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644764 Posts in 25781 Topics by 3672 Members - Latest Member: MikeLover41 March 24, 2019, 09:02:47 PM
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Author Topic: Rock N Roll to the Rescue  (Read 3480 times)
The LEGENDARY OSD
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« Reply #25 on: December 29, 2018, 08:37:50 PM »

BW sounds good on it! Grin
He does but the song is one of those least favorites in the catalog. A tad too much self parody going on.
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« Reply #26 on: December 30, 2018, 02:29:10 PM »

Brain and Terry worked together on the "California Music" project!
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« Reply #27 on: December 30, 2018, 03:05:37 PM »

BW sounds good on it! Grin
He does but the song is one of those least favorites in the catalog. A tad too much self parody going on.

I feel like what you're saying is true with regards to parody, but for some reason I still really like this song a lot. Maybe it's just Brian sounds like he's having legit fun on this one!  I can't think of any songs from this era or the preceding decade + that have Brian sounding quite as engaged in a "having fun" way.

And the group vocals surprisingly sound as good as they did 20 years earlier. I think it's really underrated (despite dated production that annoys some fans but which doesn't bug me, and lyrics that are mediocre but again not particularly bothersome to me), and is just a fun song to not take very seriously. Just in my humble opinion.
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« Reply #28 on: December 30, 2018, 03:19:25 PM »

Brain and Terry worked together on the "California Music" project!

Regarding California Music WHY DO FOOLS FALL IN LOVE, it was more like Terry rescuing a track that Brian had been contracted to produce. You can hear Brian's arrangement and production touches in the basic tracks: sleigh bells, accordion, loopy drum part, bari and tenor pad parts along with his background vocals. It sounds like that's as far as Brian got on the production of the song. I don't think there was much collaboration involved, even if Terry is the lead vocalist on the record. 
In the bridge of Why Do Fools Fall In Love, you can hear where Terry takes over the production reins. Also, the last part of the song does not contain much meat. The bg vocals are missing and there's just miscellaneous banter between Terry and the female vocalist over the rhythm track.
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Don Malcolm
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« Reply #29 on: December 30, 2018, 03:46:40 PM »

Warning: thirty to forty-five degree thread hijack here. BBs in the 80s are very problematic--what with the overweening lethargy at the beginning of the decade; Dennis' death; the long, LONG interregnum between albums; and the escalating estrangement between Brian and the band thanks to Landy's power grab. Songwriting in this timeframe is very spotty, and Mike's push backwards in time is awkwardly fused with a desire to glom onto that omnipresent "80s sound," a lamentable situation that messed up BB '85 and spilled over into BW '88. My theory is that songs like RRTTR, while not technically "bad," just reinforced the notion that they had nothing new to offer even if their harmonies were solid and the track had energy. By contrast, "Kokomo" had something different to offer, the BBs strained through the cheesecloth of Jimmy Buffett with Mike singing a cheezy-but-sultry lead and a stunning, out-of-nowhere Carl-fueled chorus that sold it to "the masses." RRTTR is an attempt to find a sweet spot, just as CD was a bit later: they are competent but uninspired. "Kokomo" has cringeworthy moments for many long-time BB admirers, but even they need to admit that the song builds to its chorus in a way that goes beyond any of the other essentially paint-by-numbers efforts.

Brian is OK here, but it's not a demanding vocal. Carl's chorus on "Kokomo" immediately reminds people of the level of virtuosity used to be like in BBs vocals, and sells it to those who've not paid enough attention to know the difference between the real thing and an incredibly good simulation. People wanted the BBs to be "back," but they wanted it to be on some "different" basis that what was the popular understanding of what they'd been earlier. "Kokomo" stumbled into that intersection of specific moment and particular approach--and we know what happened (and why it never happened again).
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