Surf's Up at Rhino?

[The Shift]

Rhino Handmade is plugging a secretive forthcoming special release with the clue "Surf's Up"...


Anyone have a clue what's coming?  My heart wants it to be Mark Linett's 5.1 remix of Surf'; Up with extras, as abandoned with the demise in popularity of DVD-A.

My head says it's probably a Baywatch spin-off by David Hasselhof ...

[doc smiley]

errr... ahem

a  "Jan And Dean's - Carnival Of Sound" would be the likely answer.

click on the clue and it gives you a bigger clue!

[The Shift]

errr... ahem

a  "Jan And Dean's - Carnival Of Sound" would be the likely answer.

click on the clue and it gives you a bigger clue!

Blimey -  I tried that and got nowhere!

Many cheers though - I should have guessed the Jan & Dean release. About time too!

[The Shift]

Actually Doc, could you post a direct link to the relevant page... I'm not finding anything at or beyond the Rhino home page that the emailed newsletter sends me to.

[doc smiley]

credit this message and link to Dr. Mortacue on the Jan and Dean Messageboard :  http://jananddean-janberry.com/boards/index.php

Rhino Handmade has a snippet of "Tijuana" playing on their website http://www.rhino.com/handmade/HandmadePage/handmade-page , if you click on "upcoming" releases and then on "Surf's Up".

cheers
Doc Smiley

[The Shift]

Got it -  many thanks.

[TheLazenby]

I just heard the old boot of "Carnival of Sound", 'cause I was curious about it... I'm not TOO familiar with Jan and Dean, but I always heard that this supposed wonderful album was like the J&D equivalent of Smile.

Um....... it's not.  It's really not.  I hated it.

"Original perfume flavor"?  Whaaa?

[doc smiley]

Don't know who you ever heard that from....

Carnival Of Sound is/was the classic J&D sound mixed with a mess of Psychedelic influences....
never ever heard it compared to Smile. 

[the captain]

Doesn't take much Googling to see that some people have said as much. Not saying it's a comparison I'd make, but it's been said--I think meaning as "J&D's Smile," not as in "sounds like Smile."

[the captain]

[i'm dumb. i cannot properly operate message board buttons. pbpbt on me.]

[A Million Units In Jan!]

Yeah, I've heard things like 'It's Jan and Dean's SMiLE', I guess because it's comparable in some ways.  I've never heard someone come right out and say 'You know what SMiLE sounds like? Because this is just like it'.
I wonder if it's fair to say that if you don't care for Jan and Dean you wouldn't care for COS? Or does it have the potential to turn on a legion of new fans?

[doc smiley]

it's fair to say that if you don't care for Jan and Dean you wouldn't care for COS

 

[Andrew G. Doe]

My J&D knowledge is shaky... but weren't some of the tracks recorded after Jan's accident, and feature someone else (Glen Campbell ??) on lead ? I've had poor tapes of most of the tracks for decades: not listened for many, many years, but I recall the justification for calling it "J&D's Smile" was purely because it remained unreleased: musically, it struck me as nothing out of the ordinary for 1968. More soft pop than psychedelia.

[Mr. Cohen]

Carnival of Sound is fucking bizarre. It's like pop surf music circa 1963 with strange psychedelic elements. Imagine taking a song liike "Dead Man's Curve" and adding a sitar to it and then a screwy horn part at the end and you have a template for what Carnival of Sound sounds like. The melodies in choruses tend to be more circular, as well, and there is more echo on the vocals.  There are some good songs here but they're still stuck in the early 60's for the most part. Still, it's amazing that Jan was able to create this music right after his accident, and it's curious that he seemed to lose it more and more after this time period. What happened? (I know he had brain damage from the accident, but the material here shows him at a level he would never achieve again...)

[The Heartical Don]

Is it as good as the Surfsiders' LP? Then I'll get it.

[mikeyj]

Is it as good as the Surfsiders' LP? Then I'll get it.

No way is it better than the Surfsiders LP. I haven't heard Carnival of Sound but nothing is as good as the Surfsiders LP.

[The Heartical Don]

Is it as good as the Surfsiders' LP? Then I'll get it.

No way is it better than the Surfsiders LP. I haven't heard Carnival of Sound but nothing is as good as the Surfsiders LP.

Glorious! 

[Andrew G. Doe]

Still, it's amazing that Jan was able to create this music right after his accident, and it's curious that he seemed to lose it more and more after this time period. What happened? (I know he had brain damage from the accident, but the material here shows him at a level he would never achieve again...)

Not right after, but about a year later. Not a jot less amazing, though.

[ESQ Editor]

I'll jump in here. First, check out Andrew Sandoval holding the album art at this link: Check out this link for the cover of Carnival of Sound:

http://www.facebook.com/profile.php?id=1465632427&ref=ts

There is one song, to the best of my knowledge, that was recorded prior to Jan's accident and makes an appearance on "Carnival of Sound"; it's "Only A Boy." That's also the only song that you'll hear a Dean Torrence vocal on as well. "Tijuana," the song snippet on the Rhino Handmade site, is an obvious remake of "Little Old Lady." Jan and Dean did not spend much time together. Jan was assisted by most of the Wrecking Crew, misc. players, and Davy Jones of the Monkees. In fact, Davy's recording (albeit version) of "Laurel & Hardy" -- a "Carnival Of Sound" track -- appears on the upcoming, "The Birds, The Bees, & The Monkees" [box set] http://www.rhino.com/handmade/HandmadePage/handmade-page, and "Fan Tan" -- yet another "Carnival of Sound" track, appears on the Rhino box set, "Where The Actions Is! Los Angeles Nuggets 1965-1968."

"Louisiana Man" was a song that Jan Began prior to the accident. He finished recording the track. Dean went in and recorded two versions; one with duck quacks at the beginning, and one without. Regardless, when it came time for Jan to include "Louisiana Man" on "Carnival of Sound" he recorded a new version using the people he was working with. Domenic Priore and Mark Moore wrote the liners. it will be released via Rhino Handmade in CD and vinyl formats.
 
Dean designed the new album cover, so he was involved in the new release. But doesn't have much to say about it otherwise.

[bgas]

Dean designed the new album cover, so he was involved in the new release. But doesn't have much to say about it otherwise.

That explains why the cover reminds me of "Save For  Rainy Day" then. 

[Mark A. Moore]

Here's some better context:

The Carnival of Sound Sessions span from 1966 to 1968.

Recording for seven of the tracks began in 1966 before Jan Berry's auto accident. Of these, 1 is a backing track from '66, 4 were finished in '67, and 2 were finished in '68.

Jan returned to the studio a year (to the month) after the accident.

Four of the tracks were recorded entirely in 1967 (minus one original backing track from '64).

Recording for another four tracks was begun in 1967, and finished in 1968.

The CD features 29 tracks, including bonus stereo mixes and alternate takes. The LP features 10 tracks.

The CD liners are 32 pages. There's an introductory essay written by me and Dom. And then there's a detailed Chronology compiled by me and producer Andrew Sandoval. (A Sessionography with recording dates and historical nuggets).

As far as sonic quality, the bootlegs many have heard were sourced from very poor quality acetates. Terrible renderings. Almost no one has heard this material from the original master tapes, or in the sound quality that is coming out on Rhino.

The new stereo mixes will be a revelation for some of Jan's more complex arrangements. Lots of horns, woodwinds, strings, Indian instrumentation, and tack (honky tonk) piano.

This is a big-studio Wrecking Crew album recorded at Columbia, United, Western, and Gold Star. Vocally, it features A-list studio singers like Glen Campbell, Tom Bahler, Ron Hicklin, Gwen Johnson, and others.

The liners will shatter some popular myths about Jan after the accident, and will place the project in complete context with Save For A Rainy Day.

As for Jan & Dean not working together at the time, it was by their own choice, coupled with Dean's stuff being legally killed by Screen Gems (which was Jan's mother company as a writer, arranger, and producer). J&D were fighting each other for control. Aside from the Screen Gems mess, it's ultimately their own faults for not working together.

As far as people liking the Carnival music . . . some will and some won't. Just that simple. There's no shortage of Beach Boys fanatics, but also no shortage of fanatics who love to trash a good portion of the BB catalog. The same is true for Jan & Dean fans.

People made the same (lame) "Smile" comparisons when "Save For A Rainy Day" came out in '96. As with Carnival, it's mainly because both albums remained unreleased for so long. But there is also a very real transitional music element to both albums. And the Carnival liners will explain exactly why BOTH albums did not come out on major labels in their original time, despite deals with Columbia and especially Warner Bros. (Prior to '96, Dean's post-accident material had last been self-released 29 years earlier in 1966, finding a very small audience).

As for Carnival's potenial for turning on new fans, there is a possibility. Sandoval's favorite J&D music comes from the Carnival and "Rainy Day" era, and he's less a fan of their earlier stuff. Andrew is into Sunshine Pop/Psych stuff, and Carnival may appeal to many with similar tastes.

It all comes down to what people are interested in, and how open-minded they are as music listeners.

M.

[SurfRiderHawaii]

Here's some better context:

The Carnival of Sound Sessions span from 1966 to 1968.

Recording for seven of the tracks began in 1966 before Jan Berry's auto accident. Of these, 1 is a backing track from '66, 4 were finished in '67, and 2 were finished in '68.

Jan returned to the studio a year (to the month) after the accident.

Four of the tracks were recorded entirely in 1967 (minus one original backing track from '64).

Recording for another four tracks was begun in 1967, and finished in 1968.

The CD features 29 tracks, including bonus stereo mixes and alternate takes. The LP features 10 tracks.

The CD liners are 32 pages. There's an introductory essay written by me and Dom. And then there's a detailed Chronology compiled by me and producer Andrew Sandoval. (A Sessionography with recording dates and historical nuggets).

As far as sonic quality, the bootlegs many have heard were sourced from very poor quality acetates. Terrible renderings. Almost no one has heard this material from the original master tapes, or in the sound quality that is coming out on Rhino.

The new stereo mixes will be a revelation for some of Jan's more complex arrangements. Lots of horns, woodwinds, strings, Indian instrumentation, and tack (honky tonk) piano.

This is a big-studio Wrecking Crew album recorded at Columbia, United, Western, and Gold Star. Vocally, it features A-list studio singers like Glen Campbell, Tom Bahler, Ron Hicklin, Gwen Johnson, and others.

The liners will shatter some popular myths about Jan after the accident, and will place the project in complete context with Save For A Rainy Day.

As for Jan & Dean not working together at the time, it was by their own choice, coupled with Dean's stuff being legally killed by Screen Gems (which was Jan's mother company as a writer, arranger, and producer). J&D were fighting each other for control. Aside from the Screen Gems mess, it's ultimately their own faults for not working together.

As far as people liking the Carnival music . . . some will and some won't. Just that simple. There's no shortage of Beach Boys fanatics, but also no shortage of fanatics who love to trash a good portion of the BB catalog. The same is true for Jan & Dean fans.

People made the same (lame) "Smile" comparisons when "Save For A Rainy Day" came out in '96. As with Carnival, it's mainly because both albums remained unreleased for so long. But there is also a very real transitional music element to both albums. And the Carnival liners will explain exactly why BOTH albums did not come out on major labels in their original time, despite deals with Columbia and especially Warner Bros. (Prior to '96, Dean's post-accident material had last been self-released 29 years earlier in 1966, finding a very small audience).

As for Carnival's potenial for turning on new fans, there is a possibility. Sandoval's favorite J&D music comes from the Carnival and "Rainy Day" era, and he's less a fan of their earlier stuff. Andrew is into Sunshine Pop/Psych stuff, and Carnival may appeal to many with similar tastes.

It all comes down to what people are interested in, and how open-minded they are as music listeners.

M.

What, if any, tracks is Dean on Mark?

[Mark A. Moore]

Dean is on the pre-accident "Only A Boy."

[SurfRiderHawaii]

Had the pleasure of meeting Jan in 1979.  We were both riding the Motown Records LA office elevator.  He said he was visiting his GF who worked there.  He was really very nice to me as we chatted a bit.

[ESQ Editor]

Dean is on the pre-accident "Only A Boy."

"Only A Boy" is basically a Vietnam War song… The words are awkward and unusual to say the least. A Folk n Roll leftover.