Posted: 27 Aug 2008 06:11 AM CDT
Posted: 27 Aug 2008 06:01 AM CDT
Posted: 27 Aug 2008 05:52 AM CDT
Posted: 27 Aug 2008 05:35 AM CDT
No Mark Linett...hmm...
Mark was there. He's mentioned in the credits as engineer.
Posted: 27 Aug 2008 04:49 AM CDT
What Amy said. This album is "creative, fresh and enjoyable". The songs do somehow mesh together into what is effectively a concept album, and so often with concept albums the concept kills the music...but not with TLOS. Because the songs were mostly there before the concept was added, and it wasn't laid on thick...it was quite carefully sewn in by altering lyrics and by Van Dyke's exquisite word-play poems.
As for Brian's rendition of the narratives, I think he does a good job. He doesn't slur his speech like he so often has in the last twenty years, and I don't get the impression that he hasn't a clue what VDP's words mean. Despite the fact that the vague LA concept was probably not his idea, he seems to be enthused by it and there's an energy on this LP in his vocals that certainly wasn't there on most of GIOMH and even SMiLE sometimes struggles to equal.
If we accept the likely situation that Brian will sing rather lackluster vocals when he's not interested in a project, but that he can still deliver the goods when he's fired up....then one comes to the conclusion that TLOS was a good experience for him.
Am still not convinced I like what Brian is doing on "Going Home", but then I loved the live premiere of that so much any new recorded version will take a few spins to get used to.
No Mark Linett...hmm...interesting...because Mark knows Brian and his work and techniques so well....but the LP doesn't seem to suffer. Dare I think that Brian actually took control of recording and mixing this? The BBC documentary on Monday night did say that during SMiLE, Brian got himself up to date and familiar with modern recording technology, what's possible and how it all works.....is this perhaps the result? Or did his co-conspiritors just happen to work well with Brian....as well as Mark does?
Posted: 27 Aug 2008 04:42 AM CDT
While I did enjoy this programme, it was disconcerting to learn that the presenter thinks Brian's new albm is "Old Lucky Sun"...and there was at least one other similar mistake in a song title.
It was good to hear an hour's worth of radio - on the UK's most popular station no less - devoted to a serious attempt to explain and describe Brian's production techniques and how they developed. Naturally about 45 minutes was given to the period 1963-1966, and I understand an extended version airs on a digital BBC station on Saturday where they will examine God Only Knows in detail.
Posted: 27 Aug 2008 04:18 AM CDT
Posted: 27 Aug 2008 02:58 AM CDT
Ever heard the version on Anne Wallace's old site? She had a sync-up between the stereo backing track and the vocals that was nothing short of professional quality... you'd never know anything was "tampered with".
Her sync of Brian's piano demo of "Surf's Up" to that song's backing track was also excellent.
Posted: 27 Aug 2008 02:50 AM CDT
Posted: 27 Aug 2008 02:40 AM CDT
Thanks for the insight about the tape. Rocky sure doesn't come off good on the tape but I guess he saw the value in keeping it. It was worth what you paid, it is very compelling.
Here's what doesn't come off good: why the hell were they hiding a tape recorder in the room?
Posted: 27 Aug 2008 02:06 AM CDT
Seems like the guy indulged in the "wonder of maijana" before he wrote this. Read 1964, Brian must have hated Houston to have a panic attack and then later a breakdown on the way there! The stuff about Brian's voice in 1971 was bull. I would kill to have the voice he had then. I laughed out loud when it said Friends was the first album Bruce was on. Also we now know Brian's involvment in Surf's Up was fairly high and to label him a cocaine addict in 1968 streches things quite a bit. Smiley had Smile outtakes? Right......The Manson stuff is a theory passed off as fact, and the comment that the band were better off without Brian in 1968! I guess he never heard I Went To Sleep, Time To Get Alone,, Wer'e Together Again, Old Man River, Walk On By, Do It Again etc.
Posted: 27 Aug 2008 01:03 AM CDT
Al is briefly booted out of the band when Murry decides it should be a family-only affair before Brian changes his mind; Jardine doesn't learn of his ejection until 2005.
I thought that was true?!
Their immediate reaction is puzzled; Al, Dennis and Mike are overhead complaining "This isn't our kind of merda!" according to Carlin's Catch A Wave.
Oh what the merda ever. I own the book & that's not in there. I don't think Dennis ever criticized anything Brian did until 15 BO.
Though Carl was a fan and told the press, "Smile makes Pet Sounds stink,"
That was Dennis.
What really sizzles my balls is that the stuff that is true is jacked from Peter's book. Also, I seriously doubt Pro Tools was used for Summer in Paradise, considering it was just barely released the previous year!
Posted: 27 Aug 2008 12:59 AM CDT
Brian's lived in this city for 66 years, and I thought, "Is this all he has to say about it?"
That's just it -- it's not trying to be "all he has to say about it". Just something he's saying. This album's no more trying to be the definitive Statement About LA than "Shut Down" is all he has to say about cars. I really think the ambition of the songs lie elsewhere...
Posted: 27 Aug 2008 12:42 AM CDT
It's certainly not an error-filled book, and isn't perceived that way. When you write on a subject that's this passionate and personal for a lot of people, you're usually going to come under attack from some quarter, and while Heroes & Villains stirred some strong response (and still does), the first two things you would usually hear- "error-filled" and "a work of fiction", in that order, have never been applied to it and couldn't be.
In re-reading it, the only thing that strikes me is that in some cases new information has become available, especially in connection with the recording of SMiLE and so forth, that could be incorporated into a revised text. There are cases where I don't think "error" so much as "this is based on the information that was available then."
I'm sure I will spot some legitimate errors as I go, because just about every book of any scope contains them. If you do a revised edition, it will contain errors as well. My brother has a sports-related book coming out in a few weeks, and he sent the manuscript to me and another of our brothers, and we spotted a half dozen or more small errors each that the publisher wouldn't have caught. That guy didn't play in that game, etc. And each of us missed errors that someone else caught- and often about events we all witnessed recently.
I agree that a fully updated version would be a bad idea- the story at hand really ends with Dennis' death, and what follows would be a different book. But I'd love to read a new afterward (afterword?) that would give us a postscript on some of the people that had a larger role in this story than in any other Beach Boys book- most especially, I'd love to read a really extended piece of journalism (or anything at all) on the last twenty years of Shawn Love's life- I think there's a very real and tragic story there. She must have gotten to be almost exactly Dennis' age. I've also been interested in how Gage has managed to muddle through.
Posted: 27 Aug 2008 12:42 AM CDT
As criticial as I have been concerning Brian's solo career and the circumstances/environment around him and his "people"....I freakin' love TLOS. I personally feel it's the best BB/BW since Holland, POB excepted. Definitely his best vocals since the glory days, that's for sure. His voice may be fading, but he's singing with feeling for the first time since...hell I don't know.
Posted: 27 Aug 2008 12:36 AM CDT
Posted: 27 Aug 2008 12:09 AM CDT
Posted: 27 Aug 2008 12:01 AM CDT
Posted: 26 Aug 2008 11:57 PM CDT
CLAP! CLAP! CLAP!
A standing ovation for Amy .... she gets it!
And one paragrapher should be rendered in stone and placed on the home page of every Brian Wilson and Beach Boys website:
"I think it's possible to overanalyze something to the point where it seems to lose value, like saying a word over and over again until it makes no sense. I also think that as much as Brian is the subject of a bit too much hero-worship, he's also the subject of too much criticism. If you don't like the songs, he wrote them. If you do, they're the work of his band. If his voice sounds better than on the last few albums it's still not as good as it was in 1966. If Brian is collaborating with others it must mean he can't work alone, and if he does a wall of Brians or takes all the leads he really should rely more on his band."
Posted: 26 Aug 2008 11:48 PM CDT
Its here: http://www.bbc.co.uk/iplayer/console/b00d3l3w
I don't know if you need to download iPlayer or anything, don't think so. Listen to Jeff Foskett at around ten mins.
Rah for the Beeb!
Posted: 26 Aug 2008 11:29 PM CDT
Stan and Rocky sold me a copy of the "heroin tape" from Australia. They hid a tape recorder in the room under a chair. You can actually hear the sound of the punch connecting with Carl's face.I would sell my mother to hear that tape. Speaking of the Australian tour, have you ever heard the infamous show where Carl passed out/fell, and was forced off the stage?
Posted: 26 Aug 2008 11:21 PM CDT
I agree with Jon . . .
"Even though he is pumping out hit after hit for the Beach Boys, Brian finds the time and interest to write for and produce other artists, including California brethren Jan & Dean . . . "
This is merda do touro . . . Brian Wilson never produced anything for Jan & Dean . . . nor did he ever write anything for J&D. Brian's writing credits for J&D were collaborations with Jan Berry . . . except for the cover version of "Catch a Wave" (Sidewalk Surfin').
Someone put a halt to civilization and declare the Internet a huge f*king mistake . . . ha!
Posted: 26 Aug 2008 11:19 PM CDT
Posted: 26 Aug 2008 11:15 PM CDT
Yikes, I thought I liked TLOS, until I read this thread!
Seriously, everyone's entitled to an opinion, and here's mine. It's terrific. Brian C mentioned just letting it wash over him, and I think that's really how BW's work is meant to be experienced. To pick apart the lyrics doesn't seem fair-- with some exceptions, BW is not known for his lyrics. Besides, Scott wrote a lot of the lyrics, but somehow this is becoming yet something else that must be a sign of how Brian isn't as good as he used to be. I mean, "I love the colorful clothes she wears" isn't exactly brilliant and profound, but that doesn't take away from the feeling you get when you listen to GV, does it? Of course not, since it was written in BW's heyday.
I actually thought the lyrics were quite good. I felt that I could tell where Brian contributed, like "They have the right kinda thing," is so Brian, and where Scott was not trying to emulate Brian's lyrics but keep the style straightforward, as Brian would talk now. Brian may be deep or may not be deep, but he sure doesn't express himself on a "deep" way. It might have been a little strange to hear him sing a profound statement about the history of CA and his role in it. Leave that to VDP.
As far as the music goes, I love it. Surprise, surprise. It has many of Brian's hallmarks. Oxygen to the Brain has been criticized, and I dont' know why. It's got the tempo changes, the unexpected changes in the melody, and the theme of resurrection that Brian has revisited so many times. California Role is nostalgic, melody-wise, just like Saturday Morning in the City, and it fits with an album that uses a 1940s song as its backbone-- and it fits with the Hollywood theme. I think both of them have killer melodies, as do Good Kind of Love and Live Let Live. And oh! Brian's new material is autobiographical. Is that a shock? Most of his material is autobiographical to some extent.
I think it's possible to overanalyze something to the point where it seems to lose value, like saying a word over and over again until it makes no sense. I also think that as much as Brian is the subject of a bit too much hero-worship, he's also the subject of too much criticism. If you don't like the songs, he wrote them. If you do, they're the work of his band. If his voice sounds better than on the last few albums it's still not as good as it was in 1966. If Brian is collaborating with others it must mean he can't work alone, and if he does a wall of Brians or takes all the leads he really should rely more on his band.
I'd give the album four out of five. No, it's not Pet Sounds or Smile. But it's creative and fresh and enjoyable, and it easily matches or exceeds what Brian's contemporaries are releasing.
Posted: 26 Aug 2008 10:43 PM CDT
Posted: 26 Aug 2008 09:35 PM CDT
Posted: 26 Aug 2008 08:28 PM CDT
Posted: 26 Aug 2008 07:07 PM CDT
Posted: 26 Aug 2008 05:49 PM CDT
Posted: 26 Aug 2008 11:10 AM CDT
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