs from the glory years 1963-66 have proven to be timeless.
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mikeddonn
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« Reply #40 on: May 30, 2016, 12:31:39 PM »

Yes, I don't think the later stuff will make them much!  Grin
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« Reply #41 on: May 30, 2016, 01:04:45 PM »

Yes, I don't think the later stuff will make them much!  Grin

To varying degrees, the Beach Boys profits are shared by the Beach Boys.  Brian Wilson's solo career and his catalogue will be managed solely by Melinda Wilson once he is gone.  Less money, yes, but no one to answer to, and one whole pie instead of a piece of a larger pie.  It has its benefits depending on how you look at it.
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« Reply #42 on: May 30, 2016, 01:56:20 PM »

Yes, I don't think the later stuff will make them much!  Grin

I would be very happy with just what the later stuff will make.  Razz
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