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| From | Kerry Kompost <kerry_kompost@yahoo.com> |
| Subject | Re: Pet Sounds-a-Hell |
| Date | Thu, 13 Dec 2007 09:29:40 -0800 (PST) |
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Adam Marsland wrote:
> Yes, it's cool the way the piano
> run through the Leslie blended with
> the archtop guitar sounds, and
> yes, that tympani sure sounds
> dramatic, but untethered to the
> emotional heart of the record, it's
> just so many jagged lines on a
> ProTools sound file.
> You can't recreate that by putting
> together certain noises that ring
> a certain way.
All the things Adam mentions above are nothing more
than icing on what was an already-perfect red velvet
cake. These are production and arranging values, not
songwriting; they’re two very different things, and I
believe more than a few songwriters make the fatal
mistake of confusing the two disciplines.
The underlying chord structures on Pet Sounds – eg.
the SONGS – are, and I say this sincerely,
astonishingly brilliant in their own right. Strip away
everything but the piano on “God Only Knows” and
you’re left with something that transcends mere pop
music – the chords themselves take the listener
someplace, ever climbing, resolving in unexpectedly
ingenious ways, with emotionally-charged shifts in key
and tempo keeping the piece flowing. It is, in and of
itself, a complete musical statement, even without the
interesting sonic touches, incredible vocal melody,
and inspired lyrics.
Brian Wilson had the imagination, inspiration, and
God-given musical talent -- all coming together at the
same time -- to create what could be called
classical-based musical structures that often had very
little to do with regard to the conventional pop music
of the era. Sure, one might argue that a handful of
McCartney’s 60’s-era songs display the same broad
classical influences, but Macca’s music is far more
traditional, simplistic, and less genre-stretching
than Wilson’s. Plus, you know, Macca had George Martin
at his side. In that regard, Brian Wilson stands
alone.
That’s why most Pet Sounds-inspired homages do nothing
for me – frankly, most of them laughably lack the
musical sophistication of the original. And why
shouldn’t they? There’s only one Brian Wilson, and to
begin to come even CLOSE to that level of
sophistication requires a degree of talent, skill, and
dedication that, frankly, most of us mere mortals
lack. In spades.
That said, would you trade Brian’s musical gifts for
his tormented soul? I’d say they’re one and the same;
listen to the music, it’s all in there. Great art
often springs from deep emotional turmoil. Thanks, but
I’ll keep my sanity in exchange for my
less-than-Brian-Wilson-esque songs!!!
Anyway, it doesn’t matter how amazing that guitar tone
thru the Leslie sounds, or how cool it is to use
bicycle bells or garden rakes or plastic bottles of
Vicoden(tm) as percussion – if the song isn’t there,
you could throw the Los Angeles Philharmonic on the
track and it’s still going to suck bowls of Raisin
Bran with half-and-half.
And, yes, Spilt Milk ROCKS. I can't recall the last
time I heard such a sophisticated piece of music like
"Joining a Fan Club" that actually slammed my head
against the wall with it's unbridled energy. Well,
there's "Live in Japan" by Mike Keneally (you knew I
had to throw him in there, didn't you, Mr. Holmes?
He's a huge Brian Wilson fan, too).
kErrY
www.myspace.com/kompost
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