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Author Topic: Keep it clean with Al Jardine and watch this WIGU(TBAM) breakdown vid  (Read 2529 times)
aeijtzsche
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« on: May 08, 2020, 05:24:37 PM »

https://youtu.be/ITjoVGDa5Ng

Yo yo yo.  It's another video from me.  If you hated the last one you'll hate this one even more.

When I Grow Up (to Be a Man) is an interesting track, and I've chosen to focus on Al's bass line(s) and the harpsichord part.  You'll hear me talk about that, and then hear a nearly exact replica performance of the basses and harpsichord at the end.  I guarantee you it's a better Friday Night watch than you had planned.  (Or whenever you read this...)
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« Reply #1 on: May 08, 2020, 06:45:02 PM »

Spectacular work !!
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Mitchell
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« Reply #2 on: May 08, 2020, 07:52:40 PM »

Excellent work. It's long been one of my favourite Beach Boys songs, thanks for giving it this treatment!

Gotta love Al, nice to see him highlighted.

So, c-man once said he thought it was an electric harpsichord, then later said he wasn't sure. Has this "mystery" been settled?

Last comment, I love how the little flourishes add colour to the song. I'd call it an inventive arrangement but then I'm no scholar. Hearing it isolated it doesn't really give away the main melody and harmonies, which shows how much is going on.
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aeijtzsche
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« Reply #3 on: May 08, 2020, 08:06:25 PM »

Excellent work. It's long been one of my favourite Beach Boys songs, thanks for giving it this treatment!

Gotta love Al, nice to see him highlighted.

So, c-man once said he thought it was an electric harpsichord, then later said he wasn't sure. Has this "mystery" been settled?

Last comment, I love how the little flourishes add colour to the song. I'd call it an inventive arrangement but then I'm no scholar. Hearing it isolated it doesn't really give away the main melody and harmonies, which shows how much is going on.

The Baldwin electric harpsichord doesn't have a 4-foot stop (the higher octave double) so it can't be that.  Also it doesn't sound like one.  Compare something like the Beatles' Because to the WIGU instrument and I think you'll hear it.
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« Reply #4 on: May 08, 2020, 09:38:14 PM »

This is great!
Love the harpsichord on WIGU, Wonderful etc.
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« Reply #5 on: May 08, 2020, 09:42:48 PM »

Fantastic, and thank you for giving the bassline the highlight it deserves. Al really was an underrated bassist
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« Reply #6 on: May 08, 2020, 10:20:07 PM »

Interesting to imagine an alternate reality where Al just goes for it and becomes the bassist for the band.  In my next video (dance dance dance) I talk a little about how the Beach Boy might have progressed playing on their own records more than they ended up doing...
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« Reply #7 on: May 08, 2020, 11:39:39 PM »

I think if they had we壇 have gotten an album like Wild Honey sooner
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RIP Daniel Dale Johnston ( 1961-2019)
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Fear 2 Stop: eating all of Elon Musk's nightmares as he sleeps

"I've never heard such ear-pleasing screams before!"
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覧覧覧覧覧覧覧覧覧覧覧覧覧覧覧-

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« Reply #8 on: May 09, 2020, 03:21:37 AM »

hanks for the video! Will check it out later.


Interesting to imagine an alternate reality where Al just goes for it and becomes the bassist for the band.  In my next video (dance dance dance) I talk a little about how the Beach Boy might have progressed playing on their own records more than they ended up doing...

The band's own playing imo is a very interesting topic. Not only becase for so long the legend was that they didn't play on any of their albums after "Surfin' USA" but also because imo they were actually a quite capable live group. To be able to play a song like - while we're at it - "When I grow up" with just four instruments while at the same time singing all those parts and don't sound like a watered down version of the record is very impressive to me. And that energy (especially while Brian was still touring with them, the energy laked a little when Bruce joined, even Dennis' drumming wasn't as rocking in '66 anymore)! So to analyze and theorize what they were able to play in the studio and what they actually did play sounds like a cool idea. In many cases I guess the main reason that they were not playing on some of their records was that they were on tour while Brian was at home to make sure they could keep up with their impressive output. I'm not saying that they could've played some stuff from "Pet Sounds or "Smile" like no problem; those are quite complex songs and arrangements. But there's no need to believe they couldn't have played on more songs from "Summer days..." if they were in town.
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« Reply #9 on: May 09, 2020, 03:23:40 AM »

Brilliant, really loved this one!

One of my all-time favourite Beach Boys musical moments is the harpsichord riff over the Dm in the fade, don't know why, always hits me hard. Always wanted to learn more about the harpsichord thing happening in the 60s.

Quote
So, c-man once said he thought it was an electric harpsichord, then later said he wasn't sure. Has this "mystery" been settled?

I don't think an actual electric harpsichord appears on any Beach Boys track until at least 1967. Then they show up on parts of Heroes and Villains (Tag to Part 1 in January and Children Were Raised in June), Vegetables (the two April chorus variations), and Smiley's Wind Chimes fade (July). There are a couple of uses on the Spring album and some more much later in the Love You era.
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« Reply #10 on: May 09, 2020, 07:34:12 AM »

The band's own playing imo is a very interesting topic. Not only becase for so long the legend was that they didn't play on any of their albums after "Surfin' USA" but also because imo they were actually a quite capable live group. To be able to play a song like - while we're at it - "When I grow up" with just four instruments while at the same time singing all those parts and don't sound like a watered down version of the record is very impressive to me. And that energy (especially while Brian was still touring with them, the energy laked a little when Bruce joined, even Dennis' drumming wasn't as rocking in '66 anymore)! So to analyze and theorize what they were able to play in the studio and what they actually did play sounds like a cool idea. In many cases I guess the main reason that they were not playing on some of their records was that they were on tour while Brian was at home to make sure they could keep up with their impressive output. I'm not saying that they could've played some stuff from "Pet Sounds or "Smile" like no problem; those are quite complex songs and arrangements. But there's no need to believe they couldn't have played on more songs from "Summer days..." if they were in town.

Perhaps the reason for them not playing on more of the peak-period tracks wasn't just about ability and musicianship but rather about personalities.  Listening to the session tapes, it's clear that Brian had a wonderful rapport with the studio musicians.  Those guys (and gal) were total pros and loved working with him. It's truly magical to listen to Brian's banter with the so-called Wrecking Crew.  The other BBs had egos and opinions of their own and strong personalities and didn't necessarily, as kindergarten teachers say, "play well with others."  So, sure maybe the group could have played on more of the tracks, but let's not forget that things really began going south from a hit-making perspective when they did start playing on the tracks in the home studio. As  Hal Blaine once explained, "I think the main period of hitmaking for The Beach Boys ended when they put that studio in the home, because the other guys were around making decisions and getting in the way, whereas before, Brian was in control. In a regular studio, it was a more professional situation."

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aeijtzsche
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« Reply #11 on: May 09, 2020, 07:40:35 AM »

The band's own playing imo is a very interesting topic. Not only becase for so long the legend was that they didn't play on any of their albums after "Surfin' USA" but also because imo they were actually a quite capable live group. To be able to play a song like - while we're at it - "When I grow up" with just four instruments while at the same time singing all those parts and don't sound like a watered down version of the record is very impressive to me. And that energy (especially while Brian was still touring with them, the energy laked a little when Bruce joined, even Dennis' drumming wasn't as rocking in '66 anymore)! So to analyze and theorize what they were able to play in the studio and what they actually did play sounds like a cool idea. In many cases I guess the main reason that they were not playing on some of their records was that they were on tour while Brian was at home to make sure they could keep up with their impressive output. I'm not saying that they could've played some stuff from "Pet Sounds or "Smile" like no problem; those are quite complex songs and arrangements. But there's no need to believe they couldn't have played on more songs from "Summer days..." if they were in town.

Perhaps the reason for them not playing on more of the peak-period tracks wasn't just about ability and musicianship but rather about personalities.  Listening to the session tapes, it's clear that Brian had a wonderful rapport with the studio musicians.  Those guys (and gal) were total pros and loved working with him. It's truly magical to listen to Brian's banter with the so-called Wrecking Crew.  The other BBs had egos and opinions of their own and strong personalities and didn't necessarily, as kindergarten teachers say, "play well with others."  So, sure maybe the group could have played on more of the tracks, but let's not forget that things really began going south from a hit-making perspective when they did start playing on the tracks in the home studio. As  Hal Blaine once explained, "I think the main period of hitmaking for The Beach Boys ended when they put that studio in the home, because the other guys were around making decisions and getting in the way, whereas before, Brian was in control. In a regular studio, it was a more professional situation."



I don't think that you are wrong -- but on the other hand, I can't think of any session tape or any indication (pre-Pet Sounds) that Carl or Dennis or Al had any issues with the music or playing the music itself.  In fact, Al and Dennis are usually pretty subdued at a tracking session.  That said, who knows the dynamic when the mics were off and they were outside.  And I'm sure it was freeing for Brian to not worry about whether his musicians could handle it.
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« Reply #12 on: May 09, 2020, 07:40:52 AM »

No, I actually think the BBs (well, Al and Dennis, at least) were more than happy to let the "pros" lay down the instrumental tracks. It was hard enough work doing take-after-take worth of vocal tracking, with Brian's meticulous ear. On the tracking session for "All Summer Long", it got to the point that Dennis actually said, "I hate this song!" That was after numerous takes and false-starts. I think they loved letting Brian and the "Crew" lay down the backing tracks, and whatever amount of work went into it, then devote their full energies to singing the song later.
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aeijtzsche
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« Reply #13 on: May 09, 2020, 07:41:54 AM »

Brilliant, really loved this one!

One of my all-time favourite Beach Boys musical moments is the harpsichord riff over the Dm in the fade, don't know why, always hits me hard. Always wanted to learn more about the harpsichord thing happening in the 60s.

Quote
So, c-man once said he thought it was an electric harpsichord, then later said he wasn't sure. Has this "mystery" been settled?

I don't think an actual electric harpsichord appears on any Beach Boys track until at least 1967. Then they show up on parts of Heroes and Villains (Tag to Part 1 in January and Children Were Raised in June), Vegetables (the two April chorus variations), and Smiley's Wind Chimes fade (July). There are a couple of uses on the Spring album and some more much later in the Love You era.

Well, the minor iv chord has been known to bring even the most fortitudinous of us to our knees.
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aeijtzsche
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« Reply #14 on: May 09, 2020, 07:42:34 AM »

No, I actually think the BBs (well, Al and Dennis, at least) were more than happy to let the "pros" lay down the instrumental tracks. It was hard enough work doing take-after-take worth of vocal tracking, with Brian's meticulous ear. On the tracking session for "All Summer Long", it got to the point that Dennis actually said, "I hate this song!" That was after numerous takes and false-starts. I think they loved letting Brian and the "Crew" lay down the backing tracks, and whatever amount of work went into it, then devote their full energies to singing the song later.

That certainly speaks to their self-identity of being singers at heart.
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aeijtzsche
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« Reply #15 on: May 09, 2020, 07:44:29 AM »

hanks for the video! Will check it out later.


Interesting to imagine an alternate reality where Al just goes for it and becomes the bassist for the band.  In my next video (dance dance dance) I talk a little about how the Beach Boy might have progressed playing on their own records more than they ended up doing...

The band's own playing imo is a very interesting topic. Not only becase for so long the legend was that they didn't play on any of their albums after "Surfin' USA" but also because imo they were actually a quite capable live group. To be able to play a song like - while we're at it - "When I grow up" with just four instruments while at the same time singing all those parts and don't sound like a watered down version of the record is very impressive to me. And that energy (especially while Brian was still touring with them, the energy laked a little when Bruce joined, even Dennis' drumming wasn't as rocking in '66 anymore)! So to analyze and theorize what they were able to play in the studio and what they actually did play sounds like a cool idea. In many cases I guess the main reason that they were not playing on some of their records was that they were on tour while Brian was at home to make sure they could keep up with their impressive output. I'm not saying that they could've played some stuff from "Pet Sounds or "Smile" like no problem; those are quite complex songs and arrangements. But there's no need to believe they couldn't have played on more songs from "Summer days..." if they were in town.

I think the perfect way to actualize this idea is to listen to the Studio Pro version of Sandy and then listen to the Boys' self-contained version of Sandy.
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« Reply #16 on: May 09, 2020, 08:12:06 PM »

Do we know on average how long a BBs tracking session took per song vs. studio musicians? I can definitely see the appeal on all sides, particularly given the circumstances with their contemporaries pretty much all doing it, too.
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« Reply #17 on: May 10, 2020, 01:51:11 AM »

Dance Dance Dance is up next is Help Me Rhonda getting an episode?
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aeijtzsche
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« Reply #18 on: May 10, 2020, 07:38:15 AM »

Dance Dance Dance is up next is Help Me Rhonda getting an episode?

It is -- and it nearly kills me to go out of sequence, but it just wouldn't be a Help Me, Ronda video without a ukulele, but I don't own a ukulele.  So I have to do some fundraising for one.

I guess I'll take the opportunity to say, friends, if you love Help Me Ronda and want to see it analysed soon, you could donate a little to my music fund.  Ukes aren't too expensive.

Then I'd have it for the next Help Me, Rhonda video, Dada, etc.  If I can get one soon then the OCD among us won't be in agony about the songs being out of the sequence of the Today LP.



Today's Help Me, Ronda is a bit of a tough one to transcribe.  It's locked in mono and very much is a wall of sound production with very little individuality given over to any one instrument.  I am doing my best!!!
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« Reply #19 on: May 10, 2020, 07:59:31 AM »


Then I'd have it for the next Help Me, Rhonda video, Dada, etc.  If I can get one soon then the OCD among us won't be in agony about the songs being out of the sequence of the Today LP.


...Dada? Are we thinking about the same song here?
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aeijtzsche
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« Reply #20 on: May 10, 2020, 08:05:14 AM »

Love to say Dada?
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SaltyMarshmallow
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« Reply #21 on: May 10, 2020, 08:05:55 AM »

There's a ukulele on that?
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aeijtzsche
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« Reply #22 on: May 10, 2020, 08:12:58 AM »

https://youtu.be/MeXQTOUVkyo?t=25
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SaltyMarshmallow
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« Reply #23 on: May 10, 2020, 08:19:53 AM »

Huh, I always took that for a palm muted electric guitar high up the neck! It sounds kinda distorted and harsh as if it's coming through an amp, not like any ukulele I'm used to. What's your take on the sound? Just using a pickup?
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aeijtzsche
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« Reply #24 on: May 10, 2020, 08:26:35 AM »

Just sounds like it's miked up with a healthy bit of preamp gain on it, to me.  But as we've established, my mental acuity is vanishing by the second.
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