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Author Topic: All I Wanna Do - What were The BBs trying to achieve with it?  (Read 4055 times)
CenturyDeprived
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« Reply #25 on: December 27, 2018, 10:12:58 AM »

Want to hastily point out that this song is hardly underrated by the voters at SS (as captured some years back)--it ranked second only to "This Whole World" in the best-songs-on-album polling. And the composite rankings culled from all albums puts it in the top 25 all-time. [EDIT: And it ranks even higher in the recent poll efforts, coming in at #7.]

Did Steve Desper go into any detail about this song in his first edition of Recording the Beach Boys? That might shed some light on exactly how the delay was applied, which could have been localized and balanced in the mix rather than something applied as a "total overlay" onto the tracks as a whole. There's got be a whole lotta Leslie in this somewhere...as we know, there was a LOT of sound experimentation and recording tricks going on in this time frame. It would be great if Steve would consider coming back on here and take a bow for the amazing work here, while possibly giving us a few more details about the recording session.



Oh, yeah...he goes into this in a great bit of detail in his book.

FYI, from the AFM contract, the names on the original March 19, 1969 Gold Star tracking date for "All I Wanna Do" are as follows:

Carl Wilson (leader)
Jon Parks (contractor)
Hal Blaine (drums)
Mike Melvoin (keyboard)
Jimmy Bond (bass)
Al Casey (guitar)
Gene Estes (percussion)


Very interesting. When it says "Carl Wilson (leader)" I'm guessing that doesn't necessarily imply he played a note on the song, right?
Would this be an example of a song where likely no BBs played any instruments then?
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« Reply #26 on: December 27, 2018, 10:38:19 AM »

Want to hastily point out that this song is hardly underrated by the voters at SS (as captured some years back)--it ranked second only to "This Whole World" in the best-songs-on-album polling. And the composite rankings culled from all albums puts it in the top 25 all-time. [EDIT: And it ranks even higher in the recent poll efforts, coming in at #7.]

Did Steve Desper go into any detail about this song in his first edition of Recording the Beach Boys? That might shed some light on exactly how the delay was applied, which could have been localized and balanced in the mix rather than something applied as a "total overlay" onto the tracks as a whole. There's got be a whole lotta Leslie in this somewhere...as we know, there was a LOT of sound experimentation and recording tricks going on in this time frame. It would be great if Steve would consider coming back on here and take a bow for the amazing work here, while possibly giving us a few more details about the recording session.



Oh, yeah...he goes into this in a great bit of detail in his book.

FYI, from the AFM contract, the names on the original March 19, 1969 Gold Star tracking date for "All I Wanna Do" are as follows:

Carl Wilson (leader)
Jon Parks (contractor)
Hal Blaine (drums)
Mike Melvoin (keyboard)
Jimmy Bond (bass)
Al Casey (guitar)
Gene Estes (percussion)


Very interesting. When it says "Carl Wilson (leader)" I'm guessing that doesn't necessarily imply he played a note on the song, right?
Would this be an example of a song where likely no BBs played any instruments then?

Well, without hearing the session tape, I can't really say, but the track sheet lists two keyboard instruments (Roxy and piano), so it's possible that Carl played one of those (I would guess the dominant Roxy part), while Melvoin played the other - although one could easily be an overdub. Regardless, I believe Carl played the subsequent guitar overdubs (the twangy 12-string part that mimics the "sitar" part from the '68 version, as well as the somewhat buried fuzz guitar part in the bridge) - Al Casey most likely played the electric sitar part that is also kinda buried.
« Last Edit: December 27, 2018, 10:45:42 AM by c-man » Logged
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« Reply #27 on: December 27, 2018, 11:20:03 AM »

Off topic but reading that post reminded me of a question Ive always had...what was the first song Carl played keyboard on?
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« Reply #28 on: December 27, 2018, 11:24:28 AM »

I'd say Feel Flows has a similar trippy vibe and production as AIWD, and could probably considered truly psychedelic.

it just seemed no matter how cutting edge or experimental or FUCKING GREAT the material was, the boys just couldn't get the attention/airplay they deserved in this era.
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« Reply #29 on: December 27, 2018, 11:29:11 AM »

Off topic but reading that post reminded me of a question Ive always had...what was the first song Carl played keyboard on?

I would say these three, recorded in this order in early '69:

Celebrate The News (Moog bass & ribbon controller overdubs)
Forever (Rock-si-Chord overdub)
and possibly All I Wanna Do (possibly Rock-si-Chord)

Others from this era include:
Add Some Music To Your Day (Chamberlin strings)
Our Sweet Love (clavinet)
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« Reply #30 on: December 27, 2018, 11:46:18 AM »

Off topic but reading that post reminded me of a question Ive always had...what was the first song Carl played keyboard on?

I would say these three, recorded in this order in early '69:

Celebrate The News (Moog bass & ribbon controller overdubs)
Forever (Rock-si-Chord overdub)
and possibly All I Wanna Do (possibly Rock-si-Chord)

Others from this era include:
Add Some Music To Your Day (Chamberlin strings)
Our Sweet Love (clavinet)


Do I remember correctly in reading that Brian was not involved whatsoever in the sessions of the 1969 Sunflower version of All I Wanna Do, and that it was entirely recorded with Carl (no Brian presence)? And is Brian audible singing on the song at all?
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« Reply #31 on: December 27, 2018, 01:05:49 PM »

Off topic but reading that post reminded me of a question Ive always had...what was the first song Carl played keyboard on?

I would say these three, recorded in this order in early '69:

Celebrate The News (Moog bass & ribbon controller overdubs)
Forever (Rock-si-Chord overdub)
and possibly All I Wanna Do (possibly Rock-si-Chord)

Others from this era include:
Add Some Music To Your Day (Chamberlin strings)
Our Sweet Love (clavinet)


Do I remember correctly in reading that Brian was not involved whatsoever in the sessions of the 1969 Sunflower version of All I Wanna Do, and that it was entirely recorded with Carl (no Brian presence)? And is Brian audible singing on the song at all?

I hear Brian's voice on there, and no doubt it's his vocal arrangement. Otherwise, evidence points to it being a CW production the rest of the way through.
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« Reply #32 on: December 27, 2018, 01:17:38 PM »

Off topic but reading that post reminded me of a question Ive always had...what was the first song Carl played keyboard on?

I would say these three, recorded in this order in early '69:

Celebrate The News (Moog bass & ribbon controller overdubs)
Forever (Rock-si-Chord overdub)
and possibly All I Wanna Do (possibly Rock-si-Chord)

Others from this era include:
Add Some Music To Your Day (Chamberlin strings)
Our Sweet Love (clavinet)


Do I remember correctly in reading that Brian was not involved whatsoever in the sessions of the 1969 Sunflower version of All I Wanna Do, and that it was entirely recorded with Carl (no Brian presence)? And is Brian audible singing on the song at all?

I hear Brian's voice on there, and no doubt it's his vocal arrangement. Otherwise, evidence points to it being a CW production the rest of the way through.

I've never been able to say that I'm too sure I hear Brian on the song, but it's hard to ID since Carl and Brian sound so similar sometimes.

Out of curiosity, do you have any sections/timecodes that you hear Brian's voice? It'd be cool to have an "aha!" moment where I suddenly realize it's him after not realizing it all these years Smiley

If there's one thing this song proves, is the genius of CARL Wilson. I feel like most people give Brian so much credit (deservedly so) for creating some wow-tastic soundscapes, but this song is probably thought of (by its legions of shoegazer fans) as being a Brian Wilson production, with heaps of praise being thrown at him, without realizing that Carl and Stephen were huge parts (dare I say the primary parts?) of its unique sonic layered sound.
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« Reply #33 on: December 27, 2018, 01:34:27 PM »



I've never been able to say that I'm too sure I hear Brian on the song, but it's hard to ID since Carl and Brian sound so similar sometimes.

Out of curiosity, do you have any sections/timecodes that you hear Brian's voice? It'd be cool to have an "aha!" moment where I suddenly realize it's him after not realizing it all these years Smiley


[/quote]


From 1:27-1:43 (and it repeats later in the song), I believe the voice singing "All I wanna do" is Brian. I used to think maybe it's Bruce, 'cause the first part kinda sounds like him, but to me the last part of that line definitely sounds like Brian. And I think he's probably layered in the backgrounds elsewhere, as well.
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« Reply #34 on: December 27, 2018, 01:44:28 PM »



I've never been able to say that I'm too sure I hear Brian on the song, but it's hard to ID since Carl and Brian sound so similar sometimes.

Out of curiosity, do you have any sections/timecodes that you hear Brian's voice? It'd be cool to have an "aha!" moment where I suddenly realize it's him after not realizing it all these years Smiley




From 1:27-1:43 (and it repeats later in the song), I believe the voice singing "All I wanna do" is Brian. I used to think maybe it's Bruce, 'cause the first part kinda sounds like him, but to me the last part of that line definitely sounds like Brian. And I think he's probably layered in the backgrounds elsewhere, as well.
[/quote]

I think for awhile I had misheard that as Carl, but I do believe you are correct!
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« Reply #35 on: December 27, 2018, 01:59:07 PM »

Its definitely Brian.

Never realized it was Carl doing the production
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« Reply #36 on: December 27, 2018, 02:22:37 PM »

I don't see this song as Psychedelic but more of a Sunshine Pop song with tons of delay and a crunchy keyboard texture. Things on Smile, Smiley Smile, 20/20 and even GV's have more of a classic Psych vibe than All I Wanna Do. It is closer to what the Turtles were doing but with an added production gauze that makes it trippier than the composition really is. Take all that away and Mikes vocal is pretty straight, the song pretty simple. Give Carl credit for pulling together an interesting mix that takes it to an artistic level that is unique in the Beach Boys canon.

Yes, Jon, I think it's really largely about the sonic trippy textures as well as the mix. I adore the sound of how near the end of the fadeout, the lyrics "my moon and the stars shine nightly" start to get out of sync from the song (I see this as a trippy artistic decision, although I suppose it's possible it was just a goof that sounds cool). I guess it's more just very interesting sonic textures and a mixing/production gauze that is fascinating.

It seems there's a whole generation of musicians who are gradually growing to see this song as a forerunner to modern psychedelic bands like My Bloody Valentine, Tame Impala, Slowdive, etc, and I definitely see a through-line too. It's unbelievavbly modern-sounding in certain ways, and it's particularly peculiar/baffling that The BBs never ever did another song that remotely sounds like it, in my opinion.

It's like they just reached into the future and gifted the world with a forerunner to a modern sound for one brief moment, then went back to 1969 and kept making music that sounded totally different from it.
I agree that the track is warped in a really good way, probably happy semi-mistakes in over-wetting and over-delaying and creating a very cool sonic traffic jam that if you've taken acid is probably familiar. Glad they left it weird and didn't try to clean it up. There is such a happy euphoric feel that then devolves into uncertainty and semi-cacophony. BTW I do hear Brian in the vocal mix for sure. I guess I have difficulty with this being thought of as pioneering psychedelia due to the fact that the composition just isn't and the fact that it was released quite a few years after the psychedelic genre had been defined and perfected and even moved on from by those who did it best. All I Wanna Do is either post-psychedelia impressionistic residue, or as you said it's pioneering something else entirely, like maybe surrealist synthy bliss rock. Anyway, great track, and it fascinated me the second it hit my ears back in the 70's.
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« Reply #37 on: December 27, 2018, 02:44:41 PM »

I don't see this song as Psychedelic but more of a Sunshine Pop song with tons of delay and a crunchy keyboard texture. Things on Smile, Smiley Smile, 20/20 and even GV's have more of a classic Psych vibe than All I Wanna Do. It is closer to what the Turtles were doing but with an added production gauze that makes it trippier than the composition really is. Take all that away and Mikes vocal is pretty straight, the song pretty simple. Give Carl credit for pulling together an interesting mix that takes it to an artistic level that is unique in the Beach Boys canon.

Yes, Jon, I think it's really largely about the sonic trippy textures as well as the mix. I adore the sound of how near the end of the fadeout, the lyrics "my moon and the stars shine nightly" start to get out of sync from the song (I see this as a trippy artistic decision, although I suppose it's possible it was just a goof that sounds cool). I guess it's more just very interesting sonic textures and a mixing/production gauze that is fascinating.

It seems there's a whole generation of musicians who are gradually growing to see this song as a forerunner to modern psychedelic bands like My Bloody Valentine, Tame Impala, Slowdive, etc, and I definitely see a through-line too. It's unbelievavbly modern-sounding in certain ways, and it's particularly peculiar/baffling that The BBs never ever did another song that remotely sounds like it, in my opinion.

It's like they just reached into the future and gifted the world with a forerunner to a modern sound for one brief moment, then went back to 1969 and kept making music that sounded totally different from it.
I agree that the track is warped in a really good way, probably happy semi-mistakes in over-wetting and over-delaying and creating a very cool sonic traffic jam that if you've taken acid is probably familiar. Glad they left it weird and didn't try to clean it up. There is such a happy euphoric feel that then devolves into uncertainty and semi-cacophony. BTW I do hear Brian in the vocal mix for sure. I guess I have difficulty with this being thought of as pioneering psychedelia due to the fact that the composition just isn't and the fact that it was released quite a few years after the psychedelic genre had been defined and perfected and even moved on from by those who did it best. All I Wanna Do is either post-psychedelia impressionistic residue, or as you said it's pioneering something else entirely, like maybe surrealist synthy bliss rock. Anyway, great track, and it fascinated me the second it hit my ears back in the 70's.

That's an interesting and I feel accurate assertion with regards to its context and genre.

I think "pioneering surrealist synthy bliss rock" is the most accurate description I've ever heard for this song  Smiley
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« Reply #38 on: December 27, 2018, 04:12:36 PM »

Mike's lyric: "Oo let these little words of love
Come romance and light your way" is sublime.

Almost as good as "I don't know where but she sends me there."
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« Reply #39 on: December 27, 2018, 04:48:01 PM »

Mike's lyric: "Oo let these little words of love
Come romance and light your way" is sublime.

Almost as good as "I don't know where but she sends me there."

Actually, it's "become the lamps that light your way". According to the official sheet music.  Smiley
Even cooler!
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« Reply #40 on: December 27, 2018, 05:09:57 PM »

Want to hastily point out that this song is hardly underrated by the voters at SS (as captured some years back)--it ranked second only to "This Whole World" in the best-songs-on-album polling. And the composite rankings culled from all albums puts it in the top 25 all-time. [EDIT: And it ranks even higher in the recent poll efforts, coming in at #7.]

Did Steve Desper go into any detail about this song in his first edition of Recording the Beach Boys? That might shed some light on exactly how the delay was applied, which could have been localized and balanced in the mix rather than something applied as a "total overlay" onto the tracks as a whole. There's got be a whole lotta Leslie in this somewhere...as we know, there was a LOT of sound experimentation and recording tricks going on in this time frame. It would be great if Steve would consider coming back on here and take a bow for the amazing work here, while possibly giving us a few more details about the recording session.



Oh, yeah...he goes into this in a great bit of detail in his book.

FYI, from the AFM contract, the names on the original March 19, 1969 Gold Star tracking date for "All I Wanna Do" are as follows:

Carl Wilson (leader)
Jon Parks (contractor)
Hal Blaine (drums)
Mike Melvoin (keyboard)
Jimmy Bond (bass)
Al Casey (guitar)
Gene Estes (percussion)


Very interesting. When it says "Carl Wilson (leader)" I'm guessing that doesn't necessarily imply he played a note on the song, right?
Would this be an example of a song where likely no BBs played any instruments then?

Well, without hearing the session tape, I can't really say, but the track sheet lists two keyboard instruments (Roxy and piano), so it's possible that Carl played one of those (I would guess the dominant Roxy part), while Melvoin played the other - although one could easily be an overdub. Regardless, I believe Carl played the subsequent guitar overdubs (the twangy 12-string part that mimics the "sitar" part from the '68 version, as well as the somewhat buried fuzz guitar part in the bridge) - Al Casey most likely played the electric sitar part that is also kinda buried.

Roxy?
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« Reply #41 on: December 27, 2018, 05:50:10 PM »

I listened to sitar version, it's better in the way it's less "dirge" like than the Sunflower. But it's not very interesting w/o vocs, way too distinct drums & Eastern vibe isn't anything special. Sitar doesn't even sound very Eastern, it's not quite yet authentic.
This is one of the things I noticed about '68 sets. I've heard of this sitar version long before the actual release of the song, and I expected something that sounds like sitar in Beatles' "Gettin' Better", or even "Carnival of Sound" album by Jan & Dean.

I don't know about Carnival of Sound, but I don't think there is a sitar on Getting Better. There's definitely a tamboura, which was discussed in this thread:

http://smileysmile.net/board/index.php/topic,26270.0.html



Yes - according to the book which comes with the big Sgt. Pepperdeluxe 50th Anniversary doorstop box set, the only sitar on Pepper is on "Within You Without You". However, the tamboura appears on both "Lucy In The Sky" and "Getting Better", and is quite audible on each.
Oh, thanks for the heads-up!! I hadn't figured that out until now...
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« Reply #42 on: December 27, 2018, 06:21:53 PM »

Crazy enough, I originally thought the banjo at the end of Cabinessence was also a sitar for the longest time

Really? I have always thought it was a musical instrument related to the Chinese railway workers of the 1860s, whether that was from China itself or a local banjo. (Have you seen the grand coolie workin' on the railroad?)

Probyn gets the sound just right in this Smile performance.

https://youtu.be/q8fgLf3aPvA
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« Reply #43 on: December 27, 2018, 06:27:06 PM »

Want to hastily point out that this song is hardly underrated by the voters at SS (as captured some years back)--it ranked second only to "This Whole World" in the best-songs-on-album polling. And the composite rankings culled from all albums puts it in the top 25 all-time. [EDIT: And it ranks even higher in the recent poll efforts, coming in at #7.]

Did Steve Desper go into any detail about this song in his first edition of Recording the Beach Boys? That might shed some light on exactly how the delay was applied, which could have been localized and balanced in the mix rather than something applied as a "total overlay" onto the tracks as a whole. There's got be a whole lotta Leslie in this somewhere...as we know, there was a LOT of sound experimentation and recording tricks going on in this time frame. It would be great if Steve would consider coming back on here and take a bow for the amazing work here, while possibly giving us a few more details about the recording session.



Oh, yeah...he goes into this in a great bit of detail in his book.

FYI, from the AFM contract, the names on the original March 19, 1969 Gold Star tracking date for "All I Wanna Do" are as follows:

Carl Wilson (leader)
Jon Parks (contractor)
Hal Blaine (drums)
Mike Melvoin (keyboard)
Jimmy Bond (bass)
Al Casey (guitar)
Gene Estes (percussion)


Very interesting. When it says "Carl Wilson (leader)" I'm guessing that doesn't necessarily imply he played a note on the song, right?
Would this be an example of a song where likely no BBs played any instruments then?

Well, without hearing the session tape, I can't really say, but the track sheet lists two keyboard instruments (Roxy and piano), so it's possible that Carl played one of those (I would guess the dominant Roxy part), while Melvoin played the other - although one could easily be an overdub. Regardless, I believe Carl played the subsequent guitar overdubs (the twangy 12-string part that mimics the "sitar" part from the '68 version, as well as the somewhat buried fuzz guitar part in the bridge) - Al Casey most likely played the electric sitar part that is also kinda buried.

Roxy?

The RMI Rock-Si-Chord, used on several Beach Boys productions from '68-'71.
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« Reply #44 on: December 28, 2018, 06:03:10 AM »

On some of the vocal credits, that "all I wanna do" chorus is totally Bruce, with Carl on the "lonely in the night" response and I think Brian doing the wordless "oo-oo" backing (all in the left channel). It doesn't sound like Brian's timbre to me at all. The "my love is burnin' brightly" lead line is 100% Brian though before trading over to Mike for "stars shine nightly" - Brian then repeating the entire line himself for the fadeout.
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« Reply #45 on: December 28, 2018, 08:44:13 AM »

On some of the vocal credits, that "all I wanna do" chorus is totally Bruce, with Carl on the "lonely in the night" response and I think Brian doing the wordless "oo-oo" backing (all in the left channel). It doesn't sound like Brian's timbre to me at all. The "my love is burnin' brightly" lead line is 100% Brian though before trading over to Mike for "stars shine nightly" - Brian then repeating the entire line himself for the fadeout.

For the "All I wanna do" lines, the "All I" kinda sounds like Bruce, but the "wanna do" convinces me it's 100% Brian. On the "My love is burning brightly" part, I hear more than one voice - maybe Carl singing with Brian.
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« Reply #46 on: December 28, 2018, 09:23:16 AM »

On some of the vocal credits, that "all I wanna do" chorus is totally Bruce, with Carl on the "lonely in the night" response and I think Brian doing the wordless "oo-oo" backing (all in the left channel). It doesn't sound like Brian's timbre to me at all. The "my love is burnin' brightly" lead line is 100% Brian though before trading over to Mike for "stars shine nightly" - Brian then repeating the entire line himself for the fadeout.

For the "All I wanna do" lines, the "All I" kinda sounds like Bruce, but the "wanna do" convinces me it's 100% Brian. On the "My love is burning brightly" part, I hear more than one voice - maybe Carl singing with Brian.


Funny, the "wanna do" is the part that sounds like Bruce to me Tongue  It's more rounded and "sweet" than Brian. At 2:09 it's followed by the "oo-oo" part I was talking about that sounds distinctly like Brian to me and they've gotta be two different people.

Is it not just Brian double or triple-tracked with the delay giving that illusion? I can hear a ghostly lower harmony from Mike that's buried deep in the mix but no Carl.
« Last Edit: December 28, 2018, 09:26:41 AM by wjcrerar » Logged
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« Reply #47 on: December 28, 2018, 09:49:25 AM »

Imagine having a time machine, and playing this song for the band in 1961 telling them in 8 short years, they'll sound like this. And then seeing their faces.
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« Reply #48 on: December 28, 2018, 10:55:14 AM »

Imagine having a time machine, and playing this song for the band in 1961 telling them in 8 short years, they'll sound like this. And then seeing their faces.

And then telling them where the album charted. They might have given up on the spot!
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« Reply #49 on: December 28, 2018, 01:24:58 PM »

It just dawned on me that there is a great fuzz guitar part that is buried in the mix during the chorus.
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