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Post by Al Smith on Jul 6, 2020 17:54:02 GMT -5
I didn't make it in yesterday. I am a 9/10 for the wonderful "what if" Adult/Child project. Things would never be the same again... Important stuff, like being friends. and Will's vote to be added! Stay tuned for the update.
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Post by Al Smith on Jul 6, 2020 17:55:11 GMT -5
Epic track you mention! <video for the Walker brothers' The sun ain't gonna shine any more> Alan, you're spamming your own thread 😁
Regarding Adult/Child, I'm in agreement with John and Barto, but I think the lows are even lower and the highs not really so high. Bit late, but it would have been 4 from me.
It's never too late, broo - I will add yours (and Will's, and mfp's).
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Post by Al Smith on Jul 6, 2020 18:32:36 GMT -5
Today we delay unpacking M.I.U. Album by discussing and rating New England Waltz.
6 from me - in the Maine, very nice and well played et cetera yeah yeah sleeping now. I'm sure the 4 years late Murry Wilson would have appreciated it, perhaps it was a belated farewell from BW - it could also have easily subbed for the theme music for Newhart or similar.
However, it's rather twee like later year Van Dyke or the kind of guff Randy Newman would crank out.
It's interesting that Brian and the team leaned back on this old style of music while he was going through something akin to a quiet live free or die phase - perhaps a great comfort to him to perform in the year the band nearly broke-up at Rhode Island.
I do like the bass line though, it's plinking a little like that of Do You Like Worms and similar to the picked sound employed through the Wild Honey/Friends years.
I'm sure there's a million versions out there that cover this territory, maybe even Billy Butterfields's Orchestra, famous for Moonlight in Vermont, cranked one out.
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Post by Al Smith on Jul 6, 2020 18:42:43 GMT -5
Opps - btw - I couldn't: - find a Toob of just NEW on it's lonesome, but it features at the start of this "mix" leading into Life.. - be arsed ripping and uploading a standalone version
So, there you have it:
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Post by mfp on Jul 6, 2020 19:33:56 GMT -5
Pleasant enough although the tune loses its way once the drums drop out.
6
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Post by Al Smith on Jul 6, 2020 21:07:26 GMT -5
Here are the full song and album ratings for Adult/Child:
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Post by filledeplage on Jul 6, 2020 21:54:29 GMT -5
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Post by jk on Jul 7, 2020 4:47:34 GMT -5
Here are the full song and album ratings for Adult/Child: Wow, A. Your charts are something else. As for "New England Waltz", I'd never even heard of it. And quite frankly, I can't say I was missing much. Give me the brief waltz at the start of "I'm In Great Shape" on BWPS any day:
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Post by George Faulkner on Jul 7, 2020 7:43:40 GMT -5
New England Waltz is perfect.
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Post by filledeplage on Jul 7, 2020 7:53:31 GMT -5
New England Waltz is perfect. Ya - I gave it a 10!
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Post by John Manning on Jul 7, 2020 8:20:45 GMT -5
I like it, I think… but what was it for?
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Post by Emdeeh on Jul 7, 2020 12:05:53 GMT -5
NEW sounds like a track from another artist that got tacked on to the playlist to track tape trading. Gets a four from me -- it's ok but goes nowhere.
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Post by Mikie on Jul 7, 2020 12:21:49 GMT -5
It's a valid Adult Child "Outtake". Sounds like Dick Reynolds was involved in this instrumental, possibly recorded at the same session as "Life is For The Living" in early 1977. Doesn't do much for me. A six.
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Post by jk on Jul 7, 2020 12:22:29 GMT -5
Sorry, but having been raised on the epic waltzes of the Strauss family, Tchaikovsky and others, this is a piece of disposable fluff to my ears.
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Post by Will/P.P. on Jul 7, 2020 16:56:36 GMT -5
I like it, I think… but what was it for? Good question. What was it recorded for, if not for release? Unfortunately some tracks, like another instrumental I'm obsessed with, "Short Skirts", seemed destined for a "get to it when we can" box-set. They did give us the uber-fantastic instrumental version of "When Girls Get Together" on the last box, so maybe one day for "New England Waltz" and "Short Skirts".
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Post by Will/P.P. on Jul 7, 2020 17:16:30 GMT -5
It's a valid Adult Child "Outtake". Sounds like Dick Reynolds was involved in this instrumental, possibly recorded at the same session as "Life is For The Living" in early 1977. Doesn't do much for me. A six. I think it is valid. It could be Dick Reynolds, but it is not listed on the sessions at Bellagio that are known sessions. "New England Waltz", like Reynolds "Stella By Starlight" and "How Deep Is the Ocean" takes from 1965 seem to be lost in time... except as files, of course. I even like Dick's vocal abilities. I'm with George Faulkner's and filledeplage's opinion that "New England Waltz" is perfect. 10/10.
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Post by Will/P.P. on Jul 7, 2020 18:23:44 GMT -5
Today we delay unpacking M.I.U. Album by discussing and rating New England Waltz. 6 from me - in the Maine, very nice and well played et cetera yeah yeah sleeping now. I'm sure the 4 years late Murry Wilson would have appreciated it, perhaps it was a belated farewell from BW - it could also have easily subbed for the theme music for Newhart or similar. However, it's rather twee like later year Van Dyke or the kind of guff Randy Newman would crank out. It's interesting that Brian and the team leaned back on this old style of music while he was going through something akin to a quiet live free or die phase - perhaps a great comfort to him to perform in the year the band nearly broke-up at Rhode Island. I do like the bass line though, it's plinking a little like that of Do You Like Worms and similar to the picked sound employed through the Wild Honey/Friends years. I'm sure there's a million versions out there that cover this territory, maybe even Billy Butterfields's Orchestra, famous for Moonlight in Vermont, cranked one out. Randy Newman? I was a fan from the first moment I heard his writing and arranging for Harpers Bizarre. I had seen his name mentioned before as a writer on albums by Judy Collins' In My Life, and the Animals' Eric Is Here. But, Harpers Bizarre had him working with them in the studio. I own every one of Randy's records. I was listening again to an old radio interview with Dick Scoppettone yesterday, after seeing Van Dyke's twitter birthday wish on 5 July. He has some great tales about Randy. And Corny and the Corvettes* got a mention as the only other rock band in Santa Cruz when The Tikis were getting started. Talk about desired releases, Dick said him and Ted have loads of old tapes of originals written by them in their garages! I want. I don't have it yet, but I'm about to order Ted's new book to see what he has to say. Hope he doesn't spend all the pages talking about Van Halen. I want to hear about his 1960's years and his work with Van Morrison. I will have to forever put up with what is said in these Beach Boys forums about Van Dyke. I knew about Van Dyke in 1967, but the first place I heard "Come To the Sunshine" was on Harpers' debut record in Summer '67. I later got the Record Store Day 45rpm of Park's version. I own all of his solo albums, too. I played the new one from 2019, Gaby Moreno & Van Dyke Parks - !Spangled! last Saturday night. Wonderful stuff. Give that a listen, and you will see he's not twee these days. In fact, it's an Americana stroll across the music's of America. Gaby doesn't believe in the wall. It's all America to her, and you know where Van Dyke stands on the issue. He loves South of the border. *Mikie, you heard of them? That was Cornelious Bumpus. Before working with The Doobies and Steely Dan (and others), he got his start where he grew up, in Santa Cruz. He also was in Bobby Freeman's Band, another Autumn Records act out of San Francisco. Everybody here knows Bobby, he wrote "Do You Want To Dance". But did you know he also wrote another popular song in 1958? "Betty Lou Got a New Pair of Shoes" - later covered by Neil Young, among others.
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Post by Al Smith on Jul 7, 2020 23:29:32 GMT -5
Similar to the Dominion of New England, the titular Waltz has quite divided our community:
0 - 1 vote 4 - 2 votes 5 - 3 votes
6 - 4 votes 10 - 3 votes
Great discussion, and I like the contention around the provenance of the track - while we've established it was part of the sessions, it's intended use and the identity of the production team (were the Band intimately involved, or was it just pure Dick Reynolds) remain as elusive as a cup of British tea in Boston.
Ok, all ye of stern heart return tomorrow as we breakdown - and also rate and discuss M.I.U. Album.
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Post by AGD on Jul 8, 2020 1:32:41 GMT -5
It's a valid Adult Child "Outtake". Sounds like Dick Reynolds was involved in this instrumental, possibly recorded at the same session as "Life is For The Living" in early 1977. Doesn't do much for me. A six. I think it is valid. It could be Dick Reynolds, but it is not listed on the sessions at Bellagio that are known sessions."New England Waltz", like Reynolds "Stella By Starlight" and "How Deep Is the Ocean" takes from 1965 seem to be lost in time... except as files, of course. I even like Dick's vocal abilities. I'm with George Faulkner's and filledeplage's opinion that "New England Waltz" is perfect. 10/10. Odd. I'm looking at Shows & Sessions 1977 and the first entry for March is: ?? - Adult/Child session: Life is For The Living/New England Waltz [Brother - before the 11th].
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Post by jk on Jul 8, 2020 9:22:54 GMT -5
Similar to the Dominion of New England, the titular Waltz has quite divided our community: 0 - 1 vote4 - 2 votes 5 - 3 votes 6 - 4 votes 10 - 3 votes That zero wasn't me!! I refrained from voting altogether, which of course is far worse. Nice work, Mr. Smith. You're a worthy successor to BBF.
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Post by pendlewitch on Jul 8, 2020 14:17:50 GMT -5
While Alan's having a day off (he'll never know). "We can't call it England, let's call it New England":
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Post by Will/P.P. on Jul 8, 2020 17:47:13 GMT -5
I think it is valid. It could be Dick Reynolds, but it is not listed on the sessions at Bellagio that are known sessions."New England Waltz", like Reynolds "Stella By Starlight" and "How Deep Is the Ocean" takes from 1965 seem to be lost in time... except as files, of course. I even like Dick's vocal abilities. I'm with George Faulkner's and filledeplage's opinion that "New England Waltz" is perfect. 10/10. Odd. I'm looking at Shows & Sessions 1977 and the first entry for March is: ?? - Adult/Child session: Life is For The Living/New England Waltz [Brother - before the 11th]. Ouch! I did leave a word out! Should have been, "It could be Dick Reynolds, but it is not listed on the sessions at Bellagio that are known *orchestra* sessions." In answer to Mikie's, " sounds like Dick Reynolds was involved, possibly recorded at the same session as "Life Is For the Living". So, you confirm that "New England Waltz" was recorded in March sometime before the 11th at Brother. Where it goes sideways, is that there is another note for 11 March: Orchestra sessions at Western for "Deep Purple", "Life Is for the Living", "It's Over Now", and "Still I Dream of It". Everywhere I look, it's that 4 songs got orchestra overdubs. Perhaps based on the information at Bellagio -there is no doubt in my mind that Bellagio is a respected source- the 4 songs story is repeated in Wikipedia, and in The Ones That Got Away section at Bellagio. You do mention other songs considered for 'New Album' and 'Adult/Child', and their fates - where they were later used. "New England Waltz" is not mentioned. I've never seen any mention of "New England Waltz" in a book, not that I can remember. I don't have every book on Brian's music, but I have what I consider the best ones. I've never read the Lambert book, Inside the Music of Brian Wilson, which is quoted in Wikipedia, but the links don't work. I'll look into obtaining a copy. Leaves the options: "New England Waltz" was never considered for inclusion on any album, so that's why no information. Leading to John's post, "but what was it for?". Like "Short Skirts", no other information is known. Both songs kicked to the curb, to gather dust in the vaults. For me, these are fantastic tunes that don't deserve their fate. The next option is that an orchestra was brought into Brother Studio, sometime between 1st and 11th of March to record the track there. And, one more, the track was recorded on 11th March at Western, but no note or AFM contract was made. I asked Alan to include "New England Waltz" because I wanted to discuss it. I want more information on "Short Skirts", too.
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Post by Al Smith on Jul 8, 2020 21:09:08 GMT -5
Similar to the Dominion of New England, the titular Waltz has quite divided our community: 0 - 1 vote4 - 2 votes 5 - 3 votes 6 - 4 votes 10 - 3 votes That zero wasn't me!! I refrained from voting altogether, which of course is far worse. Nice work, Mr. Smith. You're a worthy successor to BBF. Awww, thanks for the kind words, man! High, high praise indeed! Did you catch all of the New England references in the NEW blurb?
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Post by Al Smith on Jul 8, 2020 21:11:30 GMT -5
While Alan's having a day off (he'll never know). "We can't call it England, let's call it New England":
Busted!!! My wife made me watch some Broadway musical on Netflicks called Hamilton last Friday - me thinks they ripped off Horrible Histories - bigtime!
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Post by Al Smith on Jul 8, 2020 21:55:22 GMT -5
Hi all - welcome or welcome back to our ongoing Discuss & Rate Beach Boys Songs Day By Day.
Today we kick off the tracks from the 1977 Iowa sessions and subsequent Wally Heider sessions, collected, cajoled & cat herded into 1978's M.I.U. Album.
Most of you know the drill, but for any and all newcomers, you are very welcome and I'd love to read your thoughts whether favourable or unfavorable about the tracks and finally the finalised album - please come as you are.
We will also discuss and rate any odds and sods related to the time period in review that we can get our hands on (without breaking any windows, locked cupboards, ripping apart any mattresses or excavating backyards across LA, North Carolina or Missouri) after the album proper.
So, after several creatively inconsistent couple of years, your band and Managing organisation signs an 8 Million Dollar in advance deal with the Legendary CBS Record company for whom you perform for at their private industry convention in London, then you realise you still owe your old record label an album.
What to do? 3 of you travel 1800 miles across and up the USA to a Transcendental Meditation University located in Fairfield, Iowa and record 2 albums at once - one Christmas themed - while 2 of you pursue other interests for the most part. Right?
Anyway, first ascendent from the levitation pad is She's Got Rhythm, a relatively straight forward number with a lyrical theme depicting an mésaventure de l'amour at a local disco. It evolved from a musical interlude featured on the soundtrack to the motion picture Almost Summer, penned by MIU co-producer Ron Altbach (a member of Mike's spin-off band Celebration).
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