Szia Mike's Lover! Ne haragudj, összetévesztettelek egy kedves közeli ismerősömmel, aki szintén nagy Mike Love-fan, őt hívják RR-nek, örülök, hogy egyre többen vagyunk mi, Mike Love-isták, annak a Wilsonnak a szerepe amúgy is el van túlozva, pl. hát ki írta a Kokomó című dalt, na ki? Hát nem az a Wilson, az tuti, hanem Mike Love! És első is lett a Billboardon! Az a Wilson meg csak bénázik itt azzal az avantgárd popszimfóniájával, faszt se érdekel, Mike Love viszont közbe fáradhatatlanul turnézik, életben tartja az endless summert, a California feelinget. Keep mikeing!!
Apám!!! Végre egy Beach Boys topik!!!
Én nagy rajongójuk vagyok a fiúknak, kedvencem Mike Love! Szerintem ő az egyetlen hiteles bicsboj! Mennyire király már, ő aztán érzi a dél-kaliforniai fílinget, ő aztán tudja mitől döglik a légy!
Mikey a legnagyszerűbb dalszerző, szövegíró, énekes a világon.
Amíg Brájen a halálról énekelt, meg mittudomén bedepressziózott, addig Mike javában tevékenykedett és életben tartotta a Beach Boyst! Mekkora fasza dolog volt! Megőrjítette a közönséget! Basszátokmeg, a mozgása...az kikészíti a csajokat totálisan. Szexszimbólum, vazze, szexszimbólum!
Sziasztok Beach Boys rajongók !!!!!!! Először is a kurva anyátokat, egy hónapon belül megjelenik az univerzum legjobb lemeze, és nem érdekel senkit. Le vagytok szarva. Mésodszor: s z e n z á c i ó!!!!!! A vorld vide veben elsőként, premier: SMiLE 2004 / 2nd movement (Wonderful / Song For Children / Child is father of the man / Surf's Up). Ti meg hallgassatok csak Deep Purple-t. Sziasztok !! :DDD
Sziasztok rajongók! Fantasztikus történelmi dokumentum! Murry Wilson, a Wilson testvérek hírhedetten agresszív apja énekel! Méghozzá egy 1965-ös Kentucky Fried Chicken reklámdalban! Kurva szar! Mindenki hallgassa meg!
Murry Wilson - Colonel's March
Murry was fired from The Beach Boys, by the boys. He started producing some classmates of his sons, The Sunrays. They only had one big hit, "I Live For The Sun." During those sessions, Murry fashioned himself a jingle writer and proceeded to record this Kentucky Fried Chicken travesty. It was never used for anything, but was included on the (now out of print) Sunrays box set. It's a short song, but worth every hilarious second.
- Otis Fodder
TT-0:48 / 758k / 128kbps 44.1khz
from "The Sunrays - Vintage Rays, Box Set" (Collectables COL-8833)
Nem igazán. Egy lelőhelyet tudok. Fővárosi Szabó Ervin Könyvtár VII., Rottenbiller utcai fiókja. 76-os és 73-as trolival egy megálló a Keletitől. Javaslom inkább szeptemberben nézz be. Korábban volt egy nem túl jó netes oldalais, de ez most megszűnt.
Szia Gyurka, engem érdekelne, eredeti cd? (Szóval hogy nem mp3, igaz? mert úgy nekem is megvan). Cserébe, hát nem tudom mi érdekelne téged, írd meg hogy mit szeretnél cserébe, biztos dűlőre jutunk remélem
köcsögség, az egész világot átbaszták tehát évtizedeken át. de nem érdekel, én mégis azt akarom hinni, hogy mekkártya rágcsálja a répát. és hinni is fogom.
Brian Wilson interjút adott az xfm-nek. amiből kiderül hogy Paul Mccartney mégsem rágcsált zellert a VegaTables című dalban
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Brian Wilson Talks To Xfm’s Steve Taylor
Prior to his performance at London’s Royal Festival Hall last weekend (July 24), legendary Beach Boy Brian Wilson met Xfm's Steve Taylor and spoke exclusively about his soon-to-be-released masterpiece, ‘Smile’, and his new studio album ‘Getting In Over My Head’. Presented unedited and in full, here is the full transcript.
Steve Taylor: You’ve played here at the Festival Hall a few times in recent years, haven’t you?
Brian Wilson: 3 times
ST: You obviously enjoy playing live?
BW: Yeah, I play my songs
ST: That will be good to hear for people who just have you down as ‘Studio Brian’
BW: Do you like the new album? ('Getting’ In Over My Head' – released June 2004)
ST: Yes, it strikes me that it’s a very Beach Boys sounding album which is interesting, there are some very positive, romantic songs on there
BW: It sounds like the Beach Boys but it also sounds like me aside from the Beach Boys
ST: What’s the difference between a Beach Boys album and a Brian Wilson album
BW: The difference is that I sing all the background parts and with the Beach Boys Alan, Dennis and Carl, and Bruce and me would sing the background parts
ST: And you’ve collaborated with various people on the album – Paul McCartney, Elton John, Eric Clapton, Van Dyke Parks… What was that experience like working with some of those people?
BW: We called Van Dyke Parks in to work on some lyrics for the 'Smile' project, and he came by about twice a week for three weeks, and he would go home and come up with new lyrics, and my friend Darian [Sahanaja] from my band, he was the one who sequenced it, and made it all go together like glue
ST: What about working with Paul McCartney, an interesting person to have on there, isn’t he?
BW: I asked Paul if he would come out to L.A. to work on a song called ‘A Friend Like You’ that I wrote for him. Me and Steve Kalinich we wrote it for him, and he said ‘Sure’. And he flew out to L.A. It took him twenty minutes to learn the song and twenty minutes to record it, and then he was out of there. He did a beautiful job, and his voice sounds fantastic. Really good.
ST: Fantastic! And it’s a nice, really simple little song. In fact, most of the songs on the album come across like that. Obviously, you pick them apart and they’re quite complex underneath, but what comes across is a collection of simple, romantic pop songs.
BW: It’s not a hard rock album, is it? Not real hard rock and roll, right? But it’s good soft pop rock
ST: Yeah, let’s put this into context. The two big albums that people think of when you mention Brian Wilson or the Beach Boys are ‘Pet Sounds’ from 1966 which is just the best pop album there is, groundbreaking, inspirational and different to anything around at that time, a big influence on the Beatles in particular. And then ‘Smile’ in 1967 which might be even better, but nobody got to hear. And it’s out in September and you’re playing it live tonight, right?
BW: The whole ‘Smile’ album tonight, yeah
ST: What made you decide to dig ‘Smile’ out again, because only last year you were saying that it would never come out?
BW: My management told me that they thought people were ready for it now. It was ahead of it’s time obviously, alright?
ST: Yeah
BW: Parks was ahead of his time with these lyrics, and we got it all put together and sequenced and now all we gotta do is hope to God it sells and I think it will. There’s nobody making that kind of music these days. Nobody. No-one anywhere is making that kind of music. It’s sticking out like a sore thumb. People are gonna go ‘What, what is this, in 2004?’ They’ll think ‘Good luck’
ST: Are all the songs the songs you recorded back in ’67 or have you gone back and re- recorded any of them?
BW: We went back and rerecorded some of the movements. See we had two movements in 67 and we added a third movement in 2004, and we also touched up some of the first two movements. Now we’ve got it all together.
ST: Are there any new songs on there?
BW: Are there any new songs from ’67? Yeah
ST: Are there any tracks on there that people will be familiar with?
BW: No, because no-one has heard it. Well, ‘Good Vibrations’ yes, and that’s about it – all the rest, nobody’s heard?
ST: In terms of the live shows, you’re working with a band called The Wondermints, you’ve been working with them for a while haven’t you?
BW: Yeah, about six or seven years. We saw them one night at a nightclub, and they were playing Beach Boys songs, and I went backstage afterwards and said ‘You guys would make a great back-up band, I’m looking for a back-up band, do you wanna do it?’ And they say ‘sure, let’s give it a try’. Doggone Darian he got the band and six other musicians and taught them everything, all the Beach Boys stuff and everything.
ST: Do the band contribute creatively, in the form of solos, arrangements or anything or is it you leading the band and they play the parts.
BW: It’s me, Darian and me
ST: You also play some of the ‘hits’ don’t you. Which of those do you do?
BW: We do ‘I Get Around’, ‘Don’t Worry Baby’
ST: ‘In My Room’? That’s one of my favourites
BW: Yes, ‘In My Room’, that’s a great tune
ST: So ‘Smile’ comes out in September, will there be more shows then?
BW: Yeah, we’re going to be doing a tour in October. And we’re hoping that it we can sell enough records, to the point where we all get turned on enough and can say ‘Hey we made it, we can do it’ We’re all hoping for the best
ST: I know it’s an album from 1967 originally but do you foresee a natural follow-up to 'Smile'?
BW: Yeah, if it’s successful, boom (clicks fingers) yeah we’ll make another one
ST: I also wanted to ask you about the themes on the album?
BW: The themes are exploring water, which is the third movement, air (sic), which is part of the second movement, and air (sic) which is part of the first movement, and there are different trips for different movements.
ST: So musically, it connects to those ideas, what about the lyrics. I read that you and Van Dyke Parks are dealing with the theme of American history?
BW: Well, ‘Americana’ Van Dyke and I wanted to create the nostalgia of early America, you know. I think we captured it with the music and lyrics very well. It’s very good
ST: One thing my friend Simon [photographer] and I were discussing earlier was the humour that comes through in some of the songs, a real sense of intentional silliness sometimes.
BW: Oh, you mean like ‘(I’ll be round my) Vegetables’ that’s a funny one.
ST: Because you worked with Paul McCartney on that one?
BW: On ‘Vegetables’, no.
ST: But didn’t he eat some vegetables or something?
BW: Oh well, he came round and chewed up a carrot in our session, but we didn’t record it
ST: So Paul McCartney didn’t play carrot on ‘Vegetables’
BW: No
ST: Do you see humour as something that is missing in current pop music?
BW: I suppose so
ST: It seems an apt title for the album and the times – ‘Smile’
Hellósztok rajongók sziasztok, Los Angeles egyik legsúlyosabb problémája a mind növekvő szmog mind növekvő mértéke, ebben meg is lehet dögleni. Aki nem hisz nekem, az hallgassa meg egy LA-i lakos eszmefuttatását a témáról. Smog Ez egy 1966-os felvétel, a helyzet azóta tovább rosszabbodott :/
Bizony, ezért voltak szerintem a legnagyobb istenek Spector, Wilson, George Morton meg a hasonló arcok, zsigerből csináltak kurva jó jangzást a kis háromsávos keverőpultokkal, ez az ami mára eltűnt szerintem. Jó példa az új Wilson-lemez, amin BW valami hasonló hangzást akart mint a klasszikus 65-66-os lemezein, a végeredmény katasztrófális
Igen, ezért is jobb a 60-as évekbeli lemezeknek a mono mixeit hallgatni, dögösebben is szólnak. ("Mono is where it's at" - B.Wilson) A korai Beach Boys lemezek sztereó változatai is elég bénán szólnak, vagy az instrumentális track van középen, és a vokálok a két szélen, vagy fordítva. Érdemes lenne újra kiadni a teljes 1970 előtti Beach boys katalógot sávonként újrakeverve, úgy ahogy a PEt Soundsszal tették 1996-ban, vagy ezzel a Little Hondával 2000-ben, még ha ez múlthamisítás is lenne
Úristen, mit tettem, anyjuk redvás picsáját az indexnek
Előbbi hozzászólásom így fest egzotikus kódok nélkül:
"The Beach Boys covered "Little Honda" and it, too, sold well for them"
Ez mondjuk tévedés, a Little Honda originál Wilson-Love szerzemény, az All Summer Long c. lemezen jelent meg, és csak utána dolgozta fel a Hondells, ami egyébként egy nem létező zenekar volt, Gary Usher toborzott össze stúdiózenészeket.
Én is kedveskednék akkor egy mp3-mal, ez a Little Honda vokálok nélküli mixe, amit 2000-ben kevertek újra, úgy szól leviszi a fejedet olyan atom.
