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658513 Posts in 26363 Topics by 3742 Members - Latest Member: Soulful Old Man River May 29, 2020, 12:58:40 PM
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Author Topic: Don't Hurt My Little Sister - Production Breakdown Video  (Read 781 times)
aeijtzsche
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« on: April 30, 2020, 02:34:58 PM »

Here's a new episode of Grass/Power Mower, this time tackling Don't Hurt My Little Sister.  There's plenty going on in this song, guitar 'n' bass-wise, so it's a pretty involved video.  I hope you enjoy it.

Here it is!!!

https://youtu.be/cP7y_GPfekA
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Mitchell
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« Reply #1 on: May 01, 2020, 02:01:29 PM »

Fantastic, yet again!
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aeijtzsche
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« Reply #2 on: May 01, 2020, 07:10:57 PM »

Thanks.  Nice to have somebody say something.
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« Reply #3 on: May 01, 2020, 08:13:39 PM »

Enjoyed it....and now I have the riff stuck in my head. 

Thankfully it just so happens Iím going to be doing a night session so that was perfect !
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« Reply #4 on: May 01, 2020, 09:30:17 PM »

Any plans to look at Jan Berry's influence on Brian around this time? (For some reason this song reminds me of Surf City, and made me wonder).

Also, I'm psyched for any harpsichord talk, so looking forward to the next one! I know you aren't going to focus on the guitars as much but I should mention that performance on Ready Steady Go as an interesting variant, particularly with the different drumbeat.
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« Reply #5 on: May 01, 2020, 10:32:22 PM »

Very interesting and nicely done, Joshilyn! Curious about a couple things--how many guitar tracks on "I Get Around" or "Fun Fun Fun"? Asking that as a point of reference for pinpointing when Brian's productions became as intricate and interlocking as what you've demonstrated here for "Little Sister."

Also--are there other instances of BB songs where the bass is essentially doubling the melody line? You noted that it was rare, but I have a hunch that there are a few more of these in the BB oeuvre...
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« Reply #6 on: May 02, 2020, 02:38:17 AM »

Another great one! Iíve been having fun going back to the studio recordings after your breakdowns and hearing the details I hadnít noticed before. I assume youíre referencing Unsurpassed Masters for these?
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« Reply #7 on: May 02, 2020, 04:15:33 AM »

Thank you! Love these videos, there's so much going on.
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« Reply #8 on: May 02, 2020, 07:23:34 AM »

Mitchell,

Nice observation, regarding Jan Berry. I always thought, musically, Don't Hurt My Little Sister and Pom Pom Play Girl sounded more like Jan & Dean songs than Beach Boys songs. Chord wise and guitar wise in particular.

Jan Berry's influence on BW has been overlooked. Jan was a master of the studio, and Brian learned a lot from him cutting tracks. I'm sure they each learned a lot from each other, writing together. They wrote so many classic songs together over such a short period. Surf City, Dead Man's Curve, The New Girl In School, Drag City... Since Jan's death, the narrative has become that Brian gave J&D those hits. Aside from maybe Surf City, that couldn't be farther from the truth. Jan and Brian were collaborators. And Jan was the one who produced and arranged those hit records.

So bizarre to see that pretty much stopped collaborating all together after 1965. While one could look at Batman and Filet Of Soul, and deduce that by that time, Jan needed Brian more than Brian needed Jan... and while an argument can be made for that, I don't think Filet Of Soul and Batman are an accurate depiction of where Jan was at musically. That's not to say they aren't enjoyable, clever records. But Jan was capable of recording literal "Pop Symphonies".

I understand that both Jan and Brian faced their own challenges by the mid-60's, that they carried with them for the rest of their lives, so I understand why they were both preoccupied. But it surprises me, that with such a good track record of classic songs, that they'd never co-write again. I think it would have been very cool for them to make a collaborative album. Both such good producer/arrangers, it would have been cool to see what they came up with.
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« Reply #9 on: May 02, 2020, 09:17:42 AM »

Yeah, I started my J&D journey around these parts many years ago, thanks to great discussions over the years on many of the things that you brought up. They do offer a nice bit of compare/contrast as contemporaries and collaborators.

I guess DHMLS was intended for Spector, as mentioned in the video.
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aeijtzsche
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« Reply #10 on: May 02, 2020, 09:46:09 AM »

Any plans to look at Jan Berry's influence on Brian around this time? (For some reason this song reminds me of Surf City, and made me wonder).

Also, I'm psyched for any harpsichord talk, so looking forward to the next one! I know you aren't going to focus on the guitars as much but I should mention that performance on Ready Steady Go as an interesting variant, particularly with the different drumbeat.

I don't really have anything original to say about Jan and Brian -- but it's a good idea for a video or podcast or something.  If I ever could get special guests on the video that would be a good candidate.

Incidentally, Chuck Britz calls out to "Jan" on this session -- it seems pretty clear he is calling Brian "Jan" in a mocking way, directing attention to Brian taking a lot of time to work on a part.  But Wouldn't it be something if it was actually Jan??
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aeijtzsche
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« Reply #11 on: May 02, 2020, 09:48:55 AM »

Very interesting and nicely done, Joshilyn! Curious about a couple things--how many guitar tracks on "I Get Around" or "Fun Fun Fun"? Asking that as a point of reference for pinpointing when Brian's productions became as intricate and interlocking as what you've demonstrated here for "Little Sister."

Also--are there other instances of BB songs where the bass is essentially doubling the melody line? You noted that it was rare, but I have a hunch that there are a few more of these in the BB oeuvre...


I'll have to think about the bass/vocal thing!

FFF doesn't have a particularly high guitar count.  I Get Around is a bit higher but still no more than 5 or 6, counting basses?  As we will see as I continue to go on, Brian's use of guitars goes up around this time, but it is about to skew downward as he settles in on the dual electric 12 model for many tunes.  But of course, things are never static.
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aeijtzsche
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« Reply #12 on: May 02, 2020, 09:50:44 AM »

Another great one! Iíve been having fun going back to the studio recordings after your breakdowns and hearing the details I hadnít noticed before. I assume youíre referencing Unsurpassed Masters for these?

I use whatever I can.  Often the UM SOT tapes are dispositive for certain parts, but I also use Mark's remixes and even the monos sometimes.  I also do a lot of extraction and digital isolation.  Even so, some of it is not enough for exact precision.  Sadly there are parts I just cannot figure out 100 per cent.
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« Reply #13 on: May 02, 2020, 09:52:26 AM »

For everything Jan Berry, check out the official board. Mark Moore is the admin and he knows practically everything about Jan.


https://jananddean-janberry.com/boards/
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« Reply #14 on: May 02, 2020, 12:18:09 PM »

Great work as always! Love that you even went to the trouble of recreating the 6-string noodling at the end.

I never noticed the guitar count being off, it'd be nice to get to the bottom of that. Relistening to the start of the session I thought that maybe there wasn't actually a Dano bass so the other 12-string could've been Ray Pohlman but... nope, the Dano did eventually show up between takes! Wish I could add something on the mystery player but I've got no clue.

Very much looking forward to harpsichord talk. There are a few photos of Brian and Van Dyke around the little red one in the back-right corner of Western 3, any idea what make/model that could be?
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aeijtzsche
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« Reply #15 on: May 02, 2020, 01:12:28 PM »

Great work as always! Love that you even went to the trouble of recreating the 6-string noodling at the end.

I never noticed the guitar count being off, it'd be nice to get to the bottom of that. Relistening to the start of the session I thought that maybe there wasn't actually a Dano bass so the other 12-string could've been Ray Pohlman but... nope, the Dano did eventually show up between takes! Wish I could add something on the mystery player but I've got no clue.

Very much looking forward to harpsichord talk. There are a few photos of Brian and Van Dyke around the little red one in the back-right corner of Western 3, any idea what make/model that could be?

Wait for the video!

Yeah, the personnel situation on DHMLS does seem to be a fairly rare instance of there being an oversight on an AFM contract.  Hope whoever it was got paid in the end.
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« Reply #16 on: May 02, 2020, 06:21:09 PM »

That's a great video, Aejitsche, thanks!

You really intrigued me with the mention of Al Jardine's influence over the bass parts. Bring it on!
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« Reply #17 on: May 05, 2020, 01:01:44 PM »

Love these videos
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aeijtzsche
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« Reply #18 on: May 07, 2020, 02:38:41 PM »

Thanks.  Look for WIGU(TBAM) tomorrow.
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« Reply #19 on: May 07, 2020, 05:23:27 PM »

Thanks.  Look for WIGU(TBAM) tomorrow.
Thank you for making these amazing videos!
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« Reply #20 on: May 07, 2020, 08:53:27 PM »

Thatís one of my favorite of the pre Pet Sounds songs...looking forward to it!
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RIP Daniel Dale Johnston ( 1961-2019)
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"I've never heard such ear-pleasing screams before!"
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