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Darren J. Ray

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Hi everyone.

Welcome to the Season X Battle of the Bands Play-Off Week 4.

It’s the penultimate week – the Preliminary Final.

Let me explain how this works.

From the 44 weeks of competition, the seven highest ranked Gold songs have already advanced to next week's Gold Play-Off, where they will be revealed.

The top three vote getters from this week will meet them in that major play-off.

This week was devised to reward hosts who had particularly strong weeks, giving a lifeline to the winners of the Silver & Bronze play-offs and, indeed, giving them a chance to battle it out for the top three spots of the year.


This week features the following:

- the winner of the Bronze Play-Off and the two songs that beat it in its original week (unless they had already qualified for the Gold and Silver Play-Offs in their own right, which they hadn’t)

- the winner of last week’s Silver Play-Off, which hasn’t finished lower than second in either week (regular or play-off) that it’s competed in

- the song that defeated the Silver Play-Off winner in its original week (unless it had already qualified for the Gold Play-Off in its own right, which it hadn’t)

- the song that defeated the runner-up of the Silver Play-Off in its original week (unless it had already qualified for the Gold Play-Off in its own right, which it hadn’t)

- the three songs that were ranked 8-10 at the end of the regular season

- the remaining (one in this case) selection to make up the 10 for this week is the song that won Gold and was ranked next in order beyond the 10; i.e., #11.


Here are the nominees for this week:-



Time to Get Alone (The Beach Boys - 1967-68/2013 mix) (46 points, 35.38%) (Week 1 - Cindy Hood)

Solar System (The Beach Boys - 1977) (46, 35.38) (Week 8 - Cantina Margarita)

California Girls (The Beach Boys - 1965) (47.5, 33.93) (Week 9 - stkilda4ever)

All Summer Long (The Beach Boys - 1964) (46, 35.38) (Week 25 - Cindy Hood)

A Day in the Life (The Beatles - 1967) (54, 30.00) (Week 28 - Darren J. Ray)

Strawberry Fields Forever (The Beatles - 1967) (52, 28.89; 116) (Week 28 - Darren J. Ray)

You’re So Good to Me (The Beach Boys - 1965) (37, 28.46) (Week 31 - Al Forsyth)

Let’s Hang On! (The Four Seasons - 1965) (35, 26.92) (Week 31 - Al Forsyth)

Manic Monday (The Bangles - 1986) (34, 26.15; 93) (Week 31 - Al Forsyth)

Do It Again (stereo mix) (The Beach Boys - 1968/2013) (50, 33.33) (Week 38 - Deb#1)



The clips have been posted below.

Throughout the play-offs, I will list all links previously used by the respective hosts excepting where clips have been taken down for copyright infringement.

I have sought the approval of substitute clips from the hosts whose selections this has affected.

All clips this week are the originals used by the hosts, including the two Deb#1 used in her Week 38 as neither was viewable in all countries.

Again, if any of these links do not work for you now, just let me know and we’ll endeavour to find an alternative clip. 

As per each week of the play-offs, I ask you to vote using either one of three methods. 

Ideally, people will vote 1-10 (in their order of preference). 

If this appeals to you, you can copy and paste the titles (just below) into your post and put next to each song your order (1 = favourite song, 10 = least favourite song). 

Otherwise, feel free to just vote for your top 3 or top 5 in order. (The songs you don't rate will then be allotted equal points of the remainder.)

Again, this week's top THREE vote getters will go on to compete in next week's Gold Play-Off, from which we will choose the Gold, Silver & Bronze winning songs for the year!

See you next Monday (with the results).



Time to Get Alone
Solar System
California Girls
All Summer Long
A Day in the Life
Strawberry Fields Forever
You’re So Good to Me
Let’s Hang On!
Manic Monday
Do It Again



Time to Get Alone (The Beach Boys - 1967-68/2013 mix)



Solar System (The Beach Boys - 1977)


California Girls (The Beach Boys - 1965)


All Summer Long (The Beach Boys - 1964)


A Day in the Life (The Beatles - 1967)


Strawberry Fields Forever (The Beatles - 1967)


You’re So Good to Me (The Beach Boys - 1965)


Let’s Hang On! (The Four Seasons - 1965) 


Manic Monday (The Bangles - 1986)


Do It Again (stereo mix) (The Beach Boys - 1968/2013)

 

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Cindy Hood

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Reply with quote  #2 





Here's my votes.

4.  Time to Get Alone (The Beach Boys - 1967-68/2013 mix) (46 points, 35.38%) (Week 1 - Cindy Hood)

10.  Solar System (The Beach Boys - 1977) (46, 35.38) (Week 8 - Cantina Margarita)

2.  California Girls (The Beach Boys - 1965) (47.5, 33.93) (Week 9 - stkilda4ever)

1.  All Summer Long (The Beach Boys - 1964) (46, 35.38) (Week 25 - Cindy Hood)

6.  A Day in the Life (The Beatles - 1967) (54, 30.00) (Week 28 - Darren J. Ray)

7.  Strawberry Fields Forever (The Beatles - 1967) (52, 28.89; 116) (Week 28 - Darren J. Ray)

5.  You’re So Good to Me (The Beach Boys - 1965) (37, 28.46) (Week 31 - Al Forsyth)

9.  Let’s Hang On! (The Four Seasons - 1965) (35, 26.92) (Week 31 - Al Forsyth)

8.  Manic Monday (The Bangles - 1986) (34, 26.15; 93) (Week 31 - Al Forsyth)

3.  Do It Again (stereo mix) (The Beach Boys - 1968/2013) (50, 33.33) (Week 38 - Deb#1)

Darren, how are things going with the fires in Australia?  This whole thing is breaking my heart.  Hope you're still safe where you live.  My thoughts and prayers are with the Australian people and wildlife.   


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Larry Franz

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Reply with quote  #3 
  1. California Girls
  2. A Day in the Life
  3. Strawberry Fields Forever

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John B

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Reply with quote  #4 
1. You're So Good To Me
2. Solar System
3. All Summer Long
4. California Girls
5. Do It Again
6. Time to Get Alone
7. Let's Hang On
8. Manic Monday
9. Strawberry Fields Forever
10. A Day in the Life
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Al Forsyth

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Reply with quote  #5 
Darren and DAN - these are my switcheroo, updated votes on Sunday morning noted in red

There are three runaway classics here and could almost be interchangeable.

GOLD - Strawberry Fields - Again, it and other songs such as Good Vibrations were game changers. It was so out of this world when it came out AND of course the most incredible double A side that didn't make #1 - Englebert got em. Some things to look at:
youtube.com/watch?v=62HLZVVFRwU&t=128s
On their way to the Ed Sullivan show
youtube.com/watch?v=USxDXaGeQ3Q
youtube.com/watch?v=6uE1u0_59KU


SILVER - A Day In The Life - (TIE) The grand finale of Sgt.  Pepper that made you gush and say - play the album over (and over).  My buddy Mikey Weaver locked me in his brother's room and made me listen all day to the album -which I loved at first play. I almost made it out the window on second or third play, but he pulled me back in. Mal counts it - before the cacophony is even recorded. 
youtube.com/watch?v=JASx-_GY61Y

SILVER (TIE) - and looking back, certainly a game changer from Brian - California Girls.  The orchestration to begin the song is iconic and then it has a classic kind of groove to it - ( thank you Carol Kaye) and then there are the voices. 
youtube.com/watch?v=c4IcDgNRPQ4
youtube.com/watch?v=lnV3LwvOnfc


These are the BIG THREE this week to these ears, heart and soul. 🔺

(Note also that I have changed my order on 4, 5, and 6)
4th - You're So Good To Me

5th - All Summer Long
6th -
 Lub Dub
- Do It Again
7th - Let's Hang On
(To What We've Got)
8th - Manic Monday
9th - Time To Get Alone
(which is a song that I love)
10th - Solar System - I STILL don't get Love You.

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Darren J. Ray

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Reply with quote  #6 

1. Strawberry Fields Forever (The Beatles - 1967)
I gave this Bronze in its week. Must have been a decent week. Not one of my favourite Lennon tracks. I know this was a game changer, but I wasn’t around when it was first released. Still, it is John, and I do like the brass arrangement.

2. A Day in the Life (The Beatles - 1967)
I gave this Tin in its week. Must have been a really decent week. Not easy to dance to. The cataclysmic crescendo has been mimicked often. John’s voice is haunting. I especially like the intro, the piano and drums, and the bit between the bridge and the last verse (but who is that singing it? See below). Sad to think the majority of the key personnel on this are no longer with us – including John, George Martin, Geoff Emerick and Mal Evans. 



John Lennon, you were such a trouble maker…
https://www.royalalberthall.com/about-the-hall/news/2015/april/royal-albert-hall-was-furious-over-beatles-lyric-newly-discovered-documents-reveal/

3. California Girls (The Beach Boys - 1965)
Yep, it’s a classic. Used to be one of my favourite Beach Boys songs. I used to wonder why it wasn’t called ‘Californian Girls’, but I guess Mike is just saying he wishes all the girls he refers to in the song were residents of California and not necessarily native to the state. I think it misses the ‘I dig the girls’ present in the David Lee Roth cover (that features backing vocals from Christopher Cross and Carl Wilson). Bruce Johnston is, of course, very audible, for the first time, on the Beach Boys version.

Then the rest….

4. Do It Again (stereo mix) (The Beach Boys - 1968/2013)
It’s a terrific sound. Funky start and was a great way to kick off the C50 concert. But after the first verse and Mike’s lyrics, it doesn’t really go anywhere. The chorus has no words! The bridge is almost unrealised. What are those lyrics? It could have been a real classic.

5. Time to Get Alone (The Beach Boys - 1967-68/2013 mix)
I can understand them pressing Brian not to give this one away, but it reminds me of an old girlfriend – very pretty but that’s about it. As waltzes go, this is ok. The lyrics, again, are not its strong suit. Interesting to decipher the leads. Is that Brian AND Al on the chorus? Also nice to hear Mike providing that vocal bed and, I presume, Dennis on the tag.

6. You’re So Good to Me (The Beach Boys - 1965)
I’m over this song, too. Maybe that’s the problem – it doesn’t have a great shelf life. The ‘la-la-la-la-la-la’s must have sounded a bit outdated by 1965, and I was surprised this was one of the songs Mike was awarded a co-writing credit via the 1994 court case. I wouldn’t be claiming those awkward lyrics, myself. It’s the first track on Side Two of 20 Golden Greats, the second Beach Boys album I got my hands on when I was 13, which is one reason why I rate it above the next song.

TheBeachBoys20GoldenGreats.jpg 

7. Let’s Hang On! (The Four Seasons - 1965) 
The unhip Four Seasons doing their best to sound groovy. The old style intro wasn’t exactly de rigueur for 1965, so someone came up with the idea to wake the listeners up with… fuzz bass! It sticks out like the proverbial. Bob Crewe (and Sandy Linzer & Denny Randell) could write a good song, but there are Four Seasons songs I prefer, including ‘Opus 17’, ‘Who Loves You’, ‘Rag Doll’, ‘Sherry’ and ‘Dawn’.

8. All Summer Long (The Beach Boys - 1964)
I’m over it. In fact, I was never under it. It’s been used twice previously and finished 4th and 5th in Preliminary Finals. It’s one of those songs; good but not great. A rare Beach Boys song from this period, especially from the album that this is the title track of, that has never really done it for me. I suspect some of the love for it is because it was tagged on the end of American Graffiti.

9. Solar System (The Beach Boys - 1977)
No mention at all of Uranus. Why, Brian? I had a band in the ‘90s called Mission to Uranus.

Planets.jpg 

10. Manic Monday (The Bangles - 1986)

Decent tune but I’m not a fan of the lyrics. If she’s running that late, why bother making the bed?

 


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John B

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Reply with quote  #7 
yes, the classical piano opening is great on 'Cal Girls'.  but if we're being objective about judging lyrics, why is 'You're So Good to Me' worse than 'I've seen all kinds of girls' rhyming with 'the cutest girls in the world?'   also, can't get that cornball Jack Benny and Bob Hope skit out of my mind.  but if I were to interpret the preference topic in the song, it seems like you're taught in screenwriting class (people are less than fully direct and honest when they speak to others).  So, Mike is being diplomatically complimentary about this type and that type, rather like in Ray Charles bio when he compares the uh, tastes... (yes, he does); but then Mike no longer has to 'make the best of things' and instead becomes 100% direct and honest at the end:  He doesn't want the others despite the way they talk or dress to bother with a move to Cali.   They won't stack up.
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stkilda4ever

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Reply with quote  #8 

1. California Girls (The Beach Boys - 1965) 
2. A Day in the Life (The Beatles - 1967)
3. Strawberry Fields Forever (The Beatles - 1967) 
4. Let’s Hang On! (The Four Seasons - 1965) 
5. Do It Again (stereo mix) (The Beach Boys - 1968/2013) 
6. All Summer Long (The Beach Boys - 1964) 
7. Manic Monday (The Bangles - 1986) 
8. Time to Get Alone (The Beach Boys - 1967-68/2013 mix) 
9. You’re So Good to Me (The Beach Boys - 1965) 
10. Solar System (The Beach Boys - 1977)  

 

 

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Al Forsyth

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Reply with quote  #9 
LOVED the John Lennon response to changing the lyric, Darren.  Thanks for that! 

The memorial in NYC is always there.  A new flower arrangement artistically created around most day of the year - keeping it artistic.
https://www.centralparknyc.org/attractions/strawberry-fields
https://freetoursbyfoot.com/strawberry-fields-central-park/

youtube.com/watch?v=fVLjkwRx6-0

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John B

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Reply with quote  #10 
Let me grab my crystal ball, the two Beatles tunes will battle for number 1 and number 2 respectively, while 'Solar System' will fall to the cellar.   Why?  everyone overrates the former and underrates the latter.   That's why the Beatles could release songs like 'Wild Honey Pie' and 'Old Brown Shoe', and no one bats an eye at the lyrics of say 'Don't Let Me Down.'   They transcend criticism because the media overplayed the Beatles so.  Bernie says that the media is an arm of the ruling class in this country.  True dat.

but just saw an animated film called "Spies in Disguise" that champions the 'weirdo' who has no friends and is against warmongering.  Yet, unlike with say 'the Batman Lego movie,' the weirdo is not instructed to change to be like the masses.  Here, the regular super hero guy who favors-violence first played by Will Smith looking like a darker Klay Thompson, is the one who changes to be more like the weirdo.   Even the bad guy gets an explanation, this all started in Pakistan where the 'good' guy killed a lot of his friends.  so, he agrees with the Will Smith guy, you can only answer violence with greater violence.  Only the weirdo (with dead parent) has sympathy for him.   What a metaphor for our times.

This weekend also saw the premier episode of season 10 for 'Curb Your Enthusiasm' where Larry David, the weirdo so to speak, does not go to a shrink in efforts to be like the masses, even as they yell profanity at him all the time.   Instead, he intentionally knocks over a row of electric scooters on the street.  

So, in this (rare/original) spirit, I'd like to reverse my number 1 and number 2 votes.  (to make 'Solar System' number 1 and 'You're so Good to Me' number 2).   It won't change anything, but it is my call (for):   

Weirdos of the World Unite!
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Al Forsyth

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Reply with quote  #11 
John B.  EDUCATE us on Love You and the song, please.  They sound like demos to me. 

If we could change, I would move up You're So Good to Me to #4 and therefore ASL and DIA would drop a place. 

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John B

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Reply with quote  #12 
nothing would be worse than the ones who hate it to go on about it.  how it did not play on AOR FM Radio at the time and did not attempt to conform to those sounds and rules of an expected Beach Boys release.   I agree only to the extent that it should have been a solo record. 

where is Cretan Welsh when we need her? or the long-promised Deb KC review?

He wanted to call it 'Brian Loves You'.  I interpret:

 It was intended primarily to his daughters, and lessor to his wife and friends.  He wanted to (after the fact) show them with his art, how much he always loved them.  He was a 'bad dad', but was not always absent in mind as he appeared.  Those discussions in the car about the solar system and taking them to roller skate, were touch stones in his life.  The highest.  He wanted to pick them up, and do all those things he never did.  so in a way, he was doing them now.  'the Night was so Young' is a romantic song.  so is 'Airplane.'    so is 'Mona' and 'Honkin' Down the Highway.'  He is a romantic guy.   He didn't want to go play with the dang Beach Boys or go back to Caribou ranch again.  What fun is that?  He wanted next to start a big band album, now that he was no longer smoking.  but those with a fraction of his musical talent and spirit thought not and decided for him.  Bruce advised an expanded disco dance mix would be better, for example, and couldn't the group sound a little more like Doobie Brothers or Air Supply if they really tried?
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Tom Tobben

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Reply with quote  #13 
So, John B., does that mean Bruce gets the primary credit/blame for including an extended disco version of "Here Comes The Night" (originally on Wild Honey) on L.A. (Light Album) a decade later? I noticed that Bruce is listed as a producer of that album.

What an awful way to abuse what was originally a perfectly decent song.

Al, voting in this round doesn't end for a few more days, so there's no problem if you want to change any of your rankings, as long as you let Darren know.
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Al Forsyth

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Reply with quote  #14 
Tom - going to do that now.  

John B.  - Pitchfork liked it and explains it well:
https://pitchfork.com/reviews/albums/11669-15-big-oneslove-you/
https://www.sputnikmusic.com/review/67222/The-Beach-Boys-Love-You/
https://andrewhickey.info/2013/02/03/the-beach-boys-on-cd-the-beach-boys-love-you/

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John B

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Reply with quote  #15 
these are mostly good reviews, although I like the songs 'Johnnie Carson' and 'I Wanna Pick You Up' better than they do.  BTW, Larry F, don't you think 'Johnnie Carson' was influenced just a little by Randy Newman's sensibilities?  Brian REALLY loves Randy Newman...  I think he is an unsung influence to "Love You".  Brian wanted to make an 'American album like Randy does.'  and what a relief (if only he could) be judged on the songs only, rather than perfect pitch and expert record production all the time!  also, must Brian always make music that was trying to generate a feeling of social superiority?  If so, it's not because of me!   I also like the comparison to 'Today!' about the rockin' side and the ballad/more reflective side.  Like in 'Today', he was alone and trying to figure out what went wrong in his life.  In "Love You" he intentionally goes back there.   

I also think of Richard Pryor's film "Jo Joe Dancer."  He has said it's the only film he didn't care about reviews, and it didn't matter that no one wanted him to make it.  after it was over, he was happy with what came out under difficult circumstances.  I think the same with Brian and 'Love You'.

and yes, one of these reviewers had a good point about the way the songs sound didn't bother people who were teens and loving rock music in the punk days.  REM and Patty Smith and even Lester Bangs praised 'Love You'.   by putting heart and passion over sterile studio perfection, Brian seemed like a kindred spirit...  But don't know why this abrupt change in sound and recording was so shocking, hadn't Brian done this before?   I feel like 'Love You's Side A, spiritual sound father is "Wild Honey' and it's Side B, "Friends."    Not every Beach Boys album had to sound the same you know. 
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