The reason that Brian so often had to give you little appetizers in his music is because what you are about to hear is so good, if you didn't have that teaser, your brain would just short-circuit
@JackCasablanca-painter
4 жыл бұрын
Writing "Do It Again" was Brian being cool to Mike Love about Pet Sounds, which made Mike's role in the band suddenly irrelevant. They'd diverged away from fun and simple to complex and artistic. This required more use of a voice like Carl's and less like Mike. When Mike pleaded with Brian not to have Tony Asher replace Mike as the lyrics writer on Pet Sounds, Brian told him that after Pet Sounds, he and Mike could collaborate, just the two of them, on a song just like the old days. Brian kept his word and "Do It Again" became one of their biggest hits ever.
@MrShenanigans28
2 жыл бұрын
@@georgevieira6686 couldn't have said it better myself. I hate that the miu album is so awful though lol hey little tom boy is the worst beach boys song ever
@jakemitchell1671
2 жыл бұрын
There's some truth to this, but there's simply no validity to the idea that Mike Love's role was ever "irrelevant." One of the great injustices of the BB/Brian Wilson narrative is that Mike was the "bad guy" who resisted, criticized, and just generally tried to hold Brian back. The audio and video from the PS and Smile sessions show Mike to be a willing and supportive participant. Yes, he expressed concern over the new directions, but to be fair there was much to be concerned about. In hindsight PS, GV, Smile and some later work stand as classics, but this was by no means obvious at the time. And Mike could see Brian's deteriorating mental/emotional conditions. I truly believe without Mike's business-minded approach the band would have imploded by 1970. The guy deserves way more credit that he gets.
@JackCasablanca-painter
2 жыл бұрын
@@jakemitchell1671 Jake, I agree with you 100%. People often bash Mike very unjustifiably. For starters, his voice was crucial to the fabric of the Beach Boys sound. Brian once said in an interview that the Beach Boys sound was largely due to Mike Love's voice. Maybe I wasn't clear enough in my above original comment. I was referring only to Pet Sounds, where Mike, and even all the Beach Boys, were sort of put aside momentarily. Except for Carl, who's guitar chops were good enough to record with the Wrecking Crew, who were pretty much the "Beach Boys" for that album, and Carl's voice was perfect for "God Only Knows." But before and after Pet Sounds, Mike was not only relevant, he was indispensable to the Beach Boys in every way. His voice and lyric writing was crucial in their rise to, and during their height of fame, on songs like Surfin USA, Catch A Wave, Fun Fun Fun, I Get Around, Little Deuce Coupe, you name it... And then later his voice was crucial to California Girls, Do It Again... and also the non-Brian songs like Big Sur, a hidden gem, that Mike not only sang and wrote lyrics, but wrote the melody, and arranged and produced it. And yes, his business approach was crucial to the band's survival, good point. (I think the reason people bash Mike is because of his legal process to get his fair share of royalties, but that happens in every band, every sports team, etc... who wouldn't want to do whatever they can to get their share? I don't fault Mike, and neither did Brian.)
@JackCasablanca-painter
2 жыл бұрын
@@jakemitchell1671 Jake, I completely agree. I think Mike was a wonderful and important part of the group. His voice texture with a pronounced California accent was an indispensable part of the tapestry of the Beach Boys sound. Even Brian said in an interview that that the Beach Boy "sound" wouldn't be possible without Mike's voice. My original post may have been unclear. I meant that Mike, and even the rest of the boys, were "irrelevant," ONLY for Pet Sounds. (Except Carl, whose guitar chops were good enough to record with the Wrecking Crew, and his voice was perfect for 'God Only Knows.') But beyond Mike's singing, he had great lyric writing skills too, choosing words that were cool, but importantly, they fit the beat and rhythm splendidly. "It's auto... matic... when I... talk with old friends... the conver... sation... turns to... girls we knew when their hair was soft and long... and the beach... was the place to go." Perfect rhythm in the words and pauses, and Mike wrote them solo, Brian encouraged Mike to take the lead in writing that song, 'Do It Again," to make it up to Mike for leaving him out of Pet Sounds, where Tony Asher was the primary lyricist. Mike could also write melody, a good example is a lesser known, but beautiful Beach Boys song, "Big Sur" on which Mike wrote the melody, the lyrics, and did the arrangement and production and sang it. (I think people bash Mike because his legal efforts for his share of royalties was made so public by the media -- but that stuff goes on all the time in all bands and sports teams, it's not personal. I don't fault him for it. And neither does Brian.)
@hangebicom
3 жыл бұрын
"Hawaii" and "Good Vibrations" (at vibrations happenin within moment) also share same chord progression, which goes back to Bach-Guinod, "Love me tender, love me sweet" and thousands of other songs, too.
@peteatkins2
11 жыл бұрын
Terrific Stuff showing how Brian composed and recreated
@Simon-pl2zi
3 жыл бұрын
great songs occur usually when the writer hears music in their head at odd times - when they're riding a bike, in the shower, during dream state. They then build out the song from there. Technicians understand why a song works, they can explain it after its been written, but they dont have access to that creative well in the same way as someone like Wilson does.
@machia-mw1lm
9 жыл бұрын
Learned something here, thank you.
@Zoologic21
5 жыл бұрын
The chords played in succession sound like the intro to Our Prayer in SMiLE, is it? I can't say for sure, but I'd go with yes.
@hangebicom
3 жыл бұрын
Our Prayer can be easily traced back to J.S. Bach :D
@peteatkins2
11 жыл бұрын
Terrific
@BenCulture
9 жыл бұрын
How do you talk about _15 Big Ones_ and NOT mention "Had to Phone Ya"?!?
@Wolfsky9
9 жыл бұрын
Ben Culture Mr. Culture : " 15 Big Ones " is --hands-down, THE worst BB's album, ever. it is unlistenable --& I'm a lifetime Fan! -- " Big Ones" & " Love You" are unmitigated disasters. BW had no business trying to carry that much responsibility. And, his voice is a disaster also. --- Best BB's after " Pet Sounds " is Sunflower. Now THAT's singing, & The Boys at their best. Wolfsky9
@BenCulture
9 жыл бұрын
Wolfsky9 You're entitled to your opinion, and I don't entirely disagree with you, but in what way does your comment address mine?
@panterxbeats
9 жыл бұрын
+Wolfsky9 Love You is a brilliant album. Read about it some more, adopt it from another perspective (ignore your fixed idea of what 'good singing' is) and give it another chance.
@happydude6713
8 жыл бұрын
I love Brian's gravelly voice on Love You. It's lost all the sweetness but it's full of desperate hope.
@Wolfsky9
8 жыл бұрын
Sir, as regards " Love You", there's far more to be saddened & disappointed with. For one, the entire album was rushed, & poorly mixed. With the exception of " I'll Bet He's Nice" & " The Night Was So Young", it's just painful to listen to, knowing that BW didn't want to do it, & without Mike's balance in the lyrics, BW's weakness & sadness is overwhelming. I've listened to it at least 50 times. It just depresses me every single time. Besides, Al & Mike were absent through almost ALL of the making of that album. ----It's just me, but seeing them in '77, they were struggling badly, even onstage. -------------Wolfsky9, 69 y/o Now
@Wolfsky9
11 жыл бұрын
Well done, & obviously, this man is a true BW / BB's Fan. Wolfsky9
@coelhocointech9841
5 жыл бұрын
What’s the three chords?
@mr.nobody68
4 жыл бұрын
My ear isn't that great but, based on him saying that you hear it all over music I-IV-V or one four five all Major IDK what you know so, if you don't know, let's take the C Major scale C D E F G A B notes 1 2 3 4 5 6 7 scale degrees Generally, in the major key, you would play the 1 4 and 5 as major chords. So, if C is the tonic of the scale, we would build our Major triad using the chordal root (C), the Major 3rd (E) and the perfect 5th (G) Our CMaj triad is C-E-G In the key of CM, our fourth scale degree is F To build the FM chord, we need to know the FM scale F G A Bb C D E Again, we're going to use the same intervals, and wind up with the FM triad F-A-C So far, we have the Major 1 chord CM, and the Major 4 chord FM The 5th scale degree in CM is G G A B C D E F# GM triad is G-B-D So now, we have the Major chords C, F, G These chords always fit extremely well together (in any key, just use the same scale degrees), and each chord leads your ear into either of the other two. To clarify, what I'm saying is that if you play C, you can go to F or G, and it sounds so good, it's practically expected. You can play any of these chords in any order, and they are just predictable. Try the following: C F G C G F C And now for an extremely brief music history lesson to understand why these chords are so predictable and widely used. First, let's forget about what key we're in because it works in all 24 keys (12 notes makes 12 keys, Major and minor makes 24 because math). [Side note: Major is written with Capitol Roman numerals I-II-III-IV-V-VI-VII while minor is lower case i-ii-iii-iv-v-vi-vii (I needed to note this info somewhere) and all keys use both Major and minor chords but that's a totally different discussion] Let's work music history backwards Heavy Metal comes from Hard Rock Hard Rock comes from Rock Rock comes from Rock N Roll Rock N Roll primarily comes from a blend of American Blues, Country & Western, and Rockabilly. Rockabilly kinda comes from The Blues The Blues comes from (mostly black, mostly Southern) Gospel music, and African Slave songs. Blues music got it's start in the Mississippi Delta with Son House and Robert Johnson. That's about as far back as known-to-still-exist music recordings can take us. What these men did, was to record a lot of music using a variety of similar chord progressions that we now call The 12 Bar Blues. In any key, play this most recognizable progression remembering that I is the first scale degree played as a Major chord, IV is the 4th Major, and V is 5 Major Every time you see a Roman Numeral, I want you to play that chord as quarter notes, in 4/4 time (1-2-3-4-1-2-3-4-etc) Here we go I-I-I-I-IV-IV-I-I-V-IV-I-I Let's look at it closer I is our Major 1 chord, played 4x IV is Major 4 played 2x I takes us back to Major 1 twice V is the Major 5 for 1 bar IV the 4 chord again for a measure I and we're back home on the 1 for the last two measures Again, IDK your level of knowledge so, I'll go with the key of G for the hell of it, and break it down note for note, measure for measure (Measure and bar are interchangeable words) (Again, we're in 4/4 time which means each bar is 4 beats long, and each beat is a quarter note. So, your metronome would click 4 times in each measure, and you would play each chord one time on the click) So we're going to play that same 12 Bar Blues progression in the key of G Major. I'm going to type out each measure on a separate line, and I'm going to give you the letter of the chord for every beat so that you remember to hit that chord every time the metronome clicks. (Ignore the asterisk * and the plus +) G G G G G G G G * G G G G G G G G C C C C C C C C G G G G G G G G D D D D C C C C + G G G G G G G G I've spaced out each chord only for easier reading As you can see, the progression is G 4 bars C 2 bars G 2 bars D 1 bar C 1 bar G 1 bar ---------------- 12 bars total, repeat to infinity. Literally. So, that's really the most well known blues progression. There's a lot of variations where you can change out the chords to prevent monotony. I'll briefly explain some of the possible variations Go back and play the same progression except when you see the plus (+) you will stay on the D chord for that measure. Most famous example is Chuck Berry's Johnny B. Goode in Bb Major. Go back and play the original progression but when you see the asterisk (*) play C for that measure. Can't think of any examples. And then you can go back to your original progression, and use both chord swaps. And in any variation, in order to further break up the monotony AND to really prepare the listener to return back to the top of the progression (leading into the chorus or leading back into the verse) you can play that final measure as G G D D Or G D D_ let it ring out for that extra beat And other variations. ----- There's also 8 bar blues and 16 bar blues which use the same scale degrees in a different way. ----- By now, you've definitely recognized these chord progressions. They're all over music. In damn near every genre. Used in hit songs on any radio station. When you just take these 3 chords (all Major or all minor), and play them in any key, you can write an infinite number of songs. And that's the formula for basically the entire AC/DC catalog, using the keys of A and E almost exclusively. 3 chords played over and over again placing them in different measures all throughout the song using different rhythmic patterns with very relatable, truthful, good time party lyrics over the top. Back to The Beach Boys, they did it, too. Surfin USA is a I-IV-V progression in Eb. Fun, Fun, Fun is a complete rip-off of Johnny B. Goode, and played...I think it's in F? And, if you want to find the key of a song, ascend your instrument chromatically until you find whatever note sounds like home. Be careful to verify by making sure it sounds correct over each chord. In many cases, you'll think you found it but then you lose the harmony of it when the song changes chords. So, if I grab a guitar here, and I'm going by my aural recall... A, A#, B, C, C#, D...D... I'm pretty sure it's in D. D E F# G A B C# You know what to do from here. Find your scale degrees (1-4-5), build your Major triad for each scale degree using that note's Major scale (build a G chord using the G Major scale, build an A chord using the A Major scale). Now, use the original recording, and play each chord along with the song. You'll know when to hunt for the next chord because your chords will clash against the recording. Please note: it might use 7th chords or diminished or augmented or some other weird shit but, I've got you on the ballpark. The Beach Boys' music is very special to me. Music is magic. Learning to play a song replaces that magic with understanding. Way too many times in my musical journey, understanding has ruined the magic. Even destroyed my love for a song. I'm not willing to risk it by learning too much about any BB songs. Their music is just far too special and important to me. This is the same reason why I do NOT learn ear training or too much Music Theory. I'm afraid that developing relative pitch or my music theory knowledge will cause me to accidentally unlock TBB, and ruin the magic. Sorry for the long reply. Hope it helps, and hope I didn't make any mistakes. I know what I typed but, IDK if I typed it correctly. Pretty sure I did.
@juandavila4534
4 жыл бұрын
@@mr.nobody68 bruh u just wrote a whole lesson on music theory for someone who was asking for some chords lmao
@lukejackson8375
3 жыл бұрын
@@mr.nobody68 stfu
@warmswarm
3 жыл бұрын
@@mr.nobody68 - Jeez, talk about overkill. He asked what the 3 chords were and you cut and paste half of a book as your answer.
@Wolfsky9
11 жыл бұрын
I must take issue with " Wendy" : As Mike Love used to say when intro'ing the song : " It's a fast song with slow words " --& it is ANYTHING but " upbeat", indeed, it 's a heartbreaker. I used to think that the Lyric was " You're so bad " , & it was only a few years ago, I learned they are " Hurts so bad ". For the song, I like my lyrics better, because Mike / Brian ARE singing to " Wendy" , asking her " what went wrong ? " " Wendy" should have been a true single release. Wolfsky9
@hanslorentz6418
6 жыл бұрын
Did you ever listen to the Beach Boys Album Holland? and to the Fairy Tale? Included on that same album? Than you must recognise the voice of Philip Lambert. His voice is 100 procent the narrator on the Fairy Tale! On all kind of issues of this Fairty Tale, the voice( the narrator) is being said to be Hollands album producer Jack Rieley, not to Philip Lambert. I want to state that this is wrong. And I would like to get this confirmed by Brian Wilson, please.
@bobbbbysacamano
8 жыл бұрын
even surfin' safari hsd such a melancholy melody. what would have been had Brian been confident enough to write his own lyrics.
@watersmith4122
7 жыл бұрын
what are you talking about? surfin' safari is aimlessly upbeat and Wilson has written his own lyrics on many occasions
@deweypug
10 жыл бұрын
Rather than breaking down the garbage covers - it would be nice to hear you break down Pet Sounds...
@DistantLights
8 жыл бұрын
+deweypug Break it down yourself and you'll remember what you learn much better! That's what I'm doing.
@jpinnacle
7 жыл бұрын
Not garbage at all. You need to open your mind-- there's more to the Beach Boys than Pet Sounds.
@robertrussell3935
7 жыл бұрын
deweypug ah sure wouldn't it be nice...
@MICKEYISLOWD
4 жыл бұрын
@@DistantLights Good luck with that. It will take you many yrs to grasp the brilliance of that record.
@anonymusum
6 жыл бұрын
These aren´t composer´s secrets at all. It´s called musical craftsmanship and every educated musician uses it day by day by day ..
@KiteFlyingRobot
4 жыл бұрын
For a video called “The composer’s secrets” I would expect at least SOME harmonic theory explained. Dude doesn’t even say what chords/inversions/theory at all.
@heywilbur
4 жыл бұрын
1-4-5... hardly a secret...
@KiteFlyingRobot
4 жыл бұрын
@@heywilbur Yeah I know. But the POINT is that a video called “The composer’s secrets” it takes ONE SECOND, like ALL other composer's videos do. Christ, man.
@kendallperry9247
3 жыл бұрын
He is explaining about how Brian cleverly arranged and instrumented each piece, which was a notably large part of his genius in music. Even though Brian was also an innovator when it comes to harmonies as well. My favourite is his liberal use of 2nd inversion and 3rd inversion chords. He uses his bass lines often to create a melody, as opposed to following what traditional voice leading would obligate.
@thewonderfulworldofderek6087
3 жыл бұрын
Brain Williston before Beach boys movie maze magic must popular music years 60s can help Covat visit since song's stops
@spactick
2 жыл бұрын
does anyone notice that this guy has very hairs hands and arms? kinda scary. I wouldn't wanna hang out with him on a full moon
@lamper2
6 жыл бұрын
wendy is wistful not upbeat
@anglodutch4081
6 жыл бұрын
YAAAAWN.......
@wuddude1599
6 жыл бұрын
Go back to your video games.
@mr.nobody68
5 жыл бұрын
Terrible piano playing
@pablobustamante8458
5 жыл бұрын
Not really
@MICKEYISLOWD
4 жыл бұрын
He is a music professor. He has very advanced understanding of music. He is not a pianist per se you dumb ass. What are you a pianist and know better? It's hard being smart like myself, being surrounded with too many people like you who just were born with not enough brain synapse to think clearly..lol
@Zezezeze69
4 жыл бұрын
@@MICKEYISLOWD Smart? Judging by your grammar you gave up learning to write by age ten.
Lacking any social graces I'd guess you're 5 years old, yes?
@raymondfrye5017
4 жыл бұрын
How could you tell he has furry fingers?Maybe the moon is approaching it's next phase of full moon; you know like werewolf season. Ha!
@anglodutch8321
3 жыл бұрын
The person least interested in this analysis is....: Brian. It adds nothing to my appreciation of Brian Wilson's music. It is a feeble attempt at 'understanding' art. Don't try it, just listen to the music.
@SFO-musical
7 жыл бұрын
with all due respect, you talk too much. You should do more keyboard demo of what you're saying and less vocal text.
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