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642967 Posts in 25676 Topics by 3648 Members - Latest Member: solarpanel January 23, 2019, 05:24:52 PM
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Author Topic: All I Wanna Do - What were The BBs trying to achieve with it?  (Read 2384 times)
rab2591
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« Reply #50 on: December 28, 2018, 01:49:40 PM »

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

I would've had to have heard this with previous listens, but I don't think I ever acknowledged it. Man there's so much in this mix, I don't want to say "buried" in the mix because much of the atmospherics are intentionally nestled lower in the mix over the vocals. All the more reason for that Sunflower boxset...
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« Reply #51 on: January 02, 2019, 07:56:03 AM »

The production is reminiscent of Chip Douglas's work for the Turtles Present the Battle of the Bands (1968) -- that lush, shimmering, floating sound. Listen, for instance, to the song 'You Showed Me'.
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Sam_BFC
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« Reply #52 on: Today at 03:28:07 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

Also would be a suitable description for the Cigarettes After Sex album, of which All I Wanna Do is surely a precursor if not a direct influence, to add to upthread references of the likes of  Tame Impala etc.

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

I'd never noticed that until Scott Totten decided to emphasise it for recent live performances...very cool that he did that though I personally like that it isn't too prominent in the studio version.
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