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Author Topic: I was a Bum, I told a Lie....  (Read 15764 times)
No. Fourteen
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« Reply #50 on: July 06, 2007, 07:19:58 AM »

I like a lot of the Sweet Insanity material.  It's got a little too much of that synthisizer sound, but those backing vocal arrangements are so quirky and fun.  Maybe a little lyric editing would do (your face radiates like a flower/ your body's got magical powers, etc.).

Like this stuff:

Someone To Love (love when Brian growls those yeah’s)
Water Builds Up
Do You Have Any Regrets
Concert Tonight (really does rock!)
Don’t Let Her Know She’s an Angel (earlier SI version)
Let’s Stick Together

The Spirit of Rock and Roll hasn't worn well for me, for some reason.  (The Dylan version never did!)  It'd be best to toss Smart Girls aside.  Not sure about Brian/Thank You either.

I do think the Wilson/Paley songs are stronger.
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« Reply #51 on: July 06, 2007, 01:55:24 PM »

If you got the best tracks off Sweet Insanity and the Paley sessions you would have a solid gold album! - sort of what they tried to do with GIOMH, but they chose the wrong tracks!

And the wrong executive producer.

Who is it?!
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« Reply #52 on: July 06, 2007, 02:52:41 PM »

Take a wild guess.  Roll Eyes
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« Reply #53 on: July 06, 2007, 03:50:07 PM »

@HeyJude:

I believe Paley, Brian and Danny Hutton are singing on "This song wants to sleep with you tonight".
And was the plan really to play this song in a colour-segment of IJWMFTT? I thought it was during "Love&Mercy". Actually L&M has a moment in the recording which would be perfect for a change between b&w and colour.

On "This Song Wants to Sleep...", I can hear the parts where it is a layered Brian (and perhaps Paley and Hutton as well if he was on it), but there are also other parts where it sounds like the distinctive (and not always in a good way) Was backing singers that he used on the other "IJWMFTT" tracks and just about every other track Was produced around this time. This is why I'm curious about the resulting recording; it sounds like one of the few or perhaps only examples of Was overdubbing on top of a Paley-produced track, but I'm only guessing.

As for the color segment for the "IJWMFTT" film, I'm pretty sure in the interview I read that Paley said the idea was for "This Song..." As I remember it, it never got beyond an idea, other than of course recording the song. I don't think a performance of the song was ever filmed. Strange that they didn't stick the song on the "IJWMFTT" album, since the album was already so short. The Paley interview I'm recalling was from the old "petsounds.com" website; all of the stuff such as the Paley interview were taken down when the brianwilson.com website launched, if I'm recalling correctly. The Paley interview was pretty interesting; the most in-depth comments I've ever read from Paley. He still seemed pretty sensitive about the whole thing, but did go into some detail in the interview. He seemed taken aback at the suggestion by some fans that the recordings sounded like demos. As I recall, he insisted the songs were finished products (apart from presumably potentially having the BB's add vocals.)
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« Reply #54 on: July 06, 2007, 06:29:06 PM »

@HeyJude:

I believe Paley, Brian and Danny Hutton are singing on "This song wants to sleep with you tonight".
And was the plan really to play this song in a colour-segment of IJWMFTT? I thought it was during "Love&Mercy". Actually L&M has a moment in the recording which would be perfect for a change between b&w and colour.

On "This Song Wants to Sleep...", I can hear the parts where it is a layered Brian (and perhaps Paley and Hutton as well if he was on it), but there are also other parts where it sounds like the distinctive (and not always in a good way) Was backing singers that he used on the other "IJWMFTT" tracks and just about every other track Was produced around this time. This is why I'm curious about the resulting recording; it sounds like one of the few or perhaps only examples of Was overdubbing on top of a Paley-produced track, but I'm only guessing.

As for the color segment for the "IJWMFTT" film, I'm pretty sure in the interview I read that Paley said the idea was for "This Song..." As I remember it, it never got beyond an idea, other than of course recording the song. I don't think a performance of the song was ever filmed. Strange that they didn't stick the song on the "IJWMFTT" album, since the album was already so short. The Paley interview I'm recalling was from the old "petsounds.com" website; all of the stuff such as the Paley interview were taken down when the brianwilson.com website launched, if I'm recalling correctly. The Paley interview was pretty interesting; the most in-depth comments I've ever read from Paley. He still seemed pretty sensitive about the whole thing, but did go into some detail in the interview. He seemed taken aback at the suggestion by some fans that the recordings sounded like demos. As I recall, he insisted the songs were finished products (apart from presumably potentially having the BB's add vocals.)

Your memory is correct.  "This Song..." was planned as the "color" finale for the documentary, according to Andy.  Two great Paley interviews from that period:  one in ESQ, the other in Mix (the latter being an interview with Mr. Bonzai).  Andy was very adament about these recordings being masters, not demos.  Another great interview is with Brian in the U.K. mag Vox, and then Was himself interviewed Brian for "Interview" magazine. 

They were SO close to having one last, great, Brian Wilson-produced (or co-produced with Paley) Beach Boys album, but two things essentially derailed it:  the group's decision to do an album of their old songs with country singers first (a move inspired by The Eagles, who launched their "comeback" in that fashion), and Brian's management's subsequent decision that he needed to do another solo album FIRST.  By that time, Carl had passed on, and it was too late.  (sniff)
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« Reply #55 on: July 06, 2007, 07:26:16 PM »


Reportedly, the pivotal moment came during the bv session for "Dancin' The Night Away": there was a disagreement, Carl left the session... and that was it.


Any idea who the disagreement was with?  And what it was over?
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« Reply #56 on: July 07, 2007, 04:08:37 AM »

Take a wild guess.  Roll Eyes

The ghost of Murry Wilson?
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« Reply #57 on: July 07, 2007, 12:43:18 PM »

@HeyJude:

I believe Paley, Brian and Danny Hutton are singing on "This song wants to sleep with you tonight".
And was the plan really to play this song in a colour-segment of IJWMFTT? I thought it was during "Love&Mercy". Actually L&M has a moment in the recording which would be perfect for a change between b&w and colour.

On "This Song Wants to Sleep...", I can hear the parts where it is a layered Brian (and perhaps Paley and Hutton as well if he was on it), but there are also other parts where it sounds like the distinctive (and not always in a good way) Was backing singers that he used on the other "IJWMFTT" tracks and just about every other track Was produced around this time. This is why I'm curious about the resulting recording; it sounds like one of the few or perhaps only examples of Was overdubbing on top of a Paley-produced track, but I'm only guessing.

As for the color segment for the "IJWMFTT" film, I'm pretty sure in the interview I read that Paley said the idea was for "This Song..." As I remember it, it never got beyond an idea, other than of course recording the song. I don't think a performance of the song was ever filmed. Strange that they didn't stick the song on the "IJWMFTT" album, since the album was already so short. The Paley interview I'm recalling was from the old "petsounds.com" website; all of the stuff such as the Paley interview were taken down when the brianwilson.com website launched, if I'm recalling correctly. The Paley interview was pretty interesting; the most in-depth comments I've ever read from Paley. He still seemed pretty sensitive about the whole thing, but did go into some detail in the interview. He seemed taken aback at the suggestion by some fans that the recordings sounded like demos. As I recall, he insisted the songs were finished products (apart from presumably potentially having the BB's add vocals.)

Your memory is correct.  "This Song..." was planned as the "color" finale for the documentary, according to Andy.  Two great Paley interviews from that period:  one in ESQ, the other in Mix (the latter being an interview with Mr. Bonzai).  Andy was very adament about these recordings being masters, not demos.  Another great interview is with Brian in the U.K. mag Vox, and then Was himself interviewed Brian for "Interview" magazine. 

They were SO close to having one last, great, Brian Wilson-produced (or co-produced with Paley) Beach Boys album, but two things essentially derailed it:  the group's decision to do an album of their old songs with country singers first (a move inspired by The Eagles, who launched their "comeback" in that fashion), and Brian's management's subsequent decision that he needed to do another solo album FIRST.  By that time, Carl had passed on, and it was too late.  (sniff)

Craig, would it have been possible that the decision to do S & S might have had an influence on the decision to do a solo record first?  Certainly, S & S brought Joe Thomas into the picture.
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« Reply #58 on: July 07, 2007, 08:43:02 PM »

Oh, sure.  One idea can lead to another, and I'm sure the group's rejection of the Wilson/Paley material drove Brian's camp toward the idea of another solo effort (even if they, too, rejected the Paley stuff in favor of starting fresh with Joe).
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« Reply #59 on: July 08, 2007, 12:18:52 AM »

Carl walked off the project, but it could have been Al, Mike or Brian, the day before or after. I don't know if "the group" rejected the Wilson/Paley material, at least according to Paley himself. But it wasn't meant to be finished, at least with those individuals having to work in the same room.

S&S was a plan B that got done because there wasn't any creative tension. Just rehash the old hits, add some backing vocals, no sweat.
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« Reply #60 on: July 08, 2007, 01:08:07 AM »

Brian's "advisers" were the ones who pushed him away from the Beach Boys and Paley, Carl's reaction to the Baywatch Nights project may have just cemented it.
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« Reply #61 on: July 08, 2007, 06:56:38 AM »

Carl walked off the project, but it could have been Al, Mike or Brian, the day before or after. I don't know if "the group" rejected the Wilson/Paley material, at least according to Paley himself. But it wasn't meant to be finished, at least with those individuals having to work in the same room.

S&S was a plan B that got done because there wasn't any creative tension. Just rehash the old hits, add some backing vocals, no sweat.

It also didn't help that Was kept referring to the Brian & Andy produced stuff as "demos" while Andy referred to them as "masters".  Interesting that Carl felt the Was-produced tracks were "not releaseable", yet the Was-produced vocals pasted onto the Wilson-Paley produced track sounds like a commerical hit.
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« Reply #62 on: January 21, 2013, 10:13:46 PM »

Forgive me for bumping a thread that was last posted in 8 days before my daughter was born, but 1) it is an interesting thread, and 2) I have a couple of questions.

I know they don't circulate, but has anybody heard either these alternate versions of these songs and could comment on them vs what we're heard? Also, what was up with Brian's voice on the Wilson/Paley tracks (and on IJWMFTT''s version of 'Melt Away')? Was it a tape speed issue? Asking because his voice was higher pitched and awfully nasal; he didn't sounds like that on BW88, SI, or Imagination.
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« Reply #63 on: January 21, 2013, 11:07:15 PM »

I have also wondered about those tracks for Soul Searchin' and Still A Mystery, and why Carl rejected them. Carl was always fairly good when it came to Beach Boys material, so one would think he had a good reason. I would give a guess and say that somebody tried something "extreme", like heavy metal guitar on Soul Searchin'. I sometimes wonder if ill health may have affected his decision making.

Brian circa 1994-1996 voice is one of those weird mysteries in Beach Boys land.  Grin
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« Reply #64 on: January 21, 2013, 11:16:35 PM »

Yeah, he sounded like a deranged Muppet lol.

As far as Carl goes, I've always felt his health did have something to do with it
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« Reply #65 on: January 21, 2013, 11:24:20 PM »

Also, what was up with Brian's voice on the Wilson/Paley tracks (and on IJWMFTT''s version of 'Melt Away')? Was it a tape speed issue? Asking because his voice was higher pitched and awfully nasal; he didn't sounds like that on BW88, SI, or Imagination.

Um, I think your copies are sped up. I've heard some like that.
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« Reply #66 on: January 22, 2013, 01:16:23 AM »

Carl wanted to record Run Don't Walk, which he cut with Beckley and Lamm, didn't he?
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« Reply #67 on: January 22, 2013, 01:45:52 AM »

The long-held myth - which I bought into - was that Carl walked out during the "Baywatch Nights" session, but as said track was recorded 3/3/95, some eight months before the Was sessions in November, that's obviously not the case. The last Was session - for the vocals to "Soul Searchin'" - was on 11/17, and that's likely where Carl called time. A month later the band was in Chicago (re)commencing the Stars & Stripes project.
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« Reply #68 on: January 22, 2013, 09:41:50 AM »

Soul Searchin'  - Really like this 'waltz' style tune on GIOMH and curious about it's history: 

Not much to add to the thread... except:  I love Soul Searchin!!  Fantastic tune.  I think all of GIOMH has a nice Love You-vibe going for it.  Odd and rough around the edges -- at times very rough.  Blissfully unaware of it's oddness.  Cheesy  Classic Brian Wilson.  Almost like Adult Child -- it sounds like an album that "shouldn't have been released" -- except it was!  Wooo hoooo!
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« Reply #69 on: January 22, 2013, 09:46:12 AM »

The only vibe I detect from GIOMH is the one emanating from the general direction of Brian Wilson that screams "I hate this, I don't wanna be here, when are we done, what's for lunch ?"  Old Man
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« Reply #70 on: January 22, 2013, 03:21:22 PM »

"Desert Drive" was recorded fall 2002. A track from the abortive Wilson-Paley-Foskett sessions.

I'm informed that Brian doing all the bvs wasn't his idea. Bit like the track selection.  Roll Eyes
What other things were recorded at these sessions? sounds so very interesting! I figured it'd have a section on your website for unreleased albums.
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« Reply #71 on: January 22, 2013, 03:58:10 PM »

The only vibe I detect from GIOMH is the one emanating from the general direction of Brian Wilson that screams "I hate this, I don't wanna be here, when are we done, what's for lunch ?"  Old Man

Yeah, it's a really depressing set. It's one of the worst records I've ever heard.

Whereas Love You is BW being weird and eccentric because he wants to be, is energised by the material and is involved and having a good time making this weird music, GIOMH is weird and eccentric because he never told the band to do a take 2 on anything and did the backing vocals in about 30 minutes, which results in weird music.

None of this in a good way. It's not spontaneous, because the tracks are tentative and the arrangements dull. It's saying something when one of yr better tracks is produced by Joe bastard Thomas.

The vocals are limp, flaccid and frequently off-key, because Brian doesn't give a flying one about it, and it's not like 1967, where he can throw off half an hours casual backing vox easily because his voice is still in good nick and he can bang out a Mike, Carl, Dennis, Al, then himself, on top of a song with an engineer before taking a hit of reddi-whip and checking the pool for bugs some more or whatever. His voice is an entirely different instrument and whilst it is still a moving, good instrument, it requires a LOT of work. Most of this is taken care of when Brian gives a crap about what he's doing, which is borne out by the baffling truth that his voice has got BETTER on his recordings as we've progressed through the 21st century.... who thought we'd be saying that?
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« Reply #72 on: January 22, 2013, 04:06:39 PM »

Could you put your review on amazon.com? LOL
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« Reply #73 on: January 22, 2013, 11:52:07 PM »

I really like this song and I think it sounded great when Brian did it on the Smile tour.  It's one of those songs you can tell he really gets into.

I've heard the Beach Boys version on a bootleg called Landylocked.  I think that the Gettin' In Over My Head version is actually better.
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« Reply #74 on: January 25, 2013, 02:31:04 AM »

Well, that's an interesting opinion but not one I think you'll find many sharing, given that Carl's vocals on the bridge of the original are (IMO) far superior and that Mike's bass vocal is sorely missed.
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