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Post by Kapitan on Jul 28, 2019 14:56:42 GMT
I think we've discussed Holland more than SDSN. Sounds about right (and par for the course).
One thing I'd point out about SDSN that I don't think is discussed much: no (classic) ballads. It's mostly rockers. Girl Don't Tell Me is a bit softer, but it's no ballad. Summer Means New Love would be a ballad if it had vocals, but as an instrumental I don't think I'd call it one. And And Your Dreams Come True doesn't really fit that definition either.
Obviously Pet Sounds had several great ballads. Today did, too. All Summer Long had a few. Shut Down Vol. II had a few. LDC and Surfer Girl ... yep. But this album in the prime of Brian's peak, the man who delivered some of the sweetest ballads in RnR history didn't include a single true ballad. Weird.
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Post by Deleted on Jul 28, 2019 14:59:26 GMT
I think we've discussed Holland more than SDSN. Sounds about right (and par for the course). One thing I'd point out about SDSN that I don't think is discussed much: no (classic) ballads. It's mostly rockers. Girl Don't Tell Me is a bit softer, but it's no ballad. Summer Means New Love would be a ballad if it had vocals, but as an instrumental I don't think I'd call it one. And And Your Dreams Come True doesn't really fit that definition either. Obviously Pet Sounds had several great ballads. Today did, too. All Summer Long had a few. Shut Down Vol. II had a few. LDC and Surfer Girl ... yep. But this album in the prime of Brian's peak, the man who delivered some of the sweetest ballads in RnR history didn't include a single true ballad. Weird.
Good point. Probably Brian intended "Sherry She Needs Me" to be the ballad of the album, but never finished it somehow.
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Post by B.E. on Jul 28, 2019 15:19:24 GMT
I think we've discussed Holland more than SDSN. One thing to add about the later. I love Brian's vocals on Let Him Run Wild, even if Brian himself doesn't. When I listen to LHRW with Brian's comments in mind, I can really only hear what he means on two words of the first line, "When I WATCHED you WALK with him". Most of his singing from that point on may be among his most impressive. I don't think he should feel embarrassed by the high pitched "let him RUN"'s in the chorus. I think he pulls them off.
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Post by Kapitan on Jul 28, 2019 15:23:47 GMT
I wonder whether he ever really seriously meant that criticism anyway. While I can't place the citation specifically, I seem to recall him also deriding his falsetto and high tenor vocals when discussing his "manly" voice of the mid to late 70s. The whole thing seems to me to be more a case of lacking the ability to sing in the voice for which he was known, but explaining it away (maybe even to himself, but certainly to journalists) with some questionable logic.
Sure, he may wish he'd hit this or that note more forcefully or more on pitch, but give me a break. He couldn't have hated it that much: it made the record.
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Post by B.E. on Jul 28, 2019 15:29:54 GMT
I wonder whether he ever really seriously meant that criticism anyway. While I can't place the citation specifically, I seem to recall him also deriding his falsetto and high tenor vocals when discussing his "manly" voice of the mid to late 70s. The whole thing seems to me to be more a case of lacking the ability to sing in the voice for which he was known, but explaining it away (maybe even to himself, but certainly to journalists) with some questionable logic.
Sure, he may wish he'd hit this or that note more forcefully or more on pitch, but give me a break. He couldn't have hated it that much: it made the record.
He probably didn't have a problem with it at the time, as he was relatively health then. I think his comments reflect his heightened insecurity as his mental health deteriorated in the early 70s. Edit: It could be both.
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Post by kds on Jul 28, 2019 16:50:57 GMT
I wonder whether he ever really seriously meant that criticism anyway. While I can't place the citation specifically, I seem to recall him also deriding his falsetto and high tenor vocals when discussing his "manly" voice of the mid to late 70s. The whole thing seems to me to be more a case of lacking the ability to sing in the voice for which he was known, but explaining it away (maybe even to himself, but certainly to journalists) with some questionable logic.
Sure, he may wish he'd hit this or that note more forcefully or more on pitch, but give me a break. He couldn't have hated it that much: it made the record.
One does have to take just about anything Brian says with a grain of salt, but he apparently felt strongly enough to keep LHRW off the GV box and to rerecord it for Imaginatiob.
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