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642966 Posts in 25676 Topics by 3648 Members - Latest Member: solarpanel January 23, 2019, 04:44:43 PM
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Author Topic: Brothers, Cousins, and Friends - possibility  (Read 2832 times)
♩♬🐸 Billy C ♯♫♩🐇
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« Reply #25 on: December 28, 2018, 07:25:17 PM »

Nah, I meant how did they sound meshed together LOL cause I'm with you...I can't see how that would've worked
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« Reply #26 on: December 28, 2018, 11:26:46 PM »

Nah, I meant how did they sound meshed together LOL cause I'm with you...I can't see how that would've worked

Yeah...'cause one sounds like it was done on downers, and the other on uppers. Smiley
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« Reply #27 on: December 28, 2018, 11:35:11 PM »

Uppers, and probably about half of Bolivia's finest.  LOL
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♩♬🐸 Billy C ♯♫♩🐇
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« Reply #28 on: December 28, 2018, 11:35:56 PM »

Admittedly, the My Solution track does sound pretty cool, and I wonder how it would’ve sounded with vocals, but no way they would’ve fit together.

Redoing My Solution also just seems so...random. Between that, Do you like worms, and Been Way too long, I wonder if Brian was just trying to finish something artistic because he knew he was in bad shape at that point in his life
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« Reply #29 on: December 28, 2018, 11:44:58 PM »

Admittedly, the My Solution track does sound pretty cool, and I wonder how it would’ve sounded with vocals, but no way they would’ve fit together.

Redoing My Solution also just seems so...random. Between that, Do you like worms, and Been Way too long, I wonder if Brian was just trying to finish something artistic because he knew he was in bad shape at that point in his life
To me, the remake sounds to me like an attempt to make it into more of a conventional rock song, rather than a weird Halloween oddity. It's interesting to consider wether a new set of "real" lyrics would have been written for it. By the way, is it just me or does the ascending and descending guitar part sound a lot like the ending of Spring's version of Awake?
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« Reply #30 on: December 28, 2018, 11:55:17 PM »

I was thinking more of something like 50s meets New Wave
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« Reply #31 on: December 29, 2018, 06:27:27 AM »

Admittedly, the My Solution track does sound pretty cool, and I wonder how it would’ve sounded with vocals, but no way they would’ve fit together.

Redoing My Solution also just seems so...random. Between that, Do you like worms, and Been Way too long, I wonder if Brian was just trying to finish something artistic because he knew he was in bad shape at that point in his life

Well, there's no indication that Brian tried to finish either DYLW or BWTL...in the first case, Guercio told Bruce he wanted it to open L>A> Light, but Bruce said they should only use it if Brian approved (which he apparently didn't). In the case of the latter, it seems Bruce cut a new backing track, but it was more likely intended for the Captain and Tennille.
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« Reply #32 on: December 29, 2018, 06:34:37 AM »

Billy approves!
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And production aside, I’d so much rather hear a 14 year old David Marks shred some guitar on Chug-a-lug than hear a 51 year old Mike Love sing about bangin some chick in a swimming pool.-rab2591
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« Reply #33 on: December 29, 2018, 08:37:44 AM »

Okay, c-man (Craig) I've got some questions for you.

First off, with "Boys and Girls" did either the 1979 version or the 1980 version get any kind of usable vocal? The 1979 version was produced by Bruce and the 1980 version was Brian right?

The WAVES Mobile stuff, was it recorded for a Mike Love solo album or was it kind of a Mike and Brian demoing for The Beach Boys type thing? As it says on your list, they recorded "Be My Baby" and through some permutations it ended up on Looking Back with Love if I recall (though without any credit for B-ri). And then of course "Why Don't They Let Us Fall In Love" came out on Made In California. But of course that doesn't mean it was originally intended for The Beach Boys.

And lastly, is "Why Don't You Tell Me Why" the same "song" as the thing Brian was playing during the infamous early '80s "sessions" with Dennis?
« Last Edit: December 29, 2018, 08:19:12 PM by Jim V. » Logged
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« Reply #34 on: December 29, 2018, 09:09:03 AM »


I've added my responses in CAPS below...

First off, with "Boys and Girls" did either the 1979 version or the 1980 version get any kind of usable vocal? The 1979 version was produced by Bruce and the 1980 version was Brian right?  CORRECT ON THE PRODUCTION CREDITS...I HAVEN'T HEARD EITHER, BUT I'M TOLD THE '79 VERSION HAS VOCALS (CAN'T REMEMBER IF THAT'S JUST BACKING VOCALS, OR IF A LEAD VOCAL ALSO EXISTS).

The WAVES Mobile stuff, was it recorded for a Mike Love solo album or was it kind of a Mike and Brian demoing for The Beach Boys type thing? As it says on your list, they recorded "Be My Baby" and though some permutations it ended up on Looking Back with Love if I recall (though without any credit for B-ri). And then of course "Why Don't They Let Us Fall In Love" came out on Made In California. But of course that doesn't mean it was originally intended for The Beach Boys. MY UNDERSTANDING IS THESE WERE DEMOS FOR POSSIBLE BEACH BOYS USE.

And lastly, is "Why Don't You Tell Me Why" the same "song" as the thing Brian was playing during the infamous early '80s "sessions" with Dennis?  CAN'T SAY FOR SURE SINCE I HAVEN'T HEARD THE '82 VERSION, BUT I'M GUESSING SO. INCIDENTALLY, SOURCES INDICATE THAT AT LEAST ONE OF THE "UNTITLED" '82 BW PRODUCTIONS I LISTED MAY BE FOR A SONG CALLED "WHY DO YOU TREAT ME SO GOOD".
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« Last Edit: December 29, 2018, 09:09:58 AM by c-man » Logged
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« Reply #35 on: December 29, 2018, 02:33:59 PM »

In Order From When Recorded

Why Don’t They Let Us Fall In Love
Bucks
Song Within A Song
Children Of The Night
Be My Baby
River Deep, Mountain High
Greenback Dollar
I’m A Man
Fly
Candlesticks
Boys And Girls
Up Again
Stevie
Sweetie
I Ran
Untitled 4/3/1981

Untitled 5/19/1982
Why Don’t You Tell Me Why
Cry Like A Baby
Runaway
Labor Day
Oh Lord
City Blues
Heroes And Villains

Untitled Brian And Carl July 1983 Session
East Meets West
Chasin’ The Sky
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« Reply #36 on: December 29, 2018, 02:51:17 PM »

"My Solution" in this version is edging over into "Transcendental Meditation" territory--imagine (if you dare!) an overlay of horns...Brian has stepped back from the "Monster Mash" figure to take the tune in a different direction.

If I were going to mash 'em together, I'd start with "Shortenin' Bread" and then just jump-cut into "My Solution." That would be quite a transition. Depending on how he worked the melody for the altered "Solution," he might've been able to cut back to "SB" either with another stark juxtaposition or more gradually by altering the bass line.

As was said, only Brian could have made that work--he'd made other such abrupt transitions elsewhere, with several of the SS tracks and with "Mess of Help" (which might become more clearly apparent when we get to the 1971-72 CE material and we might get some remixes of isolated parts...
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« Reply #37 on: December 29, 2018, 08:51:19 PM »

In Order From When Recorded

Why Don’t They Let Us Fall In Love
Bucks
Song Within A Song
Children Of The Night
Be My Baby
River Deep, Mountain High
Greenback Dollar
I’m A Man
Fly
Candlesticks
Boys And Girls
Up Again
Stevie
Sweetie
I Ran
Untitled 4/3/1981

Untitled 5/19/1982
Why Don’t You Tell Me Why
Cry Like A Baby
Runaway
Labor Day
Oh Lord
City Blues
Heroes And Villains

Untitled Brian And Carl July 1983 Session
East Meets West
Chasin’ The Sky

I think this list says something about where Brian's songwriting / producer headspace was between 1980-1982 beyond what people saw during tours, considering he was either doing covers of 1950s / Phil Spector songs, or songs in parallel, such as Sweetie and Stevie.

I think this hypothetical album-had it have happened in 1981 or 1982- would have probably just been 15 Big Ones 2.0 except without any of the manic energy of that era.

I don't think even any holdovers from Carl's albums would have saved the album, but I still look forward to whenever any of these sessions come out, because even after this discussion, this entire period in studio still presents so much intrigue.
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« Reply #38 on: December 29, 2018, 11:55:59 PM »

I always thought Labor Day was a solo Dennis recording.
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« Reply #39 on: January 06, 2019, 03:29:18 AM »

I heard some of this stuff, years ago. I remember "Bucks" was kind of cool in that it had an enthusiastic Mike vocal and sort of rocked in an early '80s kind of way, but it also didn't sound like a Beach Boys song at all. My memory is very very vague but I want to say it had a less fast-paced "The Heat Is On" kind of thing going on. (I know that song came later, just reaching for a comparison)

Don't forget that there was a whole bunch of unused stuff from KTSA too. "Smokey Places" had a decent Brian vocal and Carl's interpretation of "I'll Always Love You" could easily have been an MOR hit in '80-'81 - though like "Bucks" its commerciality is offset by the fact that it doesn't sound like a Beach Boys song, just a random commercial song from that era. The KTSA outtakes weren't amazing, but I think they were superior in quality (at least production-wise) to most of what came after.

Me, I'd open the album with "Drip Drop" and go from there. But I'm weird.
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« Reply #40 on: January 09, 2019, 08:36:06 AM »

I'm pretty fascinated by the late 70s and early-mid 80s stuff.

We've been talking in other threads about the old perceptions of who was producing the band in certain eras, and how that perception is sometimes proven wrong once we get our hands on the recordings involved.

I think a similar thing might be true of the later 70s and especially the 80s. A look at their discography would suggest their studio recording work eroded pretty quickly after 1979. Yet, it appears there's a good amount of material from an era where *no* albums were being released. Yes, it sounds like some of it wasn't too hot, some of it might have been good but more "solo-ish" than BB-sounding, and so on.

But yeah, if Mike cut a song called "Bucks" that sounds even remotely like "The Heat Is On", I want to hear it even if I assume I'm not going to find it to be a top-tier track. It's fascinating to hear what the BBs attempted to cook up between KTSA and BB '85, and how much that material either sounded like what was on the charts at the time, or was created in a total vacuum and sounded nothing like what was out there. And those proper album sessions have a ton of unheard stuff too. Even BB '85 has some stuff we haven't heard, and stuff that's probably more interesting than "At the Hop."
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« Reply #41 on: January 09, 2019, 08:53:44 AM »

As I recall, from this period, some other interesting things were in the mix.

BROTHERS, COUSINS & FRIENDS, from what I recall, was Bruce's proposed title for KTSA.  I remember hearing rumors in 1982-83 a proposal was on the table to use that title for a new album to be produced by guest producers, all big names.  One of them was Lindsey Buckingham, who was interested only if he got to produce the entire album.  Eventually the concept evolved into the Steve Levine album.

A live version of "Runaway" was prepared as a follow-up single to "Come Go With Me," but was vetoed by CBS.  It later surfaced on the 1986 promotional Sunkist album.  This is, of course, old news, but I do remember Al announcing it as their new single at all the 1982 shows I attended.

According to one early 80s interview - I remember Bruce saying he was trying to persuade Carl to have the band record a cover version of "Rock & Roll Lullaby."

In early 80s interview, Al spoke about a cover version of the Del-Vikings' "Whispering Bells" which I assume evolved into "Island Girl."
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« Reply #42 on: January 09, 2019, 10:55:27 AM »


In early 80s interview, Al spoke about a cover version of the Del-Vikings' "Whispering Bells" which I assume evolved into "Island Girl."



Well spotted! I always thought about Buddy Holly's "Everyday" which has kinda the same melody. But this one could definitely be what was on Al's mind, especially when he really mentioned it before.
https://www.youtube.com/watch?v=ITlCs4LjotA
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« Reply #43 on: January 09, 2019, 11:01:44 AM »

I heard some of this stuff, years ago. I remember "Bucks" was kind of cool in that it had an enthusiastic Mike vocal and sort of rocked in an early '80s kind of way, but it also didn't sound like a Beach Boys song at all. My memory is very very vague but I want to say it had a less fast-paced "The Heat Is On" kind of thing going on. (I know that song came later, just reaching for a comparison)

Don't forget that there was a whole bunch of unused stuff from KTSA too. "Smokey Places" had a decent Brian vocal and Carl's interpretation of "I'll Always Love You" could easily have been an MOR hit in '80-'81 - though like "Bucks" its commerciality is offset by the fact that it doesn't sound like a Beach Boys song, just a random commercial song from that era. The KTSA outtakes weren't amazing, but I think they were superior in quality (at least production-wise) to most of what came after.

Me, I'd open the album with "Drip Drop" and go from there. But I'm weird.

Do you recall if the lyric "Bucks" was in reference to money? That's what I would assume.
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« Reply #44 on: January 10, 2019, 02:23:41 AM »

I heard some of this stuff, years ago. I remember "Bucks" was kind of cool in that it had an enthusiastic Mike vocal and sort of rocked in an early '80s kind of way, but it also didn't sound like a Beach Boys song at all. My memory is very very vague but I want to say it had a less fast-paced "The Heat Is On" kind of thing going on. (I know that song came later, just reaching for a comparison)

Don't forget that there was a whole bunch of unused stuff from KTSA too. "Smokey Places" had a decent Brian vocal and Carl's interpretation of "I'll Always Love You" could easily have been an MOR hit in '80-'81 - though like "Bucks" its commerciality is offset by the fact that it doesn't sound like a Beach Boys song, just a random commercial song from that era. The KTSA outtakes weren't amazing, but I think they were superior in quality (at least production-wise) to most of what came after.

Me, I'd open the album with "Drip Drop" and go from there. But I'm weird.

Do you recall if the lyric "Bucks" was in reference to money? That's what I would assume.

Yeah, I believe it was. Literally the only thing I can remember clearly about it is Mike saying in the refrain "and that's BUCKS!" and there was a delay effect on the vocal. And as I said, it had that kind of Glenn Frey/Huey Lewis generic early '80s rock 'n' roll thing going on (except that it came earlier, again, just reaching for a very inexact comparison). I don't think there were any background vocals or evidence of group participation on it at all. It didn't sound like a BBs track at all but I remember thinking for a Mike solo track it was pretty decent.
« Last Edit: January 10, 2019, 02:24:37 AM by adamghost » Logged
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