"9
Go In On" would be much funnier as "Goin' On In". 

"Ten Years of Harmony" is "special" though. As far as I know, we don't have "Sea Cruise" or the title track readily available on cd. It'll be a welcome addition to my collecrion, personally.

Which title track?

Looks like they are saying the title track is ten years of harmony. I didn’t know that was ever released officially. Perhaps this is the first time?

That song was not on the original LP lineup, or the subsequent CD release. I don't expect it to be included in this new Japanese release either. The promo blurb linked above doesn't include a track lineup.

"Ten Years of Harmony" is "special" though. As far as I know, we don't have "Sea Cruise" or the title track readily available on cd. It'll be a welcome addition to my collecrion, personally.

Which title track?

Terrific to hear it pulled apart, and then to go to another YouTube post that replicates salient excerpts from the session (as condensed from SOT 7) to hear it coming together in real time--and then back to the last 2:00+ minutes of Joshilyn's video to re-hear the parts in better isolation...

Question for any of the experts...We've read about Brian sitting at the piano, pounding away creating his unique chord progressions--in various sources, these were the given the name "feels" (an apparent Brianism that I don't recall being referenced in the most recent autobio--though I could've missed it). When did that particular process become his dominant mode of creation? Is it here? Would this piano part, which truly dominates here, be among the first of these "feels"? If not here, then where?

Pretty sure Brian was using "feels" before that...one reference that comes to mind, although from many years later, is Dennis describing his own piano part on the POB/i] track "What's Wrong". He told David Leaf, "I love that old feel Brian used to play." The "feel" on "What's Wrong" is a shuffle, very similar to Brian's "feel" on "Little Deuce Coupe". Now, we know that for "LDC", the lyrics came first (mostly from Roger Christian, although Brian threw in at least one line), but it's conceivable that Brian "felt around" on the piano for the rhythm and chord structure before coming up with the melody to fit Roger's words. Whether or not he called it a "feel" at the time, I don't think we can say for sure, but I'm guessing he was using that term at least by 1963.

According to Badman, years before the rest of us heard it, Well You Know I Knew exists on a tape with Charles Manson running through a few songs on acoustic guitar. Take that as you will. If that has anything to do with the identity of the guitarist on a now-released song I don't expect it'd ever be confirmed for understandable reasons.

There are two acoustic guitars on "Well You Know I Know", so one could be Dennis, while the other could be...someone else.

Well we now know that he’s on Slip on Through and Got to Know the Woman, and both are overdubs. I think Jon Stebbins confirmed that he and John Hanlon (or maybe Alan Boyd) heard an isolated rhythm guitar part on a Dobro that they were convinced was played by Dennis on one of the POB & Bambu songs or outtakes.

...it's been said that he played the unused Leslie'd rhythm part on Slip on Through that can be heard in bootleg mixes. The only parts audible on the finished song are Carl and Jack Conrad.

Dennis' Leslie'd rhythm guitar is locked in on the same track as the horns, per the track sheet notation. On the bootleg mix, you mostly hear it in the choruses when the horns are tacet, but there is a bit of crossover when the horns re-enter, so even if it was mostly muted or faded out in the final mix, that little part that overlaps with the horns would still be there. But, I think I can still hear it in other parts of the final mix, although very subtly.

Well we now know that he’s on Slip on Through and Got to Know the Woman, and both are overdubs. I think Jon Stebbins confirmed that he and John Hanlon (or maybe Alan Boyd) heard an isolated rhythm guitar part on a Dobro that they were convinced was played by Dennis on one of the POB & Bambu songs or outtakes.

There's no guitar on GTKTW played by Dennis...

We don't know that for sure...I've heard the next-to-final takes, and they sound radically different to the released version, indicating a lot of replacement of parts and overdubbing of new parts. Although Eddie Carter played the sole guitar on the basic track of the master take, Desper described in his book how Dennis overdubbed the fingered lead guitar licks in the choruses, which could've been done as "drop-ins" on the same track as the original guitar.

Standing corrected! What other parts sound different to the original session?

Doug Dragon's organ part was completely wiped and replaced by Dennis' final lead vocal. The bass part may have been different, as it was played on the session by Joe Osborn, but Desper indicated that Carl played it on the master, so that may have been replaced, too. And, the final take from the basic session was overdubbed with a wild fuzzy lead guitar. In the end, they used the second-to-last take for the master.

Well we now know that he’s on Slip on Through and Got to Know the Woman, and both are overdubs. I think Jon Stebbins confirmed that he and John Hanlon (or maybe Alan Boyd) heard an isolated rhythm guitar part on a Dobro that they were convinced was played by Dennis on one of the POB & Bambu songs or outtakes.

There's no guitar on GTKTW played by Dennis...

We don't know that for sure...I've heard the next-to-final takes, and they sound radically different to the released version, indicating a lot of replacement of parts and overdubbing of new parts. Although Eddie Carter played the sole guitar on the basic track of the master take, Desper described in his book how Dennis overdubbed the fingered lead guitar licks in the choruses, which could've been done as "drop-ins" on the same track as the original guitar.

Probably.

I highly recommend this book!  Alan Boyd's take-by-take description of the POB tour rehearsal tapes, plus the facsimile of the Starship Radio Network bulletin in which a planned taping of Dennis and his band for the Don Kirshner Rock Concert series is reported, alone are worth the price of admission! Not to mention all the other cool stuff, like Dennis' own words, memories and comments from many of the principals - including the other BBs - and photos of tape box & console sheet track sheet info - plus my sessionography. A stellar collection of all things POB, and a few things Bambu!

We have an answer:

m.facebook.com/story.php?story_fbid=3303904333001172&id=100001449127373

Actually, Blondie had left the band a year prior - Ricky had just left a couple of months prior. Dennis is back on drums.

The problem is, once we "publish" info, additional info, insight, corrections, or additions eventually materialize, rendering the original version obsolete. A website is easy to update, but once something is out there in a book, it tends to stay out there, even if it's now deemed incorrect or incomplete. You could a second or third addition, but obviously that takes time (like years), and would a publisher be willing to do that? Maybe not. Brad Elliott encountered this problem shortly after the publication of his milestone tome, "Surf's Up - The Beach Boys On Record, 1961-1981". But he found an outlet to publish the corrections and additions, via a regular column in the "Add Some Music" fanzine.

By this logic, no one should ever publish anything in print?

Well, in my case at least, if I had initially published my work back in 2002 or so, when I began putting my essays out there in earnest and people were clamoring for a book, I would now deem that initial attempt laughable. I think it's continually getting closer to the point where it could be doable - and to Salty's point, peer review and collaboration would be the key in ensuring the highest degree of accuracy (my field of study at the University of Nebraska was, after all, historical research). Fortunately, I believe the two of you are more than worthy peers.  

The problem is, once we "publish" info, additional info, insight, corrections, or additions eventually materialize, rendering the original version obsolete. A website is easy to update, but once something is out there in a book, it tends to stay out there, even if it's now deemed incorrect or incomplete. You could a second or third addition, but obviously that takes time (like years), and would a publisher be willing to do that? Maybe not. Brad Elliott encountered this problem shortly after the publication of his milestone tome, "Surf's Up - The Beach Boys On Record, 1961-1981". But he found an outlet to publish the corrections and additions, via a regular column in the "Add Some Music" fanzine.

So Veronica's the "Brian" of the group? 

I was at the Universal Amphitheater with Derek Bill when Dennis and Mike fought. 

Now, you could interpret that as “Marty and Derek were at the Universal Amphitheater, while Dennis and mike were fighting at the Greek” but that would be silly.

My recollection is that Dennis took Mike’s hat off and tossed it, that seemed to get things started.

Mike and Dennis actually fought at BOTH Universal Ampithetre and The Greek. The latter incident was two years later, in the summer of '81, and was apparently backstage after the show. There's was a review of the show in Billboard. Sounds like quite a mess, with Carl absent, and Brian slapping his microphone as punishment for it giving him feedback, then storming offstage during "GOK", leaving Al to pick up the lead. Dennis was so hoarse he could barely talk. The review also noted that the Captain and Tenille joined them for "Fun Fun Fun". It was Creem magazine that later reported Mike and Dennis had a "bloody fistfight" backstage afterwards. Bobby probably combined memories of the two incidents.

This album is actually up on Spotify (probably other streaming services) right now. I listened to half of it yesterday and it sounded great - I compared it to the original mix and I myself couldn’t find any difference in the mix, but I’m sure there are differences I’m just not picking up on.

I haven’t gotten to the instrumentals yet but I did listen to Rhapsody in Blue - AMAZING! It is extremely similar to his Disney Gershwin version, but with a younger Brian.

Is it remixed, or just remastered?

And speaking of "(according to) those who would know", AGD is already in denial mode about Ron Hamady's performance on the Michael Shelley interview over at you-know-where, tut-tut-tutting about prerecording and attempting to explain away the abruptness of the truncated interview when anyone listening with any sense of tone or pace will clearly note how Shelley sounds extremely uncomfortable at what he's hearing from Hamady. In response to AGD's featherbedding, we'll just trot out the word that our ever-charmingly arrogant Briton would use if he could only join us here--bollocks!   

Playing devil's advocate here - and I'll admit to not yet having heard the interview myself, mostly out of indifference - but AGD states that he was told by the interviewer himself that the show was pre-recorded and edited, with one final question & answer being cut. For what it's worth.

<<He mentioned that Brian worked on Smile. I have read elsewhere that there was talks of putting Do You Like Worms on the LA Light Album.>>
1. In the final issue of David Leaf's Pet Sounds newsletter, there's an interview with Bruce about the forthcoming first CBS Beach Boys album.  Bruce mentions that James Guercio wanted to begin the album with Do You Like Worms and end it with Can't Wait Too Long.
2. A couple of years later, just before the release of Ten Years of Harmony, Bruce discusses his idea of putting together a Smile collage.

In the same pet sounds magazine from 11/78 bruce first mentions the idea of a collage of smile material in addition to the above two songs guercio wanted on la light. He said he wanted brian to put the collage together. Bruce said he dropped the idea of a collage for la light because brian didn’t want it on the lp.

Yeah, I really REALLY doubt Brian did any work on the SMiLE tapes in '77-'78. It IS true that Dennis and the Brother Studios engineers pulled all the tapes out of the vaults, and did some cataloging and rough mixes. The tapes were reportedly played over the sound system of the Boys' jet plane on one of their tours of the Midwest within the next year or so. So Brian would have likely heard the tapes, but I think this was after Rocky was gone. And there was obviously interest from Guercio and CBS - but not from Brian.

Of course, Brian DID produce another unreleased album for the BBs shortly after Love You's completion - that being Adult Child. Perhaps THAT'S what Rocky's thinking of?

What I recall is that Brian was more talkative/involved than Dennis. Both were definitely present, though.

Not a BW original, but even though it's from an album full of great BW originals (plus one other cover), it's still probably my favorite cut on the album!  In close competition with the next two cuts...

Life can be very strange.

Especially with one B. Wilson circa 1971? 

<<One last thing - were the tinkly bells/triangles following the bridge an overdub or live?>>

Can you give me a time stamp for that part? For some reason, I'm not hearing it...

Right after "if I keep singing he'll come back some day".

Sorry, I don't hear tinkly bells or triangles there, either on the released mix or the instrumental track from the 2018 CE download...maybe something to do with my ears being over 40 years old? I used to be able to hear the "hidden tone" (for dogs) at the end of the Sgt. Pepper album on CD, and the tambourine on Boston's "Peace Of Mind", but now not so much...Anyways, my notes do indicate that a bell could be heard between takes of "Little Bird" on the tracking session tape - I would've made that note because Jim Gordon is credited on the AFM contract with "bell and block" as two doubles, and this rationalized the bell, at least, in my mind And, there's no notation of any kind of bell or percussion overdub on the track sheet - so basic track it is!

<<One last thing - were the tinkly bells/triangles following the bridge an overdub or live?>>

Can you give me a time stamp for that part? For some reason, I'm not hearing it...

Yeah, Carl's there playing guitar on the basic track. There's a harmonium overdub that is likely Dennis. EDIT: Al Jardine apparently plays banjo on the various live versions heard on the '68 downloads. I had Howie ask him once, and he said that he didn't remember, but added "Who else would it be?".

That the acoustic or electric guitar?

Would I be right in thinking Al is behind the banjo on early Transcendental Meditation?

There is an electric guitar on the basic track, evidently played by Carl - banjo is on the basic track for the first few takes only, but then Vescovo switches to what sounds like an archtop acoustic guitar. He then apparently overdubbed the banjo in the end - the track sheet has one track allocated to "Gits" (plural), which makes sense, as Carl's and Vescovo's parts are definitely together on one track -  and another track allocated to banjo by itself. The AFM contract indicates he was the only musician who stayed all the way until 7:00pm. Lyle definitely played electric bass on the basic - and although the cellos are present on the basic track, it seems they were replaced on an overdub which also included Lyle playing an upright bass (possibly arco, making it blend with the cellos?) - the contract indicates Lyle and the cellists all stayed until 6:00pm. The first overdub, though, was apparently the trumpets, as they are not on the basic track, and the contract indicates those players only stayed until 5:00.

Correctomundo on Mr. Jardine playing banjo on the early "Transcendental Meditation" - seems the original intention was for the BBs themselves to play most of the instruments on the Friends album - Wild Honey style - or at least for several of the songs. Brian apparently rethought this approach, and hence for most of the final tracks, it's the pros (usually with Carl and sometimes Brian).