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Post by John Manning on Jun 30, 2020 2:19:55 GMT -5
100% badass! Say it isn't so! I dare you! Yup. Knocks the two studio versions into a cocked hat! Ain’t great but it ain’t bad either! |
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Post by John Manning on Jun 30, 2020 2:26:04 GMT -5
I like this version best. 7/10. "Short'nin' Bread" is really much better than it gets credit for. The old Southern' style: Brilliant, thank you for bringing that to us. Love it. |
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Post by John Manning on Jun 30, 2020 2:30:05 GMT -5
I think he liked it as an answer to the question, "When you gonna get out of bed? What's it gonna take?" ”Momma’s little baby love birthday birthday, Momma’s little baby loves birthday cake…” |
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Post by John Manning on Jun 30, 2020 2:32:46 GMT -5
These American classics that every kid grew up singing were a huge influence on this body of work no less than Gershwin. Stripped back, you can hear the sax playing very similar lass lines to those used on Running Bear. Hadn’t associated the two before. |
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Post by Al Smith on Jun 30, 2020 3:26:03 GMT -5
"Lines, lines around the block..." aww, that's a nice start to our song for today, Lines, from the assembled unreleased but widely booted Adult/Child album.
Initially a promising slice of life song as Brian depicts a 20th century phenomenon in the pre-streaming and Blu Ray era's - a lengthy que to see a blockbuster. I remember having to wait to be admitted to Close Encounters Of The Third Kind and Star Wars.
I'm not sure what Brian lined up for as he notes the movie started slow, but it'll get better; I bet it was Annie Hall.
Anyway, I'm giving a 5 for the song itself, but zip for the rest - this is sloppy stuff again, a real first pass demo and it's ludicrous to think this was passed off as completed. Sure, these guys were off their heads, but the playing, the singing everything is just amateur hour stuff for a bunch of hot shit 60's and early 70s rock cred gods - it makes Surfin' Safari sound like Abbey Road. Begs the question who was in charge of quality control, as surely someone from management must have listened to this guff before it got in front of the suits.
A real disappointment given the delight of the source material.
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Post by jk on Jun 30, 2020 4:25:24 GMT -5
Great opening post, A, as always! What a curious song. Seven.
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Post by E on Jun 30, 2020 4:40:42 GMT -5
Seven. Slice o' life. Prefer it to most of the tracks on here.
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Post by Fall Breaks on Jun 30, 2020 4:59:23 GMT -5
6. The outro should have been extracted and turned in to a stand alone (and singalong) song.
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Post by dant on Jun 30, 2020 5:11:41 GMT -5
I believe this should;d get a 7 from me, it’s quite listenable and I quite enjoy it.
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Post by sneakypete77 on Jun 30, 2020 6:20:18 GMT -5
A flying visit amidst an enforced sabbatical; a family issue that has taken on a life of its own. Anyhoo, when this set first appeared everyone seemed to be in thrall for far too long to the massively over-hyped It’s Over Now and Still I Dream of It, but eventually this little ditty did it for me. Look beyond the shaky vocals and obvious demo credentials and Brian gives us precisely (and I reckon he used a stopwatch) one minute of the most inventive key changes and unexpected chords he’d played around with for years.
The fact that he then got up and exited the building, leaving Carl to ad lib his way through a lazy rockin’ tag has long been a subject of deep frustration for me. The Gone In Sixty Seconds first bit gets a 9, the tag a 3, and for the whole missed opportunity a 7. Time for me to meditate and exit Stage Left….
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Post by jk on Jun 30, 2020 6:35:33 GMT -5
A flying visit amidst an enforced sabbatical; a family issue that has taken on a life of its own. Anyhoo, when this set first appeared everyone seemed to be in thrall for far too long to the massively over-hyped It’s Over Now and Still I Dream of It, but eventually this little ditty did it for me. Look beyond the shaky vocals and obvious demo credentials and Brian gives us precisely (and I reckon he used a stopwatch) one minute of the most inventive key changes and unexpected chords he’d played around with for years.
The fact that he then got up and exited the building, leaving Carl to ad lib his way through a lazy rockin’ tag has long been a subject of deep frustration for me. The Gone In Sixty Seconds first bit gets a 9, the tag a 3, and for the whole missed opportunity a 7. Time for me to meditate and exit Stage Left….
Take care, Peter. First things first, OK?  |
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Post by Autotune on Jun 30, 2020 8:12:55 GMT -5
A most curious, pretty and unreleasable oddity. A unique chord progression and intriguing melody. Like It’s Over Now, Brian’s voice seems to morph into Carl’s in an almost unnoticeable way. You’re hearing Brian, and after a while you find yourself hearing Carl, who knows since when. It’s as if Brian was using Carl’s sound as the now-lost angelic upper end of his own voice.
Apparently, Brian liked a fast-paced, Carl-led coda after a medium-tempo pretty song, just like Airplane.
More than a decade before Seinfeld, Brian was producing songs about nothing!
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Post by John Manning on Jun 30, 2020 17:30:32 GMT -5
A great slice of life track, about a moment so inconsequential its genius is in the fact that it exists at all.
Those opening lines —
“Lines, lines around the block,
Oh, lines, now the clock
Is striking
Seventy-thirty…”
Who wrote those? Not one of Brian’s previous collaborators could have come up with that. The words wrap around the melody as though the two existed in eternity. That’s pure Brian to me, that perfect harmony of consonants and melody … meaning doesn’t count, just that melding.
I was one of those who avoided the queues for Star Wars and Close Encounters, but I can picture exactly that when listening to this song (though I wished I knew – and someone will tell me, I’m sure, which movie exactly is being referenced) – I remember the local paper ran photographs of the queues.
The coda is, yes, very reminiscent of that for Airplane. Rocks like Ding Dang. More of this please!
One of the “album’s” outstanding tracks.
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Post by Will/P.P. on Jun 30, 2020 18:01:21 GMT -5
"Lines, lines around the block..." aww, that's a nice start to our song for today, Lines, from the assembled unreleased but widely booted Adult/Child album. Initially a promising slice of life song as Brian depicts a 20th century phenomenon in the pre-streaming and Blu Ray era's - a lengthy que to see a blockbuster. I remember having to wait to be admitted to Close Encounters Of The Third Kind and Star Wars. I'm not sure what Brian lined up for as he notes the movie started slow, but it'll get better; I bet it was Annie Hall. Anyway, I'm giving a 5 for the song itself, but zip for the rest - this is sloppy stuff again, a real first pass demo and it's ludicrous to think this was passed off as completed. Sure, these guys were off their heads, but the playing, the singing everything is just amateur hour stuff for a bunch of hot shit 60's and early 70s rock cred gods - it makes Surfin' Safari sound like Abbey Road. Begs the question who was in charge of quality control, as surely someone from management must have listened to this guff before it got in front of the suits. A real disappointment given the delight of the source material. I like the performance much more. "Lines" - the song is a magical moment for me, I love. First minute, and the less than a minute tag! And yeah, two songs that seem to be stuck together, but works as a whole. As Autotune mentioned, "Airplane", and I'll say they did the same thing with "Talk To Me/Tallahassee Lassie" (medley). I give a seriously considered, Alan, 8/10! This stands with the best of Brian's later day works. Puts me in a good mood every time I hear it. This "album" needs these happy interludes. |
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Post by Mikie on Jun 30, 2020 18:13:20 GMT -5
Knocks the two studio versions into a cocked hat! A what?  |
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Post by Mikie on Jun 30, 2020 19:23:34 GMT -5
Lines – Brian and Carl switch off leads. Lame as hell. A mundane song about waiting in line for a movie, then waiting for the good part. The only good part of this song is the melody. Yeah, it's happy, but they shoulda spent more time on the lyrics. A 5th grader coulda written the lyrics. Edit: When I first saw this title on the A/C bootleg album cover, I remember thinking the song was about something else. Boy, was I disappointed.  |
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Post by mfp on Jun 30, 2020 21:04:11 GMT -5
A jaunty brief number deserving of a 7.
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Post by Al Smith on Jun 30, 2020 23:11:20 GMT -5
Great opening post, A, as always! What a curious song. Seven. hey, thanks for posting the vid, jk - knew there was something I forgot to do!!! |
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Post by Al Smith on Jun 30, 2020 23:20:55 GMT -5
Seems most of us don't mind waiting in Lines, lines around the block with 14 of 20 voters (thanks one and all of you) voting favourably. This online booking scene is just nonsense, really! The results qued in the following orderly fashion:
4 - 2 votes
5 - 4 votes
6 - 4 votes
7 - 8 votes
8 - 1 vote
10 - 1 vote
Don't be put off by the next round. The song is called Games Two Can Play, but I'll bend the rules (this once) and we can all have a turn - speak soon!
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Post by Will/P.P. on Jun 30, 2020 23:31:42 GMT -5
I'm surprised "Lines" got such good results. Glad.
I believe it a touching little number, along the lines
of "I Went to Sleep".
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Post by Al Smith on Jul 1, 2020 3:08:10 GMT -5
I'm surprised "Lines" got such good results. Glad. I believe it a touching little number, along the lines of "I Went to Sleep". It could have been, but it ain't. |
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Post by Al Smith on Jul 1, 2020 3:39:43 GMT -5
For Today's song we traverse from the cinemas of Hollywood and LA to New York's famous Broadway, as our gang attempt a cover the famous ode to the titular 13 mile strip of dreams in Manhattan that down which the Fairy Dust trucks roll.
The team commit a relatively straight cover of The Drifters cover (it was originally released by "girl" group The Cookies in 1963) with a great lead by Al, which unfortunately suffers from a meh approach to the production, specifically the uninspired clubbing. There's some great brass work that wants to dance on the piano lid, but gets held back by the otherwise sonorific proceedings.
The boys cover predates George Benson's legendary and totally bitchin' version, which thankfully defibrilates the Drifters version and this snooze fest conjured up by our team of self-hypnotised magicians.
6 - 5 because the song is cool, a bonus point for Al's lead - I could listen to that dude sing forever.
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Post by jk on Jul 1, 2020 4:08:48 GMT -5
Nothing can beat The Drifters' 1963 version in my view, with (apparently) Uncle Phil on impressionistic guitar. While we're swapping versions, Gary Numan did a nice-ish live one (his only cover of anything), mainly thanks to Billy Currie's awesome synth excursions (Numan himself sounds somewhat the worse for wear): The version by the Boys does a "Running Bear" for me--in other words, nothing. Still, some depraved part of me refuses to give any BB song anything less than seven so seven it is.  |
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Post by dant on Jul 1, 2020 4:22:54 GMT -5
I’ll give this one a 7, it’s a little bit plain, but I still enjoy Al’s vocals enough to give it a decent score.
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Departed
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Post by Deleted on Jul 1, 2020 6:51:27 GMT -5
On broadway - I can’t think of a beach boys recording that I dislike more. Listless vocals featuring a dying cat sax line. Reminiscent of a bad trip. This song makes me uncomfortable and I would rather listen to Smart Girls, Summer of Love, or anything off the country album
0/10
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