Posted: 11 Aug 2008 11:26 PM CDT
Posted: 11 Aug 2008 08:36 PM CDT
Posted: 11 Aug 2008 08:27 PM CDT
Posted: 11 Aug 2008 04:55 PM CDT
That was a great post, Clay.
The truth about Andy is that he worked well with Brian Wilson while it lasted... at the same time, he's a human, prone to all the trappings that we all can fall into anytime. So I'm sure Andy made his mistakes like anyone else. That said, no one ever has an easy time working in the Beach Boys world. It's a double-edged sword, and we're all lucky that so much good work was completed.
Posted: 11 Aug 2008 04:18 PM CDT
Posted: 11 Aug 2008 04:14 PM CDT
Posted: 11 Aug 2008 04:09 PM CDT
"Country Air" is the most relaxed and naturally achieved synthesis of innocence and sophistication that the Beach Boys are aiming for. Whether or not they recognize the success of this inconspicuously placed song, hugely successful in terms of what they have so obviously been aiming for, is doubtful. The song is about the Rousseauian-styled life of simplicity in the woods. The opening orchestral riffs set a thoroughly pastoral mood, and the single, well positioned cry of a rooster signals the entrance of the voices. The lyrics are unconsciously simpleminded, the simplicity which is the beauty of the whole Beach Boy stance since "Surfin USA." They say "Get a breath of that country air, Breathe the beauty of the everywhere."
The Friends review mentions Rousseau, too. What's up with that?
I just love the last line of the Surf's Up review, though. "You can come home, guys, all is forgiven."
Posted: 11 Aug 2008 04:07 PM CDT
Producer Al Burton confirmed the episode, and a number of people have claimed to have seen it back when it originally aired, including Domenic Priore in LLVS. I myself made an attempt to uncover the stash of all KHJ-Channel 9 shows, and have many leads. Currently, several people are pitching the Paley Center in NYC and L.A. to get funding to recover as much KHJ programming from the '60s as possible.
Posted: 11 Aug 2008 03:57 PM CDT
Posted: 11 Aug 2008 03:44 PM CDT
For those who are interested, Columbia is releasing the next installment of Dylan's "Bootleg Series" on Oct. 7th. This one's called TELL TALE SIGNS and is a double CD set containing demos, outtakes and alternate versions of material from OH MERCY through last year's MODERN TIMES. Go to www.bobdylan.com to download an MP3 of "Dreamin' of You", an unreleased track from TIME OUT OF MIND that is as good, if not better, than some of the material on that fine album (you'll recognize a few lyrics that got parceled out to other tracks).
There's an expensive collector's edition that contains a third CD with more outtakes. I'll probably go for this since the bonus disc doesn't appear to be a throw-together, but an actual continuation of the material found on the first two discs.
This is exciting news because I've been waiting for more unreleased studio work from Dylan and the last twenty years have been pretty strong for him. I'm especially interested in hearing the OH MERCY outtakes of tracks that ended up on UNDER THE RED SUN (I suspect I might like the early versions better).
Posted: 11 Aug 2008 03:42 PM CDT
Posted: 11 Aug 2008 03:39 PM CDT
Perhaps this has been covered before, or maybe it's just not as interesting as I think it is. Anyway, I just found myself being fascinated by this stuff, as I wasn't even born yet when most of these reviews about some of my favorite albums were written. It's always rather exciting to me to get a glimpse into people's original reactions to the music.
The Sunflower review seemed particularly strange to me, as the writer so obviously didn't allow himself to come to the conclusion that this is just great music period:
It makes one wonder though whether anyone still listens to their music, or could give a merda about it. This album will probably have the fate of being taken as a decadent piece of fluff at a time when we could use more Liberation Music Orchestras. It is decadent fluff–but brilliant fluff. The Beach Boys are plastic madmen, rock geniuses. The plastic should not hide from use the geniuses who molded it.
That said, the Friends review being rather positive strikes me as a pleasant surprise. Next I'm going to read the one about M.I.U...
Posted: 11 Aug 2008 03:38 PM CDT
Posted: 11 Aug 2008 03:27 PM CDT
Though "Love and Mercy" touches on a few pacific strings.I think a lot of songs written by Brian touch on Pacific strings...
Posted: 11 Aug 2008 03:07 PM CDT
I wouldn't worry too much. Brian must have got bored of waiting for a World of Peace by now. Haven't we all? Though "Love and Mercy" touches on a few pacific strings.
So does this mean that Brian was in tune with the times? Seems so.
Maybe that's why he abandoned that pro Americana LP (SMiLE) & deemed it inappropriate. He must be a traitor. Makes sense.
Posted: 11 Aug 2008 02:52 PM CDT
Posted: 11 Aug 2008 02:44 PM CDT
Posted: 11 Aug 2008 02:37 PM CDT
Posted: 11 Aug 2008 02:20 PM CDT
Posted: 11 Aug 2008 02:19 PM CDT
Posted: 11 Aug 2008 01:48 PM CDT
2) Talking about bootlegs is fine. Posting messages asking for bootlegs or offering bootlegs is not fine. That's what private messages and emails are for.
So I guess this should be no problem...
Posted: 11 Aug 2008 01:43 PM CDT
Posted: 11 Aug 2008 01:40 PM CDT
Posted: 11 Aug 2008 01:34 PM CDT
Posted: 11 Aug 2008 12:29 PM CDT
Posted: 11 Aug 2008 12:10 PM CDT
The Beatles -- "Long, Long, Long" and their cover of "Mr. Moonlight"
The Beach Boys -- too many to pick from
The Monkees -- tie among "On The Day We Fall In Love," "The Poster," and "She's Moving In With Rico"
Wings -- "Mrs. Vanderbilt"
The Who -- anything with Kenny Jones on drums
The Doors -- "Get Up And Dance" (too happy for them, even though Jim wasn't involved)
Chuck Berry -- "My Ding-A-Ling"
James Cotton -- his performance of "Juke" at Little Walter Jacobs' induction into the RnRHoF
Led Zeppelin -- anything after the third album
Brian Wilson (solo) -- "The Waltz"
Grateful Dead -- "Touch of Gray"
Posted: 11 Aug 2008 10:44 AM CDT
I was always under the impression that Tony wrote that first line "I love the colorful clothes she wears" and Mike wrote the rest on the final version. If Mike wrote "I love the colorful clothes she wears", what was Tony's first line of his lyrics?I don't think there was one. It just starts with "She's already workin' on my brain".
There probably was an opening line penned by Asher, but it's been long forgotten. I got the impression that they took Asher's lyrics from the demo where the first line is missing (the mic wasn't "punched in" in time?) resulting in the inclusion of Mike's opening line as a replacement.
I think part of the motivation to use the Asher lyric was to give the SMiLE version of "Good Vibrations" a different identity than the Beach Boys version. I can see the value in that even though I prefer Mike's lyrics.
Posted: 11 Aug 2008 09:27 AM CDT
I wasn't familiar with the show so I looked it up:
Posted: 11 Aug 2008 07:03 AM CDT
I think it's also because if you're unfamiliar with a certain band, you focus on one thing, like Brian's voice or Mike's voice, both of which are very distinctive, of course.
I remember my sister playing They Might Be Giants music all the time when I was in middle school. I couldn't stand John Linnell's voice, and it was all I heard. So I thought all their songs sounded the same (even though John L. doesn't even sing lead on all the songs). Then I later became a fan, and of course, all their songs do not sound the same. For non-fans, a band is background music. Non-fans don't care enough to listen for the differences.
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