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Author Topic: "Run James, Run" Streaming at P4K  (Read 31271 times)
HeyJude
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« Reply #50 on: September 19, 2017, 06:17:25 AM »

Haven't had a good "headphone listen" yet (I'll probably just wait for the CD on Friday for that), but while there isn't the "vocal smushing" we've been talking about in other threads prevalent on TWGMTR and, to a lesser degree, NPP, even "Run James Run" isn't a pure, unadorned single-tracked Brian vocal from top to bottom. In the choruses, there's some doubling/overlapping, and I can almost hear some Al lead lines peaking through.

I think "refreshing" is the right word for this track.

Brian puts in a good lead on this one, so I'm not quick to say I wish they had issued the Al lead. But I do think an Al lead on this track would sound great. Too bad they couldn't do a little download-only single and tack on the "Al version" as a bonus.

I'm still hoping Brian and Al do something in the studio that isn't released under "Brian Wilson", where they'll have even more leeway to just let it be an "Al track."
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« Reply #51 on: September 19, 2017, 06:39:41 AM »

Is NRBQ guesting on this?
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« Reply #52 on: September 19, 2017, 06:54:44 AM »

Fun and lighthearted Wilson Does Wilson.
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bonnevillemariner
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« Reply #53 on: September 19, 2017, 09:08:49 AM »

Now that it's on Spotify, I've been able to listen several more times in decent quality. I find myself wishing-- as I do with every modern Brian recording-- that the falsetto (who's providing that- matt?) were more prominent and soaring. I'm glad it's there, but I want it out front, almost overpowering.
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« Reply #54 on: September 19, 2017, 09:37:19 AM »

Now that it's on Spotify, I've been able to listen several more times in decent quality. I find myself wishing-- as I do with every modern Brian recording-- that the falsetto (who's providing that- matt?) were more prominent and soaring. I'm glad it's there, but I want it out front, almost overpowering.

Sounds like Matt, and if most or all of it was indeed recorded this year, then it's definitely Matt.

I think the falsetto is mixed up just right; it's a "backing vocal" element, so it's not like it should be overpowering the instruments.

To the degree they're ever thinking of "music critics" rating this stuff, it's also worth keeping in mind that if Brian whipped out an entire album of "Falsettos Mixed Up to 11" songs, bobbing and weaving through every song, it would (probably rightly) be torn to shreds.

I think Matt's the perfect falsetto for Brian's solo stuff, and I like that it's just right and everything doesn't sound like Foskett twisting and turning covering "I Live for the Sun."
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guitarfool2002
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« Reply #55 on: September 19, 2017, 09:37:36 AM »

After a few more spins, I'll echo the comments already posted and say the more sparse production has grown on me too. I like the basic rock and roll combo instrumentation, the basic track foundation of guitars, bass, and drums setting the tone and texture for the track. That's the cake itself, and the various lead guitar lines and other touches are the icing on top. It's a pretty neat change of pace for Brian to not have a keyboard driven foundation but instead go back to, say, 1963-64 for a more guitar-heavy sonic and rhythmic base or foundation. It's very cool. It's the type of song that really works with a more stripped-down setting. It's not a heavy lyric, and the foundation compliments that element.

It's similar to me to hearing That's Not Me in the context of Pet Sounds. Here is an album chock full of "wall of sound" instrumentation and layering, and smack-dab in the middle there is a track with basically three or four musicians and vocals on top. It's not jarring, but it works in context. It doesn't sound empty, but it isn't as dense of a layered track either compared to what surrounds it. This track kind of hit me the same way, Brian's most recent tracks have been densely layered, often heavy with keyboards and Pet Sounds style ensemble guitar sectionals, and here is a throwback rock combo sound...like Carl on his Rick 12-string, Al on his Strat, Fender bass, and drums...1963-64 vintage...with layered harmonies on top. And specific guitar lines and hooks played by a single guitar rather than having a sectional, or a tightly arranged guitar ensemble. A nice turn back the clock effort.

I kind of hoped for some time that Brian would consider doing a more stripped-down effort on an album, less layering save for the vocal stacks, and more of a rock combo cutting loose and grooving. Less emphasis on keyboards and keys pads, more focus on guitars and rhythm section interplay. If this sound is a harbinger of something to come, I'm in. All in. It is a nice change-up. Maybe not for every track depending on the lyric and theme, but for a rock and roll album? This works. This is why having an outside producer like Jeff Lynne or anyone similar to me would not work...it wouldn't allow such a sparse track to remain sparse based on possible expectations or assumptions about how a Brian track should sound. This one, for what it is, seems to strike a nice balance between "classic" and new, without doing what happened in the 90's where Brian's sound got defined too broadly and there was more 60's retro fetish icing in the finished product than there was actual cake...or in one case, hardly any of that vintage recognition at all.

And I hope too that the rhythm section for future sessions at least consists of Nick Walusko, Mike D'Amico, and Darian to name three musicians off the top of my head. If anyone knows how to nail these sounds and grooves, it's them.
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« Reply #56 on: September 19, 2017, 09:53:43 AM »

 Dead Horse

Just a quick aside too, relative to that emoticon of beating a dead horse...

For all the talk and hopes and dreams of "Mike and Bruce" being involved in something like this, I'd suggest a quick revisit and review of the history of where and how a track like this came from. This was one of those that sprung up in the aftermath of Mike not wanting to continue the C50 reunion activities, and instead choosing to keep tourin' with his own band for the foreseeable future as of Fall 2012. Brian is on the record saying he was working on songs for "The Beach Boys" on a follow-up project to TWGMTR, but Mike instead walked away. Brian-Al-David went ahead doing shows, connected with Jeff Beck, played shows with him...and were also in the studio working up original songs and ideas that included "Run James Run" in part influenced by Jeff Beck's love of classic cars and hot-rods. Some of those songs would ostensibly have been on that hypothetical "next" Beach Boys original album, but instead Mike balked, walked, and took Bruce with him for another run of touring.

So forgive my not being as thrilled to hope Mike and Bruce somehow got or even will get involved in something like this track...because they would have been involved in tracks similar to this if not this very track (if it were a concept being considered in 2012) had Mike not made his decisions and got exactly what he wanted, which is to return to his licensed version of the Beach Boys on the road playing shows. His decision was made. Now he has Mark McGrath to collaborate with on 50 year old BB remakes instead of original songs that would be right up his alley.
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« Reply #57 on: September 19, 2017, 09:54:35 AM »

Fairly sure some of the falsetto on this is actually Brian -- it's not especially high. But I could be wrong.
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« Reply #58 on: September 19, 2017, 10:08:41 AM »

Pleasant enough, but suffers from the overbusy production and the overdone by the numbers BW harmonies.  Sometimes less is more.


I agree with this. Some of Brian's solo works suffer from that.
Anyway, this one is a nice tune. It doesn't blow me away as "Some sweet day" (although I knew that one already from bootlegs). But yeah, keep going, Brian!
« Last Edit: September 19, 2017, 12:30:54 PM by Rocker » Logged

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GREAT post, Rab!


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« Reply #59 on: September 19, 2017, 10:29:02 AM »

I always knew RJR was going to be good... Smiley
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« Reply #60 on: September 19, 2017, 02:15:53 PM »

I never know truly accurate these descriptions are, but according to the Youtube upload of this from the channel that automatically uploads new streaming material of Brian's (every major artist has a "- Topic" channel), the song has a credit for Andy Paley as a Co-Producer. https://www.youtube.com/watch?v=VggE9Oa7wz8

Interesting, since I haven't heard of him being involved in this. It may be that it grouped this song together with "Some Sweet Day", but the description does also correctly note that the song was written by Brian and Joe Thomas, so maybe it is correct? Either way, I hope Andy starts to work with Brian again very soon, I love what they did together and clearly both still admire each other a whole lot. At the very least, maybe the two of them can spearhead some long-overdue Paley sessions material from the 90's.
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« Reply #61 on: September 19, 2017, 02:17:54 PM »

Dead Horse

Just a quick aside too, relative to that emoticon of beating a dead horse...

For all the talk and hopes and dreams of "Mike and Bruce" being involved in something like this, I'd suggest a quick revisit and review of the history of where and how a track like this came from. This was one of those that sprung up in the aftermath of Mike not wanting to continue the C50 reunion activities, and instead choosing to keep tourin' with his own band for the foreseeable future as of Fall 2012. Brian is on the record saying he was working on songs for "The Beach Boys" on a follow-up project to TWGMTR, but Mike instead walked away. Brian-Al-David went ahead doing shows, connected with Jeff Beck, played shows with him...and were also in the studio working up original songs and ideas that included "Run James Run" in part influenced by Jeff Beck's love of classic cars and hot-rods. Some of those songs would ostensibly have been on that hypothetical "next" Beach Boys original album, but instead Mike balked, walked, and took Bruce with him for another run of touring.

So forgive my not being as thrilled to hope Mike and Bruce somehow got or even will get involved in something like this track...because they would have been involved in tracks similar to this if not this very track (if it were a concept being considered in 2012) had Mike not made his decisions and got exactly what he wanted, which is to return to his licensed version of the Beach Boys on the road playing shows. His decision was made. Now he has Mark McGrath to collaborate with on 50 year old BB remakes instead of original songs that would be right up his alley.

I get what you are saying guitarfool, and I think nearly everybody does. And I agree that Mike has been a major piece of sh*t. And no, this isn't Brian's fault for a freakin' millisecond, but I don't think it's freaking nuts for some of us to wish that Mike Love and Brian Wilson were singing together on a new Brian Wilson car song. Regardless of all the bullshit. I think that for this kind of music they are a great combo. Throw away the other nonsense. I honestly can't stand it when certain posters say "let's keep it to just the music" but in this instance that's simply all it is to me. It's a shame that they are both alive and in good shape but that one of them f***ed that up. It's a shame, but I don't think people should be looked down upon because they wouldn't mind hearing a blend of Brian, Al, Blondie, Mike and Bruce. Do I think Brian will ever work with Mike again? Doubtful (and rightly so). But we can still hope and not be talked down to for hoping.
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MyDrKnowsItKeepsMeCalm
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« Reply #62 on: September 19, 2017, 02:18:01 PM »

Dead Horse

Just a quick aside too, relative to that emoticon of beating a dead horse...

For all the talk and hopes and dreams of "Mike and Bruce" being involved in something like this, I'd suggest a quick revisit and review of the history of where and how a track like this came from. This was one of those that sprung up in the aftermath of Mike not wanting to continue the C50 reunion activities, and instead choosing to keep tourin' with his own band for the foreseeable future as of Fall 2012. Brian is on the record saying he was working on songs for "The Beach Boys" on a follow-up project to TWGMTR, but Mike instead walked away. Brian-Al-David went ahead doing shows, connected with Jeff Beck, played shows with him...and were also in the studio working up original songs and ideas that included "Run James Run" in part influenced by Jeff Beck's love of classic cars and hot-rods. Some of those songs would ostensibly have been on that hypothetical "next" Beach Boys original album, but instead Mike balked, walked, and took Bruce with him for another run of touring.

So forgive my not being as thrilled to hope Mike and Bruce somehow got or even will get involved in something like this track...because they would have been involved in tracks similar to this if not this very track (if it were a concept being considered in 2012) had Mike not made his decisions and got exactly what he wanted, which is to return to his licensed version of the Beach Boys on the road playing shows. His decision was made. Now he has Mark McGrath to collaborate with on 50 year old BB remakes instead of original songs that would be right up his alley.
Ouch. Good point.

The track sounds great!
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thorgil
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GREAT post, Rab!


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« Reply #63 on: September 19, 2017, 04:20:41 PM »

Thanks a million Reggie! This worked the magic for me!
What can I say? My faith in this tune was not squandered. Will need more listens, but at the moment it's one if my favourites in Brian's whole solo career. AND one who maybe would not sound out of place in "Love You".
Several people nailed it: "refreshing". Oh, for a whole R&R album made this way. Smiley

P.S.
And yes, it's a real pity that for the all too known reasons we can't hear Mike's stellar bass voice on this (I SO hear him around 1'45''). Sigh.
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GREAT post, Rab!


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« Reply #64 on: September 19, 2017, 04:28:08 PM »

The song could have been 25% better with Mark McGrath randomly grunting and yelling "Run! Run!".
AAARGH!
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« Reply #65 on: September 19, 2017, 04:35:08 PM »

Actually "Beating a Dead Horse" would be a pretty good title for either a Brian Wilson or Beach Boys site at this point....
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Senator Blutarsky
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« Reply #66 on: September 19, 2017, 06:46:03 PM »

Admittedly am not a fan of the production style of Joe Thomas.  But this seems less produced than NPP which is a good sign. 

Definitely hear a pre Pet Sounds influence here.
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« Reply #67 on: September 19, 2017, 06:49:24 PM »

Admittedly am not a fan of the production style of Joe Thomas.  But this seems less produced than NPP which is a good sign. 

Definitely hear a pre Pet Sounds influence here.
It doesn't seem to be produced by Joe, thankfully. I'm not sure if I believe that online credit from youtube that it was co-produced by Andy Paley, but it does have some of the hallmarks of his work.
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« Reply #68 on: September 19, 2017, 07:10:01 PM »

Actually "Beating a Dead Horse" would be a pretty good title for either a Brian Wilson or Beach Boys site at this point....
Hi, you seem to have this place confused with the vibe room....
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« Reply #69 on: September 19, 2017, 11:27:19 PM »

Given the classic Beach Boys sound of this track, regardless of any past history, IMO Run James Run would be even better with Mike's (mainly) and Bruce's voices added to the mix.



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« Reply #70 on: September 19, 2017, 11:56:19 PM »

Given the classic Beach Boys sound of this track, regardless of any past history, IMO Run James Run would be even better with Mike's (mainly) and Bruce's voices added to the mix.

That's what I said in my comments above. This kind of song and vocal is right up Mike's alley. Mike could have recorded more original music like this with Brian, but he chose otherwise back in 2012. He chose to keep tourin' with his Beach Boys band instead. Mike got exactly what he wanted. I thought fans were supposed to be happy about that decision.  

Next time Mike does a Q&A session with one of his flacks fans, someone should raise this issue with him.

And dollars to donuts, I'm betting if some intrepid interviewer does ask Mike about Run James Run, Mike might say "Nope, I have not listened to it. I am so busy on the road I just don't have the time. I was not allowed to write with my cousin like I was told we would do..." Or some variation of that go-to phraseology. He may even throw in a barb about using Autotune. Or maybe if the "spies" supposedly monitoring these boards read this, the go-to answer will change this time. Who knows.  Grin
« Last Edit: September 19, 2017, 11:57:10 PM by guitarfool2002 » Logged

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« Reply #71 on: September 20, 2017, 12:39:55 AM »

Fairly sure some of the falsetto on this is actually Brian -- it's not especially high. But I could be wrong.


You're right...I hear him all of the place in the backups.
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GREAT post, Rab!


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« Reply #72 on: September 20, 2017, 04:17:16 AM »

Respectfully, and as much as I love Al's voice, don't agree with those who think that an Al lead would have been better here.
Al's pure, youthful voice is perfect, for example, for a song like "The Right Time", but imho Brian's gruffer, weathered delivery works very well in RJR.
I also like the contrast between the lead and the "ethereal" harmonies.
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« Reply #73 on: September 20, 2017, 07:19:58 AM »

I actually think, in some instances, Brian and Al end up sounding somewhat similar these days. They end up singing in a somewhat similar range (Al talked about this back around C50, that he and Brian end up competing for the mid-range parts). I think "Run James Run" is perfectly in Al's vocal range. Obviously Brian can have a somewhat different timbre to his voice.

I think they'd both sound good on this one, but that goes for most anything Brian cuts in the studio these days. Al sings in a similar range, and his voice is in better shape. But that doesn't mean I think Brian should just give up singing and let Al do it (though an "Al Jardine" album penned by Brian could be pretty amazing).

If someone had played me "Run James Run" with some random person doing the guide vocal and asked me who should sing it, I would have said Al without question. So I'm pleasantly surprised to find I quite like Brian's vocal; it's honest-sounding. It's not super futzed-with. Brian sounds engaged and it sounds like Brian just sitting in front of you nailing a good vocal take on the song. It's not one of those deals where it sounds like one Brian, two Als, and three Fosketts were blended together and spit back out.
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« Reply #74 on: September 20, 2017, 01:37:29 PM »

I think they'd both sound good on this one, but that goes for most anything Brian cuts in the studio these days. Al sings in a similar range, and his voice is in better shape. But that doesn't mean I think Brian should just give up singing and let Al do it (though an "Al Jardine" album penned by Brian could be pretty amazing).

Right. And since they sing in similar ranges these days, and because frankly Al's voice adopted well into the sibling harmony established early on, their similar sounds would intertwine nice on this track.

I've long thought Brian should sing fewer lyrics and stick more toward nonverbal harmonies, while Al should primarily handle lyrics.
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