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Post by B.E. on Mar 29, 2020 0:47:17 GMT
It seems I'm in the minority (again), but I very much like the yacht rock sounds of the LA album. It works as a chill, late night album for me. I don’t listen to it often, but occassionally I’m in the right mood. (Individually, I’m a pretty big fan of about half the songs.) I recently voted it my favorite post Love You album. Though, admittedly, only by slim margin.
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Post by Sheriff John Stone on Mar 29, 2020 0:57:26 GMT
It seems I'm in the minority (again), but I very much like the yacht rock sounds of the LA album. It works as a chill, late night album for me. I don’t listen to it often, but occassionally I’m in the right mood. (Individually, I’m a pretty big fan of about half the songs.) I recently voted it my favorite post Love You album. Though, admittedly, only by slim margin. If you take each song individually, they're not THAT bad. I actually enjoy most of them to some extent, again if I'm just singling one out or listening to one on a comp. But when you group them together, it can bring things down to a snail's pace. Side 1 of L.A. (Light Album) is tough to stay with. By the time I get to "Love Surrounds Me" and "Sumahama"...
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Post by The Cincinnati Kid on Mar 29, 2020 1:17:00 GMT
It seems I'm in the minority (again), but I very much like the yacht rock sounds of the LA album. I do really enjoy the rest of the album. Love Surrounds Me is one of their most underrated songs, imo.
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Post by jk on Apr 3, 2020 10:00:41 GMT
If this is Murry (neither Ian R or SWD can say for sure--AGD adds Grillo to the mix--although it's a fact that Mike wasn't there), then that A in "Be Here In The Morning" was his lowest note (maybe his only note) on a BB record (first heard at 0:33):
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Post by Sheriff John Stone on Apr 3, 2020 12:52:29 GMT
If this is Murry (neither Ian R or SWD can say for sure--AGD adds Grillo to the mix--although it's a fact that Mike wasn't there), then that A in "Be Here In The Morning" was his lowest note (maybe his only note) on a BB record (first heard at 0:33): I didn't know Mike was not present. Makes you wonder why they would have a session without his voice, and then recruiting Murry and that great vocalist, Nick Grillo. That is Dennis at 1:37 isn't it?
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Post by Kapitan on Apr 3, 2020 12:55:33 GMT
I believe this was while he was in India. Definitely recall reading on some old board about his relative lack of participation in this album for that reason, and Murry's presence vocally. But I also don't know the details: theses are just those vague memories based on (quite possibly questionable) sources.
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Post by Sheriff John Stone on Apr 3, 2020 13:06:19 GMT
I believe this was while he was in India. Definitely recall reading on some old board about his relative lack of participation in this album for that reason, and Murry's presence vocally. But I also don't know the details: theses are just those vague memories based on (quite possibly questionable) sources. Again, I wasn't aware of that, and oddly, Mike has a songwriting credit for "Be Here In The Morning".
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Post by jk on Apr 3, 2020 19:49:24 GMT
I believe this was while he was in India. Definitely recall reading on some old board about his relative lack of participation in this album for that reason, and Murry's presence vocally. But I also don't know the details: theses are just those vague memories based on (quite possibly questionable) sources. Again, I wasn't aware of that, and oddly, Mike has a songwriting credit for "Be Here In The Morning". AGD mentions Mike being absent for "Wake The World" and "Be Here" and Peter Ames Carlin says he returned from India in mid March of '68 to join in the Friends sessions for a couple of weeks before the Boys set off on their ill-fated tour of the US Southeast.
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Post by jk on Apr 10, 2020 8:55:29 GMT
It's time for [jk']s [live Beach Boys] [problem].
Recently I've been voting for BB tracks at a forum not a million miles away from this one. And now we've embarked on the live 1973 double album.
I've tried--oh, how I've tried!--to appreciate this arguably not unimportant aspect of BB music but it's hopeless. I've yet to hear a live version that in my book comes anywhere near its studio equivalent.
I'm curious to know whether the general opinion here is anything like the general opinion there--that many tracks benefit from a live outing. To be continued, no doubt.
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Post by Kapitan on Apr 10, 2020 12:31:03 GMT
Is your question specific to the 1973 version v studio originals, or any live versions v studio versions?
I guess for my purposes it doesn't matter: I'm a studio version guy almost (if not literally) every time. I tend not to like live albums much, even when there's nothing wrong with them. I enjoy live videos far more, but live albums? No thanks.
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Post by jk on Apr 10, 2020 13:16:32 GMT
Is your question specific to the 1973 version v studio originals, or any live versions v studio versions? Any.
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Post by Sheriff John Stone on Apr 10, 2020 13:34:59 GMT
It's time for [jk']s [live Beach Boys] [problem]. Recently I've been voting for BB tracks at a forum not a million miles away from this one. And now we've embarked on the live 1973 double album. I've tried--oh, how I've tried!--to appreciate this arguably not unimportant aspect of BB music but it's hopeless. I've yet to hear a live version that in my book comes anywhere near its studio equivalent. I'm curious to know whether the general opinion here is anything like the general opinion there--that many tracks benefit from a live outing. To be continued, no doubt. I'm a big live album fan. That doesn't mean I prefer live tracks over the studio versions - I usually don't - but the live albums come in handy as a diversion after I fully digest (and play out?) the studio versions over years. It seems to me that live albums usually have more energy and more punch (which is good if it is guitar-driven music), and can lift certain songs to another level. If I think the live version detracts too much or changes the studio version too much, I'll simply bypass it and revert to the studio version.
With the Beach Boys, it is such a mixed bag. Due to Brian's studio productions being so difficult to reproduce live, and with the guys' voices changing over the years (mostly Mike, Brian, and Dennis), not just on leads but with the harmony blend, some of the live tracks/albums suffer. I think with each live album, from Concert to Live In London to In Concert to Knebworth to C50, the sound was different, although the instrumental arrangements and band makeup obviously contributed to that.
Of all the live albums, I think the songs on In Concert deviate the most from their studio counterparts. Sometimes that's a good thing (Blondie and Ricky were the best musicians the band ever had); other times it's a little hard to get used to.
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Post by kds on Apr 10, 2020 14:42:15 GMT
It's time for [jk']s [live Beach Boys] [problem]. Recently I've been voting for BB tracks at a forum not a million miles away from this one. And now we've embarked on the live 1973 double album. I've tried--oh, how I've tried!--to appreciate this arguably not unimportant aspect of BB music but it's hopeless. I've yet to hear a live version that in my book comes anywhere near its studio equivalent. I'm curious to know whether the general opinion here is anything like the general opinion there--that many tracks benefit from a live outing. To be continued, no doubt. Generally, I opt for studio versions for the most part, but I think live albums can be a fun listen. I do think every live version of Wild Honey I've ever heard (from the early 70s to later day versions with Brian's solo band) blow away the studio cut. Also, even though I'm not a huge fan of the song, the live version of Funky Pretty on In Concert is far better than its Holland counterpart. And, while I don't think I prefer the live versions over the studio cuts, the versions of Let the Wind Blow and You Still Believe in Me on In Concert are amazing.
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bellbottoms
Pacific Coast Highway
Posts: 727
Likes: 201
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Post by bellbottoms on Apr 11, 2020 18:40:38 GMT
It's time for [jk']s [live Beach Boys] [problem]. Recently I've been voting for BB tracks at a forum not a million miles away from this one. And now we've embarked on the live 1973 double album. I've tried--oh, how I've tried!--to appreciate this arguably not unimportant aspect of BB music but it's hopeless. I've yet to hear a live version that in my book comes anywhere near its studio equivalent. I'm curious to know whether the general opinion here is anything like the general opinion there--that many tracks benefit from a live outing. To be continued, no doubt. The studio versions always reign supreme, but I really enjoy the live albums as well. Live versions often have a completely different life and energy to them, for better or for worse. When it's better, it's amazing. Sheriff hit on a point that I agree with, that once you've heard the studio albums so many times, the live versions help to bring something new to them. It's nice to hear the songs with a different twist or interpretation. And as kds pointed out, some live versions can even be preferable to the studio versions - all subjective of course. The Live in London version of Bluebirds Over the Mountain comes so much more to life than the studio version, and hearing that actually made me a believer in the studio version, because I can now hear what might have been intended.
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Post by jk on Apr 20, 2020 11:06:14 GMT
(The Boys'] [most controversial] [genre]
The genre in question being the "talk track" (and I don't mean "The Beaks Of Eagles").
This trio is much maligned in BB Land. To my mind, all three serve some purpose: - On "'Cassius' Love vs. 'Sonny' Wilson", fans could hear their idols horsing around (and Al speaking) at a time when there was only the occasional interview with Mike and/or Brian. - The note that Brian forgets on "Our Favourite Recording Sessions" is the first pitched note of the following track, "Don't Back Down". - As for "Bull Session With The 'Big Daddy'" (and this is where the ripe fruit generally starts to fly), how else do you follow "In The Back Of My Mind"? It is quite simply unfollowable. On the other hand, you can't end the album with it--that wouldn't feel right, at least to me. Hence the escape clause of a talk track, which in itself is a great time capsule (the Paris show, "that big old thing").
Just my two eurocents...
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