New Beach Boys 2012 Remasters!

[I. Spaceman]

Don't the Stones and McCartney both do that now?

The Stones are currently releasing archive live recordings via download only. 

That Some Girls tour show was a physical release.

The Ft. Worth '78 show is not considered part of the Archive series.  Last fall, the Stones announced that they would release 6 Archive Releases through Google Music via download and so far, the four they've released have been Brussels '73, LA '75, Hampton '81 and Tokyo '90. 

The CD they added to the Ft. Worth '78 DVD was a bonus disc of the performance only available on special editions of the DVD.  They just released another live DVD a couple weeks ago  ("Muddy Waters and The Rolling Stones") which also contained a bonus CD of the same performance---both these were produced by Eagle Rock Entertainment and are not connected to the Archive series they've set up.

You didn't capitalize Archive in your original post. The 1978 show is an archival live release. I know all that other stuff, of course.

[DonnyL]

You're just getting caught up in the whole America's band nonsense.

I'm really not, though. I'm merely using it as a means to say "Why would they release something sought after by a small group and a good handful of casual fans in Japan only when it would surely sell better in the states where the band is from and is more well known? Or even Europe?"

Today! and Summer Days contain some of their biggest hits and, again, contain them in stereo format for the first time ever. Today! just made one of those sh*tty Rolling Stones "BEST ALBUMZ EVER YOU GUYS" lists, showing that yes, people know and care about it. It's not a huge deal to the general public, but it's certainly worth mentioning. You underestimate how well something like this would sell in comparison to a lot of the stuff that's pressed to plastic each year by other artists who have an extremely small fraction of the fans the Beach Boys ahve. Even Capitol is notorious for putting out redundant item after redundant item.  Remember Christmas With The Beach Boys?

Yes, the Beach Boys will never sell like the Beatles or the Rolling Stones, but they're the frigging Beach Boys - as long as they anticipate about the amount these would sell, there won't be a problem.

If the albums don't sell to expectations in America, they won't release them here. As you say, they probably have internal projections for how much the albums would sell. Since they aren't releasing them here, that surely suggests such projections aren't positive.

It's a matter of "not yet", though. As I believe Andrew stated above, all this took place exclusively through Capitol Japan and outside of the influence of Capitol in the states. We've known they've been sitting on stereo remixes of all albums for some time now, they surely didn't do this with the intent of only releasing them in Japan.

If you seriously think Smiley Smile or Beach Boys Party is on par with Graceland or Band on the Run, you're deluded.

Don't h8 me i luv u sincerely, but lawl @ Band On The Run being better than much of anything, especially something like Smiley Smile. I'm sure if the world were polled on such a thing, they'd pick the former solely because zomg I love the title track and that other album didn't conform to traditional song structures, but Band On The Run is Paul at his absolute cheesiest and worst. I can't say I agree. imo.

good lord, 'Smiley Smile' and 'Party' are head and shoulders above trash like 'Band on the Run' and 'Graceland' !

[DonnyL]

We knew it would sound like this because of the SOT Smiley sessions disc and a few hints here and there from previous releases, but even the little taste we're given on Amazon Japan amounts to a major revelation. It's a real Beach Boys album space to dive in and listen to now, not just a weirdly flattened, lo-res quirky anomaly.

Smiley Smile never was "just a weirdly flattened, lo-res quirky anomaly". I guess I heard what some of you folks are only now hearing all along. The stereo mix certainly sounds nice, but it sounds like the mono mix, but mixed into stereo, if you know what I mean. Don't get me wrong - THAT is the sign of a good stereo remix (as opposed to a few of the newer ones that are doused in compression and sound way too "bright").

I agree with you there. Smiley Smile in mono is awesome. In fact, when mixing, the best thing a sound engineer can do is to first mix down to mono. If you can get the mono mix to sound great (by primarily relying on EQ and reverb) - then the stereo mix certainly has potential of sounding even better.

Smiley Smile and Wild Honey are not really lo-fi at all; they are in fact both examples of great fidelity. They are very dark sounding, but the meat and potatoes are there. compared to the aforementioned 'band on the run', a track like 'Darlin' actually has much more sonic depth if you really analyze them side by side.

[I. Spaceman]

Band On The Run is one of the greatest albums ever made. Smiley and Wild Honey are even better.

[EgoHanger1966]

We knew it would sound like this because of the SOT Smiley sessions disc and a few hints here and there from previous releases, but even the little taste we're given on Amazon Japan amounts to a major revelation. It's a real Beach Boys album space to dive in and listen to now, not just a weirdly flattened, lo-res quirky anomaly.

Smiley Smile never was "just a weirdly flattened, lo-res quirky anomaly". I guess I heard what some of you folks are only now hearing all along. The stereo mix certainly sounds nice, but it sounds like the mono mix, but mixed into stereo, if you know what I mean. Don't get me wrong - THAT is the sign of a good stereo remix (as opposed to a few of the newer ones that are doused in compression and sound way too "bright").

I agree with you there. Smiley Smile in mono is awesome. In fact, when mixing, the best thing a sound engineer can do is to first mix down to mono. If you can get the mono mix to sound great (by primarily relying on EQ and reverb) - then the stereo mix certainly has potential of sounding even better.

Smiley Smile and Wild Honey are not really lo-fi at all; they are in fact both examples of great fidelity. They are very dark sounding, but the meat and potatoes are there. compared to the aforementioned 'band on the run', a track like 'Darlin' actually has much more sonic depth if you really analyze them side by side.

Seriously? Listen to (not limited to, but especially) "Here Comes The Night" and then say that.

[PhilCohen]

Band On The Run is one of the greatest albums ever made. Smiley and Wild Honey are even better.

While I don't consider "Band on The Run" to be McCartney's best post-Beatles album, it is undoubtedly his most popular.

[FatherOfTheMan Sr101]

Band On The Run is one of the greatest albums ever made. Smiley and Wild Honey are even better.

While I don't consider "Band on The Run" to be McCartney's best post-Beatles album, it is undoubtedly his most popular.

McCartney II and Memory Almost Full are my favorites.

[I. Spaceman]

Band On The Run is one of the greatest albums ever made. Smiley and Wild Honey are even better.

While I don't consider "Band on The Run" to be McCartney's best post-Beatles album, it is undoubtedly his most popular.

Thanks for the info.

[DonnyL]

We knew it would sound like this because of the SOT Smiley sessions disc and a few hints here and there from previous releases, but even the little taste we're given on Amazon Japan amounts to a major revelation. It's a real Beach Boys album space to dive in and listen to now, not just a weirdly flattened, lo-res quirky anomaly.

Smiley Smile never was "just a weirdly flattened, lo-res quirky anomaly". I guess I heard what some of you folks are only now hearing all along. The stereo mix certainly sounds nice, but it sounds like the mono mix, but mixed into stereo, if you know what I mean. Don't get me wrong - THAT is the sign of a good stereo remix (as opposed to a few of the newer ones that are doused in compression and sound way too "bright").

I agree with you there. Smiley Smile in mono is awesome. In fact, when mixing, the best thing a sound engineer can do is to first mix down to mono. If you can get the mono mix to sound great (by primarily relying on EQ and reverb) - then the stereo mix certainly has potential of sounding even better.

Smiley Smile and Wild Honey are not really lo-fi at all; they are in fact both examples of great fidelity. They are very dark sounding, but the meat and potatoes are there. compared to the aforementioned 'band on the run', a track like 'Darlin' actually has much more sonic depth if you really analyze them side by side.

Seriously? Listen to (not limited to, but especially) "Here Comes The Night" and then say that.

I've listened intently to WH and SS on a variety of different formats, pressings and systems over the past 20 years, and my opinion remains the same ... they seem lo-fi at first, but they are really not. Yes there is hiss, noise, and a mix that obscures, but the actual sound has a depth and punch that most recordings lack.

[Joshilyn Hoisington]

...and a mix that obscures

But fidelity is, by definition a faithful representation of what was recorded.  If the mix obscures, then it is categorically not a faithful representation of what was recorded, so it follows that these mixes cannot be high fidelity.  It doesn't make them bad, but let's not change the meaning of words.

[DonnyL]

...and a mix that obscures

But fidelity is, by definition a faithful representation of what was recorded.  If the mix obscures, then it is categorically not a faithful representation of what was recorded, so it follows that these mixes cannot be high fidelity.  It doesn't make them bad, but let's not change the meaning of words.

There are many facets to 'fidelity' as a concept. The purity in tone of, say, the acoustic guitar on 'I'd Love Just Once to See You' sounds more accurate than, say, the snare drum on 'Band on the Run to my ears'.

I would still argue creatively obscuring (or 'blending') individual elements is independent of fidelity in and of itself.

I understand these records are commonly referred to as 'murky' and 'lo fi' ... I think that is an oversimplification of their sound. The signal chain sounds like it's of a very high quality to me.  It has a roundness and depth which is a hallmark of many recordings of the '60s, largely absent by the time the '70s came around.

for instance, consider this question:

Which is a higher fidelity sound (in theory), all other things beings equal:

1. a 1" 8-track master mixed to 1/4" tape, then copied 3 times.

2. a 1/2" 8-track master, mixed to 1/4" tape, original master.

You could make an argument for either one being of a higher fidelity. Both will have strengths and weaknesses.

WH and SS fall into something resembling the first category.

My basic point is that any shortcomings on these records are due to production/creative decisions, not fidelity in and of itself. For instance, the snare drum on 'Aren't You Glad' sounds to me like it's captured in a much more accurate and revealing way than anything on 'Pet Sounds'.  Yet it doesn't sound as 'good'.

I think when people refer to these as 'lo fi', they really mean 'underproduced', 'underarranged', or too basic or something. 'Friends' (the album) doesn't sound as good as 'Wild Honey' to me sonically, but the production is much more carefully balanced, and the performances are more delicate and intricate. so the album sounds 'better' ... but I think it's thinner sounding than 'Wild Honey'.

[EgoHanger1966]

So strange that there have been more than a few people who have gotten at least a few remasters (on this and other forums), but hardly anyone is chiming in with their thoughts/opinions/details/opinions/anything. The remasters must be so good that they take away the need for the internet!

[guitarfool2002]

In my opinion, the signal chain of Smiley Smile on the surface seemed to be a bunch of mis-matched rental equipment including the ol' "Dualux" radio board and various other equipment that was somewhat hastily assembled into a workable "studio" so Brian could start working on the album at the house. I do hear some issues, but then again some of the tracks as heard more naturally on the SOT set do have a terrific dry/natural vibe where the sound of the room comes through, which makes you forget about any perceived flaws. Then again, one person's flaw is another person's sonic hook, so it goes.

I will add that I agree that the mixes as released in '67 do suffer from more obvious issues than those which someone with trained engineering ears would notice. I think a majority of people did and still would notice them upon hearing the albums today even if they're not familiar with them. I do have several AM radio broadcasts where the original "Heroes" single was played on the air, which is as close to how people listening to those stations in summer '67 would have heard it, and in all honesty they sound a step above bad. When you hear some of the singles, some of those tight mono mixes of songs surrounding "Heroes" on those tapes, Heroes falls victim to its "Wall Of Sound" roots, and it actually sounds overly distorted and without definition, and while that could be the fault of the engineer at the individual station playing the record that day, the other records around it don't suffer from that.

Adding my vote for the 100th time to those who think a true from-the-ground-up remix of Smiley/WH would do wonders for the sound, because hearing the SOT tapes was a sonic revelation, despite the hodge-podge nature of the rented equipment at Brian's house. It had to be the mix.

[guitarfool2002]

So strange that there have been more than a few people who have gotten at least a few remasters (on this and other forums), but hardly anyone is chiming in with their thoughts/opinions/details/opinions/anything. The remasters must be so good that they take away the need for the internet!

It's either that, or the same buyer's regret thing that happens when someone pays, say, 100 dollars for a steak dinner at an exclusive restaurant that claims to be "the best", and finds the meal very good but maybe not worth the extra 65% markup on what a good steak would cost on average. "How was your meal?" "Oh, it was good." And that's it.

I found the prices a bit too...pricey. But that's me, I'm cheap about re-purchasing albums I already have on vinyl or whatever.

[DonnyL]

In my opinion, the signal chain of Smiley Smile on the surface seemed to be a bunch of mis-matched rental equipment including the ol' "Dualux" radio board and various other equipment that was somewhat hastily assembled into a workable "studio" so Brian could start working on the album at the house. I do hear some issues, but then again some of the tracks as heard more naturally on the SOT set do have a terrific dry/natural vibe where the sound of the room comes through, which makes you forget about any perceived flaws. Then again, one person's flaw is another person's sonic hook, so it goes.

I will add that I agree that the mixes as released in '67 do suffer from more obvious issues than those which someone with trained engineering ears would notice. I think a majority of people did and still would notice them upon hearing the albums today even if they're not familiar with them. I do have several AM radio broadcasts where the original "Heroes" single was played on the air, which is as close to how people listening to those stations in summer '67 would have heard it, and in all honesty they sound a step above bad. When you hear some of the singles, some of those tight mono mixes of songs surrounding "Heroes" on those tapes, Heroes falls victim to its "Wall Of Sound" roots, and it actually sounds overly distorted and without definition, and while that could be the fault of the engineer at the individual station playing the record that day, the other records around it don't suffer from that.

Adding my vote for the 100th time to those who think a true from-the-ground-up remix of Smiley/WH would do wonders for the sound, because hearing the SOT tapes was a sonic revelation, despite the hodge-podge nature of the rented equipment at Brian's house. It had to be the mix.

yeh, there is certainly something 'wrong' with the single mix of 'Heroes and Villains' !  I love it, but I won't argue that it has good fidelity ... but the Smiley-recorded tracks and Wild Honey sound really good to me sonically.  

[Zach95]

So strange that there have been more than a few people who have gotten at least a few remasters (on this and other forums), but hardly anyone is chiming in with their thoughts/opinions/details/opinions/anything. The remasters must be so good that they take away the need for the internet!

So far there's only been two or three people who actually have obtained the albums, many more, including myself, have ordered some.  I'll let you know that as soon as I get them in my hands, you'll hear about them, but that may be in a week or so judging by the info from cdbanq or whatever.

[TV Forces]

So far there's only been two or three people who actually have obtained the albums, many more, including myself, have ordered some.  I'll let you know that as soon as I get them in my hands, you'll hear about them, but that may be in a week or so judging by the info from cdbanq or whatever.

That's the situation I'm in.  I bought "Today" from eBay and "Summer Nights" from cdbanq.com.  I really look forward to getting them.  Not sure when that will be, though.  I'd love the other 10 but I have to take it slow.

[Heysaboda]

Again, stereo remixes of "America's band" only being released in Japan? It makes no sense.

What RDZ said times 1,000!!!!!!!!!!!

Boys, ah say, I mean ah sez, let's saddle up the palominos and get ourselves a posse together and storm Capitol Tower in Hollywood!

Who's with me on this???

OCCUPY CAPITOL TOWER WOO HOO

[Bean Bag]

yeh, there is certainly something 'wrong' with the single mix of 'Heroes and Villains' !  I love it, but I won't argue that it has good fidelity ... but the Smiley-recorded tracks and Wild Honey sound really good to me sonically.  

I agree with your comments on Smiley's sonics.  While HV sounds like it was recorded in the shower, and GV like it was recorded in a glistening studio -- the rest of the album actually has an extremely natural and honest sound.  It sounds like you're sitting in the living of Brian's house.  The finger snaps in Little Pad are right there in your face.

I love the sonics of this album.  They are quite hi-to-the-fi.  I suspect it's the lead-off of the muddy and drab Heroes that colors a lot of the proceedings.

[SloopJohnnyB]

Again, stereo remixes of "America's band" only being released in Japan? It makes no sense.

What RDZ said times 1,000!!!!!!!!!!!

Boys, ah say, I mean ah sez, let's saddle up the palominos and get ourselves a posse together and storm Capitol Tower in Hollywood!

Who's with me on this???

OCCUPY CAPITOL TOWER WOO HOO

WOOT!

[PhilCohen]

Because of my concern that EMI and Capitol may not exist for much longer, and that the Japan Beach Boys series may indeed ultimately be Japan-only(and possibly be limited edition), I ordered "Today", "Summer Days...and Summer Nights" & "Smiley Smile" from CD Banq. If you order, be sure to select the correct editions. They start with the numbers "713". Look several pages into the Beach Boys listings.

In the latest update to the saga of Vivendi Universal's attempt to get EU regulators approval for the purchase of EMI Music Worldwide, Vivendi Universal's offer (that if the takeover is approved) that Universal would sell off the Chrysalis, Blue Note, Virgin & Sanctuary labels failed to impress EU officials. Subsequently, Vivendi Universal has offered to sell off all of the Parlophone label(excepting The Beatles catalogue). And now, Universal has offered to sell off the Pink Floyd catalogue. The latter offer is not as much of an offer as it appears. Pink Floyd has always owned their albums from "Wish You Were Here" onwards, and in the group's latest 5 year license to EMI(which has only two and a half years remaining), EMI may have given up the ownership of the earlier albums. "The Dark Side of The Moon" "Immersion" edition is described as published and copyright by "Pink Floyd Music Limited". A final decision from EU regulators is expected to come on September 27th, then the matter goes before U.S.A. & Australian regulators.

The best scenario for music fans is for all these regulatory boards to say "No", which would force Citicorp to hold onto EMi Music Worldwide...which would result in EMI continuing to exist. Citicorp could later find another buyer; one who doesn't have any other music industry holdings, and which would be more acceptable to the regulators.

[SloopJohnnyB]

I hope this hasn't been posted on this thread earlier. I didn't see anything.

The Japan remasters are starting to show up on Amazon U.S.  $50.75 is a bit expensive but....release date August 7th.

To confuse things more: From Amazon U.S. :  Japanese pressing with stereo mixes of the 1970 album remastered in 1999. EMI. 2012.

Here's the link to Sunflower:


http://www.amazon.com/Sunflower-Beach-Boys/dp/B008D4QMXY/ref=sr_1_44?s=music&ie=UTF8&qid=1343683718&sr=1-44&keywords=Beach+boys+japan

[runnersdialzero]

SUNFLOWER IN STEREO ZOMMGGMGmgggg

[EgoHanger1966]

SUNFLOWER IN STEREO ZOMMGGMGmgggg

Well, at least the remaster is warranted - the tape is a lower gen than the one they used on the twofer (same goes for Surf's Up).
I think the only one that doesn't have anything new to cd is Pet Sounds.

[PhilCohen]

SUNFLOWER IN STEREO ZOMMGGMGmgggg

Well, at least the remaster is warranted - the tape is a lower gen than the one they used on the twofer (same goes for Surf's Up).
I think the only one that doesn't have anything new to cd is Pet Sounds.

Indeed, the "Pet Sounds" disc has nothing new to offer. In fact, it gives the public less(no bonus tracks) versus the presently available Capitol U.S.A. edition. So Japanese Capitol has wasted plastic(O.K, resin) and a place in the release schedule that could have better been used to bring us a stereo edition of "Wild Honey" or a partly stereo edition of "Surfin' Safari".