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Author Topic: Brian's next solo album (NPP followup) speculation and info thread  (Read 13501 times)
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« Reply #25 on: July 17, 2017, 09:49:08 AM »

"No autotune" is likely impossible, given that Brian 1.) has used pitch correction/vocal processing on his solo albums since 1988 and 2.) approves of it as a convenience. The issue is just how audible the effects are. I'd be okay with a "One Kind of Love" vocal sound.

Frankly, I don't think the autotune is nearly as fan as some fans, so I wouldn't be crestfallen if they used it again.  

Does that include the autotune on DIA '17?

The only time autotune or vocal processing usage is acceptable, IMO, is when it's 99.99% transparent to smooth something out that's already very close to as good as it can possibly be sung. Like the Gershwin album. Some engineer or producer knew what they were doing. They weren't trying to get "cute" and sound "modern" with some intentionally robo-sounding vocals. Why does someone like Al Jardine, who still has MAJOR vocal chops, need to sound metallic and warbled on his vocals on a song like From There to Back Again? Totally unnecessary and silly production choice.

I'll be crestfallen if the vocals aren't produced like they were on TLOS or Gershwin. Organic and real-sounding. I'll take the warts and all if need be, thankyouverymuch.
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« Reply #26 on: July 17, 2017, 09:54:35 AM »

Very curious to hear Run James Run, I'll tell you that.
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« Reply #27 on: July 17, 2017, 10:07:20 AM »

I am not saying that I am not fan of the Gershwin project I just get more enthused about Brian recording his own material and I like his work with Joe Thomas. I agree no more remakes, which include Brian's interpretations of Disney tunes also. Been there done that, sounded good.

Question: It seems to me, there are many insiders on these threads. Some seem to have personal recollections.  Engineers that have worked with Brian have articles in Rolling Stone, etc. but have any of you spoken to Joe Thomas or has he ever been interviewed on this site? Seems like one conversation with him could clear up a lot. I would think he would be anxious to right any wrongs about him. Does he even know these threads exists?
« Last Edit: July 17, 2017, 10:09:38 AM by Michigander2122 » Logged
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« Reply #28 on: July 17, 2017, 10:11:32 AM »

Very curious to hear Run James Run, I'll tell you that.
I'm starting to believe that that song is just a myth.
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« Reply #29 on: July 17, 2017, 10:32:42 AM »

I adored the production on Brian Wilson Reimagines Gershwin; his voice is the best it's sounded in his solo career, and there are none of the adult contemporary arrangements we've seen from Joe Thomas.

I'd argue that Disney is his vocal peak. I've always wondered how they managed to make him sound so young and vibrant on that record - is he blended with someone else? Listen to Baby Mine and tell me that's not his best vocal since Caroline, No. (I know it's all subjective - but that's how I'd say it if we were having a face to face conversation....)

Hope not to get flamed (pun intended), but I'd kind of like to see a Blondie-less Brian/Al album and tour at this point.
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« Reply #30 on: July 17, 2017, 10:41:28 AM »

"No autotune" is likely impossible, given that Brian 1.) has used pitch correction/vocal processing on his solo albums since 1988 and 2.) approves of it as a convenience. The issue is just how audible the effects are. I'd be okay with a "One Kind of Love" vocal sound.

Frankly, I don't think the autotune is nearly as fan as some fans, so I wouldn't be crestfallen if they used it again.  

Does that include the autotune on DIA '17?

The only time autotune or vocal processing usage is acceptable, IMO, is when it's 99.99% transparent to smooth something out that's already very close to as good as it can possibly be sung. Like the Gershwin album. Some engineer or producer knew what they were doing. They weren't trying to get "cute" and sound "modern" with some intentionally robo-sounding vocals. Why does someone like Al Jardine, who still has MAJOR vocal chops, need to sound metallic and warbled on his vocals on a song like From There to Back Again? Totally unnecessary and silly production choice.

I'll be crestfallen if the vocals aren't produced like they were on TLOS or Gershwin. Organic and real-sounding. I'll take the warts and all if need be, thankyouverymuch.

I was only including the JT produced albums. 

Personally, I could do without the autotune and the slight overproduction.  But, if the songs are good, they can overcome these issues IMO. 

But, there's really no saving unnecessary remakes (ie. Let Him Run Wild) or too many guess stars (ie. Runaway Dancer). 
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« Reply #31 on: July 17, 2017, 10:45:46 AM »

I am not saying that I am not fan of the Gershwin project I just get more enthused about Brian recording his own material and I like his work with Joe Thomas. I agree no more remakes, which include Brian's interpretations of Disney tunes also. Been there done that, sounded good.

Question: It seems to me, there are many insiders on these threads. Some seem to have personal recollections.  Engineers that have worked with Brian have articles in Rolling Stone, etc. but have any of you spoken to Joe Thomas or has he ever been interviewed on this site? Seems like one conversation with him could clear up a lot. I would think he would be anxious to right any wrongs about him. Does he even know these threads exists?

Although I agree about enjoying Brian's originals more, I am psyched to hear what he'd offer us with his rock and roll covers album.

As for your question. Joe did an interview after the C50 regarding TWGMTR that is so damn insightful to how they put things together. It's not regarding NPP in any form, but it'll give you a good idea of their process together. As for NPP, Joe's insights on that record can be found here. Edit: wanted to add that those links probably won't clear up every question, but they are really insightful.

Ray Lawlor is an insider who has posted here plenty before...his posts are really insightful regarding production and the hard work Brian put into the album.
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« Reply #32 on: July 17, 2017, 10:52:26 AM »

I adored the production on Brian Wilson Reimagines Gershwin; his voice is the best it's sounded in his solo career, and there are none of the adult contemporary arrangements we've seen from Joe Thomas.

I'd argue that Disney is his vocal peak. I've always wondered how they managed to make him sound so young and vibrant on that record - is he blended with someone else? Listen to Baby Mine and tell me that's not his best vocal since Caroline, No. (I know it's all subjective - but that's how I'd say it if we were having a face to face conversation....)

Hope not to get flamed (pun intended), but I'd kind of like to see a Blondie-less Brian/Al album and tour at this point.

Blondie adds an energy that creates a good highlight for the show (not the only highlight, but one of many). And if Brian is going to go ahead with recording a rock and roll album then keeping Blondie on makes perfect sense - his vocals are still great, he can play a mean guitar (if Brian wants to throw that flavor into one of his songs). I don't think Brian would want to limit his palette when it comes to bringing talent onboard for whatever album he has in store next.
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« Reply #33 on: July 17, 2017, 10:56:59 AM »

I adored the production on Brian Wilson Reimagines Gershwin; his voice is the best it's sounded in his solo career, and there are none of the adult contemporary arrangements we've seen from Joe Thomas.

I'd argue that Disney is his vocal peak. I've always wondered how they managed to make him sound so young and vibrant on that record - is he blended with someone else? Listen to Baby Mine and tell me that's not his best vocal since Caroline, No. (I know it's all subjective - but that's how I'd say it if we were having a face to face conversation....)

Hope not to get flamed (pun intended), but I'd kind of like to see a Blondie-less Brian/Al album and tour at this point.

Blondie adds an energy that creates a good highlight for the show (not the only highlight, but one of many). And if Brian is going to go ahead with recording a rock and roll album then keeping Blondie on makes perfect sense - his vocals are still great, he can play a mean guitar (if Brian wants to throw that flavor into one of his songs). I don't think Brian would want to limit his palette when it comes to bringing talent onboard for whatever album he has in store next.

Sure, I do understand where you're coming from. I've seen Brian close to ten times since 2015 and the freshness that Blondie's set/antics brought the first few times are growing tired in my eyes. His current vocals are...an acquired taste for me but I do respect that people enjoy his presence and that he does seem to be a really cool guy. I want to hear Brian sing Sail On Sailor again (he always did a good job and I miss his hand motions). But, again, that's just a personal opinion/preference.
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« Reply #34 on: July 17, 2017, 11:00:28 AM »

I adored the production on Brian Wilson Reimagines Gershwin; his voice is the best it's sounded in his solo career, and there are none of the adult contemporary arrangements we've seen from Joe Thomas.

I'd argue that Disney is his vocal peak. I've always wondered how they managed to make him sound so young and vibrant on that record - is he blended with someone else? Listen to Baby Mine and tell me that's not his best vocal since Caroline, No. (I know it's all subjective - but that's how I'd say it if we were having a face to face conversation....)

Hope not to get flamed (pun intended), but I'd kind of like to see a Blondie-less Brian/Al album and tour at this point.

Blondie adds an energy that creates a good highlight for the show (not the only highlight, but one of many). And if Brian is going to go ahead with recording a rock and roll album then keeping Blondie on makes perfect sense - his vocals are still great, he can play a mean guitar (if Brian wants to throw that flavor into one of his songs). I don't think Brian would want to limit his palette when it comes to bringing talent onboard for whatever album he has in store next.

Sure, I do understand where you're coming from. I've seen Brian close to ten times since 2015 and the freshness that Blondie's set/antics brought the first few times are growing tired in my eyes. His current vocals are...an acquired taste for me but I do respect that people enjoy his presence and that he does seem to be a really cool guy. I want to hear Brian sing Sail On Sailor again (he always did a good job and I miss his hand motions). But, again, that's just a personal opinion/preference.

Brian still does the hand motions, at least he did the times I've seen him on the NPP and PS Tours. 

I love Blondie's presence, and guitar playing.  On future tours, I'd like to see his role expanded to other than just Wild Honey, SOS, and whatever other song they're doing at the time.  Maybe Marcella, Hold On Dear Brother, or Leaving This Town. 
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« Reply #35 on: July 17, 2017, 11:02:40 AM »

I am not saying that I am not fan of the Gershwin project I just get more enthused about Brian recording his own material and I like his work with Joe Thomas. I agree no more remakes, which include Brian's interpretations of Disney tunes also. Been there done that, sounded good.

Question: It seems to me, there are many insiders on these threads. Some seem to have personal recollections.  Engineers that have worked with Brian have articles in Rolling Stone, etc. but have any of you spoken to Joe Thomas or has he ever been interviewed on this site? Seems like one conversation with him could clear up a lot. I would think he would be anxious to right any wrongs about him. Does he even know these threads exists?


Joe did a lot of interviews with an about back around the time of Imagination. He subsequently was sued by Brian and Melinda, and then sued them.

Since returning to the fold with TWGMTR, Joe has done only a couple of interviews that I'm aware of. My impression is that he simply doesn't want to appear to take undue credit (which rubs Brian's folks the wrong way) and would rather do his work and enjoy his life without attendant drama.

That being said, he did give a single extensive interview about five years ago, which can be found here: http://notes.andrewromano.net/joethomasbeachboys

Enjoy!

Edit: And I see someone already posted it.
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« Reply #36 on: July 17, 2017, 11:04:51 AM »

I adored the production on Brian Wilson Reimagines Gershwin; his voice is the best it's sounded in his solo career, and there are none of the adult contemporary arrangements we've seen from Joe Thomas.

I'd argue that Disney is his vocal peak. I've always wondered how they managed to make him sound so young and vibrant on that record - is he blended with someone else? Listen to Baby Mine and tell me that's not his best vocal since Caroline, No. (I know it's all subjective - but that's how I'd say it if we were having a face to face conversation....)

Hope not to get flamed (pun intended), but I'd kind of like to see a Blondie-less Brian/Al album and tour at this point.

Blondie adds an energy that creates a good highlight for the show (not the only highlight, but one of many). And if Brian is going to go ahead with recording a rock and roll album then keeping Blondie on makes perfect sense - his vocals are still great, he can play a mean guitar (if Brian wants to throw that flavor into one of his songs). I don't think Brian would want to limit his palette when it comes to bringing talent onboard for whatever album he has in store next.

Sure, I do understand where you're coming from. I've seen Brian close to ten times since 2015 and the freshness that Blondie's set/antics brought the first few times are growing tired in my eyes. His current vocals are...an acquired taste for me but I do respect that people enjoy his presence and that he does seem to be a really cool guy. I want to hear Brian sing Sail On Sailor again (he always did a good job and I miss his hand motions). But, again, that's just a personal opinion/preference.

Brian still does the hand motions, at least he did the times I've seen him on the NPP and PS Tours. 

I love Blondie's presence, and guitar playing.  On future tours, I'd like to see his role expanded to other than just Wild Honey, SOS, and whatever other song they're doing at the time.  Maybe Marcella, Hold On Dear Brother, or Leaving This Town. 

This is exactly how I feel...I wish he had a slightly bigger role in the performance. I've seen the show a plethora of times too since 2015, each time the crowd goes friggin electric when Blondie enters - I think it'd be a shame if they lost that energy.
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« Reply #37 on: July 17, 2017, 11:09:52 AM »

I adored the production on Brian Wilson Reimagines Gershwin; his voice is the best it's sounded in his solo career, and there are none of the adult contemporary arrangements we've seen from Joe Thomas.

I'd argue that Disney is his vocal peak. I've always wondered how they managed to make him sound so young and vibrant on that record - is he blended with someone else? Listen to Baby Mine and tell me that's not his best vocal since Caroline, No. (I know it's all subjective - but that's how I'd say it if we were having a face to face conversation....)

Hope not to get flamed (pun intended), but I'd kind of like to see a Blondie-less Brian/Al album and tour at this point.

Blondie adds an energy that creates a good highlight for the show (not the only highlight, but one of many). And if Brian is going to go ahead with recording a rock and roll album then keeping Blondie on makes perfect sense - his vocals are still great, he can play a mean guitar (if Brian wants to throw that flavor into one of his songs). I don't think Brian would want to limit his palette when it comes to bringing talent onboard for whatever album he has in store next.

Sure, I do understand where you're coming from. I've seen Brian close to ten times since 2015 and the freshness that Blondie's set/antics brought the first few times are growing tired in my eyes. His current vocals are...an acquired taste for me but I do respect that people enjoy his presence and that he does seem to be a really cool guy. I want to hear Brian sing Sail On Sailor again (he always did a good job and I miss his hand motions). But, again, that's just a personal opinion/preference.

Brian still does the hand motions, at least he did the times I've seen him on the NPP and PS Tours. 

I love Blondie's presence, and guitar playing.  On future tours, I'd like to see his role expanded to other than just Wild Honey, SOS, and whatever other song they're doing at the time.  Maybe Marcella, Hold On Dear Brother, or Leaving This Town. 

This is exactly how I feel...I wish he had a slightly bigger role in the performance. I've seen the show a plethora of times too since 2015, each time the crowd goes friggin electric when Blondie enters - I think it'd be a shame if they lost that energy.

Granted, I know absolutely nothing about the business doings on on the Brian Wilson tours, but it seems odd that Blondie would spend three years of his life touring to be onstage for such a small portion of the show. 
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« Reply #38 on: July 17, 2017, 11:17:11 AM »

I'd be repeating myself and repeating what others have just said too, but I hope Blondie stays with Brian and continues making music with him and the band for the foreseeable future - He does bring a very specific energy to the stage and to the sound when he's on stage, and he always delivers the goods. I think it was one of the best decisions they could have made to have Blondie with Brian and Al, I don't see any drawbacks or negatives whatsoever.

There is a lot of love among the fans for that early 70's incarnation of the group, and for obvious reasons that original lineup and sound can never happen again. But for fans like me who never experienced it in person, I can't think of a closer experience than hearing Brian and band doing Sail On Sailor live on stage with Blondie taking the lead as he did back then, and having Al on guitar and vocals with him. It was also great to see Billy Hinsche on stage with them too, again  it was a great way to experience part of what made that early 70's live sound what it was, in person.

I have also come to love and appreciate the NPP song Sail Away even more since 2015, and a lot of that comes from seeing Brian, Al, and Blondie trading those vocal leads live on stage. That was quite a rush.
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« Reply #39 on: July 17, 2017, 11:22:19 AM »

I adored the production on Brian Wilson Reimagines Gershwin; his voice is the best it's sounded in his solo career, and there are none of the adult contemporary arrangements we've seen from Joe Thomas.

I'd argue that Disney is his vocal peak. I've always wondered how they managed to make him sound so young and vibrant on that record - is he blended with someone else? Listen to Baby Mine and tell me that's not his best vocal since Caroline, No. (I know it's all subjective - but that's how I'd say it if we were having a face to face conversation....)

Hope not to get flamed (pun intended), but I'd kind of like to see a Blondie-less Brian/Al album and tour at this point.

Blondie adds an energy that creates a good highlight for the show (not the only highlight, but one of many). And if Brian is going to go ahead with recording a rock and roll album then keeping Blondie on makes perfect sense - his vocals are still great, he can play a mean guitar (if Brian wants to throw that flavor into one of his songs). I don't think Brian would want to limit his palette when it comes to bringing talent onboard for whatever album he has in store next.

Sure, I do understand where you're coming from. I've seen Brian close to ten times since 2015 and the freshness that Blondie's set/antics brought the first few times are growing tired in my eyes. His current vocals are...an acquired taste for me but I do respect that people enjoy his presence and that he does seem to be a really cool guy. I want to hear Brian sing Sail On Sailor again (he always did a good job and I miss his hand motions). But, again, that's just a personal opinion/preference.

Brian still does the hand motions, at least he did the times I've seen him on the NPP and PS Tours. 

I love Blondie's presence, and guitar playing.  On future tours, I'd like to see his role expanded to other than just Wild Honey, SOS, and whatever other song they're doing at the time.  Maybe Marcella, Hold On Dear Brother, or Leaving This Town. 

This is exactly how I feel...I wish he had a slightly bigger role in the performance. I've seen the show a plethora of times too since 2015, each time the crowd goes friggin electric when Blondie enters - I think it'd be a shame if they lost that energy.

Granted, I know absolutely nothing about the business doings on on the Brian Wilson tours, but it seems odd that Blondie would spend three years of his life touring to be onstage for such a small portion of the show. 

I agree. If I had to guess I'd say he's along for the cool ride. He's getting paid well enough to stay on the tour yet he doesn't have the pressure of performing all night long...it probably makes the most sense to him at this point in his life.
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« Reply #40 on: July 17, 2017, 11:25:18 AM »

In terms of what kind of material Brian decides to release or record next, I keep coming back to the fact that he's a studio guy at heart, that's his wheelhouse and that's where he really likes to be...cutting tracks in the studio. If he decides to cut some cover songs, or get his feet wet doing whatever else comes up that gets him back in a studio recording tracks, so be it. I think whatever direction he decides to go with recording, he'll bring what he brings to the studio, and that's part of the "x factor" that a lot of his fans like me have been trying to decipher for decades. Like trying to figure out how the magician does his/her magic tricks, it's a part of some of us being fans that we enjoy hearing those special Brian Moments on studio tracks, whether they are the entire track itself or a few seconds of sonic bliss that just grab you and pull you in...to the point where you have to hit the rewind button again and again...asking as so many have since the 60's..."how in the hell did he get that sound?!"

I think one of the tragedies of the reactions to NPP album overall is that too many listeners got caught up in the bullshit that surrounded the discussions (and in some cases the bullshitters who were the perpetrators) and a lot of those really unique and very cool musical moments didn't get noticed.

Maybe that's why revisiting and reevaluating albums like NPP or even Gershwin or the Christmas album every so often can lead to some really satisfying listening experiences, if not discovering elements that were missed on earlier listening sessions. There are a lot of those Brian Moments in those grooves.
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« Reply #41 on: July 17, 2017, 11:25:41 AM »

Because Al will probably never get around to doing another solo album, one of the best things about the NPP format (as far as Al and Blondie go) is that Brian essentially used them as he would have used the BBs. If a given song sounded best in Al's range, he gave the lead to Al. He had Al (and Matt) in there on some backing vocals as well. He even essentially launched the NPP album with what under any other circumstance would have been a de facto Al Jardine solo single.

There was no sense on NPP that they counted out how many songs should have which person on it. If Al was there and it made sense, they had him sing on it.

They could do the same thing with Blondie.

As for those looking for an imminent solo album, Wirestone is correct. The timing and scheduling vis-ŗ-vis his touring suggests he's nowhere near releasing an album.

I'm guessing the rest of this year will be about wrapping up touring and releasing Brian's "Best of" CD.

What will be interesting to see is how much touring they do next year. There are three symphony shows booked (listing Brian and Al; it's unclear if Blondie would be attending) for May of next year.
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« Reply #42 on: July 17, 2017, 11:27:39 AM »

I adored the production on Brian Wilson Reimagines Gershwin; his voice is the best it's sounded in his solo career, and there are none of the adult contemporary arrangements we've seen from Joe Thomas.

I'd argue that Disney is his vocal peak. I've always wondered how they managed to make him sound so young and vibrant on that record - is he blended with someone else? Listen to Baby Mine and tell me that's not his best vocal since Caroline, No. (I know it's all subjective - but that's how I'd say it if we were having a face to face conversation....)

Hope not to get flamed (pun intended), but I'd kind of like to see a Blondie-less Brian/Al album and tour at this point.

Blondie adds an energy that creates a good highlight for the show (not the only highlight, but one of many). And if Brian is going to go ahead with recording a rock and roll album then keeping Blondie on makes perfect sense - his vocals are still great, he can play a mean guitar (if Brian wants to throw that flavor into one of his songs). I don't think Brian would want to limit his palette when it comes to bringing talent onboard for whatever album he has in store next.

Sure, I do understand where you're coming from. I've seen Brian close to ten times since 2015 and the freshness that Blondie's set/antics brought the first few times are growing tired in my eyes. His current vocals are...an acquired taste for me but I do respect that people enjoy his presence and that he does seem to be a really cool guy. I want to hear Brian sing Sail On Sailor again (he always did a good job and I miss his hand motions). But, again, that's just a personal opinion/preference.

Brian still does the hand motions, at least he did the times I've seen him on the NPP and PS Tours. 

I love Blondie's presence, and guitar playing.  On future tours, I'd like to see his role expanded to other than just Wild Honey, SOS, and whatever other song they're doing at the time.  Maybe Marcella, Hold On Dear Brother, or Leaving This Town. 

This is exactly how I feel...I wish he had a slightly bigger role in the performance. I've seen the show a plethora of times too since 2015, each time the crowd goes friggin electric when Blondie enters - I think it'd be a shame if they lost that energy.

Granted, I know absolutely nothing about the business doings on on the Brian Wilson tours, but it seems odd that Blondie would spend three years of his life touring to be onstage for such a small portion of the show. 

I agree. If I had to guess I'd say he's along for the cool ride. He's getting paid well enough to stay on the tour yet he doesn't have the pressure of performing all night long...it probably makes the most sense to him at this point in his life.

Could be.  

If Brian continues to tour after PS, I'd love to see a focus on the Sunflower - Holland era of the group.  
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"There is no right nor wrong in art, only preference." - Steve Desper
rab2591
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« Reply #43 on: July 17, 2017, 11:38:20 AM »

In terms of what kind of material Brian decides to release or record next, I keep coming back to the fact that he's a studio guy at heart, that's his wheelhouse and that's where he really likes to be...cutting tracks in the studio. If he decides to cut some cover songs, or get his feet wet doing whatever else comes up that gets him back in a studio recording tracks, so be it. I think whatever direction he decides to go with recording, he'll bring what he brings to the studio, and that's part of the "x factor" that a lot of his fans like me have been trying to decipher for decades. Like trying to figure out how the magician does his/her magic tricks, it's a part of some of us being fans that we enjoy hearing those special Brian Moments on studio tracks, whether they are the entire track itself or a few seconds of sonic bliss that just grab you and pull you in...to the point where you have to hit the rewind button again and again...asking as so many have since the 60's..."how in the hell did he get that sound?!"

I think one of the tragedies of the reactions to NPP album overall is that too many listeners got caught up in the bullshit that surrounded the discussions (and in some cases the bullshitters who were the perpetrators) and a lot of those really unique and very cool musical moments didn't get noticed.

Maybe that's why revisiting and reevaluating albums like NPP or even Gershwin or the Christmas album every so often can lead to some really satisfying listening experiences, if not discovering elements that were missed on earlier listening sessions. There are a lot of those Brian Moments in those grooves.

I totally agree, GF. There are so many great moments in NPP - sonic moments that are pure Brian Wilson. 'Sail Away' has one in the second part of the first chorus - there is a very low horn in the right speaker that adds such a depth to that chorus...reminds me of those special instrumental moments on Pet Sounds when one sole instrument would subtly add so much to a section...only upon a close listen would you realize why it sounds that way.

So many of these moments were overlooked by so many; it was more important for some to childishly mock the entire fuckin album instead of appreciating what a gift it really is. Really glad to see people are giving it another look years later. I think it'll go down as one of his better solo albums.
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« Reply #44 on: July 17, 2017, 11:40:48 AM »

I am not saying that I am not fan of the Gershwin project I just get more enthused about Brian recording his own material and I like his work with Joe Thomas. I agree no more remakes, which include Brian's interpretations of Disney tunes also. Been there done that, sounded good.

Question: It seems to me, there are many insiders on these threads. Some seem to have personal recollections.  Engineers that have worked with Brian have articles in Rolling Stone, etc. but have any of you spoken to Joe Thomas or has he ever been interviewed on this site? Seems like one conversation with him could clear up a lot. I would think he would be anxious to right any wrongs about him. Does he even know these threads exists?


Joe did a lot of interviews with an about back around the time of Imagination. He subsequently was sued by Brian and Melinda, and then sued them.

Since returning to the fold with TWGMTR, Joe has done only a couple of interviews that I'm aware of. My impression is that he simply doesn't want to appear to take undue credit (which rubs Brian's folks the wrong way) and would rather do his work and enjoy his life without attendant drama.

That being said, he did give a single extensive interview about five years ago, which can be found here: http://notes.andrewromano.net/joethomasbeachboys

Enjoy!

Edit: And I see someone already posted it.


Thank you! This was very informative. They seem very comfortable with each other and it explains a lot. Two friends doing what they like to do best and it shows musically. You're also probably right about Thomas, he enjoys his life too much to get into the fray. Still can't figure out why theres is so much negativity from some fans.

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« Reply #45 on: July 17, 2017, 11:42:30 AM »



I think one of the tragedies of the reactions to NPP album overall is that too many listeners got caught up in the bullshit that surrounded the discussions (and in some cases the bullshitters who were the perpetrators) and a lot of those really unique and very cool musical moments didn't get noticed.

Maybe that's why revisiting and reevaluating albums like NPP or even Gershwin or the Christmas album every so often can lead to some really satisfying listening experiences, if not discovering elements that were missed on earlier listening sessions. There are a lot of those Brian Moments in those grooves.
[/quote]

I totally agree, GF. There are so many great moments in NPP - sonic moments that are pure Brian Wilson. 'Sail Away' has one in the second part of the first chorus - there is a very low horn in the right speaker that adds such a depth to that chorus...reminds me of those special instrumental moments on Pet Sounds when one sole instrument would subtly add so much to a section...only upon a close listen would you realize why it sounds that way.

So many of these moments were overlooked by so many; it was more important for some to childishly mock the entire fuckin album instead of appreciating what a gift it really is. Really glad to see people are giving it another look years later. I think it'll go down as one of his better solo albums.
[/quote]
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« Reply #46 on: July 17, 2017, 11:47:51 AM »

Wow, a disturbance in the force!I couldn't agree more. NPP was very special! There were a few nay sayers who seem to have hijacked the rest of our listening experience. Seems like all that was talked about was auto tune or not , adult contemporary or not etc. Loved NPP! Loved most of C50. Cant wait to hear RJR, The Beck sessions. Anyone Brian wants to work with is ok with me. from Mike Love on! Maybe we can start talking about the brilliance of these last two albums. Ill agree with someone previous "Whatever Happened" is haunting . and disagree with another. On From There To Back Again, Al's voice seems triple tracked , and I like the result.
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« Reply #47 on: July 17, 2017, 11:50:12 AM »

Wow, a disturbance in the force!I couldn't agree more. NPP was very special! There were a few nay sayers who seem to have hijacked the rest of our listening experience. Seems like all that was talked about was auto tune or not , adult contemporary or not etc. Loved NPP! Loved most of C50. Cant wait to hear RJR, The Beck sessions. Anyone Brian wants to work with is ok with me. from Mike Love on! Maybe we can start talking about the brilliance of these last two albums. Ill agree with someone previous "Whatever Happened" is haunting . and disagree with another. On From There To Back Again, Al's voice seems triple tracked , and I like the result.

I like a lot of NPP.  But, I think a more compact album with less guests would've made for a better overall listening experience.  I still listen to a lot of the individual tracks on it, but I rarely listen to it from start to finish anymore. 
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Any opinions posted by me regarding the music of The Beach Boys, and their members, is in no way a show of disrespect towards any member of The Beach Boys, past or present.

"There is no right nor wrong in art, only preference." - Steve Desper
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« Reply #48 on: July 17, 2017, 11:55:13 AM »

I am not saying that I am not fan of the Gershwin project I just get more enthused about Brian recording his own material and I like his work with Joe Thomas. I agree no more remakes, which include Brian's interpretations of Disney tunes also. Been there done that, sounded good.

Question: It seems to me, there are many insiders on these threads. Some seem to have personal recollections.  Engineers that have worked with Brian have articles in Rolling Stone, etc. but have any of you spoken to Joe Thomas or has he ever been interviewed on this site? Seems like one conversation with him could clear up a lot. I would think he would be anxious to right any wrongs about him. Does he even know these threads exists?


Joe did a lot of interviews with an about back around the time of Imagination. He subsequently was sued by Brian and Melinda, and then sued them.

Since returning to the fold with TWGMTR, Joe has done only a couple of interviews that I'm aware of. My impression is that he simply doesn't want to appear to take undue credit (which rubs Brian's folks the wrong way) and would rather do his work and enjoy his life without attendant drama.

That being said, he did give a single extensive interview about five years ago, which can be found here: http://notes.andrewromano.net/joethomasbeachboys

Enjoy!

Edit: And I see someone already posted it.


Thank you! This was very informative. They seem very comfortable with each other and it explains a lot. Two friends doing what they like to do best and it shows musically. You're also probably right about Thomas, he enjoys his life too much to get into the fray. Still can't figure out why theres is so much negativity from some fans.



To be fair, his C50 live album is one of the most ridiculous things I've ever paid money for...it was the first time I was actually angry at a music purchase, and I've bought some dreadful stuff in my life.

I think Brian himself has said he isn't a big fan of the production on Imagination, also it was said that Thomas thinks Brian is an adult contemorary artist - which really rubs fans the wrong way because most of us think Brian is friggin Mozart, not someone you want to hear in line at the supermarket (which we've probably all heard cuts from Imagination when browsing through the deli section (I know I have)).

I feel the negativity goes too far, and though I've said my share about the C50 live album, I fully believe in what I wrote a page or two back regarding Joe's ability to bring out some phenomenal work in Brian.
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« Reply #49 on: July 17, 2017, 11:57:37 AM »

You know, this might surprise some people but I honestly don't really have a problem with Joe Thomas. And I'm also not the hugest fan of That Lucky Old Sun either. However, I do want to caveat both of those statements and I will get to that later.

Anyways, first off I gotta say that Brian sounds better (and more commercial) on Imagination, That's Why God Made The Radio and No Pier Pressure than on anything else from his solo career (besides his first album, which I've actually grown to really like vocally). I think his vocals on That Lucky Old Sun are really kinda rough and that the only vocal that really is of any true quality is "Midnight's Another Day." I think perhaps the reason that people really love the album (and don't get me wrong, I really dig it) is that there is a lot more rockin' material on there than most of Brian's other solo work, most of which is kinda ballad driven.

Now what I will say is that I wouldn't lump No Pier Pressure in with Imagination as far as the music. In my opinion, a large hunk of Imagination was really pushed in the late '90s adult contemporary direction, whereas I think that TWGMTR and NPP both seemed more like "Brian Wilson" music to me.

I will say one thing though, of his studio albums, the Disney album is the one BW album that I have never owned and from the sound of things on this board maybe I should pick it up, as you guys are saying there are some top notch vocals. Might be interesting to hear.
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