I just want to say, the recent "Be My Baby" one really sounds convincingly like a classic 1964 era Brian vocal.  It even sounds double tracked the way a BB vocal from the period would have been.  It probably helps that there is a wealth of BB acapella material, both officially and unofficially released, to train a model on.

Obviously the wider implications of this tech in a wider sense are distressing for artists who are still actively recording, but in this capacity you are basically using AI tech to reproduce something that is lost (Brian's classic voice) and realizing something that never existed.  This could be used to recreate songs that Brian never recorded vocals to ("Sherry She Needs Me" should be at the top of your list) and the covers that you've posted show this could be used on songs outside of the Beach Boys canon.  It would also be interesting to hear BB songs sung by Brian with different members singing lead, Dennis singing lead on "I Get Around" etc.

What is how deep is the ocean from 65?

https://www.youtube.com/watch?v=rXBljjceb4s
It's an Irving Berlin song arranged and sung by Dick Reynolds (arranged side B of the Christmas Album and also arranger for The Four Freshmen).  It's on the SOT Bootleg Unsurpassed Masters Vol. 11 along with "Stella By Starlight" and the voice calling the takes sounds like it could be Brian.  He is credited as producer but besides that it ostensibly doesn't have much to do with the BB.

Not Dick Reynolds. The singer is Brian's uncle, Carl Korthof. Reynolds is conducting the band.

Good to know, was just going by the liner notes for that boot.

What is how deep is the ocean from 65?

https://www.youtube.com/watch?v=rXBljjceb4s
It's an Irving Berlin song arranged and sung by Dick Reynolds (arranged side B of the Christmas Album and also arranger for The Four Freshmen).  It's on the SOT Bootleg Unsurpassed Masters Vol. 11 along with "Stella By Starlight" and the voice calling the takes sounds like it could be Brian.  He is credited as producer but besides that it ostensibly doesn't have much to do with the BB.

I can't speak specifically for this recording, but it's probably more likely that it was an aircheck recorded by a local affiliate rather than coming from NBC itself.  Many recordings like this circulate in the TV trading community and are a good source of TV programs/commercials from a time before VCR's existed and are often in excellent original broadcast quality like this example.  So someone at a random affiliate in 1968 records an aircheck for billing purposes (or maybe someone there just really liked Raquel Welch ), the tape is then lost or misplaced and collects dust in a vault at some TV station until its found and re transferred some 50 odd years later.  IMO that's the more likely scenario.

It is tantalizing to think that some more vintage Carson episodes avoided the great tape purge, but like those legendary Inside Pop reels, they've probably bit the dust.

ADD SOME MUSIC was rejected by the Beach Boys when it came time to finally assemble their first Warners LP.

"Feel Flows," the song, as utilized by Cameron Crowe in his popular and well-received film "Almost Famous," was lifted out of relative obscurity by its placement as the film's closing track, reaching an entirely new audience at the time.

FEEL FLOWS, the CD compilation, is a way of giving some long-overdue props to Carl Wilson, who was "the glue" of this entire period, but whose untimely death in 1998 had served to obscure the magnitude of his contributions to the "democratic" period that the band entered into from 1968-73. All the surviving members of the band are well aware of just how significant Carl's contributions were in keeping the band on track in a time frame when things could just as easily fallen apart. I'm guessing that all of them wanted to use that song title as a way of recalibrating everyone's understanding of the band's history--just as Brian decided to honor his brother by using another of Carl's songs, LONG PROMISED ROAD, as the title of a documentary.

I don't think the band had the title thrust upon them, and even if such was the case, they've had plenty of time to change their minds (which they have been well-known for doing over the years!)...

I know all of this and agree somewhat, but I still think that "Add Some Music" just works better as a title for a box set compilation and for John Q Public who unfortunately has little familiarity to some of the music on this set.  BB fanatics like us would buy the set regardless of what it was called.

And AFAIK the "Add Some Music" title was never actually "rejected" by anyone, it was just changed to Sunflower for the final approved album after several iterations of the track lineup had been rejected.  If the album had been approved by Warner/Reprise earlier in 1970 it would have gone out with that title.

I feel like "Add Some Music" would have been a better title for this set, even though I much prefer Feel Flows over that track.  "Add Some Music" was also the original title for Sunflower.

I remember seeing reruns of that show years later, and feeling bad for Brian. What was the point of putting him out there alone? He wasn't a solo artist at the time, and hadn't performed live anywhere in ages - other than a few appearances during the Brian is Back tour where he just sat at his piano looking lost and lonely. Was this whole thing one of Landy's ideas?

Brian's appearance was most likely the idea of SNL producer Lorne Michaels, and might have been part of a deal Brian had with NBC.  Michaels had co-produced the TV special "It's Ok" just a few months earlier: https://en.wikipedia.org/wiki/The_Beach_Boys:_It%27s_OK!

They're missing the first stage tape with the tracking session in three track, which would have given the backing track a fuller stereo mix.  Parts of the tracking session were booted which indicates that it was taken from the tape library.

Almost the entire second side of the soundtrack to Big Wave (1984) consists of Beach Boys covers.  He also covered Nilsson's "This Could Be The Night" there, which is a favorite of Brian's.

https://en.wikipedia.org/wiki/Big_Wave_(Tatsuro_Yamashita_album)

It's just a duophonic mix or something similar.  A true stereo mix didn't exist at the time (I'm not even sure if the vocal multitracks from Columbia had been returned to BRI by 1987).

[all]

I don't think we should lay the 60s to rest because, as I said, the copyright releases did not address much of what was recorded in early 1965. This is prime BB, with Pet Sounds coming right around the corner.

I also would love another Friends release, to supplement what we got last year.

No need to limit to one era, surely?

in 2020 I’m not sitting here wondering when we’ll get the raw session tape for “Summer Means New Love.”

Look, just because I mentioned that song as one of the session tapes that hasn't been booted, doesn't mean it's all I want.  And nobody said anything about "raw session tape" (no archival release has had anything close to a "raw" session tape, they've all been digested).

I find cherry picking that song out of my post as some sort of catch-all argument against all '65 era or earlier outtakes being released to be super disingenuous.  The unreleased track from that era that I want to hear the most is "Sherry, She Needs Me" a track cut with the Wrecking Crew in the year leading up to Pet Sounds that has only been available with Brian's '76 vocal over it.  Try convincing people here that a track like that isn't desirable or worth listening to.

We're still missing a lot of session work from early '65.  The copyright release for 2015 focussed solely on Party!, unfortunately.

And some of this early '65 material hasn't been booted at all...I'm looking at tracking sessions/backing tracks for things like "Sherry, She Needs Me", "Summer Means New Love", any vocal recording sessions from the 8-track Columbia tapes (along with vocal only versions of songs like "Let Him Run Wild" or "Salt Lake City").  It's really a shame the Keep An Eye On Summer set didn't dip into 1965.

Maybe I should do a change.org petition for getting the license away from Mike, because this has been a stain on the band’s legacy if there ever was one

I really hope that, petition or not, that is ultimately what will come out of this whole controversy.  I wouldn't be surprised if those sort of plans are already in motion.

Wow! Just f***!ng wow!

“Don is looking forward to his speech at the Safari Club convention and is proud to add Brian Wilson to the list of liberal Hollywood elites who he has successfully triggered,” Andy Surabian, a spokesman for Mr. Trump, said on Tuesday.


https://www.nytimes.com/2020/02/04/us/brian-wilson-beach-boys.html

What a piece of sh!t.

Then maybe these aholes should put their money where their mouth is...and boycott Mike’s performance at the SCI as well...especially since all of the music that will be performed there was written by that known “liberal Hollywood elite” Brian Wilson.

Stop allowing them to license the name and continue to drag the legacy of the band through the mud.

My intended point was not to stir sh*t but to simply point out that its my opinion that it was probably some one other than Brian who used his social media accounts which would have far more followers than whoever it actually was that type the message.  Also if Brian and Al are so against The Beach Boys doing this show, why don't they donate their portions of the cut to the Sierra club or some other worthy conservation organization.  

Donating to another organization doesn't undo or mitigate the damage this does to the Beach Boys brand or reputation.

Sorry if this is a stupid, basic question that everyone knows, but Al said Sloop was recorded 2 years BEFORE pet sounds and then the record company put it on when they didnt hear a hit..is that true?  I always assumed it was recorded during the pet sound sessions?

No, the track was recorded in July of 1965 and vocals were recorded in December of 1965 before the majority of the Pet Sounds sessions took place in the winter-spring of '66.  Sloop John B appears in a working track listing submitted to Capitol by Brian (I believe the same one that lists Pet Sounds as "Run James Run" and Let's Go Away For Awhile as "The Old Man and the Baby").  Zero evidence it was included at the insistence of Capitol.  It seems that Brian always intended to include it on the next studio album following "Summer Days..."

They say on the site that this mix doesn't use DES by the absence of an asterisk, but IMO that's an error.  Someone correct me if this is wrong, but I think the 2nd vocal overdub and accompanying guitar part were recorded during the mono mixdown and would be impossible to include in a true stereo mix (similar to Help Me Rhonda and a load of other mono only tracks from this era).  The mix they have on the website also has elements in it that are clearly re-channeled to stereo that were not separated at all in the original instrumental track.  I think they used their DES tech on the mono mix, which IMO is not the ideal way to tackle a song where 2/3rds of the recorded elements are available to mix in stereo.  And if such a true stereo mix of IGA actually did exist, I doubt it would make it's debut on a non-Capitol compilation.

I think that poster looks cool!

I agree for the most part, although something looks off about the pic of young Brian

They mirrored it from the original

Yahoo: "Where did the rumor come from that you didn't like Pet Sounds?"

Mike: "I think it came from the heavy drugs taken by some members of the band."

I'm not even kidding this is basically word-for-word said in the interview.

What he actually says is "I think there was a them and us thing that arose through drugs" and that a schism arose in the group that wasn't there before...which is absolutely true and I think that is a huge factor in why Mike resisted some of the Smile material, which eventually morphed into "he hated Pet Sounds too" (with the help of unsubstantiated quotes like "Don't **** with the formula").  

I still think it's weird that both he and Al continue to deny ever taking heavy drugs when we have the original session for "Our Prayer" released on TSS.  

If anyone was curious about the evolution of Even Steven to Busy Doin' Nothin'...
Brian used the same backing track with some modifications.  Part of the outro was spliced and used as the intro, some of the instrumentation was taken out of the mix, and everything was slowed down by around 8% (a bit more than a semitone).  The vocal for BDN must have been recorded over this new edited backing track, as the vocals on that do not appear to be slowed down.  Here is my approximation of the edits to Even Steven, ignore the slowed down vocals.

https://soundcloud.com/smileyhoneyfriends-1/even-steven

Speaking of "Be Here In The Morning", one missed opportunity I noticed was the lack of anything from the vocal overdub session...or even just an a cappella version, especially given that it featured Murry filling in for Mike.  Is there any chance of there being bonus session material like that on the download with the live material?

For other west-coasters, it's up on Amazon now

A lot of this is extremely subjective and open to individual interpretation.  To me, the fact that Miracles and that section of CIFOTM work so well together isn't a coincidence or an example of people "hearing what they want to hear".  IMO they're two very similar compositions dating only months apart from a composer who was known to reuse material, especially from Smile.

Again, to me Miracles sounds extremely similar to "Baby you know that I, can't wait forever" mantra that appears on various sections of Can't Wait Too Long.  Whether it was Linnett who connected the two or not, the lineage/evolution of musical concept is still there, even if the chords or keys aren't always exactly the same.  To Brian these were "feels"...fragments of songs that could be salvaged like scrap metal and changed into something else.

I'm coming into this a few years late, but not knowing anything about the track, I'd just assumed "Miracles" was an excerpt of a rehearsal of "Little Bird".

Miracles dates from the Smiley Smile sessions. Not hearing the Little Bird connection...

The underlying chords in the chorus of CIFOTM morphed into parts of Can't Wait Too Long (which Miracles seems to be a section of) and later "Little Bird" (the ending of which is a more direct rework of CIFOTM).  Even the fade of Surf's Up is an intentional reprisal of the chorus to CIFOTM, made even clearer by the 1971 vocal additions.  It's all over Brian's stuff from this period.