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658567 Posts in 26370 Topics by 3742 Members - Latest Member: Soulful Old Man River May 31, 2020, 07:06:25 PM
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Author Topic: Classic Seletcted By BW  (Read 5266 times)
Rocker
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« Reply #25 on: February 23, 2010, 07:11:45 AM »

I also never understood why the 'Smiley Smile' version was chosen over the 'Smile' version.


Probably because that was the released version and the "Smile"-recording wasn't finished in Brian's eyes for whatever reason. It's the artists deciding (in the best scenario)

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It would not surprise me at all if he'd heard the Smile version much more often over the years than the SS version.

Well, at least it's interesting to note that he recorded the Smile-arrangement for IJWMFTT
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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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« Reply #26 on: February 23, 2010, 07:24:28 AM »

I also never understood why the 'Smiley Smile' version was chosen over the 'Smile' version.


Probably because that was the released version and the "Smile"-recording wasn't finished in Brian's eyes for whatever reason. It's the artists deciding (in the best scenario)

Quote
It would not surprise me at all if he'd heard the Smile version much more often over the years than the SS version.

Well, at least it's interesting to note that he recorded the Smile-arrangement for IJWMFTT

Yep! I was amazed at the time about that choice, and I found it strange that very few reviews made a point of it.
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« Reply #27 on: February 23, 2010, 08:33:13 AM »

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Well, at least it's interesting to note that he recorded the Smile-arrangement for IJWMFTT
I wonder if that was done more specifically for the film than the soundtrack. It's the point in the film where they are discussing Smile, so it seemed natural they would use that arrangement to help show what Smile was supposed to be.
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« Reply #28 on: February 23, 2010, 08:37:01 AM »

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Well, at least it's interesting to note that he recorded the Smile-arrangement for IJWMFTT
I wonder if that was done more specifically for the film than the soundtrack. It's the point in the film where they are discussing Smile, so it seemed natural they would use that arrangement to help show what Smile was supposed to be.

What if Brian had pulled a stack of tapes and acetates out of a safe, showed them to us, the viewers, and then had them locked away again, and subsequently had thrown the key in a vat of sulphuric acid? Would have made a great movie scene, wouldn't it?
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« Reply #29 on: February 23, 2010, 09:01:41 AM »

I don't think that they used the "wrong" version of 'Time To Get Alone'. The '20/20' version is the definitive one and the 'Hawthorne' version is, even if you personally like it better, work in progress so it makes sense that they used the more familiar version.

For me, the definitive "Time To Get Alone" is Mark Linnet's recent remix on THE BEACH BOYS LOVE SONGS. I think the point of CLASSICS was to show the growth and diversity of Brian Wilson throughout the time period when most people associated the Beach Boys with "Fun, Fun, Fun" and little else. It's really an eye-opener for those raised solely on ENDLESS SUMMER or 20 GOLDEN GREATS.
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« Reply #30 on: February 23, 2010, 10:52:33 AM »

For me the best "Hits" comp ever put out was "The Platinium Collection", which may or may not have been a UK only release. Standard surf stuff on CD1, then PS to 20/20 on CD2. Then CD3 picks up where most hits comps leave off with one or two tracks from the 70's stuff and ending with "Getcha Back" and "Kokomo". CD3 turned me from a casual fan into the obessive nut I am today as it made want to seek out all the great 'hidden' stuff they had done.
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« Reply #31 on: February 23, 2010, 11:31:18 AM »

For me, the definitive "Time To Get Alone" is Mark Linnet's recent remix on THE BEACH BOYS LOVE SONGS.

No, no and no again - the glorious resonance of "deep and wide" is reduced to an impotent whimper. I refuse to believe Brian listened to this and said "fine".
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« Reply #32 on: February 23, 2010, 12:42:52 PM »

For me it's the Hawthorne version...gorgeous.
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« Reply #33 on: February 23, 2010, 02:18:34 PM »

No no no. As always, its the original non-screwed about with, non-digitally remastered version that's the best. Leave 'em alone!! That's my opinion...
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« Reply #34 on: February 24, 2010, 05:02:37 AM »

def going with the official version of time to get alone. 
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« Reply #35 on: February 24, 2010, 05:20:41 AM »

No no no. As always, its the original non-screwed about with, non-digitally remastered version that's the best. Leave 'em alone!! That's my opinion...

Aren't most people talking about the alternate mix? That's not a remaster.
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Roger Ryan
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« Reply #36 on: February 24, 2010, 05:49:14 AM »

For me, the definitive "Time To Get Alone" is Mark Linnet's recent remix on THE BEACH BOYS LOVE SONGS.

No, no and no again - the glorious resonance of "deep and wide" is reduced to an impotent whimper. I refuse to believe Brian listened to this and said "fine".

I'm not a fan of things being screwed with for no reason and I was very wary when folks on this board were distressed over this remix (especially the "deep and wide" moment). But when I finally heard it myself...I thought it was great! Of course, it's possible that I felt the original "deep and wide" echo effect was a tad over-the-top.  Wink
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« Reply #37 on: February 24, 2010, 07:49:21 AM »

I haven't made up my mind yet on the new remaster of Time to Get Alone vs. the version on Classics.  I stick by Hawthorne as being definitive not just because of the wonderful fade but the horn break as well.  It's so much cleaner than the 20/20 or box set versions.  Why it wasn't used on Friends I find absolutely baffling.  Friends was such a short album in length that nothing need be dropped to accomodate it.
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« Reply #38 on: February 24, 2010, 08:15:36 AM »

All three mixes have their big amount of pros and their trivial cons, really. I like them all.
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