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Author Topic: Al Jardine EP  (Read 54655 times)
SurfRiderHawaii
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« Reply #175 on: February 26, 2010, 04:26:43 PM »

Mmh, for me, it sounds very similar to his voice.

Agree - I thought it was him too, but I'm very reliably informed it isn't.

And yet another mystery from the Beach Boys.  What and where is Mike's vocal; why wasn't it used.....
These guys really have a knack for creating story and intrigue.
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« Reply #176 on: February 26, 2010, 04:28:57 PM »

Mmh, for me, it sounds very similar to his voice.

Agree - I thought it was him too, but I'm very reliably informed it isn't.

And yet another mystery from the Beach Boys.  What and where is Mike's vocal; why wasn't it used.....
These guys really have a knack for creating story and intrigue.

Fun, innit? police
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SurfRiderHawaii
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« Reply #177 on: February 26, 2010, 04:43:40 PM »

Personally, I don't entirely buy that. If you know what you're doing, you can record a nice sounding performance pretty much anywhere. The legendary Robert Johnson tapes were made with him singing into a wall of a hotel room; obviously not the same idea at all, but doesn't mean a hotel room is going to ruin the sound.

Lindsey Buckingham recorded a lot of his "Under The Skin" album in hotel rooms while on tour, and the sound is good.
An extremely large percentage of modern pop music--especially of the "indie" (horrible and inaccurate term) variety--is recorded on laptops or home setups. The "in a hotel" part would be what is more likely to have made it inferior quality.

Agree Luther!  Technology allows some pristine music going into a laptop.  I'm sure Scott has at his disposal a tubed mic, tubed compressor, Digital interface, 32/64 bit 96 htz program (Reaper?)  and bam, beautiful clean sound.

What Luther is alluding too is A/C noise/ thin walls/echo/acoustics.  It's one thing to record an instrument DI (direct) into the audio interface but vocals in a hotel room could be tricky.
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« Reply #178 on: February 26, 2010, 05:53:04 PM »

Personally, I don't entirely buy that. If you know what you're doing, you can record a nice sounding performance pretty much anywhere. The legendary Robert Johnson tapes were made with him singing into a wall of a hotel room; obviously not the same idea at all, but doesn't mean a hotel room is going to ruin the sound.

Lindsey Buckingham recorded a lot of his "Under The Skin" album in hotel rooms while on tour, and the sound is good.
An extremely large percentage of modern pop music--especially of the "indie" (horrible and inaccurate term) variety--is recorded on laptops or home setups. The "in a hotel" part would be what is more likely to have made it inferior quality.

Agree Luther!  Technology allows some pristine music going into a laptop.  I'm sure Scott has at his disposal a tubed mic, tubed compressor, Digital interface, 32/64 bit 96 htz program (Reaper?)  and bam, beautiful clean sound.

What Luther is alluding too is A/C noise/ thin walls/echo/acoustics.  It's one thing to record an instrument DI (direct) into the audio interface but vocals in a hotel room could be tricky.

But defintely doable, in this case...Mike's voice has traditionally been recorded very close-mic'd, and therefore as long as the signal was clean, it would probably be usable.  AND...I really have a hard time believing it's not Mike on "DFTS".  The bass vocals in the last two choruses, and the "She said" part sound EXACTLY like him, not just tonally, but attitude-wise.
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SurfRiderHawaii
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« Reply #179 on: February 26, 2010, 07:12:31 PM »

Personally, I don't entirely buy that. If you know what you're doing, you can record a nice sounding performance pretty much anywhere. The legendary Robert Johnson tapes were made with him singing into a wall of a hotel room; obviously not the same idea at all, but doesn't mean a hotel room is going to ruin the sound.

Lindsey Buckingham recorded a lot of his "Under The Skin" album in hotel rooms while on tour, and the sound is good.
An extremely large percentage of modern pop music--especially of the "indie" (horrible and inaccurate term) variety--is recorded on laptops or home setups. The "in a hotel" part would be what is more likely to have made it inferior quality.

Agree Luther!  Technology allows some pristine music going into a laptop.  I'm sure Scott has at his disposal a tubed mic, tubed compressor, Digital interface, 32/64 bit 96 htz program (Reaper?)  and bam, beautiful clean sound.

What Luther is alluding too is A/C noise/ thin walls/echo/acoustics.  It's one thing to record an instrument DI (direct) into the audio interface but vocals in a hotel room could be tricky.

But defintely doable, in this case...Mike's voice has traditionally been recorded very close-mic'd, and therefore as long as the signal was clean, it would probably be usable.  AND...I really have a hard time believing it's not Mike on "DFTS".  The bass vocals in the last two choruses, and the "She said" part sound EXACTLY like him, not just tonally, but attitude-wise.

Yes, and why go to all the trouble of recording Mike and not use it.  Unless there is another version that's going to be used on another project.  Like a 50th Aniv. release.
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« Reply #180 on: February 26, 2010, 09:43:44 PM »

Personally, I don't entirely buy that. If you know what you're doing, you can record a nice sounding performance pretty much anywhere. The legendary Robert Johnson tapes were made with him singing into a wall of a hotel room; obviously not the same idea at all, but doesn't mean a hotel room is going to ruin the sound.

Lindsey Buckingham recorded a lot of his "Under The Skin" album in hotel rooms while on tour, and the sound is good.
An extremely large percentage of modern pop music--especially of the "indie" (horrible and inaccurate term) variety--is recorded on laptops or home setups. The "in a hotel" part would be what is more likely to have made it inferior quality.

Agree Luther!  Technology allows some pristine music going into a laptop.  I'm sure Scott has at his disposal a tubed mic, tubed compressor, Digital interface, 32/64 bit 96 htz program (Reaper?)  and bam, beautiful clean sound.

What Luther is alluding too is A/C noise/ thin walls/echo/acoustics.  It's one thing to record an instrument DI (direct) into the audio interface but vocals in a hotel room could be tricky.

But defintely doable, in this case...Mike's voice has traditionally been recorded very close-mic'd, and therefore as long as the signal was clean, it would probably be usable.  AND...I really have a hard time believing it's not Mike on "DFTS".  The bass vocals in the last two choruses, and the "She said" part sound EXACTLY like him, not just tonally, but attitude-wise.

I also thought "she said" was him at first listen... but listening again, it's not.
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« Reply #181 on: February 27, 2010, 01:20:24 AM »

I don't know about the "she said" part, but the low "don't fight, don't fight the sea, y'don't" parts from 2:05 to 2:15 and 2:20 to 2:30 sound EXACTLY like Mike.
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« Reply #182 on: February 27, 2010, 04:22:04 AM »

AGD, correct me if I'm wrong as I really don't know, but weren't Brian's demo vocals (and, so, that means some of the ones that made the final product) for TLOS recorded onto Scott's computer? Or was it a real studio setup?

And, while I'm at it, am I wrong in this chronology of the TLOS project:
Summer 2006-Brian and Scott write and record the basic tracks (keyboards, percussion etc.) and vocals for their new songs in a demo setting at Scott's studio
Summer 2007-Scott and Darian sequence the piece in L.A. while Brian and company tour Europe, Scott records a few new things like the vocal for "Southern California" that made the rounds
Spring 2008-Brian and band record the backing tracks and some new lead and all backing vocals for the final release.

Or were Brian's demo vocals from Summer 2007?

Just always wanted to know...
Please don't let me wonder...
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« Reply #183 on: February 27, 2010, 11:15:03 AM »

AGD, correct me if I'm wrong as I really don't know, but weren't Brian's demo vocals (and, so, that means some of the ones that made the final product) for TLOS recorded onto Scott's computer? Or was it a real studio setup?

And, while I'm at it, am I wrong in this chronology of the TLOS project:
Summer 2006-Brian and Scott write and record the basic tracks (keyboards, percussion etc.) and vocals for their new songs in a demo setting at Scott's studio
Summer 2007-Scott and Darian sequence the piece in L.A. while Brian and company tour Europe, Scott records a few new things like the vocal for "Southern California" that made the rounds
Spring 2008-Brian and band record the backing tracks and some new lead and all backing vocals for the final release.

Or were Brian's demo vocals from Summer 2007?

Just always wanted to know...

Scotty's home (=bedroom) studio can be seen on the TLOS DVD - looks like he's got a good semi-pro setup there.

Brian's demo vocals are from summer 2006.
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« Reply #184 on: February 27, 2010, 10:25:12 PM »

If you have the right mic and pre-amp, you can do studio quality vocals just about anywhere.  You just have to be have basic knowledge of where and how to sing into the mic, and be careful of levels and pops.
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« Reply #185 on: February 28, 2010, 02:21:10 AM »

Mike's not on it?!  Oh no!  I hate it in that case!   Roll Eyes
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« Reply #186 on: February 28, 2010, 03:29:56 AM »

Mmh, for me, it sounds very similar to his voice.

Agree - I thought it was him too, but I'm very reliably informed it isn't.

This is confusing...

Just listened again... and if you stood me up in the witness box and asked me under oath if Mike was on "DFTS", then I'd have to say "yes".

For comparison, btw, the original TJ version:

http://www.filestube.com/3e7bc6972a0e8a1f03ea/details.html
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« Reply #187 on: February 28, 2010, 05:11:11 AM »

If Jacks' released "Y' Don't Fight The Sea," in 1976, how much of this song is him vs. Al? 
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« Reply #188 on: February 28, 2010, 06:05:01 AM »

Mmh, for me, it sounds very similar to his voice.

Agree - I thought it was him too, but I'm very reliably informed it isn't.

This is confusing...

Just listened again... and if you stood me up in the witness box and asked me under oath if Mike was on "DFTS", then I'd have to say "yes".

For comparison, btw, the original TJ version:

http://www.filestube.com/3e7bc6972a0e8a1f03ea/details.html

Credit to Al, I would say that the new version urinates all over the original.

In some ways, I don't think it matters that much whether it is Mike on the new recording. More important to me is that Al wanted him to be there and Mike was willing to contribute. Scott Totten said that he wasn't really happy with the quality of the recording of Mike's vocals so if it wasn't up to scratch then that's no surprise.
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Dancing Bear
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« Reply #189 on: February 28, 2010, 06:44:18 AM »

Wait a minute... Who wrote 'Don't Fight the Sea'?
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« Reply #190 on: February 28, 2010, 07:14:25 AM »

Wait a minute... Who wrote 'Don't Fight the Sea'?

Well, duh, Terry Jacks ?  Thought this was common knowledge since about 1980.
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Andrew G. Doe
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« Reply #191 on: February 28, 2010, 07:18:41 AM »

If Jacks' released "Y' Don't Fight The Sea," in 1976, how much of this song is him vs. Al? 

All of it - he wrote it.
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« Reply #192 on: February 28, 2010, 07:19:56 AM »

Wait a minute... Who wrote 'Don't Fight the Sea'?

Well, duh, Terry Jacks ?  Thought this was common knowledge since about 1980.

BMI.com lists Al Jardine & Terry Jacks, which is why I asked.
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« Reply #193 on: February 28, 2010, 07:22:21 AM »

Add a double duh for me... I had never heard it in my life - in the times of old, some tracks got airplay in some countries and none in others - and I just figured it was an Al Jardine original. Oh my.
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Andrew G. Doe
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« Reply #194 on: February 28, 2010, 07:22:26 AM »

Wait a minute... Who wrote 'Don't Fight the Sea'?

Well, duh, Terry Jacks ?  Thought this was common knowledge since about 1980.

BMI.com lists Al Jardine & Terry Jacks, which is why I asked.

Not done an A/B, but I think Alan changed a few words.
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« Reply #195 on: February 28, 2010, 07:28:00 AM »

Andrew, on the unreleased page of Bellagio it says "Don't Fight The Sea (a collaboration with Terry Jacks dating from late 1980)."  Did Al changed the lyrics back then?
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« Reply #196 on: February 28, 2010, 07:47:53 AM »

Andrew, on the unreleased page of Bellagio it says "Don't Fight The Sea (a collaboration with Terry Jacks dating from late 1980)."  Did Al changed the lyrics back then?

Yes - the title was mentioned back then when Alan was talking about a solo album. My use of the word 'collaboration' there is a trifle misleading.  Smiley
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« Reply #197 on: February 28, 2010, 08:20:50 AM »

This production really spans the decades...Al's website says the basic track is from '78, but there's an AFM contract for a session in April '76.  Next we heard of it being worked on was late 1980.  The production style (and Carl's and Brian's vocals) on the final version really sound like "Still Crusin'" era BBs (and the fact that Al's website says it was recorded at Capitol's Studio A would fit with that era).  I think it was also mentioned in conjunction with the album he was planning with his sons ('98/'99).  If Mike IS on it, his parts were done in 2008, and if the final mix was done sometime in the last two months, that would mean five decades.  Could this be some kind of record (for a record)?
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« Reply #198 on: February 28, 2010, 10:02:13 AM »

Is Bruce on this track?  Who is singing "Just Let It Be" towards the end at 2:54?
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« Reply #199 on: February 28, 2010, 10:40:40 AM »

Is Bruce on this track?  Who is singing "Just Let It Be" towards the end at 2:54?
I think that's Alan personally.
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