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672372 Posts in 27076 Topics by 3979 Members - Latest Member: sloopfan3 October 15, 2021, 04:36:36 PM
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Author Topic: Celebrate The News on Feel Flows box set  (Read 1072 times)
CenturyDeprived
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« on: September 14, 2021, 06:19:33 PM »

Firstly, I just wanted to say that the FF set is utterly amazing, and once again all the wonderful folks involved deserve a HUGE standing ovation for their hard work and dedication.

Now, for some selfish fan groveling:

Celebrate The News is one of my absolute favorite songs from that era (MOST especially the hard rocking psychedelic outro on the originally-released non-FF box set version), so honestly I was disappointed that there wasn't a proper remaster/remix that included that outro. If I'm not mistaken, the original mix of Celebrate The News must be one of the only originally released BBs songs in the catalog (up until the '70/'71 era) that hasn't yet been properly remastered and re-released since its original CD release, no? (Update : after rechecking, actually I guess it was re-released on MIC in 2012, but I still think this song of all songs deserves an updated mix with the full outro, because the other updated mixes that Mark and Alan have done have been fantastic!)

I happen think Celebrate's outro section (on the original 1969 mix) is one of THE greatest moments in the entire catalog, and it just rocks out SO damn hard in a head-banging way, unlike anything the band ever did. It's almost like The Beach Boys' answer to the proto-metal head banging of The Beatles' Helter Skelter.

That said, I do also certainly dig the alternate mix that was done for the FF box where the backing track fades out and it becomes a capella -  a very cool different way to hear the song.

However... in the event that there's ever a digital-only sequel release to the FF box, in case the powers that be might want to consider adding another track, what I'd absolutely LOVE to hear is an instrumental version of the backing track, and/or a new fresh mix of the full song with the full/elongated outro backing track restored (along with vocals), or full backing track with backing vocals... or something of that nature.

I realize that the wonderful folks behind the box set aren't exactly taking "requests", but in the event this puts that idea out into the universe, it would be a true musical gift to the world. As I said, this song is incredibly under-appreciated (especially the hard rocking outro bed of music), and the song as a whole quite simply deserves far more ears on it than have ever heard it.

(Now I'll carry on and go back to gratefully listening to all the wonderful music we've been gifted with on the FF box set proper  Cool).
« Last Edit: September 14, 2021, 06:32:35 PM by CenturyDeprived » Logged
Doobidoo
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« Reply #1 on: September 16, 2021, 02:08:48 PM »

I completely agree with you with this. Not only on your words on how under-appreciated (such a good word instead of underrated!) it is, but also your feelings about the outro. The outro didn't get its kind of "roaring" feeling to it on the remix (almost Phil Spector-ish?). It almost became an entirely different song there.

Listen to the boys loud and clear!
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CenturyDeprived
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« Reply #2 on: September 17, 2021, 07:53:07 AM »

I completely agree with you with this. Not only on your words on how under-appreciated (such a good word instead of underrated!) it is, but also your feelings about the outro. The outro didn't get its kind of "roaring" feeling to it on the remix (almost Phil Spector-ish?). It almost became an entirely different song there.

Listen to the boys loud and clear!

Thanks! Yes there's something very magical about that outro. Definitely a Spector-esque vibe, but also it's got somewhat of a sinister and extremely rocking vibe. It's just a very special moment that I just want to go on forever, sort of like that Til I Die outro where I could just listen to it on a loop and get hypnotized.

Also - this is one of the only songs in the catalog where the band members are partially referred to by the band name, "The Boys". The only other examples I can think of are Smart Girls "I'm the original Beach Boy", and the song title "For The Boys". Maybe there's another example or two I'm missing.

In any case it's such a great song that deserves more ears on it, and I really hope if there's a digital only FF sequel, that this song could get another version - it most certainly is worthy of one! Smiley
« Last Edit: September 17, 2021, 07:54:04 AM by CenturyDeprived » Logged
William Bowe
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« Reply #3 on: September 17, 2021, 01:36:50 PM »

The remix of Celebrate the News is one thing I don't like about FF. Why bother trying to improve on perfection? The vocals sit oddly in the mix, whether because of being mixed too loud or the reverb they seem to have added to them (correct me if I'm wrong here). It's great to hear the vocals in isolation at the end, of course, but that just confirms me in my view that they should have made this a vocals-and-instrumentals deconstruction track rather than a straight-up remix.

Also, at the risk of losing friends here: is it wrong of me to wonder how Dennis produced tracks of the precision and complexity of Celebrate the News and San Miguel in 1969 that he never matched later? Do his production credits on these songs belie a fair bit of involvement from Brian? By the same token, surely Sunflower is rich in Brian Wilson vocal arrangements, even where they aren't his songs or production credits. This seems to be to be an under-appreciated (see what I did there?) fact about the album.

Quote
Definitely a Spector-esque vibe, but also it's got somewhat of a sinister and extremely rocking vibe.

Perfectly described.
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BJL
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« Reply #4 on: September 22, 2021, 11:46:53 AM »

Also, at the risk of losing friends here: is it wrong of me to wonder how Dennis produced tracks of the precision and complexity of Celebrate the News and San Miguel in 1969 that he never matched later? Do his production credits on these songs belie a fair bit of involvement from Brian? By the same token, surely Sunflower is rich in Brian Wilson vocal arrangements, even where they aren't his songs or production credits. This seems to be to be an under-appreciated (see what I did there?) fact about the album.

My impression from the last few boxsets has been that the original "produced by the Beach Boys" that appeared on the records when they came out is actually about right (other than Smiley Smile which is obviously a Brian production, imo). Up through Sunflower, my guess is that most of the time what that meant was Brian and/or Carl co-producing with the songwriter. For these two Dennis songs, there is just no way Dennis did those vocal arrangements at that moment in his career. To me, they bear the clear hallmarks of Brian's work - noticeably more complicated than, say, I Can Hear Music, although Carl got better and better at doing Brianesque vocal arrangements as the years went on. Of course, with the Beach Boys, the role of producer and the role of arranger have always been a little confused, because Brian did both. (Phil Spector had Jack Nitzsche - no one claims that he didn't produce his records because Nitzsche did the arrangements). So that's one way to think of these songs, and these sessions: Dennis produced in the classic sense: he lead the session and defined the vision of how the song would sound. Brian arranged the vocals (at least in the Sunflower years), and Brian and/or Carl co-arranged the tracks with Dennis. Personally, I suspect this model extends to the Bruce and Al songs as well. Then, in the years between 20/20 and Holland, Carl slowly takes over more and more arranging and production duties from Brian.
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WillJC
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« Reply #5 on: September 22, 2021, 11:59:07 AM »

Also, at the risk of losing friends here: is it wrong of me to wonder how Dennis produced tracks of the precision and complexity of Celebrate the News and San Miguel in 1969 that he never matched later? Do his production credits on these songs belie a fair bit of involvement from Brian? By the same token, surely Sunflower is rich in Brian Wilson vocal arrangements, even where they aren't his songs or production credits. This seems to be to be an under-appreciated (see what I did there?) fact about the album.

My impression from the last few boxsets has been that the original "produced by the Beach Boys" that appeared on the records when they came out is actually about right (other than Smiley Smile which is obviously a Brian production, imo). Up through Sunflower, my guess is that most of the time what that meant was Brian and/or Carl co-producing with the songwriter. For these two Dennis songs, there is just no way Dennis did those vocal arrangements at that moment in his career. To me, they bear the clear hallmarks of Brian's work - noticeably more complicated than, say, I Can Hear Music, although Carl got better and better at doing Brianesque vocal arrangements as the years went on. Of course, with the Beach Boys, the role of producer and the role of arranger have always been a little confused, because Brian did both. (Phil Spector had Jack Nitzsche - no one claims that he didn't produce his records because Nitzsche did the arrangements). So that's one way to think of these songs, and these sessions: Dennis produced in the classic sense: he lead the session and defined the vision of how the song would sound. Brian arranged the vocals (at least in the Sunflower years), and Brian and/or Carl co-arranged the tracks with Dennis. Personally, I suspect this model extends to the Bruce and Al songs as well. Then, in the years between 20/20 and Holland, Carl slowly takes over more and more arranging and production duties from Brian.

Brian had nothing at all to do with either San Miguel or Celebrate the News. He isn't even on them. Forever and (to some degree) Slip on Through however are Brian arranging the vocals.

Bruce, with Michel Colombier on the orchestral touches, arranged all of his own work. Al and Dennis were capable instrumental and vocal arrangers in their own right and took lead of their own tracks. It was a collaborative environment and the situation changed song to song; you can't really pinpoint any consistent model for the way the roles worked in those years. Carl wasn't the principal complex vocal handler in Brian's absence, though - that'd be Bruce. I Can Hear Music was his doing too.
« Last Edit: September 22, 2021, 12:09:43 PM by WillJC » Logged
BJL
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« Reply #6 on: September 24, 2021, 10:24:57 AM »

Brian had nothing at all to do with either San Miguel or Celebrate the News. He isn't even on them. Forever and (to some degree) Slip on Through however are Brian arranging the vocals.

Bruce, with Michel Colombier on the orchestral touches, arranged all of his own work. Al and Dennis were capable instrumental and vocal arrangers in their own right and took lead of their own tracks. It was a collaborative environment and the situation changed song to song; you can't really pinpoint any consistent model for the way the roles worked in those years. Carl wasn't the principal complex vocal handler in Brian's absence, though - that'd be Bruce. I Can Hear Music was his doing too.

That is fascinating. I didn't realize that Bruce was taking on such a significant role in vocal arrangements, though it makes sense! I always sort of assumed that Deirdre's production was more collaborative, it just feels more "Beach Boys" to me, whereas Tears in the Morning feels more like "pure" Bruce. But if there's one thing I've learned from this board over the years, its that our ears can deceive us! (although paperwork can also deceive...). But I think we're basically saying the same thing, which is simply that most of this material was produced collaboratively with someone other than the "lead" taking on a significant role, whether Brian or Carl or (as I now know!) Bruce, or even an outside collaborator or arranger. I completely agree that Al and Dennis took the lead on their own songs, in fact, it's what I was trying to say, too Smiley My point was meant to be that just because someone like Dennis didn't do every little detail of an arrangement, a la Brian on Pet Sounds, doesn't mean they weren't the legitimate producer of the material, since producers have never been expected to handle every detail in that way.
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