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Post by Rick Bartlett on Jan 12, 2024 8:50:22 GMT -5
Sit back or get up and boogie to the wonderful show 'The Midnight Special', with the boys doing a lip sync to 'Here Comes The Night' on April 27, 1979. Just uploaded to their Youtube channel. One of the versions most people cannot tolerate, but I can easily give it a green light! The 12" extended disco single has so many great little vocal adlibs, that it is really something unique by itself. I dig it. I'm sure this single edit will be enough for most around here.  |
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petsite
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Post by petsite on Jan 12, 2024 10:11:44 GMT -5
I may have told this story before, so forgive me.
I still remember dropping my girlfriend off at her house on a Sunday night and driving back home. KILT in Houston would play new tunes on Sunday night that were going to be added to their playlist on Tuesday.
The DJ said HERE IS A NEW ONE FROM THE BEACH BOYS THAT DOESN'T SOUND LIKE THE REST OF THEIR SONGS.
I knew that Bruce was back with them and trying to push the forward. But I was not ready for what I heard. I pulled into the parking lot of a bank and parked, listening intensely to this track. When it was over, I pulled back onto the street and headed home. And all I kept thinking was THESE GUYS ARE ABOUT TO HAVE A HUGH HIT! I was crushed that it did not happen. It really should have been a hit. I was happy that GOOD TIMIN' was a hit here, but it wasn't an overwhelming one.
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Post by northcoast on Jan 12, 2024 10:34:33 GMT -5
With "Here Comes The Night-1979", the Beach Boys did what they had never done before--hop on a bandwagon. Imagine if the Eagles or Fleetwood Mac had done something similar. Would not have worked for them either.
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Post by jk on Jan 12, 2024 10:39:34 GMT -5
With "Here Comes The Night-1979", the Beach Boys did what they had never done before--hop on a bandwagon. Imagine if the Eagles or Fleetwood Mac had done something similar. Would not have worked for them either. Luckily it worked for KISS -- and for Rod Stewart. Great bass on both the records in question (that's Phil Chen with Rod).  I'll stick my neck out and say it works for the Boys as well. Eat your heart out, Giorgio Moroder! |
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Post by filledeplage on Jan 12, 2024 10:45:09 GMT -5
I may have told this story before, so forgive me. I still remember dropping my girlfriend off at her house on a Sunday night and driving back home. KILT in Houston would play new tunes on Sunday night that were going to be added to their playlist on Tuesday. The DJ said HERE IS A NEW ONE FROM THE BEACH BOYS THAT DOESN'T SOUND LIKE THE REST OF THEIR SONGS. I knew that Bruce was back with them and trying to push the forward. But I was not ready for what I heard. I pulled into the parking lot of a bank and parked, listening intensely to this track. When it was over, I pulled back onto the street and headed home. And all I kept thinking was THESE GUYS ARE ABOUT TO HAVE A HUGH HIT! I was crushed that it did not happen. It really should have been a hit. I was happy that GOOD TIMIN' was a hit here, but it wasn't an overwhelming one. HCTN is a guilty pleasure (no guilt) and the long version is great treadmill music! The song remake is a little late for disco. Saturday Night Fever was more mid 70s and people were disco-weary by 1979. But, I'm good with all that, because it was the BBs. The intro and the outro remind me of dawn and dusk. At least they tried something different. You can't knock a band for that. Some record producer Tom Visconti is on record saying he could play it 10 times and day and not get sick of it. The original credits list Brian, Dennis and Carl on the track, as well as Ron Brown on bass. |
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Post by Mikie on Jan 12, 2024 11:15:31 GMT -5
With "Here Comes The Night-1979", the Beach Boys did what they had never done before--hop on a bandwagon. I've always loved the Wild Honey album version of the song, but when I first heard this in 1979, I immediately thought the exact same thing. At the time, I remember thinking that The Beach Boys were late to the game with it* and I lost a little respect for them because I figured they'd sold out and were hard up for new hit material. Song remakes are OK if they're better than the original, but not a Disco version. A month or two after Bruce's return to the band in the Summer of '78, he thought it was a good idea for The Boys to do a Disco record. Since he had released a disco version of "Pipeline" the previous year and it went way up the charts, Bruce brought in his friend Curt Becher and produced HCTN and it was released in February 1979. *Per Wiki: "Disco started declining as a major trend in popular music in the United States following "Disco Demolition Night" in July, 1979, and it continued to sharply decline in popularity in the U.S. during the early 1980s. However, it remained popular in Italy and some European countries throughout the 1980s". I can't really say I dislike it though, edited or non-edited version. Probably because the song itself is good. It does rock. Carl's vocal saves it. |
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Departed
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Post by Deleted on Jan 12, 2024 11:46:55 GMT -5
It worked for the Rolling Stones, too. But, what if, instead of making Miss You, they revamped My Obsession?
My main objection to HCTN was that they recut that song.
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daytona
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Post by daytona on Jan 12, 2024 12:35:56 GMT -5
Anyone else think the chorus of OG HCTN sounds a bit like early Elton John?
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ryankc
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Post by ryankc on Jan 12, 2024 12:36:14 GMT -5
I don't think it's anywhere close to being one of their worse songs in their catalog. The biggest travesty is the album version is almost 11 minutes long. If they would've just kept it as the single edit, there could have been 2-3 more songs on LA. They had so much stuff in the vaults that could have been used on LA. I don't mind disco music, but the Wild Honey version will always be the definitive one to me. What did Brian think of taking a deep cut from Wild Honey and making it into a disco song?
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Post by filledeplage on Jan 12, 2024 12:47:16 GMT -5
With "Here Comes The Night-1979", the Beach Boys did what they had never done before--hop on a bandwagon. I've always loved the Wild Honey album version of the song, but when I first heard this in 1979, I immediately thought the exact same thing. At the time, I remember thinking that The Beach Boys were late to the game with it* and I lost a little respect for them because I figured they'd sold out and were hard up for new hit material. Song remakes are OK if they're better than the original, but not a Disco version. A month or two after Bruce's return to the band in the Summer of '78, he thought it was a good idea for The Boys to do a Disco record. Since he had released a disco version of "Pipeline" the previous year and it went way up the charts, Bruce brought in his friend Curt Becher and produced HCTN and it was released in February 1979. *Per Wiki: "Disco started declining as a major trend in popular music in the United States following "Disco Demolition Night" in July, 1979, and it continued to sharply decline in popularity in the U.S. during the early 1980s. However, it remained popular in Italy and some European countries throughout the 1980s". I can't really say I dislike it though, edited or non-edited version. Probably because the song itself is good. It does rock. Carl's vocal saves it. The only thing wrong with HCTN is/was that it was late-to-the-party. Disco worked for The Bee Gees. In fact, it saved them and resurrected their career. The time window had closed. The music business is fast-and-fickle. |
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Post by Emdeeh on Jan 12, 2024 13:33:50 GMT -5
I love the "Wild Honey" version, but I think the disco version stinks -- just because it is disco. Disco is a musical form that I just don't care for. Even Carl Wilson's stellar vocals can't save this one for me.
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Post by filledeplage on Jan 12, 2024 13:48:10 GMT -5
Sit back or get up and boogie to the wonderful show 'The Midnight Special', with the boys doing a lip sync to 'Here Comes The Night' on April 27, 1979. Just uploaded to their Youtube channel. One of the versions most people cannot tolerate, but I can easily give it a green light! The 12" extended disco single has so many great little vocal adlibs, that it is really something unique by itself. I dig it. I'm sure this single edit will be enough for most around here. When I zoomed in on the video - I could see Dennis on the far left, next to Carli, but can't recognize who is on the grand piano to the far right. Anyone know? I'm no disco lover, save a few gems, but I will probably listen to anything the BBs record. |
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Post by gerry on Jan 12, 2024 14:06:31 GMT -5
everything has pretty much been said but I have to day that Carl does appear to be somewhat embarrassed
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Post by Mikie on Jan 12, 2024 14:13:00 GMT -5
I don't think it's anywhere close to being one of their worse songs in their catalog. The biggest travesty is the album version is almost 11 minutes long. If they would've just kept it as the single edit, there could have been 2-3 more songs on LA. They had so much stuff in the vaults that could have been used on LA. Agreed. They shoulda put the edited version on 'L.A. Light' to save space. Not sure if the 11 minute version was intended to fill space or not, otherwise the long version may have been considered for DJ's and dance floors and disco balls. |
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Post by filledeplage on Jan 12, 2024 14:14:21 GMT -5
I don't think it's anywhere close to being one of their worse songs in their catalog. The biggest travesty is the album version is almost 11 minutes long. If they would've just kept it as the single edit, there could have been 2-3 more songs on LA. They had so much stuff in the vaults that could have been used on LA. Agreed. They shoulda put the edited version on 'L.A. Light' to save space. Not sure if the 11 minute version was intended to fill space or not, otherwise the long version may have been considered for DJ's and dance floors and disco balls. You mean for the turntables? Never thought of that. |
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Post by Rick Bartlett on Jan 12, 2024 14:15:03 GMT -5
I never heard the disco version until years into my getting into The Beach Boys. The 'Light Album' was not one that turned up when I was collecting vinyl in the early 90's, so it took some time to actually find one in the wild. However, early on, I scored a foreign 45 copy of it, and to this day, I'm still not 100 percent certain where it's from. I was told it was from Africa, Kenya to be exact, and it's uploaded here on this wonderful resource of worldwide 45's, but we are not sure. Check out 'Smile-Hollands' website if your interested: www.beachboys45.nl/Here is my copy: www.beachboys45.nl/Kenya.htmI paid dearly for it, but I was puzzled about it. It sounded nothing like The Beach Boys, but it was Carl right up front and smashing out with his vocal. It sounded alien to me, but so different and unique that I really liked it for some reason. Geez! I had not even heard the 'Wild Honey' version yet, so I didn't have any barometer of the song either. Of course, I wasn't swayed by internet opinions or anything back then, I just took it on it's own merit. So between having this 'oddity' 45 that I've never seen again in the last 30 years and this unique sounding Beach Boys, I've always had a place in my heart for it. |
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Post by Mikie on Jan 12, 2024 15:31:45 GMT -5
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Departed
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Post by Deleted on Jan 12, 2024 15:42:08 GMT -5
Lots (most?)of the new HCTN was recorded at Sounds Good in West LA. A friend of mine, who was a roommate of Curt Boettcher invited me to the studio so I could meet him. Curt was still using Becher at that time. He was there producing a Geno Washington album. Anyway, I was introduced to Curt, Geno, engineer/studio owner, Bill Fletcher, and Sally Fletcher, studio co-owner. I got there just as the session was ending. After the session we were all in the control room chatting and the conversation turned to the Beach Boys. Curt asked me if I wanted to hear his percapella mix of the song. I said, "sure!." The reel was nearby and Bill put it on the 2 track machine. As the music is playing Curt is telling me how he put together the track. This paricular mix was percussion, bass, sfx and vocals. He was saying how hard and the guys worked to get the vocals just so and how, at one point, they started to kind of moan and groan, but soldiered on. I was quite impressed by the track, especially the vocals. But I didn't love the idea of it being covered. Overall, the whole night was pretty exciting and through it, I got to know Curt and eventually worked with him on a radio commercial I wrote and produced. I also did a little co-writing with Terry Shaddick (co-writer of Physical), who had three songs on the album. We didn't gel as collaborators..but we remained friends.
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daytona
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Favorite Album: Love You/Per Sounds
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Post by daytona on Jan 12, 2024 15:56:22 GMT -5
Lots (most?)of the new HCTN was recorded at Sounds Good in West LA. A friend of mine, who was a roommate of Curt Boettcher invited me to the studio so I could meet him. Curt was still using Becher when I met him. He was there producing a Geno Washington album. Anyway, I was introduced to Curt, Geno, engineer/studio owner, Bill Fletcher, and Sally Fletcher, studio co-owner. I got there just as the session was ending. After the session we were all in the control room chatting and the conversation turned to the Beach Boys. Curt asked me if I wanted to hear his percapella mix of the song. I said, "sure!." The reel was nearby and Bill put it on the 2 track machine. As the music is playing Curt is telling me how he put together the track. This paricular mix was percussion, bass, sfx and vocals. He was saying how hard and the guys worked to get the vocals just so and how, at one point, they started to kind of moan and groan, but soldiered on. I was quite impressed by the track, especially the vocals. But I didn't love the idea of it being covered. Overall, the whole night was pretty exciting and through it, I got to know Curt and eventually worked with him on a radio commercial I wrote and produced. I also did a little co-writing with Terry Shaddick (co-writer of Physical), who had three songs on the album. We didn't gel as collaborators..but we remained friends. Impressive. How many connections people have here. |
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Post by lonelysummer on Jan 12, 2024 16:14:19 GMT -5
I don't think they were late to the game with this one, in the first half of 79, disco still ruled. The Kinks came out with "(Wish I Could Fly Like) Superman". I still have the 12 inch single of that one. To their credit, they didn't simply remake an old song ("David Watts" disco, anyone?), and they kept their own style, simply adding a disco beat to a solid, rockin' song. Ray Davies said he took away all of Mick Avory's drum set, except for the snare, bass drum, and hi-hat. Around the same time, Wings released "Goodnight Tonight", but again, they didn't simply cave it to the disco trend. There are some pretty unique touches on the song, like the Spanish guitar licks from Laurence Juber, and the vocoder effects on Paul McCartney's voice. Some people had called "Silly Love Songs" disco, but that sounds more like Philly soul to me.
What new songs did the BB's have in 1978-79 they could have made a disco mix of? LA (Light Album) is mostly slower songs. If it had been up to Brian, we would have got a 12 minute disco mix of "Shortenin' Bread"!
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Post by Mikie on Jan 12, 2024 17:08:25 GMT -5
From October '78 through January '79 they worked extensively on "Here Comes The Night". Maybe they thought they were working on a Top 10. www.bellagio10452.com/gigs78.html |
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Post by jk on Jan 12, 2024 17:54:36 GMT -5
I don't think they were late to the game with this one, in the first half of 79, disco still ruled. The Kinks came out with "(Wish I Could Fly Like) Superman". I still have the 12 inch single of that one. To their credit, they didn't simply remake an old song ("David Watts" disco, anyone?), and they kept their own style, simply adding a disco beat to a solid, rockin' song. Ray Davies said he took away all of Mick Avory's drum set, except for the snare, bass drum, and hi-hat. Around the same time, Wings released "Goodnight Tonight", but again, they didn't simply cave it to the disco trend. There are some pretty unique touches on the song, like the Spanish guitar licks from Laurence Juber, and the vocoder effects on Paul McCartney's voice. Some people had called "Silly Love Songs" disco, but that sounds more like Philly soul to me. It did indeed! www.discosavvy.com/disco79.html |
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Post by Al S on Jan 12, 2024 18:10:09 GMT -5
From October '78 through January '79 they worked extensively on "Here Comes The Night". Maybe they thought they were working on a Top 10. www.bellagio10452.com/gigs78.htmlsheesh - 14 sessions + a mix down. Perhaps they laid down one minute of the backing track per sesh!!! (Joke) Great arrangement, I liked it on first listen - not a "go-to" but I don't avoid it; it sometimes serves as a great opportunity to make a cup of tea, or take a leak, check the mail etc. Somewhere in a bag>in a box>in a shed/garage I have a BBFUN focusing on the disco version via an interview with Curt B, who notes the original version was one of his favourite vintage tracks and the idea to remake it in disco form brewed in his head one fine day. I'm going to make a wild guess that the full version appears on the album because it is the full version - something you'd present on an album proper (hopefully to the adulation of your adoring fans, alas in this case) as opposed to a cut down or one-off mix on a 7 or 12 inch 45. That it disrupts a certain mood invoked on side one and clogs up side two, is certainly a major misstep; the gang were never that great at sequencing full albums, imo. |
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petsite
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Post by petsite on Jan 12, 2024 19:03:10 GMT -5
Damn you for making get this stuff out and scan it....LOL!!
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petsite
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Post by petsite on Jan 12, 2024 19:13:22 GMT -5
And before anyone asks, here are the CDs that the single version of HCTN is on. For me, the best sounding version is on the second CD. It is a Japanese version of CD #1 from the UK. They got the masters from the UK, but did not put it thru the NO-NOISE filters. The last two sound like the ending came from a vinyl single.
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