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Author Topic: "The Like In I Love You" Is Streaming  (Read 30822 times)
DSamore
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« Reply #175 on: July 01, 2010, 01:01:35 PM »

Also, there seems to be no doubt in my mind that Phil Spector and Brian may have used pitch correction back in the 60's considering the amount of studio trickery that went on, however "organic" it was. Again, a brilliant song. Brian Wilson is a musical god.
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« Reply #176 on: July 01, 2010, 01:49:46 PM »

I don't know about that.  Part of what makes the Beach Boys vocals so distinctive (Al Jardine has said this) is a lot of time they are ever so slightly out-of-tune on the double.  That, along with the wonderfully heterogenous blend (which makes for a broader texture than, say, the Bee Gees) and the ability to swoop and move in rhythmic and dynamic tandem is a lot of what makes the BBs vocals almost unparalleled.  There are better harmony singers out there but very few have approached their ability to coax emotion out of wordless vocals.  It's very choirlike, as many have pointed out.
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« Reply #177 on: July 01, 2010, 02:30:49 PM »

In a way Brian's smooth vocal delivery reminds me of the M.I.U. Album.
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« Reply #178 on: July 02, 2010, 10:55:11 AM »

However, it suffers from the usual BW Band problem - the massed vocals sounding just more MOR AOR than I'd like - just a little bit bland, the guts EQd and mixed out of them. This is mostly four or five men's voices but sounds too much like something from a Val Donnican Christmas Special. And also it would be nice if one could hear the individual parts as I bet these are gorgeous harmonies, but just sound like a vague wash. TLOS suffered from the same problem) Could be due to the low bitrate of the stream/mp3 and perhaps a little related over-compression.

Another disappointment is the use of a synth instead of an actual bass guitar. Its a shame, as a real bass would have added real warmth. Message Man from the TLOS sessions suffered from the same.

The exact reason I don't really listen to TLOS or BWPS that often. I know it sounds crazy to many but I prefer GIOMH because at least Brian's backing vocals have some sort of feeling, a texture to them that is more listenable to me than the overly smooth sound when his band sings.

To the song: at first I wasn't that impressed but after several listens that's changed. Subtle, but very good. Wonderful arrangement. Another one of those far out tags, too. Definitely excited to hear the rest of the album.
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« Reply #179 on: July 02, 2010, 10:55:52 AM »

However, it suffers from the usual BW Band problem - the massed vocals sounding just more MOR AOR than I'd like - just a little bit bland, the guts EQd and mixed out of them. This is mostly four or five men's voices but sounds too much like something from a Val Donnican Christmas Special. And also it would be nice if one could hear the individual parts as I bet these are gorgeous harmonies, but just sound like a vague wash. TLOS suffered from the same problem) Could be due to the low bitrate of the stream/mp3 and perhaps a little related over-compression.

Another disappointment is the use of a synth instead of an actual bass guitar. Its a shame, as a real bass would have added real warmth. Message Man from the TLOS sessions suffered from the same.

The exact reason I don't really listen to TLOS or BWPS that often. I know it sounds crazy to many but I prefer GIOMH because at least Brian's backing vocals have some sort of feeling, a texture to them that is more listenable to me than the overly smooth sound when his band sings.

To the song: at first I wasn't that impressed but after several listens that's changed. Subtle, but very good. Wonderful arrangement. Another one of those far out tags, too. Definitely excited to hear the rest of the album.
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« Reply #180 on: July 02, 2010, 11:15:40 AM »

However, it suffers from the usual BW Band problem - the massed vocals sounding just more MOR AOR than I'd like - just a little bit bland, the guts EQd and mixed out of them. This is mostly four or five men's voices but sounds too much like something from a Val Donnican Christmas Special. And also it would be nice if one could hear the individual parts as I bet these are gorgeous harmonies, but just sound like a vague wash. TLOS suffered from the same problem) Could be due to the low bitrate of the stream/mp3 and perhaps a little related over-compression.

The exact reason I don't really listen to TLOS or BWPS that often. I know it sounds crazy to many but I prefer GIOMH because at least Brian's backing vocals have some sort of feeling, a texture to them that is more listenable to me than the overly smooth sound when his band sings.

To the song: at first I wasn't that impressed but after several listens that's changed. Subtle, but very good. Wonderful arrangement. Another one of those far out tags, too. Definitely excited to hear the rest of the album.

Glad I'm not the only one who's mildly bothered by this.

The demo of TLOS was better in many respects that the official version in that the vocals were more rough and ready and better for it, especially Southern California which was ruined in the final version. The thing with the BVs on a lot of BW's stuff is that i hear no men... I know they're in there but there's none of the sweet rough honey we used to get with the Beach Boys, now its all wet blanket, spoonfull of blancmange, margarine. Can't believe it's not Beach Boys... (a joke probably just for the British).  Wink




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« Reply #181 on: July 02, 2010, 12:22:12 PM »

Well, I prefer Southern California in the final version just because it's sung by Brian ...
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Mr. Cohen
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« Reply #182 on: July 02, 2010, 12:28:55 PM »

I have a theory about Brian's work: you can tell how into a song/project he is by the work he puts into the outro. If he doesn't care, it's just a fade on a normal repeat of the chorus, or something like that. If he cares, you have what you where, an outro that takes the song somewhere else, somewhere it hasn't been before. For this song, I feel like the outro takes us out into the grand majestic expanse of the 'starlit' universe. But enough of my poor picturesque writing.

The track itself is a real interesting mix of Brian's Today and Pet Sounds styles, IMO, which is probably a comfortable sound for him.  It has a lot of nice little production touches. For example, during a little instrumental break/bridge, a heavily phasered vocal comes in just for a few seconds, and the way the track breaks down to just the harpsichord/piano right before the outro gets me everytime. I love that. And how about the sleigh bells in the outro? Brian, you made us wait way too long for a new outro with sleigh bells.

It's a really cool set of melodies, too, isn't it?
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« Reply #183 on: July 02, 2010, 01:30:48 PM »

I didn't really love this song at first either, but it really grew on me very quickly. Since it's got the touch of both Gershwin and Wilson, I guess this shouldn't be surprising.

And I gotta say, the only part that sounds really pitch corrected to me is the bit that comes in around 2:52.
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« Reply #184 on: July 02, 2010, 04:00:40 PM »

Well, I prefer Southern California in the final version just because it's sung by Brian ...

I think I prefer the demo because it isn't!  LOL
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« Reply #185 on: July 02, 2010, 04:52:20 PM »

However, it suffers from the usual BW Band problem - the massed vocals sounding just more MOR AOR than I'd like - just a little bit bland, the guts EQd and mixed out of them. This is mostly four or five men's voices but sounds too much like something from a Val Donnican Christmas Special. And also it would be nice if one could hear the individual parts as I bet these are gorgeous harmonies, but just sound like a vague wash. TLOS suffered from the same problem) Could be due to the low bitrate of the stream/mp3 and perhaps a little related over-compression.

The exact reason I don't really listen to TLOS or BWPS that often. I know it sounds crazy to many but I prefer GIOMH because at least Brian's backing vocals have some sort of feeling, a texture to them that is more listenable to me than the overly smooth sound when his band sings.

To the song: at first I wasn't that impressed but after several listens that's changed. Subtle, but very good. Wonderful arrangement. Another one of those far out tags, too. Definitely excited to hear the rest of the album.

Glad I'm not the only one who's mildly bothered by this.

The demo of TLOS was better in many respects that the official version in that the vocals were more rough and ready and better for it, especially Southern California which was ruined in the final version. The thing with the BVs on a lot of BW's stuff is that i hear no men... I know they're in there but there's none of the sweet rough honey we used to get with the Beach Boys, now its all wet blanket, spoonfull of blancmange, margarine. Can't believe it's not Beach Boys... (a joke probably just for the British).  Wink






Why? They sell   "I can't believe it's not butter here in the US" also...
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« Reply #186 on: July 02, 2010, 07:53:20 PM »

I know they're in there but there's none of the sweet rough honey we used to get with the Beach Boys, now its all wet blanket, spoonfull of blancmange, margarine. Can't believe it's not Beach Boys... (a joke probably just for the British).  Wink

They had that commercial over here too years ago.
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brother john
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« Reply #187 on: July 03, 2010, 01:21:54 AM »

I know they're in there but there's none of the sweet rough honey we used to get with the Beach Boys, now its all wet blanket, spoonfull of blancmange, margarine. Can't believe it's not Beach Boys... (a joke probably just for the British).  Wink

They had that commercial over here too years ago.

I'm glad to hear it. You never know with adverts - the US and UK have different approaches to food.

Have you tried it? It tastes just like margarine. Vile.
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« Reply #188 on: July 03, 2010, 01:58:44 AM »

I am so very tempted to try to hear some of this before it gets released.  Grin But I think I'm going to wait until I have the cd in my hand, and I can hear the whole thing at once. I tried really hard to do that with TLOS. It didn't work.  LOL
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« Reply #189 on: July 03, 2010, 06:08:51 AM »

This one song I'm sure will be the 'single' although it doesn't really work like that anymore, nothing wrong with listening to the released single before the album comes out.  Just limit yourself to that one song.
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« Reply #190 on: July 03, 2010, 06:39:11 AM »

I've honestly played this song about 200 times.

I wake up every morning to it, play it on the way to college, getting crazy  Grin
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DSamore
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« Reply #191 on: July 03, 2010, 07:49:02 AM »

yeah, I've played the bejesus out of this song. I love the intro so much and find myself singing the end of the chorus more often than not. very catchy.
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« Reply #192 on: July 03, 2010, 09:23:14 AM »

BW has been pitch corrected by computer since the 88 album. Not really a big deal -- it's all about the performance quality, which in this case seems to be excellent. (The one non auto tuned BW album is GIOMH -- which most people consider his worst.)

EDIT: I posted before I read the rest of the thread...
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« Reply #193 on: July 03, 2010, 09:24:35 AM »

BW has been pitch corrected by computer since the 88 album. Not really a big deal -- it's all about the performance quality, which in this case seems to be excellent. (The one non auto tuned BW album is GIOMH -- which most people consider his worst.)

How was he pitch corrected  in '88? Autotune didn't come out until '97!
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« Reply #194 on: July 03, 2010, 10:04:54 AM »

I like the song but it feels very similar to other things he's cut recently (Christmas album and "What Love Can Do"), sound wise.
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« Reply #195 on: July 04, 2010, 01:27:04 AM »

I've been listening to it 8 times this morning. It's a wonderful recording.  Smiley
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« Reply #196 on: July 04, 2010, 02:42:20 AM »

Happy to be able to enter the site again after many efforts in vain... and all of your posts augur so well for the new album! I think I will sit it out until the official release date, buy it, wait until the late summer evening, connect my headphones, have a cool one at hand, and then enjoy... just like I did in my younger years.

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« Reply #197 on: July 04, 2010, 04:21:23 AM »

I like the song but it feels very similar to other things he's cut recently (Christmas album and "What Love Can Do"), sound wise.

Yeah, odd that. Maybe because he's used the same musicians and vocalists each time ?  Shocked

Seriously, if you can't detect the difference in 'feel' between this and anything from the Xmas album (btw, is over 5 years ago legally "recent" ?), well... I mean... prolly best you don't buy the album. Jus' sayin'.  Grin
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« Reply #198 on: July 04, 2010, 11:03:58 AM »

Happy to be able to enter the site again after many efforts in vain... and all of your posts augur so well for the new album! I think I will sit it out until the official release date, buy it, wait until the late summer evening, connect my headphones, have a cool one at hand, and then enjoy... just like I did in my younger years.

There is a hole in the ozone layer, the internet is the work of Satan, and there are way too many GSM phones. I have spoken.

Dude you're a poet and ya don't even know it.
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« Reply #199 on: July 04, 2010, 12:41:44 PM »

From my interview with Probyn in October:

Does re-creating Beach Boys vocal parts onstage give you a new appreciation for the originals?

Oh yes. This band knows we will never sound like the Beach Boys. There's something magical about that collection of voices. You can make instruments sound like other bands. If you have the right amp or guitar combination, and if you have the right style, it can be close. But vocals are very much harder to emulate, especially when you get into a group vocal situation.
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