Heroes and Villains is ADD: the song.
Heroes and Villains is ADD: the song
Lucas Reed
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Luis Morgan
it's their best song.
by far.
Joseph Martin
> Brian was holding onto this single, like: "All right, world – I've got it," and waiting for the right time. He felt it was important to wait for the right time. It was a good record. This woman, I guess she was an astrologer–of sorts–she came by Brian's house. She said to him, "Brian – the time is right." He was waiting for the word from this woman to release the record, I guess. So he said, "All right." He called the whole group. It was like: 'OK. Look. Here it is.' A small disk, you know. Seven inches. It was very solemn, very important. Weighty. A heavy situation. It was all, "Brace yourself – for the big one." All the group had those limos. And there was a caravan of Rolls-Royces taking the record to KHJ. He was going to give the station an exclusive, just give it to them without telling Capitol. We got to the gate of KHJ. The guard wouldn't let us in. A little talking, a little hubbub, a little bullshit. The guard was finally intimidated enough by four or five Rolls-Royce limousines to open his gate. We got in the building, got to the disc jockey who was presiding over the turntable. It was pretty late, probably around midnight. Brian said, "Hi, I'm Brian Wilson, here's the new Beach Boys single. I'd like to give you and KHJ an exclusive on it." And this asshole turned around and he said: "Can't play anything that's not on the playlist." And Brian almost fainted. It was all over. He'd been holding the record, waiting for the right time. He'd had astrologers figuring out the correct moment. It really killed him. Finally they played it, after a few calls to the program director or someone, who screamed, "Put it on, you idiot." But the damage to Brian had already been done.[13]
what's your favorite version of heroes and villains?
also the art for smile era beach boys stuff was so fucking good
Nathaniel Roberts
Nah. Surf's Up exists.
>what's your favorite version of heroes and villains?
Is there even a version that compares to the one on The Smile Sessions?
Lincoln Miller
>the one on The Smile Sessions
which one
Luis Clark
Oh, yeah. I only have the puny 2-disc edition; haven't gotten the 5-disc (?) one yet.
The one on Disc 1.
Juan Anderson
i thought the alternate version on the record store day one was cute, even if it isn't as good as smile's sessions version. that harsh noise towards the end is pretty ahead of it's time.
youtu.be
Hunter Jenkins
YOU'RE UNDER ARREST
Blake Cook
Mono or stereo?
Ryder Carter
Just listened to this, holy shit it's so fucking good, better than Sgt Pepper
John Williams
Stereo, always.
Aaron Long
lol nothing brian did was ever better than pepper and he knew it. he still knows it till this day.
the man would spend obscene time in effort arranging and recording interchangeable parts for a perfect song all on his own, driving himself crazy. then the beatles would could out with a double sided masterpiece like SF/PL.
Joshua Perez
>Heroes and Villains is ADD: the song.
Attention Deficit Disorder?
Analog-Digital-Digital?
Michael Cruz
>it's their best song.
>by far.
Just on Smile alone, Surf's Up and Cabinessence are better, more enjoyable compositions. If we look at the entire Beach Boys catalog, I'd be hard-pressed to place Heroes & Villains in the top 20. It's not a bad song. But it's not even close to GOAT for that band.
Samuel Lee
>But the damage to Brian had already been done.
Brian was a man-child. Had he the maturity and normal life experiences of a 25 year old adult, he'd KNOW that you can't just drive up to a radio station, walk in, and say, "Play this." There's a process for getting records played. In his defense, yes, he was the greatest American musical force at that time -- even more so in L.A., where he was at the time. The DJ should've played the damn record. But I can understand why he initially didn't. No one wants to get fired.
Nicholas Kelly
I like the 2000s solo version a lot but that’s mostly because the mix is a lot better and the verse instrumentals seem a lot more clean.
Isaiah Watson
>the man would spend obscene time in effort arranging and recording interchangeable parts for a perfect song all on his own
Bingo. This was Brian's undoing. He got into this thing of recording song fragments with the idea of assembling them into whole songs later at a mixdown session. Well, this might make sense and be a manageable process with a song like Good Vibrations, but Brian then tried doing the same thing with an entire album. And the whole thing got out of control. The Beatles contented themselves with just putting out albums of great songs. Each song being recorded as a complete "idea." Not assembled from 4 or 5 different fragments. This peculiar recording strategy of Brian's, couple with heavy drug use, caused him to flame out.
Liam Williams
>implying Strawberry Fields or Penny Lane were better then any of the high points on Pet Sounds, SMiLE or even Surf’s Up
Granted Magical Mystery Tour is my favourite Beatles album slightly nudging out White Album but Brian I think still had a better flowing track to track game then those two albums ever did.
Connor Wilson
This is infinitely better (and it's nearly identical to soniclovenoize's mix of it).
It shouldn't be longer than 3 minutes, because it sounds disjointed.
Easton Watson
How is that “harsh noise” bit ahead of its time? Lol. It’s like 3 seconds of delay and gain
Gavin Kelly
Of course. How dare Brian choose to be mentally ill?
Angel Johnson
This desu
Aiden Thompson
>Surf's Up and Cabinessence are better
ha!
Adam Bell
that would be She's Goin Bald
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Henry Rodriguez
Brian's mental disintegration can be traced through the music of the SMiLE era. Even though he comes up with a few remarkable progressions like "Wonderful" or "Cabinessence", much of the music has collapsed down into small self-contained modules, often made only of two alternating chords. This isn't even necessarily a criticism in itself and he certainly wrings very unique and beautiful melodies out of these two-chord structures ("Bicycle rider, just see what you've done...") that seem to have special haunting qualities. But it's a clear trend of breakdown in his ability to focus enough to construct harmonic progressions. The result, perhaps unsurprisingly in this light, was a sprawling project made up of very many musical segments that far exceeded his executive function to organize and complete. Obviously we all know that he never had support around him of his caliber outside of the Boys vocally and the Wrecking Crew instrumentally.
He probably needed to stay in some kind of 1965ish happy medium where his music would have remained slightly more earthbound with the benefit of many more years of good work.