Durrie Parks Smile acetates up for sale for $10,000

[guitarfool2002]

RE: The Strawberry Fields question, the edit is kinda infamous now, but I wonder how easy it would be to hear on the radio or on a 45 on 1967 equipment. And there's no indication he would have known it was varispeeded apart from a vague guess or a hunch, as it wasn't common knowledge upon it's release, I'd wager.

I'd argue no one hearing the Strawberry Fields single new on the radio in 1967 knew or would know it had been vari-speeded, including Brian. There are no obvious clues or sections to pick up on it, if you listen without knowing what we know now about the mixing. Emerick did that gradual speed-up of the slow section to match the keys so well and so seamlessly, and the edit going into the "fast" section was unknown to the majority of listeners for quite some time, even Lennon didn't spot it during the playbacks and it was his own song.

That's just the thing, I don't know who would have picked up on the edit at all especially on AM radio or on a 45rpm or whatever in mid 1967. Don't forget the song existed only as a 45rpm single in the US until it was tacked onto the Magical Mystery Tour album by Capitol, later in the year '67 and well after Smile was done.

It wasn't really common knowledge to the general fans as far as I know for years, you're right, or maybe no one was looking for it. The first time I knew exactly where the edit was came after reading the Lewisohn sessions book.

[Chocolate Shake Man]

The first time I knew exactly where the edit was came after reading the Lewisohn sessions book.

Same. It's really an excellent bit of writing when he says look out at your own peril because you'll never hear the song the same way again. He's entirely correct.

[guitarfool2002]

To guitarfool2002:
I want to let you know that I was responding to hypehat's post, and didn't have the benefit of seeing your post before I posted mine.

After reading yours, I think I agree with you on this. I was about to respond with some info on Les Paul, but you beat me to it! 

   With Les Paul we were thinking along the same lines! Even today you hear a record like "Lover" from 47 or 48 and it sounds like it came from Mars or something. The video I posted was only one great example of things familiar from Brian's music that can be found on the Les Paul records of the 40's and 50's. Musically, production, vocal harmony stacking and overdubbing styles, there are a lot of connections. Whether Brian admits Les was a direct influence or not on his productions, it's impossible not to notice (hear) the similarities on bits like the Heroes/How High The Moon a-b comparison.

[guitarfool2002]

The first time I knew exactly where the edit was came after reading the Lewisohn sessions book.

Same. It's really an excellent bit of writing when he says look out at your own peril because you'll never hear the song the same way again. He's entirely correct.

Yes indeed, and it's similar to watching a magician and either wanting to know how he did the trick or enjoying the trick on the surface. Because once you know how it is done, the magic is gone.    He was absolutely right about the the song.

[bgas]

   With Les Paul we were thinking along the same lines! Even today you hear a record like "Lover" from 47 or 48 and it sounds like it came from Mars or something. The video I posted was only one great example of things familiar from Brian's music that can be found on the Les Paul records of the 40's and 50's. Musically, production, vocal harmony stacking and overdubbing styles, there are a lot of connections. Whether Brian admits Les was a direct influence or not on his productions, it's impossible not to notice (hear) the similarities on bits like the Heroes/How High The Moon a-b comparison.

This explains why I liked Les Paul and collected his recordings; it was Subconscious!!

[buddhahat]

I'm somewhat out of the loop with this thread so apologies if this has already been covered:

There's a Brian edit of the part two sections that iirc runs from gee through several of the dit dit sections and seems to have Swedish frog spliced out. I can't remember if this edit made it on TSS or not but it strikes me this is a pretty significant edit in this whole debate. However dazzling the vocals are on those dit dit variations, they make for a pretty repetitive sequence. I find it hard to believe that Brian planned to have such repetition within a 2-3 minute single conceived to trump Good Vibrations. It doesn't leave much room for any of the other cool stuff, let alone the main verses of the song.

It does make sense to have such a sequence on the b side though where things are less precious, or as part of a 6 minute epic where there's room for Brian to goof around: The dit dit variations and this particular edit strike me as a throwaway showcase of the boys vocal acrobatics - perfect b side filler, maybe interspersed with some teasers for other songs from the album (Heroes Intro = Fire, bicycle rider etc.) as per Cam's theory. I agree this theory does make more sense of Brian talking and worrying about 'giving too much away' when considering what to do on the b side.

[Shady]

I read this entire thread in work today.

Greatest 40 minutes I ever spent

[The Shift]

I'm somewhat out of the loop with this thread so apologies if this has already been covered:

There's a Brian edit of the part two sections that iirc runs from gee through several of the dit dit sections and seems to have Swedish frog spliced out. I can't remember if this edit made it on TSS or not but it strikes me this is a pretty significant edit in this whole debate. However dazzling the vocals are on those dit dit variations, they make for a pretty repetitive sequence. I find it hard to believe that Brian planned to have such repetition within a 2-3 minute single conceived to trump Good Vibrations. It doesn't leave much room for any of the other cool stuff, let alone the main verses of the song.

It does make sense to have such a sequence on the b side though where things are less precious, or as part of a 6 minute epic where there's room for Brian to goof around: The dit dit variations and this particular edit strike me as a throwaway showcase of the boys vocal acrobatics - perfect b side filler, maybe interspersed with some teasers for other songs from the album (Heroes Intro = Fire, bicycle rider etc.) as per Cam's theory. I agree this theory does make more sense of Brian talking and worrying about 'giving too much away' when considering what to do on the b side.

Agree about that edit you mention in your first para – first surfaced on SOT UM Vol 17 I think, and there's at last one really deft edit in it which gives it much more punch than the dit dit dit showcase we're more accustomed to.  Can't recall it being on the TSS collection but I;'m going by memory… will have a proper listening session again soon.

[Bubba Ho-Tep]

I'm somewhat out of the loop with this thread so apologies if this has already been covered:

There's a Brian edit of the part two sections that iirc runs from gee through several of the dit dit sections and seems to have Swedish frog spliced out. I can't remember if this edit made it on TSS or not but it strikes me this is a pretty significant edit in this whole debate.

The edit is included in the "H&V Early Version Outtakes" track.

[Micha]

There may not have been an overall plan and certain things were probably in consistent flux, but I do firmly believe that when Brian had the guys standing around the microphone singing "dit dit dit heroes and-a villains" that he did have an idea in his head as to what he was going to do with it.

It is unlikely that this wasn't the case. Imagine Brian recording all those complete versions of Good Vibration in a mood like "I don't know if I'm ever going to do something with this, but I sure like recording this song!"

But then why is every version of OMP/Sunshine that we've heard prior to box set is one with that part 2 piece missing?

There was a bad quality version of this circulating, complete with the buried vocals on the fade.

I think Brian is recording the H&V Fade on February 28, 1967, because he really liked the sound and feel of "My Only Sunshine, Part 2" as the Fade for the "Cantina" version he mixed down on February 10, 1967, but didn't want to cripple "My Only Sunshine" in order to use it. I think this shows that SMiLE is still on the table at this point.

ALL OF THE ABOVE IMHO

Very unlikely IMHO, as he already crippled it per the cantina mix. My take on this is that the fade started its life as the fade of H&V when MOS was still part of H&V. A revelatory thing on TSS to me was the version of "Prelude to fade" with the descending strings at the end, descending strings like on MOS. On MOS the fade follows the descending strings, and more than likely what would have followed the descending strings of "Prelude to fade" is the fade... I think "Prelude to fade" was to replace MOS as a H&V section.

And the rerecording seems to me kind of a try for a fresh start.

[Micha]

I have no idea or clue where HGS was to go, but I use it as a bridge in CIFOTM in my private mixes, because the lyrics are about an old man, and at the end little hands shadow on the ceiling, probably referring to a baby being born. And the key of the pre-TSS version fits CIFOTM, probably just coincidentally. For my last mix I sped up the TSS version of HGS.

[buddhahat]

I'm somewhat out of the loop with this thread so apologies if this has already been covered:

There's a Brian edit of the part two sections that iirc runs from gee through several of the dit dit sections and seems to have Swedish frog spliced out. I can't remember if this edit made it on TSS or not but it strikes me this is a pretty significant edit in this whole debate.

The edit is included in the "H&V Early Version Outtakes" track.

Thanks. That edit alone is 1 minute 53 and that's with Swedish Frog missing. If we add that back in you potentially have 2 and a half minutes of a vintage H&V edit that has no verses, no My children were raised or accapella section or fade. All those Heroes side 2 deniers need to ask themselves exactly how the side A single would have incorporated that edit, and what would've been left out to make room for it. Unless Brian just planned to have a 5 + 6 minute plus H&V epic within the album proper, but a truncated version for the single. But to re state my point from earlier, a long version containing that edit just for the album seems a little odd to me. The repetitiveness of the sections seems like something he would do for the b side and it would be fun in that context.

Either way, this edit strikes me as good evidence that H&V was too long to fit on one side of a single at the point he was recording the Dit dit variations. If you combine this with the contemporary accounts of the a side/b side Heroes (Chuck Britz, Vosse) and the different master numbers it really amazes me that the 2 sided version is still in question!

[buddhahat]

Agree about that edit you mention in your first para – first surfaced on SOT UM Vol 17 I think, and there's at last one really deft edit in it which gives it much more punch than the dit dit dit showcase we're more accustomed to.  

You're right John - there's a cool little handclap at the end of one of the sections that leads into the dit dit section with handclaps. It does have a punchier pace to it.

Another cool Heroes section  is labelled Heroes & Villains: Part 2 on TSS (track 21 I think). It sounds similar to Western theme and sounds like a bridge or another prelude to something else - maybe a fade. Anyway Brian plays one of these dit dit variations, major key bicycle rider things on the piano just before he leads into it. This suggests to me that this section was planned to follow the dit dit variations, or to be inserted inside them. It must be another part of the side 2 sequence imo. It makes me wonder if Swedish Frog was spliced out to be replaced with this section. I would love to sequence this part 2 section into Brian's vintage Gee edit.

[Bubba Ho-Tep]

But then why is every version of OMP/Sunshine that we've heard prior to box set is one with that part 2 piece missing?

There was a bad quality version of this circulating, complete with the buried vocals on the fade.

I'm pretty sure that was a fan's edit. The "false barnyard" track with the extra vocals originally appeared on the "Long Lost Surf Songs" boot by itself. It didn't appear attached to the end of OMP on any vintage boots.

[Micha]

But then why is every version of OMP/Sunshine that we've heard prior to box set is one with that part 2 piece missing?

There was a bad quality version of this circulating, complete with the buried vocals on the fade.

I'm pretty sure that was a fan's edit. The "false barnyard" track with the extra vocals originally appeared on the "Long Lost Surf Songs" boot by itself. It didn't appear attached to the end of OMP on any vintage boots.

AGD? I can't tell, though both parts had about the same bad sound quality.

Not wanting to ridicule you, but I find the term "vintage boot" highly amusing. You know, some boots are more vintage than others...

[LeeDempsey]

But then why is every version of OMP/Sunshine that we've heard prior to box set is one with that part 2 piece missing?

There was a bad quality version of this circulating, complete with the buried vocals on the fade.

I'm pretty sure that was a fan's edit. The "false barnyard" track with the extra vocals originally appeared on the "Long Lost Surf Songs" boot by itself. It didn't appear attached to the end of OMP on any vintage boots.

AGD? I can't tell, though both parts had about the same bad sound quality.

Not wanting to ridicule you, but I find the term "vintage boot" highly amusing. You know, some boots are more vintage than others...

This was most definitely not a fan's edit -- although most folks probably heard it for the first time on a tape from the Rev. Bob Hanes...

In the mid-90's (back when I was actively involved in ESQ)  I was contacted by a fellow (in Ohio, I believe), who had in his possession an acetate of OMP/YAMS with Dennis' vocal, plus the fake Barnyard coda with the buried vocal.  He obtained the acetate, along with a couple of others, from a dealer who had bought a number of Dennis' possessions from Shawn Love Wilson.  He wanted to sell the acetates, and he gave me the first right of refusal, but at the time I was afraid that he wanted more than I could afford, so I gave him Peter Reum's phone number.  Peter ended up validating the acetates' authenticity and provenance, and buying the acetates from him.  At some point the Rev. Bob got a copy, and shared it with a chosen few, who shared it with a chosen few, etc.

I'm sure Peter can chime in with more details.

Lee

[The Shift]

… which begs the question, where is it now?  Do you still have it Peter?

[LeeDempsey]

By the way, the acetate was titled "My Only Sunshine."  Blank white label with just the title on it.  I know I've still got a photocopy of it in a box in my attic, as much to my wife's chagrin I don't throw anything Beach Boys-related away...

Lee

[Bubba Ho-Tep]

Not wanting to ridicule you

Then don't.

[The Shift]

But then why is every version of OMP/Sunshine that we've heard prior to box set is one with that part 2 piece missing?

There was a bad quality version of this circulating, complete with the buried vocals on the fade.

I'm pretty sure that was a fan's edit. The "false barnyard" track with the extra vocals originally appeared on the "Long Lost Surf Songs" boot by itself. It didn't appear attached to the end of OMP on any vintage boots.

What the engineer calls "Your Only Sunshine" during the (part 1) session on TSS (disc 3 track 6), consists of TOMP/YAMS (close enough); might even have been the same guy who wrote the label Lee refers to, I guess. Part 2 – is part of the same TSS track, from about the 3-minute mark.

The vocals-only "false barnyard" fade (disc 3, track 7) is track-listed and vocally slated as "My Only Sunshine: Part 2" which also implies the three sections belonged together from the off.

The clues are all there in the recording sessions even if not on the old boots (though I'm sure I have a boot from way-back that has the three sections together…)

[Bubba Ho-Tep]

I'm not arguing that the three parts go together. I'm well aware of the songs history. I was just saying that back in the pre-internet days I don't recall a boot with the complete track going around. I had to piece it together myself. I was just saying that most boots only had the first part.  If there was a boot of all three parts together I was not aware of it.

This was a rebuttal to a long forgotten earlier post about "false barnyard" being returned to OMP as an explanation for the re-recording of "false barnyard" with the Carl scat. Forget it.

[leggo of my ego]

Unless Brian just planned to have a 5 + 6 minute plus H&V epic within the album proper, but a truncated version for the single

 +1 Whole Lotta Love. In a-Gadda-da-Vida. etc etc.

ALSO

Coulld someone clarify: False Barnyard, OMP (TOMP), and YAMS

Thanks

[Micha]

Not wanting to ridicule you

Then don't.

I didn't, I hope? If so, I'm sorry. Everything's cool, Bubba.

[Tricycle Rider]

Unless Brian just planned to have a 5 + 6 minute plus H&V epic within the album proper, but a truncated version for the single

 +1 Whole Lotta Love. In a-Gadda-da-Vida. etc etc.

ALSO

Coulld someone clarify: False Barnyard, OMP (TOMP), and YAMS

Thanks

Hey leggo,

False Barnyard = Disc 1, Track 07 at 1:05 on The SMiLE Sessions Box Set

OMP/YAMS = Old Master Painter/You Are My Sunshine - Disc 1, Track 7  on The SMiLE Sessions Box Set

I hope this is what you meant!

[Peter Reum]

The combination of OMP/YAMS goes back to the first Smile tape from 1978. It was also presented that way on Dennis's acetate that I bought in 1994. But that version was with the earliest Smile tape.