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Author Topic: Beach Boys Channel on Sirius XM  (Read 37455 times)
♩♬☮ Billy C ♯♫♩☮
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« Reply #225 on: May 30, 2018, 12:45:58 PM »

Problem Child actually isn’t too bad apart from the production!

I think if they remixed it and removed the “Nyah Nyah Nyah Nyah Nyah”, it would be pretty decent.
That and the horribly over-reverbed sound (who puts reverb on a drum machine?!).
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« Reply #226 on: May 30, 2018, 01:05:14 PM »

Problem Child actually isn’t too bad apart from the production!

I think if they remixed it and removed the “Nyah Nyah Nyah Nyah Nyah”, it would be pretty decent.
That and the horribly over-reverbed sound (who puts reverb on a drum machine?!).

Terry Melcher
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« Reply #227 on: May 30, 2018, 01:17:05 PM »

If one could remix and partly re-record "Problem Child", then it would at least not be one of the most annoying songs of all time in their catalog. Mix out the "nyah nyah" stuff, re-record real drums, and just strip the mix down in general, and it's an innocuous song with a dependably solid Carl lead vocal.

Not sure why the band used Terry Melcher so much in the late 80s and early 90s, besides the obvious that he was buddies with Mike. Maybe he worked really cheap?

There is some interesting stuff in the Gary Usher book about how, circa 1986, Usher acknowledged that he (Usher) and Melcher were kind of awkwardly both vying to produce the band. As it happened, neither really got to produce a full album during that time frame, though Melcher obviously did more work with the group and then several years later in 1991/1992 did produce (awfully) the SIP album.

There are a small hand full of tracks with Melcher producing that sound okay, namely "Somewhere Near Japan." That's about the only BB track that Melcher helmed that didn't have horrible, shrill, synthetic-sounding drums. I guess "California Dreamin'" isn't too bad, but that used a pre-Melcher 1982 track as the basis. But "R&R to the Rescue", the stuff he produced on "Still Cruisin'", Problem Child, the SIP album, all sound thin and shrill and overly-compressed. Even the group vocals, which still shine through and usually sound good, are too compressed and shrill. All that stuff needs to be remixed.
« Last Edit: May 30, 2018, 01:20:02 PM by HeyJude » Logged

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« Reply #228 on: May 30, 2018, 01:34:51 PM »

I've heard an interview with David Marks. Has any of his solo material been played yet?
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« Reply #229 on: May 30, 2018, 01:38:19 PM »

I called in and requested "You're Still a Mystery."  Grin

We'll see if they do it.


They played that earlier today


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« Reply #230 on: May 30, 2018, 02:21:23 PM »

I called in and requested "You're Still a Mystery."  Grin

We'll see if they do it.


They played that earlier today

Did they play me requesting it? I bet not, but it would be awesome if they had.  Sad
« Last Edit: May 30, 2018, 02:21:55 PM by Wirestone » Logged
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« Reply #231 on: May 30, 2018, 02:47:44 PM »

You Still Believe in Me live from NYC 1993 Box Set Tour just played.....Just beautiful!
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« Reply #232 on: May 30, 2018, 03:15:56 PM »

If one could remix and partly re-record "Problem Child", then it would at least not be one of the most annoying songs of all time in their catalog. Mix out the "nyah nyah" stuff, re-record real drums, and just strip the mix down in general, and it's an innocuous song with a dependably solid Carl lead vocal.

Not sure why the band used Terry Melcher so much in the late 80s and early 90s, besides the obvious that he was buddies with Mike. Maybe he worked really cheap?

There is some interesting stuff in the Gary Usher book about how, circa 1986, Usher acknowledged that he (Usher) and Melcher were kind of awkwardly both vying to produce the band. As it happened, neither really got to produce a full album during that time frame, though Melcher obviously did more work with the group and then several years later in 1991/1992 did produce (awfully) the SIP album.

There are a small hand full of tracks with Melcher producing that sound okay, namely "Somewhere Near Japan." That's about the only BB track that Melcher helmed that didn't have horrible, shrill, synthetic-sounding drums. I guess "California Dreamin'" isn't too bad, but that used a pre-Melcher 1982 track as the basis. But "R&R to the Rescue", the stuff he produced on "Still Cruisin'", Problem Child, the SIP album, all sound thin and shrill and overly-compressed. Even the group vocals, which still shine through and usually sound good, are too compressed and shrill. All that stuff needs to be remixed.

Was Terry chosen in part because he was still riding high from having produced the successful Byrds albums 2 decades prior? I mean, Brian Wilson rode his production legend for quite some time after he had produced anything terribly successful, although of course Brian produced WAY more hits than Terry. But still.
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« Reply #233 on: May 30, 2018, 03:29:23 PM »

Always felt that Melcher was good buddies with Bruce obviously, from their Bruce and Terry days, and Bruce was Mike's main guy on the band...the guy who always suks up to Mike....and Mike loves to depend on that. Anyway, between his friendship with Bruce, and the outgrowth to Mike, I always thought that's why he was chosen to produce them.
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« Reply #234 on: May 30, 2018, 03:30:27 PM »

I've heard an interview with David Marks. Has any of his solo material been played yet?

They played "Cruisin'" from the album he did a few years ago the other day.
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« Reply #235 on: May 30, 2018, 05:06:01 PM »

I was told by more than one member that apart from being a friend, the main allure of Terry Melcher at that time was being able to place the band in very lucrative movie projects.
The BB's got exposure and a nice payday.
« Last Edit: May 30, 2018, 05:07:10 PM by Howie Edelson » Logged
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« Reply #236 on: May 30, 2018, 05:44:27 PM »

May 30, 2017, 1:45-4:45 pm PDT.


1. Wild Honey [live in Pittsburgh, from 1967: Live Sunshine]
2. Sumahama
3. Devoted to You
4. Alley Oop [take 2, Mike on lead vocals]
5. Do It Again/Workshop
6. Be True to Your School [45 version]
7. Beach Boy Stomp
8. Please Let Me Wonder
9. Susie Cincinnati [45 version]
10. God Only Knows [mono mix]
11. Disney Girls [Bruce Johnston solo version]
12. When I Grow Up (To Be a Man)
13. Then I Kissed Her
14. Fun, Fun, Fun
15. 4th of July
16. Getcha Back [Mike Love and John Stamos]
17. Good Timin’
18. South Bay Surfer
19. A Thing or Two
20. Spirit of America
21. Good Vibrations
22. You Still Believe in Me [live in New York City, 1993]
23. Rock and Roll Music [45 version]
24. Match Point of Our Love
25. She Knows Me Too Well
26. Dream Angel [Brian Wilson]
27. I Do
28. Don’t Worry, Baby
29. This Whole World [Brian Wilson solo version, from I Just Wasn’t Made for These Times]
30. Cool, Cool Water [45 version]
31. The Girl from New York City
32. Caroline, No [with Timothy B. Schmit, from Stars and Stripes, Vol. 1]
33. Catch a Wave
34. The Girls on the Beach
35. Got to Know the Woman
36. All Summer Long [from Brian Wilson and Friends: A Soundstage Special Event]
37. California Energy Blues [Al Jardine]
38. Dance, Dance, Dance
39. Your Summer Dream
40. Forever
41. I’ll Bet He’s Nice
42. California Girls
43. Break Away
44. Noble Surfer
45. Summer Means Fun [Bruce & Terry]
46. Had to Phone Ya
47. Surfin’ Safari
48. Girl Don’t Tell Me
49. It’s Gettin’ Late
50. Darlin’
51. You Are So Beautiful [from Good Timin’: Live at Knebworth, England 1980]
52. The Warmth of the Sun
53. Angel Come Home
54 In My Room
55. Help You, Rhonda [Lei’d in Hawaii]
56. California Sage (On My Way to Sunny Californ-i-a) [single version]
57. Chapel of Love
58. Barbara Ann [45 version]
59. I Just Wasn’t Made for These Times
60. Kokomo [live in Hollywood, 1989]
61. Shut Down
62. Wild Honey
63. Keep an Eye on Summer
64. Let Him Run Wild
65. Wouldn’t It Be Nice
66. Surfin’ [1992 version for some reason]
67. Surfin’ U.S.A.
68. Long Tall Texan [Live in Sacramento, 1964
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« Reply #237 on: May 30, 2018, 06:30:26 PM »

I was told by more than one member that apart from being a friend, the main allure of Terry Melcher at that time was being able to place the band in very lucrative movie projects.
The BB's got exposure and a nice payday.

That would explain a lot, Howie
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« Reply #238 on: May 31, 2018, 06:29:40 AM »

I was told by more than one member that apart from being a friend, the main allure of Terry Melcher at that time was being able to place the band in very lucrative movie projects.
The BB's got exposure and a nice payday.

That makes total sense. Not only was he involved with obviously "Kokomo" and "Problem Child" and the other new "Still Cruisin'" album tracks that had made it into films, but I had momentarily forgotten that he was also involved in the Little Richard "Happy Endings" single, which I had at the same time forgotten was technically in/from a film:



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« Reply #239 on: May 31, 2018, 06:34:54 AM »

And the "pay day" aspect of getting songs in films is important to remember. Obviously, when a song was an actual hit (meaning mainly "Kokomo"), that was lucrative on multiple levels. But getting a song (both the composition and performance side of things) into a studio film, even a crummy song in a crummy movie that only does so-so or even poorly at the box office, can be still very lucrative.

I worked with one of my family members who had been in a band with a movie/TV star where the movie/TV star had gotten one of the band's songs in one of his movies (a major studio release that performed okay at best). My family member had co-written the song, and there was a shockingly huge payday cut due to him. That's when I learned all those years ago that just getting a song in a movie (even when there's no soundtrack release) is a nice little payday for doing nothing. It's kind of a racket to be honest. In this case, they didn't even use the band's recording. The movie/TV star literally shoe-horned the song into the film by *whistling* the song during one scene. I think he got more substantive versions of a couple of their songs in other films of his.
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« Reply #240 on: May 31, 2018, 07:15:04 AM »

Problem Child actually isn’t too bad apart from the production!

I like it in the same way that I like "Make It Big" and stuff of that ilk. It's bombastic (yet super smooth in a way) '80s cheese. And I likes me some '80s cheese here and there. Probably explains why I like the Still Cruisin' album.
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« Reply #241 on: May 31, 2018, 08:05:51 AM »

Problem Child actually isn’t too bad apart from the production!

I like it in the same way that I like "Make It Big" and stuff of that ilk. It's bombastic (yet super smooth in a way) '80s cheese. And I likes me some '80s cheese here and there. Probably explains why I like the Still Cruisin' album.

As cheesy as the production is, I think "Make It Big" is far superior to "Problem Child." (And an extended/alternate mix of "Make It Big" as heard in the actual Troop Beverly Hills film would be cool to hear unfettered).
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« Reply #242 on: May 31, 2018, 08:23:18 AM »

It seems to be a Love You kind of morning... in the space of an hour or so we've heard Ding Dang, Mona, The Night Was So Young.   Smiley
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« Reply #243 on: May 31, 2018, 08:37:05 AM »

I enjoyed the "Love and Mercy" into "Love is a Woman" transition ...  LOL
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« Reply #244 on: May 31, 2018, 09:25:50 AM »

I enjoyed the "Love and Mercy" into "Love is a Woman" transition ...  LOL

Heard that too!  I love Brian's vocal especially during the "love is a woman" fade out refrain.
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« Reply #245 on: May 31, 2018, 09:35:51 AM »

It seems to be a Love You kind of morning... in the space of an hour or so we've heard Ding Dang, Mona, The Night Was So Young.   Smiley


Maybe it's just a coincidence from when I've listened but I swear I've heard The Night Was So Young more than any other song on there...not that I mind....just suprising
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« Reply #246 on: May 31, 2018, 10:00:24 AM »

Heard Where is She, and Brian's live Pet Sounds (The song)
Also, Surfers Rule
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« Reply #247 on: May 31, 2018, 10:42:37 AM »

For someone who knows the difference between US and EU versions of Summer In Paradise tracks, which ones are they playing?
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« Reply #248 on: May 31, 2018, 10:45:04 AM »

For someone who knows the difference between US and EU versions of Summer In Paradise tracks, which ones are they playing?

I'm 99 percent sure they're playing the U.S. versions. I'm pretty familiar with the domestic release, and it's all sounded like I remember.
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« Reply #249 on: May 31, 2018, 11:33:21 AM »

For someone who knows the difference between US and EU versions of Summer In Paradise tracks, which ones are they playing?

I know the title track that I heard a couple days ago was definitely the US version. 
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