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Post by B.E. on Jan 8, 2021 21:51:41 GMT
Yeah, I've noticed that that album's gone dark! Honestly, I just think it's a label/contract thing, and so it's temporarily fell through the cracks. (Pretty ridiculous for a major artists, though!)
Edit: That's why I'm so glad to have my new iPod handy. Not just so I can listen to whichever particular mix or remaster I prefer, but sometimes streaming services don't have the album at all. Especially the stuff that's not on a major label or whatever. I think GIOMH was Brimel/Rhino.
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Post by Kapitan on Jan 8, 2021 21:52:42 GMT
But wasn't it part of the same deal that gave BWPS (Warner)?
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Post by B.E. on Jan 8, 2021 21:58:17 GMT
But wasn't it part of the same deal that gave BWPS (Warner)? Same parent company (Warner), but I wouldn't assume the streaming contracts line up. (Not that I really have any idea how it all works.) Wiki says that GIOMH is Brimel/Rhino and BWPS is Nonesuch.
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Post by Kapitan on Jan 8, 2021 22:01:56 GMT
OK, I have to admit that while I never really gave it a second thought before, that bass IS kickass! I'm assuming it was Bob Lizik, though both Scott Bennett and Michael Rhodes are credited with bass on the album, too. I'm assuming Rhodes was on "How Could We Still Be Dancin," as that's an Imagination-era leftover and he was on that album. And I guess I just don't know of Bennett playing that kind of bass, but I could be wrong--he is a very good musician, obviously.
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Post by Kapitan on Jan 8, 2021 22:03:03 GMT
But wasn't it part of the same deal that gave BWPS (Warner)? Same parent company (Warner), but I wouldn't assume the streaming contracts line up. (Not that I really have any idea how it all works.) Wiki says that GIOMH is Brimel/Rhino and BWPS is Nonesuch. Yes, I do recall they were different subsidiaries, but I THOUGHT at the time it was a 2-record deal with Warner for those two. But as for the streaming contracts, I have no clue whatsoever.
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Post by B.E. on Jan 8, 2021 22:17:22 GMT
OK, I have to admit that while I never really gave it a second thought before, that bass IS kickass! I'm assuming it was Bob Lizik, though both Scott Bennett and Michael Rhodes are credited with bass on the album, too. I'm assuming Rhodes was on "How Could We Still Be Dancin," as that's an Imagination-era leftover and he was on that album. And I guess I just don't know of Bennett playing that kind of bass, but I could be wrong--he is a very good musician, obviously. Thank you! I was hoping my description wouldn't disappoint, as it was such a laborious task for you to give it a listen. And, yes, my assumption is that it's Bob Lizik, but I don't know for sure.
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Post by jk on Jan 26, 2021 11:12:24 GMT
The only BB 45 I ever bought was "Barbara Ann" back in early 1966. I thought it was a wonderfully joyous racket -- I still do.
This is for a lovely person who recently left another forum I post on:
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Post by Sheriff John Stone on Jan 30, 2021 15:17:08 GMT
The only BB 45 I ever bought was "Barbara Ann" back in early 1966. I thought it was a wonderfully joyous racket -- I still do. The interesting thing about the "Barbara Ann" 45/single is that the B-side is NOT another Party! song, but "Girl Don't Tell Me" from Summer Days (And Summer Nights), which had been out for months. It's not that they didn't have a number of other Party! songs to choose from.
However, for the previous BB single, "The Little Girl I Once Knew", the B-side was not a Summer Days (And Summer Nights) track, but a Party! song, "There's No Other (Like My Baby)". Go figure...
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Post by jk on Jan 30, 2021 21:43:22 GMT
The only BB 45 I ever bought was "Barbara Ann" back in early 1966. I thought it was a wonderfully joyous racket -- I still do. The interesting thing about the "Barbara Ann" 45/single is that the B-side is NOT another Party! song, but "Girl Don't Tell Me" from Summer Days (And Summer Nights), which had been out for months. It's not that they didn't have a number of other Party! songs to choose from.
However, for the previous BB single, "The Little Girl I Once Knew", the B-side was not a Summer Days (And Summer Nights) track, but a Party! song, "There's No Other (Like My Baby)". Go figure...
And then you had "Let's Go Away For Awhile" on the flip of "Good Vibrations"! All three are great double-siders but it's a curious state of affairs all the same...
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Post by B.E. on Jan 31, 2021 2:07:24 GMT
The only BB 45 I ever bought was "Barbara Ann" back in early 1966. I thought it was a wonderfully joyous racket -- I still do. The interesting thing about the "Barbara Ann" 45/single is that the B-side is NOT another Party! song, but "Girl Don't Tell Me" from Summer Days (And Summer Nights), which had been out for months. It's not that they didn't have a number of other Party! songs to choose from.
However, for the previous BB single, "The Little Girl I Once Knew", the B-side was not a Summer Days (And Summer Nights) track, but a Party! song, "There's No Other (Like My Baby)". Go figure... Indefensible. How about putting some thought into it, and giving fans value for their money? How about a medley of Party! outtakes on the B-side of "Barbara Ann"?
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Post by jk on Mar 21, 2021 9:39:33 GMT
"Fall Breaks" is on my mind -- it was recently voted out in the BB Survivor topic down the road:
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Post by jk on Mar 22, 2021 8:29:37 GMT
"Fall Breaks" is on my mind -- it was recently voted out in the BB Survivor topic down the road: Glad to see some Smiley here! What do you think of this track and album, jk ? I love this track. I know there are some who see it as merely a watered-down version of "Mrs. O'Leary's Cow". I suppose it depends a lot on which version you hear first. The "squeeze box" woodpecker is a lovely touch. And the low Baldwin burblings are very evocative. Back then, this was the track that seemed to be the closest to what I imagined Smile would sound like... I bought this album when it was originally released. I already owned and loved Pet Sounds but I thought SS was downright weird to start with. There was little information in those days but I know I was expecting something more opulent (I was aware of the buildup Smile had been getting). It took months to absorb its qualities but I got there in the end. For me it's a nocturnal album, as if it had been recorded in someone's bedroom late at night.
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Post by jk on Apr 10, 2021 21:42:37 GMT
Right now it's "Don't Talk" -- well, just the overdubbed strings, to be honest. They are what prompted Bruce's remark about the instrumental break in the song, the bit where it "floats right off the planet". A magic moment, to be sure:
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Post by jk on Apr 19, 2021 13:34:55 GMT
This was the first track to be voted off L.A. in the Survivor poll down the road. I've come to love disco mini-symphonies like "HCTN" and the things Moroder produced for Donna Summer. So I was sorry to see it go... and decided to link it here as a way of coming to terms with this loss:
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Post by Sheriff John Stone on Apr 19, 2021 22:56:05 GMT
This was the first track to be voted off L.A. in the Survivor poll down the road. I've come to love disco mini-symphonies like "HCTN" and the things Moroder produced for Donna Summer. So I was sorry to see it go... and decided to link it here as a way of coming to terms with this loss: Put me down as a fan of "Here Comes the Night." I remember when it came out as a single, and I remember cruising around to it - in my 1976 Ford Maverick. It sounded great on AM radio! I'm not a fan of Bruce's production work on L.A. (Light Album) and Keepin' The Summer Alive, but he did manage to make the group sound great again vocally. He literally cleaned up their harmonies, and "Here Comes the Night" is a perfect example of this. Curt Becher had a lot to due with the production, too. Yes, yes, the long version should've been relegated to the 12 inch single and NOT the album, but the 45 single was just fine. It never got the respect it deserved.
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