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Post by Sheriff John Stone on Feb 10, 2020 21:52:57 GMT
Is that Dennis or Hal Blaine drumming on "Hushabye"?
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Post by Kapitan on Feb 10, 2020 21:54:28 GMT
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bellbottoms
Pacific Coast Highway
Posts: 727
Likes: 201
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Post by bellbottoms on Feb 10, 2020 23:29:52 GMT
The drums in Hushabye are pretty awesome, but Brian's falsetto kicks my ass in that song. Actually it might be more of a kick in the ovaries.
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Post by Kapitan on Feb 10, 2020 23:37:24 GMT
Couldn't agree more! Well, except that based on my limited understanding of science, I lack ovaries.
But Brian's voice is the best part of that song. Actually I love Mike's and Brian's solo verses both.
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Post by Sheriff John Stone on Feb 10, 2020 23:49:48 GMT
On this live version, Dennis does a pretty good job duplicating the studio recording:
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Post by B.E. on Feb 11, 2020 0:48:48 GMT
It's pretty wild that they even attempted that song live.
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Post by B.E. on Feb 24, 2020 19:49:28 GMT
Courtesy of Stack-o-Tracks, I've got two specific moments/elements of Pet Sounds on my mind today. The first is the accordion during the last section of "Wouldn't It Be Nice" prior to the outro. According to the Behind The Sounds video series, "it's Frank Marocco performing what he calls a "triple bellow shake" on the accordion while using a violin reed setting". While it's not something I hadn't noticed before, my ears are typically glued to the vocals during that section, so hearing the instrumental version this morning really knocked me out. I cued up the video to include the dramatic, slow build-up.
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bellbottoms
Pacific Coast Highway
Posts: 727
Likes: 201
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Post by bellbottoms on Feb 24, 2020 20:53:44 GMT
Courtesy of Stack-o-Tracks, I've got two specific moments/elements of Pet Sounds on my mind today. The first is the accordion during the last section of "Wouldn't It Be Nice" prior to the outro. According to the Behind The Sounds video series, "it's Frank Marocco performing what he calls a "triple bellow shake" on the accordion while using a violin reed setting". While it's not something I hadn't noticed before, my ears are typically glued to the vocals during that section, so hearing the instrumental version this morning really knocked me out. I cued up the video to include the dramatic, slow build-up. I love that section too. The entire instrumental track for WIBN is magnificent, and on its own really highlights just how spectacular this song is. Same with the vocal only version. It's astounding to think that when you separate the instrumental track from the vocals, and listen to either one, just how incredible the parts are, that make up the whole. You might expect that it's only when they're together that it's perfect - but the pieces are perfect on their own!
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Post by B.E. on Feb 24, 2020 21:00:10 GMT
Courtesy of Stack-o-Tracks, I've got two specific moments/elements of Pet Sounds on my mind today. The first is the accordion during the last section of "Wouldn't It Be Nice" prior to the outro. According to the Behind The Sounds video series, "it's Frank Marocco performing what he calls a "triple bellow shake" on the accordion while using a violin reed setting". While it's not something I hadn't noticed before, my ears are typically glued to the vocals during that section, so hearing the instrumental version this morning really knocked me out. I cued up the video to include the dramatic, slow build-up. I love that section too. The entire instrumental track for WIBN is magnificent, and on its own really highlights just how spectacular this song is. Same with the vocal only version. It's astounding to think that when you separate the instrumental track from the vocals, and listen to either one, just how incredible the parts are, that make up the whole. You might expect that it's only when they're together that it's perfect - but the pieces are perfect on their own! Absolutely. You know, I've never actually listened to the whole album, instrumental only, in one sitting. I think I really want to give that a try.
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bellbottoms
Pacific Coast Highway
Posts: 727
Likes: 201
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Post by bellbottoms on Feb 24, 2020 21:08:01 GMT
I love that section too. The entire instrumental track for WIBN is magnificent, and on its own really highlights just how spectacular this song is. Same with the vocal only version. It's astounding to think that when you separate the instrumental track from the vocals, and listen to either one, just how incredible the parts are, that make up the whole. You might expect that it's only when they're together that it's perfect - but the pieces are perfect on their own! Absolutely. You know, I've never actually listened to the whole album, instrumental only, in one sitting. I think I really want to give that a try. Far be it from me to try and predict what another person's experience of something will be, but I can't imagine you'll be disappointed. It's pretty glorious
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Post by B.E. on Feb 25, 2020 4:23:42 GMT
Hopefully those with proper knowledge of music theory will forgive how I go about explaining this...
All right, this is a rather obvious one, but I really appreciated it today: the drum patterns on "Sloop John B". The whole song is in the same time signature (I think), but there are 3 patterns. At first the snare is hit on the first beat. So if you are counting to 8 throughout the song, the snare is hit 1-2-3-4-5-6-7-8 and so on. Then it changes to 1-2-3-4-5-6-7-8. Then it changes to 1-2-3-4-5-6-7-8. Then at the very end it changes back to the 2nd pattern, but the bass guitar switches from quarter notes to eighth notes (right?) to provide the same energy and momentum that the drums previously provided. It just hit me how cool that interplay was, that's all.
Then I listened to "Here Today" and there's that one section later in the song that employs that same 1-2-3-4-5-6-7-8 pattern. I started to wonder how many other Brian Wilson songs did the same. Can anyone think of any? There may be many, but that's not something I know offhand.
"Sloop John B" from the beginning:
"Here Today" cued to the drum pattern:
Edit: I thought of an answer to my question: the fade of “Help Me, Rhonda”.
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Post by Kapitan on Feb 26, 2020 0:20:23 GMT
That is basically "double time." You can give the impression of speeding up even keeping the same tempo by (for example) switching from:
1 2 3 4 kick snare kick snare
to:
1 2 3 4 kick snare kick snare kick snare kick snare
The details can vary, obviously, but you get the point. If the emphasis was every two beats, it becomes every beat. And so on.
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Post by B.E. on Mar 29, 2020 17:06:54 GMT
Thanks to our discussion in another thread, I ended up listening to most of L.A. (Light Album) last night. In doing so, I was reminded of a particularly pleasing Brian-esque dissonant harmony appearing in "Lady Lynda". I've set the video to start at 1:23 (the beginning of the group harmony in question), but the notes that I'm referring to are heard at 1:27-1:28. So, nice moment? Does it remind you of Brian? Am I hearing things?
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Post by Sheriff John Stone on Mar 29, 2020 18:34:40 GMT
Regarding "Lady Lynda", is it the best song Al ever wrote? It might be. I saw The Beach Boys in the late 1970's/early 80's when they performed it live and it actually rocked! "Lady Lynda" did end up on Live At Knebworth. That's a pretty big compliment to make the cut on an album that features mostly the hits. I know that "Lady Lynda" did well in England.
And, they featured it on American Bandstand, too. They sound just like the record!
Had to include Part 2, Dick Clark talking with the group:
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Post by jk on Mar 31, 2020 8:59:38 GMT
"Little Surfer Girl", the first of many wonderful surprises on the GV 30 Years box set:
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