The Beach Boys Network |
| Re: DW Samples [Smiley Smile Message Board] Posted: 27 May 2008 05:13 AM CDT Great (!!!!) stuff ! Thank you ! I wonder why there was no update on the official site.... |
| Art That Shook The World: Pet Sounds [Smiley Smile Dot Net] Posted: 27 May 2008 04:40 AM CDT This is described on Youtube as "A great BBC documentary from 2002 about The Beach Boys' 1966 album "Pet Sounds". Hosted by Mark Lamarr." Part One: Part Two: Part Three: Part Four: Part Five: |
| DW Samples [Smiley Smile Message Board] Posted: 27 May 2008 04:33 AM CDT These samples are different to the ones at www.pacificoceanblue.net, as they all are just the first 30 seconds of each track, but here are 30 second samples of every track from the forthcoming POB Legacy Edition: http://www.sundazed.com/product_info.php?products_id=960 |
| Re: Brian's voice from the 1990's [Smiley Smile Message Board] Posted: 27 May 2008 04:32 AM CDT BW's Orange Crate Art voice works for me because he didn't attempt anything "youthful" on that album, comfortably singing songs from a middle-aged man's perspective. It's my favorite Van Dyke album right next to Discover America. Also, in terms of Brian's singing I clearly prefer it over IJWMFTT, which sounds far less relaxed to me. |
| Re: Dennis Wilson podcast - Episode One [Smiley Smile Message Board] Posted: 27 May 2008 04:11 AM CDT Thanks, Lisa. Question: Are the Dennis interviews specific to POB, or were they lifted from a number of different places/times? Also - are the Brian, Carol, Carli [etc] interviews contemporary to POB, or are they more recent? And who conducted them - Dennis Diken? This first podcast is very well put together. |
| Re: Art That Shook The World: Pet Sounds [Smiley Smile Message Board] Posted: 27 May 2008 04:10 AM CDT Wow, that home footage stuff really should all be compiled. That stuff was fodaing amazing. |
| Re: a SMiLE question or 3 [Smiley Smile Message Board] Posted: 27 May 2008 03:58 AM CDT The interesting thing about this session is that it PREDATES Van Dyke's involvement, if you believe Brian and Van Dyke who date their meeting at Terry Melcher's when they decided to collaborate as July 1966. So Brian did indeed have the title of the song, presumably the verse sections, and then a My Only Sunshine fade. Which means he was already writing and thinking in "sections" that could be interchangeable with other songs in May 66, before Good Vibrations was close to being finished. Yes, Van Dyke stated that Brian was already working on H&V when they started writing together. But Brian came up with the melody for the verse while working with Parks, he explained it in the 'Beautiful Dreamer' docu, that he thought Van Dyke was in control of his hands. So the verse as we know it was probably not part of the May version. |
| Re: Art That Shook The World: Pet Sounds [Smiley Smile Message Board] Posted: 27 May 2008 03:36 AM CDT What's up with the "Former Beach Boy" titles under Bruce and Mike's name? Yeah that really confused me too. |
| Re: Brian's voice from the 1990's [Smiley Smile Message Board] Posted: 27 May 2008 03:26 AM CDT As a pedant, I feel it necessary to add here that at Brian's vocal peak, say 1963-67 (debatable, I know), he was not singing in falsetto for his high voice. Falsetto is a very specific condition of the vocal folds where they actually relax and create sound a different way. Brian used head voice to sing high back in the day. Even Chuck Britz noted that "he would sing high and not go into falsetto." I think that quote is in the Pet Sounds Box booklet. The point is, and why I brought it up at all, when Brian's voice started to go south, he didn't have the breath support or technique to sing high without slipping into falsetto, which is why the timbre of his high voice is so different now. He's got better at having a better tone in falsetto so it doesn't sound as "hooty" but it's not the same and probably never will be. |
| Re: The Mark Linett Thread [Smiley Smile Message Board] Posted: 27 May 2008 03:20 AM CDT One more question, Mark, then I'll leave you to answer or not or whatever and leave you alone for at least a few weeks: In listening to some tracks from the time period we're (I'm?) discussing, it sounds like the bass drum is not always necessarily distributed evenly between the stereo spread. Is that correct? For example, in Disney Girls, the everything seems to be central, except for the floor tom hits. In other words, If I had to guess it sounds like, if Steve put the drums on two tracks as per the usual MO, "Drums L" would be the overhead over the snare/hi-hat plus the kick, and then "Drums R" would be pretty much only the floor tom. This seems to be true for many tracks. Good Time is another one where it almost seems to be one track of "drum set" and another that's mainly floor tom. Then, on that bootleg of "It's About Time" that's surfaced, that's only the drums and congas, it sounds like the kick is more present on the floor tom side.l What I've done when using a more minimal method recording drums to only two tracks, say with two overheads and a kick mic, is pan the left overhead left, the right overhead right, and leave the kick dead center. But on Sunflower and Surf's Up, it seems to be more of a C-R deal than a L-C-R deal. |
| Brian Wilson~Caroline No OZ 60s capitol 45 Beach Boys ["brian wilson"] Posted: 27 May 2008 02:25 AM CDT |
| Re: Brian's voice from the 1990's [Smiley Smile Message Board] Posted: 27 May 2008 02:00 AM CDT I've never actually heard IJWMFTT - not a fan of Don Was. But I think Brian was especially good on Orange Crate Art. |
| Re: Brian's voice from the 1990's [Smiley Smile Message Board] Posted: 27 May 2008 01:56 AM CDT I think that some of his vocals on IJWMFTT are really good. For example, "Warmth Of The Sun". Do you think that Brian would even ATTEMPT that today, thirteen years later? Brian's version of "Caroline, No" from IJWMFTT was very good too. Brian also did some falsetto on "Still A Mystery", and sounded damn good in my opinion. Brian sang "In My Room" at a Beach Boys concert in Las Vegas in 1995, and it was INCREDIBLE. I think that in the 1990's, Brian came closer to his 1960's voice than he ever did in the 1970's, 1980's, or the present day. |
| Re: Dennis Wilson podcast - Episode One [Smiley Smile Message Board] Posted: 27 May 2008 01:44 AM CDT If you want, I'll post a download link of mp3. Is this allowed in the forum? would be wiser not to do that... (a PM is fine) |
| Re: a SMiLE question or 3 [Smiley Smile Message Board] Posted: 27 May 2008 01:14 AM CDT Doesn't Siegel talk about the moment Brian comes up with the YAMS bit in The Goodbye Surfing article? Surely this would date it way after May 66. What's interesting about the article is that he describes this weird clarinet bit that Brian comes up with based on the bassline of Sunshine (or somesuch) and I couldn't work out which piece of music this was, but just recently it occurred to me that Siegel's most likely referring to the False Barnyard fade that was originally part of Sunshine. What's confusing though is that he describes Brian recording Barnyard and woodshop sounds over this piece - maybe False Barnyard did have such sound effects at one point. Sherriff John Stone: I don't believe that Brian just lazily okd Darian's sequence for BWPS, and nothing more. In the Priore book, Darian explains that Brian grouped the songs based on their sound, rather than thematically. He explains that the Americana and Life-cyle songs songs sort of gravitated towards each other as a result of this. In the process, Brian made some interesting decisions - one of which was to butt Look straight after Wonderful; apparently Brian's decision. I don't find it hard to believe that Brian was engaged enough to group like-sounding songs together and make musical decisions about which songs would follow which. It seems that Darian probably would point out here and there what songs might have significant relationships and explains that he bought it to Brian's attention that Holidays had a link to Wind-Chimes in its tag. Brian says oh yeah and so they put those songs together. I guess Darian would just be speeding the process up in doing this, after all, something like that is failry siginificant, yet might be missed by someone who hasn't listened to Smile or Smiley Smile in 38 years. Therefor as I see it, yes Brian played a significant role in the sequencing. Ultimately I believe it was led By Brian's choices on which songs would they would keep, and which would be trashed, and also on which songs would be grouped together. But I also think this was probably aided by Darian with the occasional nudge here and there as to which songs had significant links to one another. Therefor I think Brian's role in this process was much more significant than many here give him credit for. |
| Re: The Mark Linett Thread [Smiley Smile Message Board] Posted: 27 May 2008 12:28 AM CDT Forgive me for prattling on here, but I'm bored and have thoughts, a dangerous combination indeed... I'm not quite sure why the method of recording drums is of such interest to me, but I think it's so fascinating, kind of a symbol of the radical changes happening in recording circa Sunflower. We go from a group that just three years earlier was still recording the instrumental tracks onto three tracks--and as 16-track took over for Sunflower, the drums started to become conceptually different. Until then, Drums were just one component of a submix on three-track, or maybe got their own mono track on an 8-track master. On Pet Sounds, drums were recorded with two mics, one over and one in front. It was probably the same until 1969? But then all of a sudden there are 16 tracks, and drums are being recorded in stereo. I was just reading an interview with Tony Visconti who was recalling the agonizing decision over recording drums during a certain project in the 16 track era, when he had to decide whether to put the kick or the snare on it's own track, and which to include on a stereo submix to tape. He could afford only three tracks of drums. He ended up giving the kick it's own track, by the way. Perhaps the reason I find the Sunflower/Surf's Up drums so interesting is because of their ambiguity. Any later and the miking schemes become obvious. When cymbals are hard panned, toms are close and hard panned, etc. But most of the stereo drums on Sunflower and Surf's Up are fairly subtle. Even pretty mono-sounding. Of course, there are tracks like Suzie C. where the toms seem pretty distinct, so perhaps they were close miked there. But I just don't know, and the more I do know, the more I feel like I was there, which I like. Everything else is pretty straightforward. Like, electric guitar, you pretty much put a mic on a speaker, you know? But with drums there are so many variables. I wish Steve had taken precise notes for every track! To useless knowledge! |
| Re: Brian's voice from the 1990's [Smiley Smile Message Board] Posted: 27 May 2008 12:17 AM CDT I think there must have been this horrible plug in tool used in early computer equipment to sanitize vocals or something around the early 90's because Paul McCartney's "trippin' the live fantastic!" cd from about that time records him sounding about as horrible as he ever did as well. Then somehow Brian sounded much better by the late 90's, as did Paul. HAD to be something in the production. You can talk a live McCartney performance in his 60's and he sounds much better than he did in his early 50's? Come on. |
| Re: Brian's voice from the 1990's [Smiley Smile Message Board] Posted: 26 May 2008 11:51 PM CDT I think it's possible. His voice was certainly quite strong on the Sweet Insanity recordings, from 91 or so. I believe that once Landy left, Brian started smoking again, and didn't quit until after his marriage to Melinda in 95. That being said, I think Brian's voice is about at its weakest and strangest on IJWMFTT. |
| Brian's voice from the 1990's [Smiley Smile Message Board] Posted: 26 May 2008 11:28 PM CDT I've been doing a lot of listening to Brian from the early to mid 1990's. The 1990 Convention video, the IJWMFTT cd from 1995, the Beach Boys 1995 Las Vegas show, etc. Is it just me, or did Brian actually recover quite a lot of his falsetto during that brief time? |
| Re: The Definitive BB Historical Sites Thread. [Smiley Smile Message Board] Posted: 26 May 2008 10:56 PM CDT On the subject, other items of interest. Hard Rock Cafe memorabilia. Kona. A naval officer jacket with the Pet Sounds badge on the sleeve and a guitar hangs on the walls in Kona from the most popular of surf bands, The Beach Boys. Key West. A five-page typed letter to Carl Wilson from his father, Murry Wilson and Carl's 1963 Fender Jaguar. It was one of Carl's main live and studio guitars in the mid-60's, the Beach Boys' most successful period. Belo Horizonte. Hawaiian print shirt worn on stage and signed by Dennis Wilson. Honolulu. Brian Wilson's white Fender jazz bass. I am sure Brian donated a old family upright piano to NY years ago and think that is in storage. Two Lane Blacktop Car and Location. http://www.lakelandraceway.com/two-lane_blacktop2.htm Harmony Sailboat. (Location unknown) http://www.cinetropic.com/blacktop/harmony/index.html Hollywood Palladium. (Cover shot for 'In Concert') http://en.wikipedia.org/wiki/Hollywood_Palladium San Diego Zoo. (Cover shot and various for 'Pet Sounds') http://www.sandiegozoo.org/zoo/index.html |
| Re: Art That Shook The World: Pet Sounds [Smiley Smile Message Board] Posted: 26 May 2008 10:45 PM CDT Nice documentary... I haven't seen this before. I think we now have the Brian quote of the day: "I got so G*d D*amn into the Freshmen that like, I almost became the Freshmen" |
| 2008 Bowman SOTF Auto Autograph Brian Wilson ["brian wilson"] Posted: 26 May 2008 08:36 PM CDT |
| Re: a SMiLE question or 3 [Smiley Smile Message Board] Posted: 26 May 2008 08:34 PM CDT Talking about H&V sections, "My Only Sunshine" allegedly was part of the very first H&V basic track, the session that was recorded in May 1966 and taped over. The interesting thing about this session is that it PREDATES Van Dyke's involvement, if you believe Brian and Van Dyke who date their meeting at Terry Melcher's when they decided to collaborate as July 1966. So Brian did indeed have the title of the song, presumably the verse sections, and then a My Only Sunshine fade. Which means he was already writing and thinking in "sections" that could be interchangeable with other songs in May 66, before Good Vibrations was close to being finished. |
| Re: The Mark Linett Thread [Smiley Smile Message Board] Posted: 26 May 2008 07:40 PM CDT Regarding processing on the snare drum...how about that killer delayed echo chamber effect on the "Disney Girls" snare? Brian's house had an echo chamber or two set up. Like Josh, I'm curious to know if that was printed on tape or just bused back into the board for the stereo mix? That's exactly what I sort of had in mind, the snare on DG. The implications of what the case is with that are interesting: If the two-track drum mix does have the slap on it, that means the decisions as to the song's production style were made very early. Which is neat. Also of interest, Steve was quite adamant that they only ever used the one chamber - so I kind of wonder how he did reverb; if he ever put reverb on things during live tracking, since it was one chamber, I imagine the individual returns would have some "reverb leakage" on it, so say they were recording a basic session of drums, ukulele, harmonica, bass, and clavinet: if everything was fed to the chamber, the soloed Uke track would have the reverb of everything on it? |
| Re: Art That Shook The World: Pet Sounds [Smiley Smile Message Board] Posted: 26 May 2008 07:33 PM CDT Thanks for the heads up, Baker Man. I enjoyed that very much. What's up with the "Former Beach Boy" titles under Bruce and Mike's name? And, Brian's language, whew... But, if I enjoyed it so much, why am I sad right now... |
| Re: Dennis Wilson podcast - Episode One [Smiley Smile Message Board] Posted: 26 May 2008 07:28 PM CDT Actually the podcast is not complete when i first heard it it had the carol bloom interview but now for some it gets cut off just before it's missing like 2 mins. here's the url for the complete podcast http://kiptronic.sonybmgmedia.com/production/HTTP/legacy.denniswilson.pob.ep1.mp3 |
| BEACH BOYS BRIAN WILSON WORDS & MUSIC 1988 PROMO CD ["brian wilson"] Posted: 26 May 2008 07:22 PM CDT |
| Re: Which bands do you own a COMPLETE discography for? [Smiley Smile Message Board] Posted: 26 May 2008 07:19 PM CDT Pretty much just the Beach Boys and the Beatles. I've pretty much got the whole Who discography as well. |
| BEACH BOYS BRIAN WILSON IMAGINATION U.S. ADVANCE CD ["brian wilson"] Posted: 26 May 2008 07:18 PM CDT |
| Re: Heights of the Beach Boys? [Smiley Smile Message Board] Posted: 26 May 2008 05:41 PM CDT I saw Brian singing on stage with about 10 musicians at some benefit or award show or something a year or two ago, and I was shocked to see how biggg he was compared to everybody there. Of course you have to remember too that he has a huge plume of hair that makes him look taller sometimes  |
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