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Post by andrewhickey on Dec 8, 2020 11:24:19 GMT -5
No. Even Bruce has said that KTSA, the song, could have been way better, but Carl insisted it be soft and meh. ” In 2013, Johnston expressed dissatisfaction with the production of the title track, which he perceived as being weaker-sounding due to Carl's intervention.” I love Carl, but he made some dumb decisions. His entire first solo album was another dumb decision, with the exception of the song Heaven. During this 1979-1981 period, Carl went through this phase of taking songs that should absolutely bump, and then making them extremely soft. So yes, I still stand by what I say. Carl could’ve done a better guitar solo, and Bruce could’ve done a better production job. KTSA and Carl’s first solo album had so much squandered potential Although Carl thought KTSA (the album) was one of their best efforts in a long time - as stated in his discussion with writer Geoffrey Himes in late 1982 - he still evidently felt it, and in particular the title track, could have sounded better: "I think we missed a little on the sound of that album, though. Like my tune, "Keepin' The Summer Alive', sounded a lot punchier on our live tapes than it did on record." So is it a case of Carl blaming Bruce and Bruce blaming Carl for the somewhat lackluster sound? Entirely possible that both are correct (though personally I don't think there's much that could have saved the song, which I think is mediocre at best). If, say, Carl wanted a fuller arrangement with loads of stuff going on, but a very clean sound to let everything cut through, while Bruce wanted a more stripped-down arrangement with a ton of compression and reverb on to give it some punch, and they both pulled at the track in different directions then the end result -- a full arrangement, but sounding mushy -- could have ended up being something neither of them would have been happy with, and going in either direction might have been better than the compromise.
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Post by drbeachboy (Dirk) on Dec 8, 2020 11:51:16 GMT -5
Although Carl thought KTSA (the album) was one of their best efforts in a long time - as stated in his discussion with writer Geoffrey Himes in late 1982 - he still evidently felt it, and in particular the title track, could have sounded better: "I think we missed a little on the sound of that album, though. Like my tune, "Keepin' The Summer Alive', sounded a lot punchier on our live tapes than it did on record." So is it a case of Carl blaming Bruce and Bruce blaming Carl for the somewhat lackluster sound? Entirely possible that both are correct (though personally I don't think there's much that could have saved the song, which I think is mediocre at best). If, say, Carl wanted a fuller arrangement with loads of stuff going on, but a very clean sound to let everything cut through, while Bruce wanted a more stripped-down arrangement with a ton of compression and reverb on to give it some punch, and they both pulled at the track in different directions then the end result -- a full arrangement, but sounding mushy -- could have ended up being something neither of them would have been happy with, and going in either direction might have been better than the compromise. Considering how much it sounds like something BTO would have recorded, I would think Carl would want that edgy and clean balance that they achieved.
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Post by AGD on Dec 8, 2020 12:21:06 GMT -5
Check out the Ironhorse version to hear how it could have sounded.
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Post by #JusticeForDonGoldberg on Dec 8, 2020 12:23:21 GMT -5
No. Even Bruce has said that KTSA, the song, could have been way better, but Carl insisted it be soft and meh. ” In 2013, Johnston expressed dissatisfaction with the production of the title track, which he perceived as being weaker-sounding due to Carl's intervention.” I love Carl, but he made some dumb decisions. His entire first solo album was another dumb decision, with the exception of the song Heaven. During this 1979-1981 period, Carl went through this phase of taking songs that should absolutely bump, and then making them extremely soft. So yes, I still stand by what I say. Carl could’ve done a better guitar solo, and Bruce could’ve done a better production job. KTSA and Carl’s first solo album had so much squandered potential Although Carl thought KTSA (the album) was one of their best efforts in a long time - as stated in his discussion with writer Geoffrey Himes in late 1982 - he still evidently felt it, and in particular the title track, could have sounded better: "I think we missed a little on the sound of that album, though. Like my tune, "Keepin' The Summer Alive', sounded a lot punchier on our live tapes than it did on record." So is it a case of Carl blaming Bruce and Bruce blaming Carl for the somewhat lackluster sound? Actually, I’m not sure who is responsible, but I have to agree. The going platinum documentary has way better mixes than the album does.
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Post by #JusticeForDonGoldberg on Dec 8, 2020 12:28:11 GMT -5
Also, even though Carl’s lead on Oh Darlin’ is beautiful, in terms of actual sound quality, it’s bootleg levels of bad. Seriously, who thought it was a good idea to make Carl sound like he’s singing into a tin can?
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Post by craigslowinski on Dec 8, 2020 23:02:47 GMT -5
Also, even though Carl’s lead on Oh Darlin’ is beautiful, in terms of actual sound quality, it’s bootleg levels of bad. Seriously, who thought it was a good idea to make Carl sound like he’s singing into a tin can? Not sure if this was part of what Bruce referred to as "deliberately under-producing" the album, to fit in with the more basic, almost lo-fi sound of early '80s pop-punk and new wave? I mean, L.A. (Light) had GREAT sonics (on L.P. at least). KTSA was definitely a let-down in that regard.
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Post by #JusticeForDonGoldberg on Dec 8, 2020 23:15:50 GMT -5
Also, even though Carl’s lead on Oh Darlin’ is beautiful, in terms of actual sound quality, it’s bootleg levels of bad. Seriously, who thought it was a good idea to make Carl sound like he’s singing into a tin can? Not sure if this was part of what Bruce referred to as "deliberately under-producing" the album, to fit in with the more basic, almost lo-fi sound of early '80s pop-punk and new wave? I mean, L.A. (Light) had GREAT sonics (on L.P. at least). KTSA was definitely a let-down in that regard. L.A. (Light) is perfect in every single way. Its the album that keeps on giving. Only second to Pet Sounds
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Post by AGD on Dec 9, 2020 4:26:17 GMT -5
An opinion I think you'll find very, very few share.
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Post by Deleted on Dec 9, 2020 4:49:55 GMT -5
An opinion I think you'll find very, very few share. Very few? Find me a single fan who shares that opinion lol. Another hot take from me - I prefer live versions of wild honey to the studio recording. The backing vocals really shine through live, they feel kind of buried on the lp.
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Post by #JusticeForDonGoldberg on Dec 9, 2020 12:54:08 GMT -5
OK, one more hot take. Yeah, I got a lot of these. Somewhere, in the pits of my brain, for absolutely no explainable reason, I kind of sort of maybe like Teeter Totter Love. I can’t explain it, I know it’s objectively one of the worst things they ever recorded, but its just so goofy and happy that I can’t stop myself from smiling at it.
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Post by #JusticeForDonGoldberg on Dec 9, 2020 12:59:44 GMT -5
An opinion I think you'll find very, very few share. All of those people don’t get it, but maybe one day
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Post by kds on Dec 9, 2020 14:42:09 GMT -5
Not sure if this was part of what Bruce referred to as "deliberately under-producing" the album, to fit in with the more basic, almost lo-fi sound of early '80s pop-punk and new wave? I mean, L.A. (Light) had GREAT sonics (on L.P. at least). KTSA was definitely a let-down in that regard. L.A. (Light) is perfect in every single way. Its the album that keeps on giving. Only second to Pet Sounds I feel like a take this absurd hot deserves more of an explanation.
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Post by AGD on Dec 9, 2020 17:00:24 GMT -5
OK, one more hot take. Yeah, I got a lot of these. Somewhere, in the pits of my brain, for absolutely no explainable reason, I kind of sort of maybe like Teeter Totter Love. I can’t explain it, I know it’s objectively one of the worst things they ever recorded, but its just so goofy and happy that I can’t stop myself from smiling at it. "They" never recorded it. Jasper Dailey did.
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Post by #JusticeForDonGoldberg on Dec 9, 2020 20:56:20 GMT -5
L.A. (Light) is perfect in every single way. Its the album that keeps on giving. Only second to Pet Sounds I feel like a take this absurd hot deserves more of an explanation. Ever used a blanket? L.A. (Light Album) is like a nice warm blanket. It’s warm, inviting, sweet, thoughtful, and has just enough absurdity, mainly the 10 minute disco track, to still be interesting without being monotonous. I love all of their other albums, but only Pet Sounds and L.A. Light have consistency of mood in my opinion. Now if we’re going track for track, something like All I Wanna Do is going to kick Going South to the curb. But as an album, I find L.A. a much more satisfying experience than I do Sunflower. Sunflower has super high highs, and moments that I skip a lot of the times. Tears in the morning and got to know the woman come to mind. I think they’re both great tracks, but they do not fit on Sunflower. Surfs’ Up has student demonstration time, Wild Honey has How She Boogalooed It, Friends has transcendental meditation. none of these are bad tracks... well... except for student demonstration time, but these tracks all don’t fit in their respective albums. In my opinion, every track on L.A. Light is quality, and justifies it’s existence. Even the 10 minute disco track, which, at least in my opinion, fits perfectly because the first six tracks are all midtempo, and the next 2 tracks are slow. So having a divider to really kick things into gear really works for me. also, I know others might disagree, but in my opinion, the 11 minute disco track never gets boring. It’s got twists and turns and ear candy all over it. Another reason I have such a strong affection for L.A. Light is that for a couple years, I fell asleep most nights, and woke up most mornings to this album. The album is very nocturnal, and, in a way, so am I. I know my explanation probably doesn’t make much sense, but to me, very little beats L.A. (Light Album.” Now, I fully expect to have a response from AJD, crapping all over my precious light album by the morning. Sad reacts only. By the way, the last 3 tracks on So Tough are also like a nice warm blanket. But that one is a little more on the nose about it. I can not wait to hear the Dennis material that awaits us on the FF box. If any of it’s even half as good as Make It Good and Cuddle Up, we’re in for a treat.
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Post by #JusticeForDonGoldberg on Dec 9, 2020 22:37:06 GMT -5
The version of Little GTO that’s on the NASCAR album isn’t half bad. The rest of that album can self-destruct though
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Post by #JusticeForDonGoldberg on Dec 9, 2020 22:46:31 GMT -5
Speaking of Little GTO, I just noticed that “C'mon and turn it on, wind it up, blow it out, GTO” sounds frighteningly similar to “The water getting higher There's a dam bursting in my soul” from Water Builds Up
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Post by AGD on Dec 10, 2020 3:25:28 GMT -5
The version of Little GTO that’s on the NASCAR album isn’t half bad. The rest of that album can self-destruct though It's also not The Beach Boys.
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Post by Autotune on Dec 10, 2020 5:45:21 GMT -5
Here’s some:
Soul Searchin’ needed a different bridge. Tiresome and lacking a melody. It strains both Carl and Brian.
There’s no way Smile would’ve sold a million units in Jan 1967. Not with those lyrics.
I find Brian’s interjections on the song On The Island irritating.
The “Love and Mercy” Brian signature has gone stale a while ago.
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Post by AGD on Dec 10, 2020 6:57:59 GMT -5
Here’s some: There’s no way Smile would’ve sold a million units in Jan 1967. Not with those lyrics. The "million units" referred to all Capitol album sales in January.
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Post by kds on Dec 10, 2020 8:18:55 GMT -5
I feel like a take this absurd hot deserves more of an explanation. Ever used a blanket? L.A. (Light Album) is like a nice warm blanket. It’s warm, inviting, sweet, thoughtful, and has just enough absurdity, mainly the 10 minute disco track, to still be interesting without being monotonous. I love all of their other albums, but only Pet Sounds and L.A. Light have consistency of mood in my opinion. Now if we’re going track for track, something like All I Wanna Do is going to kick Going South to the curb. But as an album, I find L.A. a much more satisfying experience than I do Sunflower. Sunflower has super high highs, and moments that I skip a lot of the times. Tears in the morning and got to know the woman come to mind. I think they’re both great tracks, but they do not fit on Sunflower. Surfs’ Up has student demonstration time, Wild Honey has How She Boogalooed It, Friends has transcendental meditation. none of these are bad tracks... well... except for student demonstration time, but these tracks all don’t fit in their respective albums. In my opinion, every track on L.A. Light is quality, and justifies it’s existence. Even the 10 minute disco track, which, at least in my opinion, fits perfectly because the first six tracks are all midtempo, and the next 2 tracks are slow. So having a divider to really kick things into gear really works for me. also, I know others might disagree, but in my opinion, the 11 minute disco track never gets boring. It’s got twists and turns and ear candy all over it. Another reason I have such a strong affection for L.A. Light is that for a couple years, I fell asleep most nights, and woke up most mornings to this album. The album is very nocturnal, and, in a way, so am I. I know my explanation probably doesn’t make much sense, but to me, very little beats L.A. (Light Album.” Now, I fully expect to have a response from AJD, crapping all over my precious light album by the morning. Sad reacts only. By the way, the last 3 tracks on So Tough are also like a nice warm blanket. But that one is a little more on the nose about it. I can not wait to hear the Dennis material that awaits us on the FF box. If any of it’s even half as good as Make It Good and Cuddle Up, we’re in for a treat. That's fair, and I appreciate the explanation, even if I very much disagree. I actually do like most of the LA album (outside of the disco song), but with the possible exception of TWGMTR, I don't hold any of the post Holland albums to the same standards as the ones from 1962-73.
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Post by filledeplage on Dec 10, 2020 8:29:21 GMT -5
Here's one with dual-thread relevance: it's often vastly overstated just how strange and inaccessible Van Dyke Parks' lyrics for Smile are. They don't hit a Beatles (or even Mike or Tony Asher) universality but they're not so alienating or beyond interpretation to the average listener either. The same could be said of hang-ups with Brian's 'weird' music, which is almost always firmly in the language of concise pop songwriting. The Elements is the most obscure he ever got. I've never bought that Mike's objections to Smile were legitimate artistic concerns. It's (understandably) the angle he found to justify his hurt at being passed over as a collaborator. Anyone who thought about it seriously for 3 minutes would untangle "over and over the crow cries and hover the wheatfield" / "over and over the thresher uncover the cornfield", and even without that could find something to appreciate in the imagery and music. Heroes and Villains not doing as well as expected had little to do with the content and everything to do with 9 months of lost momentum while the culture moved on. An identical single in January 1967 would've had a strong shot at top 5, if not quite number 1. There is a difference between trying to raise awareness to injustice - you can do it successfully where it is accessible - as in The Trader or you can mystify your audience with imagery and terminology are beyond their reach and leave them feeling unintelligent and excluded. People can learn almost anything if it is broken own to understandable parts. There was no attempt there. And when you are trying to convey that to the general population - it is condescending, and tells you to "stand outside - because you are a dummy." Parks isn't taking to the people or the band - he is talking to himself. And while he is incredibly gifted and talented - the band is one of the people and inviting you into those experiences of the thrill of surfing, racing a car or your first love. And you want to share and understand his concepts but you are meant to feel excluded - which is contrary to any concept of education or raising awareness. I disagree - they are alienating. Brian seemed to want a hit and artistry - and Brian's (BBs) message is always engaging, loving, inclusive - not disengaging or putting listeners on disconnect. The tail was trying to wag the dog. The message of the American Experience - is a brilliant one - but you gotta include the audience as participants. Plymouth Rock to Hawaii. Songs tell a story. It is no wonder - the project left everyone half insane, including the fans. Parks needed a translator to help tell the story and Parks was supposed to be the translator. That's what lyricists do; they translate and paint the picture. Great concepts - befuddling delivery. And, the Wordsworth stuff is great. But needed to be dialed back - a lot. People are complaining about Feel Flows being delayed- try waiting 37 years. And I guess that is my problem - Parks seems more interested in his own artistry as mentioned above, rather than making Brian's compositional efforts relatable to the masses, which is what he was paid to do. And the massive hit - in that time, that those music tracks merited.
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Post by filledeplage on Dec 10, 2020 9:55:34 GMT -5
There is a difference between trying to raise awareness to injustice - you can do it successfully where it is accessible - as in The Trader or you can mystify your audience with imagery and terminology are beyond their reach and leave them feeling unintelligent and excluded. People can learn almost anything if it is broken own to understandable parts. There was no attempt there. And when you are trying to convey that to the general population - it is condescending, and tells you to "stand outside - because you are a dummy." Parks isn't taking to the people or the band - he is talking to himself. And while he is incredibly gifted and talented - the band is one of the people and inviting you into those experiences of the thrill of surfing, racing a car or your first love. And you want to share and understand his concepts but you are meant to feel excluded - which is contrary to any concept of education or raising awareness. The message of the American Experience - is a brilliant one - but you gotta include the audience as participants. Songs tell a story. It is no wonder - the project left everyone half insane, including the fans. Parks needed a translator to help tell the story. Great concepts - befuddling delivery. And, the Wordsworth stuff is great. But needed to be dialed back - a lot. People are complaining about Feel Flows being delayed- try waiting 37 years. And I guess that is my problem - Parks seems more interested in his own artistry as mentioned above, rather than making Brian's compositional efforts relatable to the masses, which is what he was paid to do. And the massive hit - in that time, that those music tracks merited. Couldn't disagree more. This is overintellectualizing work that, wordplay aside, is largely made up from simple, impressionistic imagery, and I think it's an insult to the intelligence to listeners to say that most couldn't get it. It's not overtly commercial, but it's not beyond comprehension, or beyond enjoyment without having to dig deep. For every "columnated ruins domino" there's an "I'm gonna be round my vegetables, I'm gonna chow down my vegetables". Look at it against the wider world of pop music outside of Beach Boys standards. Parks wasn't paid to write hits either, he was paid to write songs. The music of Do You Like Worms, Cabin Essence and Surf's Up doesn't scream relatable Brian Wilson hindered by a selfish lyricist who wasn't interested in relating to the masses. They collaborated with each others' support. Do you think Wind Chimes and Vega-Tables were coerced against Brian's wishes into an uncommercial Van Dyke Parks direction? And they wrote, what, 7 songs together (extrapolated into 8 with recycling) on an album that would've contained 12? Only 3 of those 7 co-writes were shelved - one against heavy protest from bandmates, another that they salvaged themselves a year later anyway, and another that was already destined for the cutting room floor when Brian stole some of it for Heroes and Villains. Van Dyke Parks didn't have anything to do with Wordsworth besides correcting Brian on the origin of the phrase he'd already written a song around. That was entirely of Brian's own volition. When Parks took the job - he was moving into a music machine - earlier than The Beatles, in the US. I disagree. It was not a no-name band churning out jingley-type one hit wonder pop hits. They were established, critically acclaimed and were perceived to have gone-off-the-rails. Often, those without academic credentials (Parks had) were made to feel intellectually inferior (in the 60s and beyond) part of an emerging snobbist culture. And marketing to ages generally between 12 and 18 or so. What 12 year old is going to absorb and relate to many of those lyrics - actually buying the product? That $3 album purchase, represented six hours of babysitting for me. That was the consumer - the person who made an album chart-or-flop in real time. Parks joined a music hit machine. It was not zero-based - hope-this-charts stuff. He moved into a fait accompli operation, who had a plane branded with their name complete with those baseball trading-type cards. He was working not just for Brian but for the band (and the brand) which had already taken the reins (albeit shakily) of their creative operation. Yes, he may have corrected Brian - so as to prevent criticism of those who might have been more familiar with Wordsworth, but as between the band The Beatles - what was the difference? The Beatles expanded without leaving their lane, or being led to the edge of a cliff. While there might have been some much (debated to death) mystery (in their lyrics) in real time, their (Beatles) music was released and without the drama of having a pr person (who had worked for the competition) announce that the project was either shelved or dumped in the absence of the band and not his fault but added to the utter chaos of the release. This added to the confusion, in real-time, that was the perception. Poor perception crashes sales. Parks was paid to write hits, not flops. They were a hit band. Your work is expected to fit the brand, not conflict with it. He went too far. Yes, mysterious impressionistic prose - but maybe a poor fit for a follow-up to Pet Sounds in real-time. He did need an editor to keep his work consistent for the people for whom he was working. The attitude that came across was that he was doing the band a favor and that their early work was beneath him. You can always create a consciousness-raising concept without completely dumbing-it-down and/or making your audience feel excluded. There is a necessary balance. In real-time, that was the effect, and he was well-able to get closer to the ground - where the audience was - not in his impressionistic clouds.
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Post by #JusticeForDonGoldberg on Dec 10, 2020 10:32:10 GMT -5
There is a difference between trying to raise awareness to injustice - you can do it successfully where it is accessible - as in The Trader or you can mystify your audience with imagery and terminology are beyond their reach and leave them feeling unintelligent and excluded. People can learn almost anything if it is broken own to understandable parts. There was no attempt there. And when you are trying to convey that to the general population - it is condescending, and tells you to "stand outside - because you are a dummy." Parks isn't taking to the people or the band - he is talking to himself. And while he is incredibly gifted and talented - the band is one of the people and inviting you into those experiences of the thrill of surfing, racing a car or your first love. And you want to share and understand his concepts but you are meant to feel excluded - which is contrary to any concept of education or raising awareness. The message of the American Experience - is a brilliant one - but you gotta include the audience as participants. Songs tell a story. It is no wonder - the project left everyone half insane, including the fans. Parks needed a translator to help tell the story. Great concepts - befuddling delivery. And, the Wordsworth stuff is great. But needed to be dialed back - a lot. People are complaining about Feel Flows being delayed- try waiting 37 years. And I guess that is my problem - Parks seems more interested in his own artistry as mentioned above, rather than making Brian's compositional efforts relatable to the masses, which is what he was paid to do. And the massive hit - in that time, that those music tracks merited. Couldn't disagree more. This is overintellectualizing work that, wordplay aside, largely consists of simple, impressionistic imagery, and I think it's an insult to the intelligence of listeners to assume that most weren't capable of getting it. It's not overtly commercial, but it's not beyond comprehension, or beyond enjoyment without having to dig deep. For every "columnated ruins domino" there's an "I'm gonna be round my vegetables, I'm gonna chow down my vegetables". Look at it against the wider world of pop music outside of Beach Boys standards. Parks wasn't paid to write hits either, he was paid to write songs. The music of Do You Like Worms, Cabin Essence and Surf's Up doesn't scream relatable Brian Wilson hindered by a selfish lyricist who wasn't interested in relating to the masses. They collaborated with each others' support. Do you think Wind Chimes and Vega-Tables were coerced against Brian's wishes down uncommercial Van Dyke Parks avenue? And they wrote, what, 7 songs together (extrapolated into 8 via recycling) on an album that would've contained 12? Only 3 of those 7 co-writes were shelved - one against heavy protest from bandmates, another that they salvaged themselves a year later anyway, and another that was already destined for the cutting room floor when Brian stole some of it for Heroes and Villains. It's revisionist and inaccurate to act like the majority of his material was a problem. Van Dyke Parks didn't have anything to do with Wordsworth or Child is Father of the Man besides correcting Brian on the origin of the phrase he'd already written a song around. That was entirely of Brian's own volition. I would like to consider myself slightly intelligent, but I still get tripped up on some of the smile lyrics. None of my family, who got me into The Beach Boys, have a clew what Smile is about. Sure, I could sit down with them and go line by line, explaining what everything means. But “pop” music doesn’t become pop music by being overly intellectual. And VDP doesn’t deserve all of the blame for the non-commercial lyrics. Brian chose to write with him, and both of them knew what they were aiming for. But what they were aiming for wasn’t going to hit the public in the way that I think they thought it would. I can understand the California dream that’s portrayed in their early music, and I am quite a bit envious of it. Who wouldn’t want to live in a world of surfing, hot rods, and hot girls? I can relate to the lyrics of today and Pet Sounds, as most people can. Wild Honey, Friends, Sunflower, even Love You have simple, understandable, relatable, universal lyrics. Smile is the outlier. I don’t relate to a damn thing on that album, except for the fact that I do like vegetables. Not to dump on smile, because I do think it’s absolutely brilliant, but to me at least, the lyrics are just pretty mouth noises. They could be saying unintelligible nonsense, and if Surfs’ Up still had those harmonies and that coda, I would still love it. I think it was a part of Brian’s almost unending desire to appear hip to his peers, both musical and personal.
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Post by filledeplage on Dec 10, 2020 11:04:04 GMT -5
Couldn't disagree more. This is overintellectualizing work that, wordplay aside, largely consists of simple, impressionistic imagery, and I think it's an insult to the intelligence of listeners to assume that most weren't capable of getting it. It's not overtly commercial, but it's not beyond comprehension, or beyond enjoyment without having to dig deep. For every "columnated ruins domino" there's an "I'm gonna be round my vegetables, I'm gonna chow down my vegetables". Look at it against the wider world of pop music outside of Beach Boys standards. Parks wasn't paid to write hits either, he was paid to write songs. The music of Do You Like Worms, Cabin Essence and Surf's Up doesn't scream relatable Brian Wilson hindered by a selfish lyricist who wasn't interested in relating to the masses. They collaborated with each others' support. Do you think Wind Chimes and Vega-Tables were coerced against Brian's wishes down uncommercial Van Dyke Parks avenue? And they wrote, what, 7 songs together (extrapolated into 8 via recycling) on an album that would've contained 12? Only 3 of those 7 co-writes were shelved - one against heavy protest from bandmates, another that they salvaged themselves a year later anyway, and another that was already destined for the cutting room floor when Brian stole some of it for Heroes and Villains. It's revisionist and inaccurate to act like the majority of his material was a problem. Van Dyke Parks didn't have anything to do with Wordsworth or Child is Father of the Man besides correcting Brian on the origin of the phrase he'd already written a song around. That was entirely of Brian's own volition. I would like to consider myself slightly intelligent, but I still get tripped up on some of the smile lyrics. None of my family, who got me into The Beach Boys, have a clew what Smile is about. Sure, I could sit down with them and go line by line, explaining what everything means. But “pop” music doesn’t become pop music by being overly intellectual. And VDP doesn’t deserve all of the blame for the non-commercial lyrics. Brian chose to write with him, and both of them knew what they were aiming for. But what they were aiming for wasn’t going to hit the public in the way that I think they thought it would. I can understand the California dream that’s portrayed in their early music, and I am quite a bit envious of it. Who wouldn’t want to live in a world of surfing, hot rods, and hot girls? I can relate to the lyrics of today and Pet Sounds, as most people can. Wild Honey, Friends, Sunflower, even Love You have simple, understandable, relatable, universal lyrics. Smile is the outlier. I don’t relate to a damn thing on that album, except for the fact that I do like vegetables. Not to dump on smile, because I do think it’s absolutely brilliant, but to me at least, the lyrics are just pretty mouth noises. They could be saying unintelligible nonsense, and if Surfs’ Up still had those harmonies and that coda, I would still love it. I think it was a part of Brian’s almost unending desire to appear hip to his peers, both musical and personal. Of course you are intelligent. When you are writing lyrics you DO want to challenge the listener - and lead them to a higher ground, and not exactly spoon-feeding, but engaging a young person's intellect to pursue higher ground, without shutting them out. Music became a political statement in the 60s, so clear messaging was critical. The lyricist is the messenger. The late Howard Ashman gave The Little Mermaid and Belle from Beauty and The Beast their voices, personalities and independent spirited messages. The lyricist's task can't be underestimated. They transport those piano notes on the page. Most people are pretty smart and can learn more on their own, bring themselves to a higher place, without having to be naturally found in the top 2% of the Mensa category. Most of us are somewhere in the middle of the range, trying to better ourselves, and learn all we can from many sources. This is not about hurt feelings - it is about artistry enmeshed in the music business during some of the most chaotic times in the US. Every member of the band organization had an actual corporate duty to question, debate and inquire about the music direction of the band. They were writing the checks. The studio is far removed from the street, record store, or the barbershop radio where the music is played. And, I do love Surf's Up. A little mystery - in terms of lyrics, goes a long way - a unrecognizable detour in mission is another story.
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Post by andrewhickey on Dec 10, 2020 11:11:33 GMT -5
The lyrics on Smile are no more meaningless, no more incomprehensible, and no more pretentious than, say:
"She said, 'I'm home on shore leave,' though in truth we were at sea so I took her by the looking glass and forced her to agree saying, 'You must be the mermaid who took Neptune for a ride.'"
"With all the windows open wide Couldn't pressurize my head from speaking Hoping not to make a sound I pushed my bed into the grounds In time to catch the sight that I was seeking"
"Living is easy with eyes closed, Misunderstanding all you see I think I know, I mean, ah yes, but it's all wrong It doesn't matter much to me"
"Zabadak, Zabadak Karakakora kakarakak Zabadak Shai shai skagalak"
And so on. The pop charts in 1967 were *absolutely full* of pseudo-profundities and lyrics chosen more for their sound than their meaning. Parks' lyrics were more literate than most of them, and stand up far better.
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