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Author Topic: TSS - All things DYLW  (Read 62921 times)
The_Holy_Bee
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« Reply #50 on: November 06, 2011, 11:16:20 PM »

Fair enough!  Smiley

EDIT: Removed the musically offending post/link from above. Apologies to those who had to hear it, and no offense taken from those who pointed it out.
« Last Edit: November 06, 2011, 11:25:59 PM by The_Holy_Bee » Logged
tygerbug
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« Reply #51 on: November 06, 2011, 11:30:38 PM »

Glad you didn't take offense.

Sorry I had to be harsh, but you sure did make the exact opposite point you were trying to make. The two go together like two things that would never, ever go together ever.
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The_Holy_Bee
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« Reply #52 on: November 06, 2011, 11:34:42 PM »

Glad you didn't take offense.

Sorry I had to be harsh, but you sure did make the exact opposite point you were trying to make. The two go together like two things that would never, ever go together ever.

I'm not sure you had to be so harsh - "be kind" wasn't intended as a euphemism - but I do understand where you were coming from, and I did manage to shoot myself in the foot with that one! Thanks though for not letting me go on making a fool either of myself or of the theory. No worries, as we say in Kiwi-land.
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tygerbug
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« Reply #53 on: November 07, 2011, 01:05:58 AM »

   Clearly I didn't have to be so harsh to make my point ..... but it's hard to judge these things.

   It was an idea, you tried it, it didn't work, no harm done.

   I have only recently joined this board and I don't like people being jerks to each other on the internet either. I suppose we all contribute to that every now and then.
« Last Edit: November 07, 2011, 01:07:13 AM by tygerbug » Logged
Micha
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« Reply #54 on: November 07, 2011, 01:32:32 AM »

Quote
Maybe he just made up that melody on the spot?

But if you're trying to make sure the tempo is right for the melody, which he is undeniably doing, then you would actually sing the melody rather than make one up.

I'm actually with you there, but I still believe it is an answer line harmony part. The reason he uses that melody could be for example that it is sung faster than the proposed main melody line as used on BWPS, and he wants to make sure that the song not played too fast for that line.

But I honestly can't rule out he made it up on the spot - I think Brian's creative mind is ingenious enough to set the tempo and at the same time make up another harmony part.
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tygerbug
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« Reply #55 on: November 07, 2011, 02:32:21 AM »

It sounds like a generic Beach Boy "answering" backing vocal to me. Possibly to be tried and abandoned like the Roll With Me Henry stuff.
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smackdaddy
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« Reply #56 on: November 07, 2011, 03:00:09 AM »

No, it's obviously meant to be the real secret melody Melinda's been suppressing all this time and anyone with ears can tell!  Now, please consult these supplemental diagrams I've drawn up and cross-reference them with these helpful youtube videos and mp3s....
« Last Edit: November 07, 2011, 03:01:29 AM by smackdaddy » Logged
runnersdialzero
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« Reply #57 on: November 07, 2011, 06:46:02 AM »

SHE HAS A CRACK CHILD, BABY, AND SHE DON'T KNOW WHAT TO DO WITH HERSELF
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« Reply #58 on: November 07, 2011, 06:57:57 AM »

What was the source of the "once upon the sandwich isles" melody used in the 2004 BW version ?

I think i read somewhere that it was something sung "on the spot" by Brian in 2004, rather than being based on any archive material from 1967 (either in recorded or written form).

It might be possible that Brian was remembering what he had originally written in 1967. But to be honest, I find this unlikely. I don't mean to offend anyone, but i don't think Brian has been quite "all there" mentally for many years, so i think its unlikely that Brian was recalling the original tune. I think its more likely that Brian created the 2004 melody in 2004.

Which leaves Brian's 1967 control booth singing as the most likely clue to the original melody for the opening segemnt of Worms.

As i said previously, it sounds a lot better and also fits the backing track very well. Sing it in your head a couple of times over the opening bars- it seems to make sense.

It would also match the "hawaiian" sound of the wala-lu-lei section.

« Last Edit: November 07, 2011, 07:15:02 AM by lunarjetman » Logged
37!ws
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« Reply #59 on: November 08, 2011, 02:49:02 PM »

Am I a bad person for singing the chorus of Kiss's "I Was Made For Lovin' You" to the bass line of DYLW?
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« Reply #60 on: November 08, 2011, 09:24:04 PM »

I didn't look through the posts on here to closely, so I hope this hasn't been said already. Hearing that one part at the correct speed sounds really weird, after hearing the Good Vibrations box set for years.  Grin
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37!ws
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« Reply #61 on: November 10, 2011, 07:43:59 AM »

I know what you mean. Man, the tape problem is in PERFECT time with the music, and it's enough of a warp that it sounds actually natural, as if they're singing a dominant seventh.

I do miss the cough, though.
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OneEar/OneEye
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« Reply #62 on: November 10, 2011, 01:07:41 PM »

Am I a bad person for singing the chorus of Kiss's "I Was Made For Lovin' You" to the bass line of DYLW?

Actually, there is also a part in the TSS H&V sessions where Brian, or someone, is playing a riff on the piano - and it is exactly the riff from "I Was made For Lovin' You" by Kiss.   I started singing that along to it and had me a big ol' laugh fest for several minutes.   LOL
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Caroline Yes
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« Reply #63 on: November 10, 2011, 03:19:53 PM »

On what track on the box can this vocal snippet of Brian singing an alternate melody be found?
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Wrightfan
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« Reply #64 on: November 10, 2011, 03:45:21 PM »

On what track on the box can this vocal snippet of Brian singing an alternate melody be found?

It's disc 3, track 1 on the box set.
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Caroline Yes
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« Reply #65 on: November 10, 2011, 04:21:04 PM »

Thanks!   Grin
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krabklaw
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« Reply #66 on: November 10, 2011, 05:09:32 PM »

I agree with those who believe that Brian's studio chatter definitely points to a different lead melody than what was presented on BWPS.
Sounds like he sings "a-Once upon the Sandwich Island desert". Do others hear it differently? Anyway, maybe the second verse with the Sandwich Island lyrics would have had a different more Hawaiian 'feel' than the first verse, since it's followed by the whole Hawaiian section. Maybe even the lead vocal melody could have changed. Interesting stuff. It's really too bad that Brian didn't even finish the whole line. I don't think what's there is even worth adding to a Smile mix even though it definitely times out OK.
We can't even pull a 'Barnyard' here.  LOL
« Last Edit: November 10, 2011, 05:18:24 PM by krabklaw » Logged

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« Reply #67 on: November 10, 2011, 09:11:47 PM »

I know what you mean. Man, the tape problem is in PERFECT time with the music, and it's enough of a warp that it sounds actually natural, as if they're singing a dominant seventh.

I do miss the cough, though.
That little section to me always sounded out of tune anyway, even if it was probably unintentional. I don't know if it was the vocal harmonies or the music, or a weird combination of both. I can still here the speed problem on the new version, even though I know it's not there.  Grin

Where's the cough? In DYLW? I've never heard it.
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Roger Ryan
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« Reply #68 on: November 11, 2011, 07:00:24 AM »

Where's the cough? In DYLW? I've never heard it.

It's very prominent on the boot versions of the song. If I remember correctly, it's during one of the "rock, rock, roll, Plymouth rock roll over" lines. The timing of the cough (along with the reverb) makes it sound almost musical. It obviously happened during one of the vocal overdubs and has been mixed out of the two officially-released versions.
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tansen
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« Reply #69 on: November 11, 2011, 02:20:57 PM »

Am I a bad person for singing the chorus of Kiss's "I Was Made For Lovin' You" to the bass line of DYLW?

Check the H&V thread, buddy Smiley
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sly74
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« Reply #70 on: November 11, 2011, 02:23:48 PM »

Where's the cough? In DYLW? I've never heard it.

It's very prominent on the boot versions of the song. If I remember correctly, it's during one of the "rock, rock, roll, Plymouth rock roll over" lines. The timing of the cough (along with the reverb) makes it sound almost musical. It obviously happened during one of the vocal overdubs and has been mixed out of the two officially-released versions.

Yes, it's during the second "rock, rock, roll". It's a weird sound, like a cough and sneeze combined which made me think it was deliberate.  In that context, I always thought of it as a comical acknowledgement of the play on words during those lines.  Probably not but anyway, got used to it and miss it in being in there.
« Last Edit: November 11, 2011, 02:25:55 PM by sly74 » Logged
Boiled Egg
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« Reply #71 on: November 11, 2011, 03:23:16 PM »

twopennyworth, imported from another thread

----

I'd like to lob this perspective into the mix.

Brian is recording a song he recently wrote in this newly discovered fragment. He's trying to line up the tempo of the backing track, and, with Van sitting (presumably) just behind him in the control room, sings that fragment.

If it weren't the melody he'd written for DYLW, why on earth would he have sung it? There really is no reasonable explanation other than That's How It Goes.

With the BWPS version, it seems feasible to me that he remembered some backing vocals. SMiLE contains the most complex backing vocals the BBs ever recorded (hell, that 10-part combined chord and countermelody backing for the H&V verse is possibly the greatest backing vocal arrangement BW ever committed to tape) -- and his writing had a tendency to pile things on top of each other.

If you'd never heard the H&V melody, say, but heard that isolated backing vocal track (as on the original single), you'd be blown away, and would have trouble working out where another mleody could have fitted across it. And a glance at the lyric sheet would have got you nowhere. Likewise, if you'd heard one of the three combined countermelodies of the GOK fade, you'd have had trouble imagining either of the other two, and would have thought the job was a good 'un. Similarly, the GV chorus is made of three stacked melodies: Mike's one, following the bass line, the stacked 'good bup bup', and then the stacked high line. Each would be enough on its own if you didn't know the other two existed.

For my money, this was the melody BW wrote for DYLW, and he had stacks of bvs sloshing around with it. I've always thought, for such a supreme melodist as BW, that the BWPS 'melody' for DYLW/RPR is nothing of the sort -- it's practically static; something quite uncharacteristic for BW, especially at this period in his writing, when his melodies were prone to doing extraordinary things -- big reaches (Surf's Up, Cabinessence), difficult and very satisfying leaps (Wonderful), twists and switchbacks (Heroes And Villains, this DYLW melody, Vega-Tables).

I've often wondered whether BW recorded demos. F*** knows how you memorise Surf's Up or Wonderful without committing to either tape or paper. Astonishing writing.

If only, if only...
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Jay
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« Reply #72 on: November 11, 2011, 09:46:06 PM »

Where's the cough? In DYLW? I've never heard it.

It's very prominent on the boot versions of the song. If I remember correctly, it's during one of the "rock, rock, roll, Plymouth rock roll over" lines. The timing of the cough (along with the reverb) makes it sound almost musical. It obviously happened during one of the vocal overdubs and has been mixed out of the two officially-released versions.
Oh, I've heard that before. I think I heard it in the "alternate brian wilson" mix. I just figured it was something added in for comic effect.
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Jeff
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« Reply #73 on: November 11, 2011, 09:59:58 PM »

When Linett made the comment about BWPS being the "template" for the new Smile release, I was bitterly disappointed for a time, because I thought they were going to create a Purple Chick bit of horribleness.

But as it turns out, I'm very, very happy with what they did.

One of the few exceptions is the "woo woo" at the end of Worms.  To paraphrase Al, that's not part of Worms.  It shouldn't be there, and of course is used in H&V, where it belongs, just two tracks earlier.
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TheManchesterMan
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« Reply #74 on: November 12, 2011, 03:35:04 AM »

When Linett made the comment about BWPS being the "template" for the new Smile release, I was bitterly disappointed for a time, because I thought they were going to create a Purple Chick bit of horribleness.

But as it turns out, I'm very, very happy with what they did.

One of the few exceptions is the "woo woo" at the end of Worms.  To paraphrase Al, that's not part of Worms.  It shouldn't be there, and of course is used in H&V, where it belongs, just two tracks earlier.

I agree with that. While not sounding half as dreadful as on BWPS, it is just wrong. I can see why it worked for live shows but it does not belong on this track and pretty much the first thing I did was to chop that off and replace it with the bicycle rider fade.
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