The Smiley Smile Message Board

This is strange...  About 20 minutes ago I was over on the Steve Hoffman board, and a gentleman had posted there that he had obtained access to the source files for FIRST WAVE - THE HITE MORGAN SESSIONS, and was initiating a Kickstarter campaign to raise funds to release them on CD.  He said that they are now in the public domain and no longer subject to the Beach Boys legal armada.  He also said that he has also commissioned Brad Elliott to write the liner notes.  He was seeking about $38,000 to press 1,500 copies.

After the initial posts, Steve Hoffman himself posted and asked if he was finally going to get paid for mastering the tapes.

A person with the user name Brad Elliott joined the forum, and confirmed that he was writing the liner notes.

Someone questioned the amount to be raised, stating that 1,500 copies plus color inserts and jewel cases, plus licensing and royalties shouldn't cost more than about $5.00-$6.00 per copy at most to produce.

Someone else asked if this was being done with the blessing of The Beach Boys / Brother Records, and if not was it anything more than a glorified bootleg.

Then the entire thread was deleted...

Lee

Brad Elliot is a scumbag. ::)

They'd be in the public domain in the EU, right?

Here's the link:

https://www.kickstarter.com/projects/448050763/unreleased-beach-boys-recordings/video_share

It's called Prelude to Summer. He's still got a way to go to reach his target amount!

It'd be nice to see this happen. Now if we could get some kind of release of the 1962 Beach Boys/Gary Usher session...

From what I've read about the guy, I'd make sure Elliot is only paid cash on delivery.

And why is that, Smile Brian?

He took all that money for the first wave project and never returned it when it didn't happen.

I'm in, but they'd better hurry the hell up before Bruce Morgan starts writing Cease and Desist orders!

All but 5 tracks are unreleased.  I thought we got most of the good stuff in "Lost & Found".

That's not all. 

Not just for First Wave (for which, btw, he still owes investors over $40,000) but also for the Dailey Smile session photos, and the sessionography book, to name but two. Oh, and I think Greentree Publishers would like the advance back for the BB A-Z he was contracted to deliver back in the early 2000s.

The "producer" of this bullshit project would do well to see those who never received the CDs the fitst time around and no refund either get a complementary CD set.

Thr hide of Mr Elliot to surface in conjuction with this project knowing its history.

Those fools who pledged money wont see their money or any discs again.

Promissory notes were signed to the effect that the sum invested would be returned if the project wasn't released by a specified date. Never happened, of course. You have to remember that at the time (late 1999/early 2000) Elliott was a highly regarded fan and researcher with several liner note credits to his name (and was contracted by Capitol to write all the liners for the impending 1970-1985 2fer reissues). The speed with which it all fell apart was breathtaking.

Preach.

LOST AND FOUND

1 Luau (Previously Unissued)   
2 Surfin' (Previously Unissued)   
3 Studio Chatter   
4 Surfin' (First Take, Unissued)   
5 Studio Chatter   
6 Surfin (Master Take X-301)   
7 Studio Chatter   
8 Luau (First Take, Unissued)   
9 Luau (Master Take "B" Side Of X-301)   
10 Barbie (Stereo)   
11 What Is A Young Girl Made Of (Stereo, Previously Unissued)   
12 Surfin' Safari (Unissued Take)   
13 Studio Chatter   
14 Surfin' Safari (Approved Master Take)   
15 Studio Chatter   
16 Surfer Girl (Approved Master Take)   
17 Judy (Previously Unissued Take)   
18 Judy (Approved Master Take)   
19 Beach Boy Stomp (Karate) (Unissued Long Version)   
20 Surfin' Safari (Attempt At Overdubbing, Unissued `61 Demo In Stereo)   
21 Lavender (Previously Unissued)


FIRST WAVE (PRELUDE TO SUMMER)

Disc One
Recorded September 15, 1961

 1. Surfin' (demo) 2:24
 2. Luau (demo, take 1) 1:37
 3. Luau (demo, take 2) 1:39 *
 4. Luau (demo, take 3) 1:37 *
 5. Lavender (demo, take 1) 2:17 *
 6. Lavender (demo, take 2) 1:07 *
 7. Lavender (demo, take 3) 2:18 *
 8. Lavender (demo, take 4) 2:22 *

Recorded October 3, 1961

 9. Surfin' (take 1) 0:16
 10. Surfin' (take 2) 2:22
 11. Surfin' (take 3) 0:31 *
 12. Surfin' (take 4) 2:26 *
 13. Surfin' (take 5) 2:25 *
 14. Surfin' (take 6) 1:02 *
 15. Surfin' (take 7) 2:28 *
 16. Surfin' (take 8) 2:21
 17. Luau (take 1) 0:20
 18. Luau (take 2) 1:51
 19. Luau (take 3) 0:29 *
 20. Luau (take 5) 0:08 *
 21. Luau (take 6) 1:50 *
 22. Luau (take 7) 1:51 *
 23. Luau (take 8) 0:13 *
 24. Luau (take 9) 0:07 *
 25. Luau (take 10) 0:22 *
 26. Luau (take 11) 1:53 *
 27. Luau (take 12) 1:50
 28. Lavender (take 1) 0:47 *
 29. Lavender (take 2) 1:22 *
 30. Lavender (take 4) 2:35 *

Recorded February 8, 1962

 31. Surfin' Safari (take 3) 0:30 *
 32. Surfin' Safari (take 4) 2:18 *
 33. Surfin' Safari (take 5) 0:27 *
 34. Surfin' Safari (take 6) 2:18 *
 35. Surfin' Safari (take 10) 2:07 *
 36. Surfin' Safari (overdub take 1 on take 6) 2:24
 37. Surfin' Safari (overdub take 2 on take 10) 2:17
 38. Surfin' Safari (stereo overdub on take 6) 2:06
 39. Surfin' Safari (mono single mix) 2:01

Disc Two
Recorded February 8, 1962

 1. Surfer Girl (take 1) 2:02 *
 2. Surfer Girl (take 2) 2:48 *
 3. Surfer Girl (take 3) 1:33 *
 4. Surfer Girl (take 4) 2:24 *
 5. Surfer Girl (take 5) 1:54 *
 6. Surfer Girl (take 6) 2:18 *
 7. Surfer Girl (overdub take 1 on take 4) 2:33
 8. Judy (take 1) 2:18 *
 9. Judy (take 2) 2:35 *
 10. Judy (overdub take 1 on take 2) 2:29
 11. Judy (overdub take 2 on take 2) 2:41
 12. Beach Boy Stomp (take 1) 1:34 *
 13. Beach Boy Stomp (rehearsal fragment) 0:25 *
 14. Beach Boy Stomp (take 2) 1:01 *
 15. Beach Boy Stomp (overdub take 1 on take 1) 1:32 *
 16. Beach Boy Stomp (overdub take 2 on take 1) 1:38

Recorded March 8, 1962

 17. Barbie (overdub take 1) 2:36 *
 18. Barbie (overdub take 2) 0:16 *
 19. Barbie (overdub take 3) 0:23 *
 20. Barbie (overdub take 4) 1:08 *
 21. Barbie (overdub take 5) 1:53 *
 22. Barbie (overdub take 6) 2:41
 23. Barbie (overdub take 7) 2:45
 24. What Is A Young Girl Made Of? (overdub take 1) 2:55 *
 25. What Is A Young Girl Made Of? (overdub take 2) 1:58 *
 26. What Is A Young Girl Made Of? (overdub take 3) 0:18 *
 27. What Is A Young Girl Made Of? (overdub take 4) 2:23
 28. What Is A Young Girl Made Of? (overdub take 5) 2:24
 29. What Is A Young Girl Made Of? (overdub take 6) 2:23 *
 30. Barbie (mono single mix) 2:22
 31. What Is A Young Girl Made Of? (mono single mix) 2:11

Original tracklist for First Wave as advertised by Brad a few years ago:


FIRST WAVE: The Complete Hite Morgan Sessions

Disc One

Recorded September 15, 1961

1. Surfin' (demo) 2:24
2. Luau (demo, take 1) 1:37
3. Luau (demo, take 2) 1:39 *
4. Luau (demo, take 3) 1:37 *
5. Lavender (demo, take 1) 2:17 *
6. Lavender (demo, take 2) 1:07 *
7. Lavender (demo, take 3) 2:18 *
8. Lavender (demo, take 4) 2:22 *

Recorded October 3, 1961

9. Surfin' (take 1) 0:16
10. Surfin' (take 2) 2:22
11. Surfin' (take 3) 0:31 *
12. Surfin' (take 4) 2:26 *
13. Surfin' (take 5) 2:25 *
14. Surfin' (take 6) 1:02 *
15. Surfin' (take 7) 2:28 *
16. Surfin' (take 8) 2:21
17. Luau (take 1) 0:20
18. Luau (take 2) 1:51
19. Luau (take 3) 0:29 *
20. Luau (take 5) 0:08 *
21. Luau (take 6) 1:50 *
22. Luau (take 7) 1:51 *
23. Luau (take 8) 0:13 *
24. Luau (take 9) 0:07 *
25. Luau (take 10) 0:22 *
26. Luau (take 11) 1:53 *
27. Luau (take 12) 1:50
28. Lavender (take 1) 0:47 *
29. Lavender (take 2) 1:22 *
30. Lavender (take 4) 2:35 *

Recorded February 8, 1962

31. Surfin' Safari (take 3) 0:30 *
32. Surfin' Safari (take 4) 2:18 *
33. Surfin' Safari (take 5) 0:27 *
34. Surfin' Safari (take 6) 2:18 *
35. Surfin' Safari (take 10) 2:07 *
36. Surfin' Safari (overdub take 1 on take 6) 2:24
37. Surfin' Safari (overdub take 2 on take 10) 2:17
38. Surfin' Safari (stereo overdub on take 6) 2:06
39. Surfin' Safari (mono single mix) 2:01


Disc Two

Recorded February 8, 1962

1. Surfer Girl (take 1) 2:02 *
2. Surfer Girl (take 2) 2:48 *
3. Surfer Girl (take 3) 1:33 *
4. Surfer Girl (take 4) 2:24 *
5. Surfer Girl (take 5) 1:54 *
6. Surfer Girl (take 6) 2:18 *
7. Surfer Girl (overdub take 1 on take 4) 2:33
8. Judy (take 1) 2:18 *
9. Judy (take 2) 2:35 *
10. Judy (overdub take 1 on take 2) 2:29
11. Judy (overdub take 2 on take 2) 2:41
12. Beach Boy Stomp (take 1) 1:34 *
13. Beach Boy Stomp (rehearsal fragment) 0:25 *
14. Beach Boy Stomp (take 2) 1:01 *
15. Beach Boy Stomp (overdub take 1 on take 1) 1:32 *
16. Beach Boy Stomp (overdub take 2 on take 1) 1:38

Recorded March 8, 1962

17. Barbie (overdub take 1) 2:36 *
18. Barbie (overdub take 2) 0:16 *
19. Barbie (overdub take 3) 0:23 *
20. Barbie (overdub take 4) 1:08 *
21. Barbie (overdub take 5) 1:53 *
22. Barbie (overdub take 6) 2:41
23. Barbie (overdub take 7) 2:45
24. What Is A Young Girl Made Of? (overdub take 1) 2:55 *
25. What Is A Young Girl Made Of? (overdub take 2) 1:58 *
26. What Is A Young Girl Made Of? (overdub take 3) 0:18 *
27. What Is A Young Girl Made Of? (overdub take 4) 2:23
28. What Is A Young Girl Made Of? (overdub take 5) 2:24
29. What Is A Young Girl Made Of? (overdub take 6) 2:23 *
30. Barbie (mono single mix) 2:22
31. What Is A Young Girl Made Of? (mono single mix) 2:11

* Previously unreleased


Recordings produced by Hite Morgan, 1961-62.
Compilation produced by Brad Elliott.
Assembly, editing and mastering by Steve Hoffman.

This compilation (p)(c) 2000 Surf's Up! Records, P.O. Box 665, Hardy, VA 24101.
All rights reserved. Unauthorized duplication is a violation of applicable laws.


Surf's Up! Records
P.O. Box 665
Hardy, VA 24101
sales@surfsuprecords.com

I had to ask:

"Hi Raphael,  I paid Brad for two copies of this release back in the year 2000 or so. He never delivered. Am I in credit? I think these recordings are probably some of the most important elements in the band's history but Brad's involvement will upset the many fans who were ripped off at the time First Wave was first touted. What reassurance can you give, and what explanation for the high cost of the individual units? Thanks in advance, John."


I know, I'm a whingeing bastard, but I have to wonder whether the chap Raphael knows the background. How much is he paying Brad for the liner notes? What has he got in his possession; a CD or the actual tapes?

Time Capitol stepped in, bought the rights (if they haven't already) and did this project (and rhe fans) justice, definitively, once and for all.

Looks to mne like there'a WHOLE bunch of the best stuff we didn't get!
and then, First Wave would have had alot more tracks than this Prelude to Summer:

PRELUDE TO SUMMER... tracklist (tbc):   
 
 1. Luau [demo, take 2] - 1:39

 2. Luau [demo, take 3] - 1:39

 3. Lavender [demo, take 1] - 2:15

 4. Lavender [demo, take 2] - 0:55

 5. Lavender [demo, edit take 4 into 3] - 2:16

 6. Surfin' [take 3] - 0:33

 7. Surfin' [take 4] - 2:28

 8. Surfin' [take 5] - 2:25

 9. Surfin' [take 6] - 1:03

10. Surfin' [take 7] - 2:23 
 
11. Surfin' [take 8] - 2:25 * 
 
12. Luau [take 3] - 0:32 
 
13. Luau [take 5] - 0:11 
 
14. Luau [take 6] - 1:47 
 
15. Luau [take 7] - 1:55 
 
16. Luau [take 8] - 0:12 
 
17. Luau [take 9] - 0:10 
 
18. Luau [take 10] - 0:21 
 
19. Luau [take 11] - 1:54 
 
20. Luau [take 12] - 1:55 * 
 
21. Lavender [take 1] - 0:48 
 
22. Lavender [take 2] - 1:24 
 
23. Lavender [take 4] - 2:39 
 
24. Surfin' Safari [take 3] - 0:25 
 
25. Surfin' Safari [take 4] - 2:04 
 
26. Surfin' Safari [take 5] - 0:24 
 
27. Surfin' Safari [edit takes 6 & 9] - 2:14 
 
28. Surfin' Safari [stereo overdub on edit of takes 6 & 9] - 2:10 *** 
 
29. Surfer Girl [take 1] - 1:46 
 
30. Surfer Girl [take 2] - 2:21 
 
31. Surfer Girl [take 3] - 1:23 
 
32. Surfer Girl [take 5] - 1:49 
 
33. Surfer Girl [take 6] - 2:17 
 
34. Judy [take 1] - 2:18 
 
35. Judy [take 2 false start] - 0:15

36. Beach Boy Stomp [rehearsal fragment] - 0:21 
 
37. Beach Boy Stomp [take 2] - 1:03 
 
38. Barbie [overdub take 1] - 2:34 
 
39. Barbie [overdub take 2] - 0:17 
 
40. Barbie [overdub take 3] - 0:22 
 
41. Barbie [overdub take 4] - 1:09 
 
42. Barbie [overdub take 5] - 1:53 
 
43. Barbie [overdub take 6] - 2:30 ** 
 
44. What Is A Young Girl Made Of? [overdub take 1] - 1:53 
 
45. What Is A Young Girl Made Of? [overdub take 2] - 1:57 
 
46. What Is A Young Girl Made Of? [overdub take 3] - 0:20 
 
47. What Is A Young Girl Made Of? [overdub take 5] - 2:25 ** 
 
48. What Is A Young Girl Made Of? [overdub take 6] - 2:18 
 
TOTAL TIME = 72:49   

If this guy really believes in Brad, he's just the next dummy in line for the big loser award.

Now where do you suppose he got the tracks?

I'm surprised the thread over there lasted as long as it did.  When it first popped up I figured it would be gone by the next day.

As far as the Kickstarter goes, I don't think there's any chance in hell they're going to reach the goal.

FWIW, I did get a refund from him two weeks after the cancellation was announced. He offered either a refund, or to have him hold on until he got the legal crap untwisted, at which point you'd get your copy of First Wave; I opted for the refund.

I also seem to remember that there was the option to roll our First Wave investment over into the planned sessionography book. Some type of tier system if I remember correctly. I chose one of those tier options......and, of course, nothing came to pass.

So long ago...and so fuzzy in my memory. Other than the "out the money" part, that is.

For me, I waited a little bit before ordering "First Wave" from Brad, then he told me to hold payment because the CD's weren't pressed yet - he was expecting them soon. He didn't say anything about legal action at that point. I'm glad I waited and didn't send money. With the Sessions book - he wanted me to front $100 (You got your name printed in the book) but I held back for awhile until I could see if others sent money. Next thing I hear is the book is on "indefinite hold" and people who sent in money weren't being refunded. So I'm glad I didn't send money for either the "First Wave" set or the "Sessions" book!

And I wouldn't hold your breath for "Raphael" to give you a refund. That's Brad's responsibility.

Hey guys,

I'm "Raphael" the producer from this project. Feel free to pose any questions that you have. I've only just been given access to this board so apologies if I've skirted over anything. I'll do my best to fill you in.

Welcome aboard Raphael, please see query above (also sent to you via Kickstarter). Thanks for offering to field questions!

So, let's be clear. Brad has nothing to do with this release other than I wanted a Beach Boys expert to write the liner notes. He doesn't even have anything to do with how I am in possession of these recordings. That said, I understand some of the acrimony involved in the previous aborted release.

The way the campaign currently stands - we aren't going to hit the goal. I know there is strong interest. The Steve Hoffman thread had 1600 views so people found it entertaining enough to sit back and eat popcorn and watch. Call me naive, but I'm surprised by the reaction by some as this type of 50 year copyright release is very common in the UK now

Brad is a standup guy. Even Steve Hoffman has said so. The whole 2000 release saga was unfortunate for everyone involved. The person who lost the most in the whole saga was Brad.

Many thanks for the response Raphael.

Will this release use the Steve Hoffman mastering?

Exactly the same mastering that was used for the shelved First Wave release...

The recordings sound great...

If you guys want me to post any more snippets - I'd be happy to oblige...

And please for the love of God

BACK THE CAMPAIGN

Or else no one gets these recordings :)

https://www.kickstarter.com/projects/448050763/unreleased-beach-boys-recordings

Hi RaphPH, thanks for posting here.

So how did you come to be in possession of these tapes?

They came into my possession through middle men acting on behalf of an anonymous party who insisted on a quality and fitting release for such a historical document.

This came about as I posted on the Hoffman forums about wanting to start a label and I was based in London.

Keep the questions coming guys - would hate to find a reason why you aren't backing the campaign...

Thanks for taking the time to answer :)

Why not release the full 2CD set as Brad was planning to do?

If i buy this, i might have to buy the same thing again later on for a few more tracks. I already have Lost & Found, and i'll be honest, these aren't the greatest tracks in the world :)

Legally, I can only release tracks that have fallen into Public Domain under UK law. You'll get a 73 mins CD.

I believe the original Lost And Found DCC was only around half an hour?

Raphael, you have to understand, and you seem like a smart guy so I know you do; many collectors were burned by the last offering of these tracks in 2000. People fronted their money for the CD set and did not get a refund when it didn't happen. This was unexpected and people learned their lessons from it. I'm sure that many, including myself, want to see the goods physically materialize first before laying out money for the product.

One of the reasons why I pursued the Kickstarter route was so that it's much easier to provide refunds and track all purchases / pledges should any mishaps / delays occur.

I totally understand anyone's reluctance...It's regrettable that anyone feels burned by any musical release that was shelved or halted...

This is not about profit - it's about giving these recordings the release they deserve...It breaks my heart that these Julie London albums are being treated so shoddily because they have fallen in the Public Domain in the UK: http://www.amazon.co.uk/8-Classics-Julie-London/dp/B0051OJG4Q/

I want these recordings / Prelude To Summer... to be a kickass release... You guys deserve to hear these...I can't wait to have you all hear them..

Raphael, I know my main interest lies in the unheard studio version of "Lavender."  That was going to be one of the highlights of the FIRST WAVE release.  Any chance of posting a 10-15 second snippet?

Thanks,

Lee

Help me out - which specifically from the list of 48 Prelude To Summer tracks are you requesting?

23. Lavender [Take 4].  I believe all we've heard before is the demo.

Thanks,

Lee

Here's the first minute https://www.dropbox.com/s/5vqkjuzig65nxjl/23%20-%20Lavender%20%5Btake%204%5D%20SNIPPET.mp3?dl=0

The whole 2000 release saga was WORST for those whose money Brad stole.  

While you seem to be a good guy yourself, you obvioulsy don't understand the situation and your defense of Brad only serves to label you much less so.
Brad took $40000 + dollars from people and gave nothing in return; choosing instead to slink away and  disappear.  
Using Steve Hoffman as a defense for Brad only adds to YOUR loss of credibility; Steve deletes any postings on his own page that don't make him appear to be a demi-god, so why would anyone take his word about the scumbag Brad?  

Oh that sounds great!

Hey dude,

I get that this is a really thorny issue for a lot of people. I get that, I really do. I only quoted Steve Hoffman as he was the mastering engineer on that release - not because of any demigod notion.

I'm trying to bring this back to focus on the music.

These are truly some great recordings.

No one gets to hear them. That sucks.

We live in a Spotify age of awful releases. I'm trying to be a libertarian and get these out there. It would cheapen them to just release them digitally on iTunes. I want to give them a good package. No one is more qualified to write those notes than Brad. This "Prelude To Summer..." package truly is a just testament to these recordings - else I wouldn't put my name on it.

Maybe I'm naive in my plight, but I sleep at night with 100% faith that I'm trying to do a good thing for likeminded Beach Boys fans...

Honestly, I would dearly love for you guys to help me...I get why there is reluctance...I'm trying to bring this back to the music...I'm probably not going to hit this goal - but I'd damn well like to try...

I appreciate your efforts in trying to get this released, and i'd love to buy these recordings, but i'm going to fall into the category of people who'd buy this set only once it's done and ready to go.

i hope you make it that far!

So why do you need $38,000 to press 1,500 copies?

Tis a valid question. Whilst I'm not going to provide breakdowns of costs - I will say that it's taken a lot of behind the scenes costs to pull this together. Else I'd just burn CD-Rs of 1500 copies and mail them to you all.

Maybe Brad can front you the money he f***ed off with back in 2000? In all seriousness though, this is a very worthy thing you are attempting to do and I wish you the best. If you want someone to write the inlay notes you could do a lot worse then approaching a few guys who post here.

Trying to A/B Prelude to Summer/ First Wave,  These seem to be the tracks you're not including; can you explain why you deem these not to be Public Domain while the ones you're including are?  

>>
Disc One
Recorded September 15, 1961

 1. Surfin' (demo) 2:24
 8. Lavender (demo, take 4) 2:22 *

Recorded October 3, 1961

 9. Surfin' (take 1) 0:16
 10. Surfin' (take 2) 2:22
 17. Luau (take 1) 0:20
 18. Luau (take 2) 1:51
 
Recorded February 8, 1962   ( Some of these four may be on your set, but the track titles aren't a firm match)

 35. Surfin' Safari (take 10) 2:07 *
 36. Surfin' Safari (overdub take 1 on take 6) 2:24
 37. Surfin' Safari (overdub take 2 on take 10) 2:17
 38. Surfin' Safari (stereo overdub on take 6) 2:06

Disc Two
Recorded February 8, 1962

 4. Surfer Girl (take 4) 2:24 *
 7. Surfer Girl (overdub take 1 on take 4) 2:33
 9. Judy (take 2) 2:35 *
 10. Judy (overdub take 1 on take 2) 2:29
 11. Judy (overdub take 2 on take 2) 2:41
 12. Beach Boy Stomp (take 1) 1:34 *
 15. Beach Boy Stomp (overdub take 1 on take 1) 1:32 *
 16. Beach Boy Stomp (overdub take 2 on take 1) 1:38

Recorded March 8, 1962

 23. Barbie (overdub take 7) 2:45
<<

Also, While I can't speak for anyone but myself, I have to say that using Brad for liner notes ( no matter how qualified you deem him to be) leaves an extremely bad taste and may well be a primary reason for people NOT to support your campaign. He stole people's money and yet he's to be paid by them again?  You have to see how wrong this is.


 As yo've presented it, I see no way you're going to reach your goal.
You'll be better off taking PM "orders" and distributing  CD-Rs for $25 each

Would releasing them on iTunes bring the overall cost down significantly? I totally get that you're trying to make this a nice release (and it looks as if you've put a lot of thought and energy into it), but if the focus is primarily on getting this music to the fans I don't at all see a problem with this being solely a digital release.

The Keep An Eye On Summer - 1964 Sessions release from December was a godsend, one of my favorite releases ever, and it was limited to iTunes (and possibly other music sites). Given the content, the fact it was an iTunes release didn't cheapen it at all for me.

The tracks  included have never been released in the last fifty years.  A/B'd them all comprehensively. The ones not included had legal contentions as to their release. The original tracklist that was going to be presented for Prelude To Summer was much longer...

Sounds an even better reason to do CD-Rs: You can include ALL the 1st Wave tracks....

Ideally, I'd still like to stick to the law if I'm charging ;)

It's since been released, along with the Sacramento gig files, as lossless on a few high-res specialist sites, including Pono and Analogue Productions (if memory serves…)

Is one of those behind the scenes costs recompensing Steve Hoffman? Granted, he's not everyone's favourite online presence but his work is regarded as exemplary, and I'm not sure whether it could be argued that that copyright has expired on the remastered files he created…

I think what folk are looking for there is a release that's completely above board, whereby everyone is recompensed for work done (bit like Frank Holmes was, I understand, eventually recompensed for his Smile artwork with the 2011 TSS release) and maybe long-standing debts are settled.

Wouldn't it be better, first of all, to sort out all those legal contentions that prevent the release of his package as a complete entity?

I hate being so negative about such a potentially wonderful release but I'd love to see all the bases covered and the job done comprehensively.

Ok guys I'm starting to know when I'm beat. Clearly there is considerable interest in this release but we've had ten backers so far. I was trying to give this a proper release rather than a rush job. I've learned my lesson. Thanks for your time. I hope you can all see I was trying to do something worthy. I hope you don't have to wait another fifteen years to see these recordings - but don't hold your breath :)

Exactly. I don't see a need for this release.

Well, I was exaggerating a little bit, LS. This is one of those releases that almost came together back in 2000 and most people still have a sour taste in their mouths over it. "First Wave" has a very attractive track listing and collectors would snap it up in a minute, just like they did, or almost did, back in 2000. The problem is the solicitation of funds prior to the project coming together. If it were offered with the package being already complete, it would be a different story.

As the author of the upcoming Becoming the Beach Boys, 1961-1963 (McFarland), I have followed this thread with great interest. During the band's 50th Anniversary celebration, I had hoped Capitol (or, perhaps, Sundazed) would have released an authorized collection of every take of the Hite Morgan recordings accompanied with liner notes and photographs. By the way, in the interest of full disclosure, I am not affiliated with the Prelude to Summer project. I understand and share the desire to hear all of these historic recordings.

Becoming the Beach Boys, 1961-1963, will be published by McFarland very soon. I just finished the Index and the corrected proofs go back to the publisher on Friday. The book looks fantastic and I am extremely pleased with it.

It will be 404 pages, 80 photographs (out of 205 submitted), twelve appendices, 1,200 End Notes, an extensive bibliography, and index. Some of the cool(er) photographs include Hite Morgan, Dorinda Morgan, the Dix brothers, Joe Saraceno, Herb Newman, Nick Venet, the band's first royalty check, Bob Dix's telegram authorizing the X Records 301 release, Judy Bowles, Vickie Kocher, the original work order for the "Surfin' Safari" b/w "409" single ("409" was never planned as the A side), Murry's telegram to Soupy Sales thanking him for playing "Surfin'" on his television show, autographed photographs, newspaper ads, tickets, handbills, posters, their first Capitol biography, one of the five photographs taken at Dykstra Hall at UCLA, three stunning photographs from the rehearsals for One Man's Challenge at the Azusa Teen Club (actually, the Azusa Recreation Center), and great anecdotes from: Jodi Gable, their friend and first president of their fan club; David McClellan, their friend and first director of publicity who, miraculously and thankfully, saved everything; Judy Bowles; the late Jimmy O'Neill, who booked the guys at Pandora's Box for five consecutive nights in August 1962. The Appendices include professional architectural drawings of the floor plans of Hite and Dorinda Morgan's home, 2511 Mayberry Street; Stereo Masters, 5534-5538 Melrose Avenue; and the offices of Candix Enterprises, Inc, 6425 Hollywood Boulevard [the architectural drawings were done for me by Al Dix, one of the five Dix brothers, with input from Bruce Morgan, who graciously agreed to more than 20 hours of interviews with me]; a Surfin' Revenue and Expense Stream, and Production Flow chart; the September 15, 1961, Standard Songwriter's Contract for "Surfin';" the March 29, 1962, Letter of Intent and Agreement between Murry Wilson and Hite Morgan; a cool map of the April 24-May 5, 1963, tour illustrating how they zigzagged across the Midwest in a fashion similar to the ill-fated 1959 Winter Dance Party tour; and "Dennis" an unrecorded song Dorinda Morgan wrote in February 1984 as a tribute to her favorite Beach Boy. I wanted to include the legends from the tape boxes of the Hite Morgan recordings, but they, along with many other images that didn't make the cut, will have to wait until later in the year when they are posted on the companion website.  The final chapter of the book is called Coda: The Hite Morgan Tapes--Discovery, Illumination and Litigation and will answer many of the lingering questions about the original nine Morgan recordings. The Coda was drawn from extensive interviews with Paul Urbahns, Steve Hoffman, Bruce Morgan, and a tower of legal documents collected from every lawsuit concerning the tapes going back to 1964. I spent months trying to make sense of that Maze. It's a tad dense read, but written for us non-legal types so that it will make sense.

If you like the band's early history, you are going to love this book.

I have enjoyed the band since October 1966 (yeah, that song) and am especially interested in the early days. So, in April 2006 I set about writing a book about the band's origin story that I would want to read myself. A book that would answer--or attempt to answer--all of the questions about their early history. Of course, with the Beach Boys early history, you have to know what the questions are in the first place. Now, in that special place called Beach Boys' World, one learns it's best to circumvent the word "definitive." So, I stop short of calling the book definitive.  An early working sub-title was Setting the Record Straight, which I wisely later scrapped. But, I believe, Becoming the Beach Boys, 1961-1963, will come as close to the true story as we know . . . so far. And that's the key -- so far.  It builds upon some of the the great pioneering work done on the band by other writers and historians, several of whom post here.  Folks like Andrew G. Doe, Ian Rusten, Jon Stebbins, Peter Reum, and Brad Elliott. And it is fully footnoted, so credit goes where credit is due. I truly expect, and genuinely hope, that additional information will come to light -- perhaps through  Brian's and Mike's forthcoming books, and if Alan pens his memoirs.  Al, if you're listening, I'm available June 1. I hear Monterey is beautiful this time of year. :)

The book is available for pre-order at McFarland's website and Amazon.

http://www.mcfarlandbooks.com/book-2.php?id=978-0-7864-7365-6

http://www.amazon.com/Becoming-Beach-1961-1963-James-Murphy/dp/0786473657/ref=sr_1_1?ie=UTF8&qid=1428332719&sr=8-1&keywords=becoming+the+beach+boys  

SOLD!   How do I get one autographed? Or are you going to do any book signings in the S.F. Bay Area, Jim?

(Anybody else think raphph is not who he seems? *cough*)

Hey cmon I've tried to be honest and upfront with you guys.

There is no waaaay that any Kickstarter should be looking for this much money to press up 1,500 CDs, even if you're taking in account marketing costs and maybe hiring a publicist, paying for liner notes (which I'm sure a person here can confirm doesn't pay much), etc. Unless someone is owed a large sum of money...

Raphael, I'm simply waiting to be convinced that this project isn't going to fade to naught like the last attempt to publish these tracks. I hoped you might stick around for more than, what, eight hours to push your cause.

A few folk have raised legitimate concerns about who else is involved in the project, about the costs, etc, none of which have really been fully answered. So the guy who provided the tapes is anonymous and did so via a middleman/men? The price is so high because there are costs involved? Some tracks are being omitted for legal reasons, yet the set is only being considered because copyright expiry circumvents other legal stumbling blocks?

I and I'm sure others appreciate your being here to assuage doubts but a little more openness would go a long way to achieving that goal. I for one am willing to be won over, I just need winning over! :)

You're suggesting that "Raphph" might be...............................Brad?  ;D

The kickstarter goal strangely adds up to the amount Brad owes. ;)

So whatever happened to the Smile session picture set? AFAIK there was no legal stumbling blocks holding that up.

Let's just say the "refund" I got only happened thanks to Amex stepping in. It certainly was not voluntary.

And all this time, I assumed that 'Brad Elliott' was actually a female, pretending to be a man,  who just wanted to take people's money.

With respect to the Morgan tapes, they are the first recordings that The Beach Boys cut. They are quite raw, and they are significant for being the first versions of Surfer Girl and Surfin' Safari, and of course, Surfin'. I have found that these tapes are historically significant, but much of the music is very primitive. Brad Elliott would be excellent to do the notes for such an issue. I think that Brian finds them painful to hear. They are a political hornet's nest, and have been since they were first issued in 1969. The old adage about letting sleeping dogs lie comes to mind...

I'm quite satisfied with the Lost and Found album as documentation of these sessions.

Interestingly, when news of that project was announced, David Leaf's name was mentioned on the web page (the Dailey Collection was then lodged with him, as I recall). I told him about that and within hours the text was amended.

The recordings Elliott tried to release had been on countless two-bit lo fi releases since 1969 without word one being said, then suddenly BRI decides they own them. Elliott was unquestionably screwed over that, and one has to ask if there was another motive. That aside, he defrauded and lied to a significant number of fans, and that has to taint this project.. Something just doesn't stack up, as others have noted. And why files, not tapes ? Maybe Jim can ask Bruce Morgan about it.

If you follow the links from the kickstarter page, there are plenty of photos, twitter accounts, facebook pages of the guy. He even says he's working for king.com these days and you can see his full CV on linked-in. Okay, these things can all be faked, but he has posted lots of concert photos from gigs he's been to. I am satisfied that he is who he says he is and that he is genuine in wanting to release this material.

The amount he wants to raise does seem a little steep, and i guess a lot is going to Steve Hoffman and"anonymous" who is working through middlemen to get this out. This "anonymous" may be the dreaded "Bad" Brad Smell-a-lot.

There is clearly interest in this material and this release. The interest shown in Jim Murphy's book backs this up, and i think Jim's model of publish-first-get-buyers-second is the way to go.

So, if Raphael is a venture capitalist and is willing to take a gamble in selling 1500 copies, then he (and/or his anonymous middlemen) should put up the funds up front and see if they can't sell more than 1500, or see if The Hoff can be convinced to work on a percentage basis.

Good faith and all that?

in addition, if the remastering etc.. has already been done, then it's a sunk cost. By not releasing the material these costs won't be recovered at all. The additional cost to press up 1500 CDs at this point is minimal.

Okay, I concede that raphph is not BE. My sincere apologies.

Good points, all. But have I missed a reference to steve Hoffman being recompensed somewhere? If I have, then my bad…


Anyone else worried that the tapes might no longer be in a place that's conducive to their long-term health?

And surely Jim would be the go-to guy for sleeve notes for a release of this nature, what with his name about to be in lights as an expert for precisely this period of the band's history?  ;)

To BE or not to BE that is the question."  :lol

raphph, thanks for the previews!


It always sounded to me like the finished "Surfer girl" had at least two Brians during the bridge; one singing lead, the other(s) in the background. The version in the video seems to be missing some voices, at least the high/falsetto part. So, would it be correct to assume that Brian overdubbed himself afterwards? And maybe even did all the voices?

The answer to this very good question is featured in the liner notes ;)

Hey guys,

Just so you know I cancelled the Kickstarter campaign tonight. Apologies, I was very naive and this was my first Kickstarter campaign and in hindsight I should have opted to demonstrate a target that would cover costs rather than based on what I'd hoped to amass by selling all the copies I'm pressing.

I'll relaunch on IndieGogo in the next week or so..This allows me to guarantee some funding regardless of target, and I'll be going with a much more appropriate target based on costs to produce...Watch this space...and thanks to most of you for the questions and amazing support I'm receiving behind the scenes....

Chat soon

Raph

Raphael, FWIW, my advice would be to remove any mention or participation of Brad Elliott from this project (Beach Boys fans have long memories where fraud is concerned: get Jim Murphy to do the liners anew) and to be less coy about the source of the files. There's a huge amount of interest in such a release, but the waters are a little murky for most tastes. I wish you well in this.

The voice of reason: I'd love to have these tracks in good shape and utter transparency on the source. Raphael might be the guy to do it - I hope so. AGD's correct - let's have Jim contribute the liners; why reward Brad's notoriety? Why not give the fans what they want? :-)

Hey all,

So I aim to have the Indiegogo campaign up in the next few days....

Thanks for all the suggestions and comments and messages of support I've received...Looking forward to reaching the goal someway and somehow...

As for Brad...I respect everyone's opinion and I hope that you all respect mine as the Producer of this release to be entitled to deliver the product in the shape and form that I see fit. Artistic vision and courage of your own convictions is vital when delivering any project. It's what keeps me determined.

The files that were provided to me were FLAC transfers from original mastered for production redbook CD. 16bit/44hz hence why no HD option. Incidentally, I was offered many titles that fall under this UK copyright 50 year ruling by many artists - and chose The Beach Boys because I really wanted to get Prelude To Summer... out there as I've often read about these mythical recordings. And no I'm not at liberty to discuss the other artists mentioned.

I sought out Brad to write these notes - I'm glad he said yes. He took some persuading and I don't blame him based on the stuff I've seen in the last week or so. I've even had my integrity called into question despite trying to be upfront on honest at all times. But I forgive easily, as this is one hell of a touchy subject.

I dearly hope you all help and pledge support towards this new campaign; and I totally understand if your principles / objections prevent you from doing so.

The IndieGogo campaign will be based on 750 pressed copies. I had already put in that order for the 750 so we'll see where we go before I push for any more. Regardless of whether I hit the campaign target - these 750 copies are being pressed..

More when I have it...

Those would be the tracks Hoffman mastered some 15 years ago and never got paid for, then.

"Artistic vision"? I like to think this stuff was Brian's artistic vision. Can we agree on that, maybe?

Really, probably the best way to represent these recordings is to probably take the steps to get legal clearance to release the complete unedited sessions in one definitive set.

Seconded. "Brad is a standup guy" Uh-huh...

Brian's and The Beach Boys' artistic vision is the music. What raphph was talking about is the form of this release. I guess you'd agree that apart from recording and writing this stuff almost 55 years ago, Brian and the Boys don't have anything to do with this certain release.

I feel that the major problem for folk here and across the BB fan world is no-one wants to see Elliott - who still owes tens of thousands of dollars to trusting fans and backers - in any way profiting from this release, even be it the writing of liner notes (which in all probability are those he did for the original First Wave incarnation some decade and a half ago). That's why the mention of anonymous sources and middlemen in the acquisition of the files raises questions, as does having some tracks excluded. I want to see this material released, but with openness and transparency.

Once bitten, twice shy for me.

I know what you mean; I've just never considered the the pressing up of 750 CDs in jewel cases as an art form.

But hey what do I know, there are people out there creating "sculpture" from sheep poo and little plastic climbers… art is in the eye (or ear) of the beholder I guess!  :D

My credo in cases like this* is very simple: I pay for a product or a service, not a vague promise of same.

[* the original nonsense, not the current project]

Yes the Artistic Vision quote threw me for a loop too,,, sure he want's to have an artistic vision for this release and I can see that, but it's still the Beach Boys/Brian's music, so why not ask them (or at least Brian) what HIS vision for this type of release would be..there's no doubt that the music should be released but I think it should get an official Capitol release or at least sanctioned by Brian and the other boys...

Steve was joking about not being paid - he's known about this release for months and been supportive. I've spoken to him in the last week in fact. You actually have no way to know what the deal was between Brad and Steve 15 years ago, nor whether any agreed-upon compensation between them was paid or not. It's certainly none of my business - nor is it any of my concern what happened previously as I wasn't involved and don't have to answer for it.

I'll get the campaign out soon. You pays your money / you takes your choice...

Even if I raise $20 on the campaign - the people that pledged will get what they paid for or their money back...You can't say fairer than that...

The Hoff joking ?  That's a first...

And you're entirely correct: you don't have to answer for Elliott's actions fifteen years ago, but you do have to concede that said actions have impacted negatively on your current project. Plus, somewhere down the line, he's got to be involved, and I don't see him handing over the files FOC to anyone.

This thing comes to fruition, I'll pay the asking price for it, just as I have every release since 1975. I'm a fan, it's what I do.  ;D

Odd thing to do - make that kind of joke about such a grey area subject then delete the thread. Can you provide evidence of Hoffman's support?

You mean the Beach Boys kickstarter wasn't just an hoffman forum injoke/pisstake off the back of the comedy posts re the #vnyl random crap recordis in the post fiasco.

ok, I wonder where things are at on this project?
this thread is nearly a year old with no updated info or
communication from Mr. Ralph.
Where are ya Ralphy??

Yes. I'd been wondering about this. Ralph approached me last year, I run a small label 7a Records, about the possibility of releasing this. If memory serves me right, and it doesn't always, I exchanged a few emails with him and Brad about this. It was all a little vague, a little grey legally and a lot expensive. People don't seem to realise there ain't no money in releasing CD's and $40,000 was way way way out of what we could afford and recoup.

Any news on this?

Oh yeah, shameless plug, 7a is about to release An Evening With Peter No one and Micky Dolenz where they sit and chat. Dolenz tells a story about jamming with Brian and Lennon in his basement..

Interesting that Elliot was still directly involved. Also interesting that $40,000 is pretty much the sum that he embezzled  from the backers of First Wave back in the late 90s...

I'm frankly amazed he's shown his face -- even by email -- to anyone at all, given his reputation these days. I think one of the only things you'll be able to get consensus on among Beach Boys fandom is that Brad Elliot is an untrustworthy thief...

Correction. My initial emails were with a chap called Steve Lee. Then I was passed onto Brad. Who was...determined, shall we say.

Wait, what? Is this new? It is to me!
Where will I be able to obtain this?

Micky has mentioned having a bunch of informal recordings with all the Hollywood Vampires guys, but I don't think any of them have ever seen the light of day (which is seemingly appropriate, yet still a shame). I would love to get my hands on the Brian and Harry Nilsson tapes.

Ian, you're back!  :-D

What's the chances of you getting some Mike Love stuff released?  I think you mentioned that in the past.

Cheers,

Mike.

We're all assuming you're au fait with what happened when Elliot tried to release the tapes back in December 2000... and what happened to the backers money.

Lord, Lennon and Brian Wilson are my two favorite anythings ever. I would LOVE to hear that.

hopefully it is good,,,,I tend to be extremely disappointed when things like this show up,( Can you say a "Toot and a Snort 74 (Edit)" featuring John, Paul, Stevie Wonder and Harry Nilsson, 4 musical genius' making some of the worst music I have ever heard, I'm sure the Coke didn't help any....lol )

Neither Lennon nor Brian were in tip-top shape in 1974. Ever heard the "reunion" tape of Lennon and McCartney from 1974? Commonly booted as "A Toot and a Snore in '74", I think when people heard about the tape, they got excited. Then they heard it. It's a messy jam session, barely listenable even though my recollection is that the sound quality of it is actually pretty good as it was captured in an actual studio.

Has anyone ever nailed down how much interaction Lennon and Brian actually had in that "Lost Weekend" 1974 time period?

As for Elliott and the Hite Morgan tapes, it's quite interesting to find Mr. Lee's recounting that it was Elliott who he was in contact with. Considering the "Raph" guy last year was adamant that Elliott was not involved other than being contracted to write liner notes, I'm surprised he thought he could make the project work considering Mr. Lee's experience and recollection that it *was* Elliott he was talking to. Was he really just talking about how great the liner notes were going to be?

I was shocked last year that anybody, even if they weren't tied in any way to Elliott, would attempt to rehash what occurred 15 years prior, with many of the same folks who got burned back in 2000. Seriously, I don't think they could have picked a worse project and worst person to connect it to if they were going the "crowdsourcing" route.

Toot and Snort. lol. Still, I love listening to it. And would love hearing Brian Wilson and John Lennon doing their own toots and snorts. It's the kind of fan I am, I'm afraid.

A combination of Iain's recent encounter and what was originally said last year (it bears close re-reading) inclines me to the conclusion that "Raphael" wasn't being entirely honest with us about the degree of Elliott's involvement. Hardly at all, in fact.

Don't want to drag this thread wildly off topic but in terms of releases, 7a has decided to focus on Monkees related releases.

In terms of Dolenz/Wilson/Lennon I don't have the recordings. Yet. Although I'm working on it. But it is one of the stories Dilenz tells on An Evening With Peter Noone and Micky Dolenz http://www.amazon.com/gp/aw/d/B01B51HK5A/ref=mp_s_a_1_1?qid=1456215291&sr=8-1&pi=SY200_QL40&keywords=dolenz+noone

To get back on topic...I've not got the whole email exchange and certainly not the original one with Steve Lee who, having read this thread, I seem to remember having a similar tone to Raphael.

I was concerned about the money and the legality so 7a passed. I don't know Brad personally but he really did argue that legally this could be released and was a little upset that we wouldn't do it.

All these emails took place in August 2015 and he ended it by telling me Steve was talking to another label who were very interested.

Neither of the parties would send me any examples of the audio. M

I've mailed Brad to see how things are progressing but I suspect I shan't hear anything.

Aren't some of the Dolenz recordings already circulating on YouTube?

Could be wrong, probably am wrong... but just who IS that heavily bearded guy in the background at around 36 seconds in ? Mind you, back then, everyone had a beard...  ;D
http://youtu.be/4LEr3cKvzEs (http://youtu.be/4LEr3cKvzEs)

Reading the excellent breakdown of all of the legal tangles surrounding the Morgan tapes in "Becoming the Beach Boys", I'm not sure anyone who actually does the research to learn about those recordings would be willing to try to release them.

However frivolous the original lawsuits circa 2000 may have been, and however clear the public domain laws may seem to be now, I'd still be nervous about injunctions and other things holding it up.

Interestingly, if you go to the Steve Hoffman board and read some old posts, you'll see a few interesting comments from Hoffman himself, who of course mastered the 2000 set that never made it out (as well as of course the original DCC release). I take it he's just speculating, but he interestingly points out that if Elliott had just put the thing out in 2000 without months and months of hyping it and soliciting funds for it, it surely would have made it out to retail at least for a little while.

It just looks like every attempt to release these tapes (post-DCC) comes with a big "fundraising" deal on the front end, and considering what happened back in 2000, that's the worst way to go on this project. I would think, especially given the taint that these tapes have, if someone wanted to release them now, they'd try to raise the money privately or just save up their own money and put it out themselves.

The Morgan tapes have such a limited appeal, being mainly for diehard fanatics and BB history buffs, this more recent attempt to release a still-truncated version of the sessions seemed even less appealing anyway. The main draw of the 2000 set was that they put apparently everything on it; the entirety of the extant tapes.

Way too hard to tell, but it looks very similar and I've seen BW in a very similar shirt at that time (cream colored with little buttoned flaps on the shoulders).

There is a slightly better look at 50 seconds in. Use the settings function and change the speed to 0.25 and check it out. Looks like Brian to me.

La la la. Flowers and sunshine.

eouch!!!

You know... It really does, doesn't it?

Yeah, quite a lot.  ;D

[redacted
[/quote]

Thanks for posting that Lee.  You're better off out of it I think.  It would have been a risky venture.  :)

So much for Raphael's claim that Elliott wasn't directly involved with his attempt to get the tapes released.

I've been asked by the mods to remove my messages featuring Brad's emails. This isn't me being cute but I don't know how to...so can the mods do it for me?

Hi Iain, when you are logged in, you will see a "modify" button to the right of each of your posts. If you click that, you can delete text from your post.

Thanks Emily. Done.

Apologies to anyone responsible for this board if through my actions I have caused any stress or heartache. Not my intention at all.

I've certainly had my fingers burnt and glad I made the decision last year not to even consider working with certain parties.

Anyway...back to the laughs and larks. Summer In Paradise, eh? What's THAT all about (I quite like it)

ah well, we can put this thread to rest for another year or two and have another look at the books then  :hat
where's my 'lost and found' cd...?

Well, this should leave no doubt as to whether or not Brad reads the SS board.

But Brad, since we know you're reading this, whatever happened to the friendly "Surfs Up!" in your closing?

Back in the old days it was always:
Surf's up!
Brad

And now it's just:
Brad  ??

But that being said, back in the day you did host a very cool mailing list, completely free of trolls and other ne'er-do-wells. So thanks for that - it was a pleasure to be a member.

Does  your "brother" still answer the phone for you?

I don't know what kind of threats Brad Elliott has been making to the board admins, but would point out that if they're to do with libel then the plaintiff in a libel case must have a good name that can be damaged. I don't think that's the case for Elliott any more, and hasn't been for over a decade.
I would also point out to anyone who wants to make sure they don't get sued for libel when talking about him that mere vulgar abuse is not libel...

Nor is stating that he's a thief and a liar when said statements are backed up by widely-known evidence. Libel is defined as "a published false statement that is damaging to a person's reputation". :-)

Amazing how certain folk can act with faster-than-light speed when threatening legal action, but revert back to impulse speed when actually getting goods signed and paid for over ten years ago packaged and sent out. The mind boggles.

FTR, in the US simply publicly calling someone a "liar" or "thief" -- using those words -- is libel per se.

I do have to say...when First Wave was cancelled, I asked for a refund, and I got it two weeks later...I might be the *only* one too.

To my knowledge you are indeed the only one.

It's only libel if it's not true.

and damaging to an existing reputation. I don't know the history here, but from this thread, I think it'd be a hard case to win.

Hey, Brad, you're a jerk.

I'm glad Brad's among us… he should post here occasionally.

You are indeed lucky and the only one to my knowledge as well.

Brad, just make the CD'S Manufacture-on-Demand. I'll buy at least 5 copies.

I got my money back from First Wave as well, but he still owes me for the Jasper Daily photos that never came out.

Any advance on two refunds ?

If you read the chapter of "Becoming the Beach Boys" that delves into the various lawsuits surrounding the Morgan tapes, and specifically the canceled "First Wave" set, you'll find that this might be impossible. (I don't think the book addresses public domain ramifications, and I'm not sure anybody is totally clear).

I believe the book also outlines that Morgan sold the copyright to the stuff he still retained copyrights on (which means essentially the stuff on "Lost and Found"), but still retains the physical tapes. Presumably BRI owns the copyrights to all of the "outtakes" (meaning all the stuff on "First Wave" that wasn't on "Lost and Found"). So you'd have to probably get both BRI and the company Morgan sold the copyrights to (BUG I think, eventually bought out by Universal?) involved, and also get Morgan to hand over the physical tapes to master a set (or I guess just use Steve Hoffman's mastering from "First Wave").

I don't know if the recordings would fall under some sort of public domain category where they could all be released (not sure where the reasoning was at concerning that attempted CD last year, which had the appearance of simply holding back bits of the tape for the sake of holding it back, perhaps for a "Vol. 2" later on or something), but if that ever happens, it won't be by resurrecting a very similar sort of "fundraising/crowdsourcing" program targeted at the same fans that were fudged back in 2000, and involving to some degree (even if only liner notes) the person who many of those fans feel fudged them.

I think the comment mentioned earlier is correct. If the "First Wave" set had just been thrown out there without so much promotion and pre-sales, then even if had been recalled due to lawsuits, it would have made it out there long enough to "exist" among regular fans and the thing would be proliferated in a million different ways by now, legit or otherwise.

It's ironic for me now, because I've never really been entranced by the "Lost and Found" CD (I have it and value it very much as a scholar and fan of the band of course), but now that I'm delving into Jim Murphy's "Becoming the Beach Boys", a release of all the session tapes would be the *perfect* companion to the book. As it is, I'm anxious to dig back into "Lost and Found" with a ton of added info and context from Jim Murphy's excellent book.