Posted: 30 Aug 2008 06:02 AM CDT
Some even think it sounds like Bruce.
Bruce doesn't think it sounds like Bruce. Kinda convincing, huh ?
Posted: 30 Aug 2008 05:59 AM CDT
Posted: 30 Aug 2008 05:58 AM CDT
here is a digital 8 track bedroom recording of "moonshine" i did years ago. Quality is not the best im afraid but i like some parts of it
Posted: 30 Aug 2008 05:10 AM CDT
Posted: 30 Aug 2008 05:06 AM CDT
If I said that, for the most part, it reminds me of 15 Big Ones-meets-'Brian Wilson'(88) - I wouldn't be very popular, would I?
Well, stylistically that pretty much nails it.
Posted: 30 Aug 2008 04:37 AM CDT
I'm finally listening to the stream (I was trying to hold off til it comes out on Monday but have crumbled ).
I'm really enjoying it. It's not 100% genius or anything (some of the lyrics are really cloying for me), but some moments have completely wowed me. I've just cried at the start of Live Let Live :-)
Posted: 30 Aug 2008 04:16 AM CDT
Posted: 30 Aug 2008 04:00 AM CDT
After this promotion, that can't be an option.
Apart from Smile, no Brian Wilson solo album ever charted higher than #54 in the US (BW88) and #30 in the UK (Imagination). So #50 in the US and #15-20 in the UK would actually be pretty darn good.
Posted: 30 Aug 2008 02:47 AM CDT
Posted: 30 Aug 2008 01:19 AM CDT
You should give yourself more credit, Luther. Both of those recordings were damn good. If you call those "half hearted" then I'd love to hear you do a "serious" version.Thank you. I appreciate the compliment. But to be honest, I don't see any "serious" DW covers in my future, as I'm not much of a fan of most of his work.
Posted: 29 Aug 2008 10:56 PM CDT
Posted: 29 Aug 2008 10:33 PM CDT
And with only minimal digging (and let's be honest, no reward to the listeners), here they are. http://www.sendspace.com/file/2n0ip0You should give yourself more credit, Luther. Both of those recordings were damn good. If you call those "half hearted" then I'd love to hear you do a "serious" version.
Posted: 29 Aug 2008 09:49 PM CDT
Posted: 29 Aug 2008 08:12 PM CDT
I went to buy an upper balcony seat for the Oakland Paramount show, which is $45.00. I put in the price level I wanted, but for location, I put in "best available." Instead of getting an upper balcony seat (we're talking the last ten rows of the balcony, which are nosebleed seats), the Ticketmaster system gave me an orchestra seat (row OO), which are all priced at $85, for the $45 price. A very nice $40 discount. I'm not sure if this was a glitch, but if anyone hasn't bought tickets yet, you might want to try the cheaper price and see what seats you might come up with. Is this an indication of slow sales (the show is a week from now, not like it's only a day or two)?
EDIT: Okay, I went back to the site out of curiousity, and they now have rear orchestra as starting at $45. I'm almost sure it as all $85 for the orchestra last week. $65 will also get you into the orchestra now instead of middle balcony, only closer in than $45. Also, they have now released the first two rows of the orchestra, which they had not before. They're $125, but as of this evening, that would get you front row seats.
Posted: 29 Aug 2008 07:32 PM CDT
Posted: 29 Aug 2008 07:01 PM CDT
Posted: 29 Aug 2008 06:52 PM CDT
Went to see Walk Hard last night, and I'll have to admit...watching Dewey Cox's "LSD Period" when he records the VDP song is awfully familiar to Beach Boy fans. In fact, pretty sure one of his band mates tells him to not mess with the formula. Great stuff.
Don't mess with the recipe!
Posted: 29 Aug 2008 06:41 PM CDT
Posted: 29 Aug 2008 06:37 PM CDT
Posted: 29 Aug 2008 06:19 PM CDT
These are great! Have you thought about putting them up on Zazzle.com ; I'd definitely buy one.
Would that even be legal? Those pics are probably copyrighted images.
Posted: 29 Aug 2008 06:16 PM CDT
The mono version of this album blows the stereo away. It was really a rip off that they used the stereo mix for the CD.
Humans have 2 ears, why not utilize both of them? For some reason, I've never liked the Beach Boys in mono. Too muddy-sounding. A lot of the layers are lost in BB mono mixes. I prefer the stereo remix of "All Summer Long" from Warmth of the Sun. The only song on All Summer Long needing a stereo mix now is "I Get Around", and I'll be looking forward to it.
Posted: 29 Aug 2008 06:06 PM CDT
Posted: 29 Aug 2008 05:17 PM CDT
What TLOS needs is Mike Love, apparently. And Brian, really, shouldn't be a solo artist. And the album sounds like Love You, which is a bad thing. The Allmusic review follows.
That Lucky Old Sun, Brian Wilson's second major thematic work, isn't quite the third coming of SMiLE. Instead, it's an overripe ode to the Southern California of the '50s and '60s that the Beach Boys constantly evoked, and although it's polished with the peak-era production style that Wilson made famous, most of the songs are wrapped around the awkward songwriting and over-wrought pop/rock he's revisited again and again since his first major return to form, back in 1976. As a thematic topic, "That Lucky Old Sun" is ripe for integration into Brian Wilson's California myth-making. A Tin Pan Alley chestnut from the '40s, it contrasts the ease of the sun's transit each day with the hardship of human toil on earth, a sort of "Ol' Man River" set in the sky. (Even better is the fact that it's a professional songwriter's account of working-class life, which dovetails perfectly with the Beach Boys' mythic vision of Southern California and the illusionary aspects of Hollywood's brand of reality.)
That Lucky Old Sun begins with Wilson briefly stating the theme and the intonation of a heavenly choir, but then barrels into the first song, "Morning Beat," a turgid rocker with a set of adolescent rhymes (one example: "The sun burns a hole through the 6 a.m. haze / Turns up the volume and shows off its rays"). But wasn't this is supposed to be a collaboration with the great lyricist Van Dyke Parks? Actually, Parks contributes only to a set of spoken narratives, delivered over-emphatically by Wilson himself, that are interspersed throughout the album and attempt to advance the California panorama from Venice Beach to East L.A. to Hollywood as well as frequent stops along Brian Wilson's personal timeline. ("How could I have got so low, I'm embarrassed to tell you so / I laid around this old place, I hardly ever washed my face.") But if Brian Wilson is attempting to look back, his muscle memory for the Beach Boys' classics appears to be fading faster than his personal memories. That Lucky Old Sun rarely approaches the subtleties of the classic Beach Boys sound. What it evokes instead is the driving '70s productions on latter-day Beach Boys albums like 15 Big Ones and Love You granted, with innumerable production touches that could only have come from the mind of Brian Wilson (ah, the clip-clop of wood blocks!).
It's obvious that Wilson was at the center of some of the best and brightest productions of the '60s, but the added assumption about being at the center is that there are integral parts radiating outward. (In Wilson's case, those parts consisted of a superb harmony group with several great lead voices and the on-demand talents of an array of excellent musicians, plus copious engineers and studio technology.) Naturally, his solo career has positioned him at the forefront, which is a very different place than the center and one he's proved himself unwilling and unable to embrace fully. He needs not only talented collaborators but strong lead voices to place alongside his own; an apt comparison at Wilson's age is Burt Bacharach, who would hardly consider writing lyrics as well as music and singing every song on one of his albums. The lack of colleagues who could inform the result of this album the lack of Van Dyke Parks in a prominent role or a Carl Wilson or even a Mike Love is what dooms That Lucky Old Sun, which assumes a place well below SMiLE in the pantheon of Brian Wilson's achievements.
But Billboard raves:
After taking care of some unfinished business in recent years, Brian Wilson shows he still has the stuff of conceptual brilliance on his eighth solo album. "That Lucky Old Sun" is the kind of song cycle that would make Kurt Weill proud, a set of disassociated but nevertheless thematically linked tunes, inspired by Wilson's Southern California roots. Using the title track, a 1949 composition that was a hit for Louis Armstrong, as a recurring motif, Wilson and his collaborators create richly arranged and orchestrated pop songs as well as four poetic spoken-word narratives that give the album a trippy, avant edge. There's a stage-worthy veneer to the entire project as well as some frank autobiographical allusions"At 25 I turned out the light/'Cause I couldn't handle the glare in my tired eyes," Wilson sings at one pointall affirming his reputation as one of the master pop craftsmen of our time. Gary Graff
Posted: 29 Aug 2008 05:03 PM CDT
It's all down to personal taste as the slice of life songs are among my favourite BW compositions. Busy Doin Nothin just epitomises everything I like about that post Pet Sounds period - it's throwaway, yet brilliant at the same time. Seemingly lazy and tossed off, yet the chords are pretty complex, and the whole track is as delicately beautiful as something by A.C. Jobim. Plus, lyrically, it's a snapshot of Brian's life at the time, which is fascinating for many BW fans, me included.
Posted: 29 Aug 2008 04:57 PM CDT
And, by the way, I've always thought "Tomboy" was always intended as a hoot, and is nothing particularly shocking. Songs with more shocking lines have been written by people with no signs of mental illness (at least on the surface) and no-one has batted an eye. "Tomboy" is just pure fun and I enjoy it.
I totally agree about Tomboy. Lazy Lizzy though, that's a whole nother story. That song gives me the creeps.
Posted: 29 Aug 2008 04:56 PM CDT
If you read the whole review, you'll notice he ain't got nothing about the classic work of Brian. I guess he's trying to say that -in his view- is all style over substance
And it hasn't anything to do with age either: he liked Randy Newmans' (great) new album, "this man of pensionable age still so clearly in thrall to emotions a teenager could relate to."
Guardian review follows>
The trouble with pop music, the thing no one ever envisaged, is that no one ever wants to stop making it. A few decades ago the idea that bands would exist past their 30s was ludicrous, now the baby-boomers are into their 60s and still they plough on. Brian Wilson brilliantly nailed the elliptical beauty of the Californian lifestyle 45 years ago - so why can't he just leave it alone? That Lucky Old Sun is full of Beach Boys-isms - the massed choral voices, the jaunty piano, the strident strings - but it's just not any good at all. When Wilson sings about surfer girls and Mexican girls and Southern California and first love, truly, the only emotion you feel is sadness. Every single note feels forced, in hock to a sound and a set of attitudes that date from a time before many of us were born. Please, let this be the end.
Oh, I didn't even know there was more to the review. I got what I posted off the blueboard.
Well, I still think it's a bad review -- not because it's critical of the album, but because it doesn't seem to be coming from the right place. Plus, Beach Boy-isms are ... well, that's Brian's sound. Sure, it's sort of become an idiom, but it doesn't change how he is or how he writes music or the sort of music he creates. Oh, well. Interesting to hear reactions.
Posted: 29 Aug 2008 02:36 PM CDT
Posted: 29 Aug 2008 12:57 PM CDT
Posted: 29 Aug 2008 05:01 AM CDT
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