The Smiley Smile Message Board

https://twitter.com/TheBeachBoys/status/994241957072457730

Hmm...

that location of course is the famous Abbey Road studios crosswalk

It’s going to be one of those awful orchestral backup albums. They’ve done Elvis, Roy O. and Aretha thus far.

I fear that you're right.

But who knows, maybe I'll like this thing and it'll be a huge seller for the guys. And then they have huge hit and reunite!  ;D

What's the Abbey Road connection?

Edit: found it.

http://smileysmile.net/board/index.php?topic=25786.0

Can anyone identify who the two dudes carrying the surf board are?

The guys behind the orchestral project, they're named in the link posted.

Oh f!ck, they really did this....  :wall

Waiting for the obligatory photo to appear showing Mike and Bruce carrying a damn surfboard across that zebra crosswalk.   ::)

Pardon me, but I have to run to both McDonalds and Ruth's Chris Steakhouse...I'm going to get a Filet Mignon from Ruth's, then a cheeseburger from the McDonalds value menu, and put the filet in the McDonalds' bun, complete with ketchup and mustard and that dried piece of processed cheese.  ;D  Sarcasm.

M&B hungry man meal? ;D

Hey, sounds like a plan. Don't f*ck with the formula!  :-D

Who cares??

We need a special edition of Friends period.

Why'd they have to make it so important sounding?

They've done this with so many other artists that it's not "new" or "exciting" anymore.  I have one of the Elvis albums and plan to get the other one plus the Roy Orbison album so I feel like 3 is enough for me.

If it was a reunion, I could get the "something's coming" idea, but it's not as big as they make it sound like?  Who's in charge of the brand marketing?  BRI executives?  Or does Mike handle that too?

Now if it led to a reunion  ;D :-D, then I'd pre-order my copy now.  :-D ;D :) :lol ;)

I'm not excited about this idea at all. I'm an Elvis fan, but i've only listened to a couple of the orchestral Elvis tracks. Yawn.
But for the sake of the argument, should they now have a series of Elvis, Orbison, etc releases backed by an angry punk or metal band?

I hear what you are saying. But my question back would be, why do they have to be backed by anything besides the original backing tracks.

And though I'm not too excited about this project, I will admit one thing, unlike Elvis and Orbison, Brian Wilson, Al Jardine and Mike Love are all alive and here to sign off on such a project. So if they are cool with this coming out, then I suppose it is they who we should be disappointed in if this ends up being a waste of time. And on the other side of the coin, if somehow this works out really well, then they deserve credit.

https://www.youtube.com/watch?v=Gy6WJ-w1WhY

I'll stick with the originals

The McDonaldfication of the fake Beach Boys.  ::)

Please God no guest vocals by Michael Buble.

We do but I’m sure we’ll get one

Damn, went into this thread hoping for a 1968 archival release

https://www.amazon.co.uk/Beach-Boys-Royal-Philharmonic-Orchestra/dp/B07BYPQB1P

https://open.spotify.com/track/0NqIHq2qofh2O8IpouYW70?si=us7K2CZ4Q72TsmBcg_H-Aw

I was looking for a yawn emoji.   No luck, so

YAWN

If it was just the orchestra, I think it would be cool...

But combining it with the actual track? Yeesh.

I like how the inserted Brian into the group photo.

This album has been discussed in several previous threads. That Amazon UK listing has been up for around a month.

If it's like the Orbison album, then the whole thing will come across as kind of superfluous, with ballads sounding okay with the accompaniment and up tempo rockers sounding goofy.

Here's a more accessible YouTube link to "Fun Fun Fun":

https://youtu.be/Gy6WJ-w1WhY

Yep, sounds awkward and goofy.....

Completely unnecessary. 

We're sure to sell 12 units - in January!

Agreed. That would have been far more interesting.

New Studio Album Pairs The Beach Boys’ Original Vocal Harmonies with New Arrangements Recorded by the Royal Philharmonic Orchestra at Abbey Road Studios

 

Los Angeles / London – May 10, 2018 – The Beach Boys are pleased to announce a new album, The Beach Boys With The Royal Philharmonic Orchestra, to be released worldwide on June 8 by Capitol/UMe. Produced by Nick Patrick and Don Reedman, the album pairs The Beach Boys’ original vocal performances with new symphonic arrangements, newly recorded by the Royal Philharmonic Orchestra at Abbey Road Studios. Available now for preorder in digital, CD, and 180-gram 2LP vinyl LP formats (2LP vinyl to be released August 17), The Beach Boys With The Royal Philharmonic Orchestra spans decades of timeless Beach Boys hits and favorites across its 17 tracks.

 

Starting today, “Fun, Fun, Fun” is available for streaming and for immediate download with digital album preorder. Preorder The Beach Boys With The Royal Philharmonic Orchestra: https://UMe.lnk.to/BeachBoysOrchestralPR

 

Watch / embed a brief trailer video for The Beach Boys With The Royal Philharmonic Orchestra: https://UMe.lnk.to/BeachBoysOrchestralTrailerPR

 

On March 8 and 9, 2018, the Royal Philharmonic Orchestra convened in Studio 2 at Universal Music Group’s Abbey Road Studios in London, the storied room where The Beatles, Pink Floyd, and other legendary artists have recorded some of the world’s most cherished music. There, they recorded new orchestral arrangements to complement The Beach Boys’ classic vocal harmonies from the legendary group’s original recordings. Conducted by Steve Sidwell and Sally Herbert, who also wrote several of the album’s new symphonic arrangements, the orchestra dove into The Beach Boys classics, including the new album’s earliest hit, 1964’s “Fun, Fun, Fun,” and its most recent one, 1988’s “Kokomo.” The album also features the orchestra’s new turns on the signature classics “Good Vibrations,” “California Girls,” “Wouldn’t It Be Nice,” “God Only Knows,” “Sloop John B,” “Help Me, Rhonda,” “In My Room,” “Disney Girls,” and several more. The resulting album, The Beach Boys With The Royal Philharmonic Orchestra, honors The Beach Boys’ artistry and innovation in an inspired new way with the group’s first album collaboration with a full orchestra.

 

Beach Boys co-founder Brian Wilson says, "I always knew the vocal arrangements I did back in the 1960s would lend themselves perfectly for a symphony and there is no better one in the world than the Royal Philharmonic. I am both proud and humbled by what they have created using our songs and I hope everyone falls in love with it like I have.”

 

Beach Boys co-founder Mike Love says, “This album is one of a kind. I think the fact that the Royal Philharmonic Orchestra has accompanied The Beach Boys with these great arrangements is just a phenomenal thing. It’s a whole other dimension to our music.”

 

The Beach Boys’ Al Jardine says, “Don Reedman and Nick Patrick did a terrific job on this. I can’t imagine having more fun than taking some of these great songs and putting them into this perspective. They did a beautiful job of arranging the music around the original vocals, which I think is a terrific idea. It makes the music feel new all over again!”

 

The Beach Boys’ Bruce Johnston says, “When I listened to the album, I realized that the new arrangements performed by the orchestra didn’t add the wrong kind of weight. They just added the beautiful fairy dust of the orchestra to what we already recorded. It’s another interpretation of us without losing the groundwork of us. I really like it.”

 

The Beach Boys With The Royal Philharmonic Orchestra co-producer Nick Patrick says, “I’m a complete and utter fan of The Beach Boys and the way their music makes you feel. The Beach Boys’ music is so multi-layered -- you can experience it on so many layers. You’ve got the obvious harmonies, which are amazing. But what we found making this record is when you dig down into the arrangements, they’re extraordinary. They’re fresh. They’re new. They’re complex. They’re beautiful and constructed in a completely original way.”

 

The Beach Boys With The Royal Philharmonic Orchestra co-producer Don Reedman says, “To be able to make this record, it’s a great honor. The feeling you get, listening to the original recordings and the performances, and then to be able to put our expression into their recordings through our arrangements and the Royal Philharmonic Orchestra is an absolute thrill.”

 

The Beach Boys continue to hold Billboard / Nielsen SoundScan’s record as America’s top-selling band for albums and singles, and they are also the American group with the most Billboard Top 40 chart hits (36). “Good Vibrations” was inducted into the GRAMMY Hall of Fame® in 1994. ‘Sounds Of Summer: The Very Best Of The Beach Boys’ has achieved triple-Platinum sales status and ‘The SMiLE Sessions,’ released to worldwide critical acclaim in 2011, was heralded as the year’s Best Reissue by Rolling Stone and earned a GRAMMY Award® for Best Historical Album. That’s Why God Made The Radio, The Beach Boys’ 2012 studio album celebrating their 50th anniversary, debuted at No. 3 on the Billboard 200 albums chart.

 

Inducted into the Rock and Roll Hall of Fame in 1988 and recipients of The Recording Academy’s Lifetime Achievement Award, The Beach Boys are a beloved American institution that remains iconic around the world.

thebeachboys.com

facebook.com/thebeachboys | twitter.com/thebeachboys

 

The story of the Royal Philharmonic Orchestra (RPO) is colorful and dramatic with a reputation worldwide for music-making of the highest quality. In 1946, Sir Thomas Beecham set out to create a world-class ensemble from the finest musicians in the UK. Beecham envisioned an orchestra that would bring the greatest music to audiences across the world and, to this day, Beecham’s legacy lives on. Over the years, the RPO has become a byword for exceptional quality and versatility, undertaking a diverse range of activities from traditional concerts in concert halls to classical spectaculars and ‘cross-over’ concerts in arenas. The Orchestra is London-based and performs regularly at the Royal Albert Hall, Cadogan Hall and Southbank Centre’s Royal Festival Hall, as well as undertaking a busy schedule of UK concerts, international tours, recordings for CD, film and television, and community and education work. For more information, visit www.rpo.co.uk.

 

The Beach Boys With The Royal Philharmonic Orchestra [CD; Digital; 2LP Vinyl]

1. California Suite   

2. California Girls   

3. Wouldn’t It Be Nice         

4. Fun, Fun, Fun     

5. Don’t Worry Baby             

6. God Only Knows

7. Sloop John B       

8. Heroes And Villains         

9. Disney Girls       

10. Here Today         

11. In My Room       

12. Kokomo

13. The Warmth Of The Sun     

14. Darlin’   

15. Help Me, Rhonda

16. You Still Believe In Me     

17. Good Vibrations

deleted, since the press release has already posted elsewhere

For those unfamiliar with the previous Patrick/Reedman works, the press release is a little be ambiguous as to the fact that at least some (if not most or all) of these tracks not only incorporate the original vocal tracks, but often elements of the original backing tracks. You'll notice on the YouTube link to "Fun Fun Fun", it credits the original studio musicians as well as a group of new studio musicians.

Not a big fan of Patrick and Reedman's *clear* cookie-cutter approach to this process. If this wasn't like the fourth of fifth *very similar* type of project they had done, I perhaps wouldn't feel like this whole thing is a bit assembly-line status.

Hopefully, unlike the goofy Orbison hologram that is touring behind his Royal Philharmonic album, we won't see something similar with the Beach Boys.

Perhaps we can combine the two ongoing currently active threads on this (perhaps using the other thread's more descriptive title)?

"California Suite"?

I like it! It's different, isn't that what Brian was about? Trying different things! Imagine that Brian from 1966 went back to his original recordings and decided to add Strings and Brass because, he thought they needed something. Would fans hate it? Nope, because it's what Brian might have done.   :) Remember Jan Berry also did an entire Album of Orchestrations using Jan and Dean's hits.

If Brian had added the full London Philharmonic Orchestra to "Fun Fun Fun" in 1964, it would have sounded goofy back then too.

Brian (and the Beatles, and Orbison, etc.) added appropriate orchestration to their songs back in the 60s. Even "Pet Sounds" would have sounded different (to its detriment) if it had had a *literal* FULL orchestra on every song in its original incarnation (and that album is probably more ripe for a full orchestra than most any other album, which is of course how we got the 2000 and later orchestra shows; though I saw a non-orchestra PS show in 2000 and I thought it sounded much better in that format).  

Not trying to crap on this project; it's innocuous at worst I think. I'd much rather have archival releases. But this new project (hopefully) isn't hurting anybody. I'm sure the band members/BRI are happy to jump on this bandwagon of other recent successes with the Patrick/Reedman overdub format.

But no, this format (regardless of the timeframe of it happening over 50 years later) is not really akin *at all* to Brian's groundbreaking/experimental work that actually took place in the 60s.

There's nothing different or experimental about this new overdub album. Indeed, it's now apparently a rather streamlined, cookie-cutter/assembly-line format Patrick and Reedman have used for multiple artists (Orbison, Aretha, Elvis). I'm not saying this album is like "Stars and Stripes", but it does kind of spring from the same type of idea, that being jumping on the bandwagon of other recent successful releases from other "legacy" artists.

I would presume/assume some sort of medley/overture. I'm wondering if it might be a bit like the Van Dyke Parks bit from the "Pet Sounds" orchestral shows, albeit of course much shorter.

If you give me the choice of seeing a favorite act with or without an orchestra, I'll inevitably go with the "without orchestra" option. I have nothing against orchestras, btw, just feel they don't add anything in this instance. I'd rather see the orchestra or the favorite act by themselves.

This recording project falls into a similar category. I might even buy it for collection completist reasons, but my enthusiasm is low. I agree that it's an innocuous project, and I'm sure there are folks out there who are interested. Your mileage may vary.

One of the interesting (but also frustrating) things I got from the recent Orbison album is that they (obviously) had access to the multi-tracks, so in some cases (especially later era stuff), the new mix gives a fresh, more close-up insight into the vocals. It was cool to hear more dry, unadorned (for some length of time) Orbison leads on later era stuff like "I Drove All Night" and "A Love So Beautiful." The problem of course is that these sometimes stripped-back, dry, revealing mixes eventually have a way-too-busy orchestral arrangement slathered on.

It might be interesting to hear less-processed, less-shrill group vocals on something like "Kokomo" (which, as far as I can recall, has never seen any remixing done to it since 1988), at least up to the point a busy orchestra arrangement barges into the proceedings.

I love how "Disney Girls" is on here, even though nobody gives a sh*t about it, and I doubt many would put it on a list of 17 Beach Boys songs to be done with orchestra. So Bruce gets a song on here, but not Al.  ::)

Disney Girls is a live staple and remains pretty popular.

Considering it's Bruce's signature BB song, and a key track on the Surf's Up album, I wouldn't say that nobody gives a sh*t about Disney Girls.  

It's probably more well known than most of the songs Al wrote.  

This is awful. Who actually likes this stuff? It doesn't mesh at all, I find myself subconsciously trying to mute the orchestra.

This stuff's not for me I guess. The last thing Brian's classic arrangements need is an orchestral reworking.

I love Disney Girls! and its much more popular across the pond. I've always loved Bruce's compositions.

I'll just leave this here... https://entertainment.theonion.com/symphony-orchestra-simply-cannot-wait-for-collaboration-1819576839

Note: The discussion threads covering the Orchestra album have now been merged into one topic.

 :lol

This band is so lost. So behind the times.

Where’s this barrel they keep scraping??

So we get the same songs for 237th time. Only with an orchestra?? I would like to say I’m surprised... but I’m not.

Going solely on the preview posted of Fun Fun Fun, I thought these tracks were going to be the *vocal tracks* isolated from the original tapes which would have new orchestral backings and arrangements created around the vocals. On Fun Fun Fun, they just added orchestration on top of the original record!

I really did not expect to hear strings and whatnot added to what amounts to a needle-drop rip of the original track, including the instrumental track from '63.

When I did work as an arranger, they used to call that "sweetening"...adding various decorations like strings atop the cake which had already been baked and iced in the form of an existing instrumental and vocal mix.

I think Fun, Fun, Fun sounds incredible! Absolutely incredible. The quality is incredible. I can't wait to hear what something like Wouldn't It Be Nice sounds like. (probably incredible!)

How come David Marks doesnt get to give a quote ?

I mean it would be weird considering he’s not on the cover. That horrible horrible cover.

Interesting song selection. Nice to see some deeper cuts on there including a few off Pet Sounds. But I'm unimpressed by "Fun, Fun, Fun."

That's what most of these "classic-meets-rock" projects are and always have been. They don't write interesting new arrangements but just do the original parts with strings/horns/etc.
The Beach Boys already had a project with the RPO in '98 (Symphonic Sounds). It actually had some interesting performances (Darlin', God only knows) and two of the big medleys showed potential when they got to songs like "Surfer girl" - the lonesome violin on that last one is absolutely beautiful. The other stuff is forgettable as it doesn't add anything or show new sides of the songs (many songs duplicate with this new release):

https://www.allmusic.com/album/symphonic-sounds-the-music-of-beach-boys-mw0000432935

But: Rock'n'Roll songs with strings just don't work. Unfortunately that's something these projects don't understand.

OK, the press "take" on this release (generated by the PR release's hype, no doubt) is starting to take a strange turn. At least one writer seems to think the BBs themselves originated this project, rather than Don Reedman and Nick Patrick:

https://inews.co.uk/news/the-beach-boys-re-record-classic-brian-wilson-songs-with-orchestra-and-theyre-better/

And this one thinks Brian and Mike are still touring together (nevermind the hologram foolishness):

https://www.independent.ie/entertainment/music/mike-love-says-he-is-not-against-hologram-beach-boys-tour-36893998.html

The Orbison album was even somewhat more palatable if for no other reason than he's been dead for 30 years and we haven't seen a ton of new archival product in that 30 years.

Regarding instrumentation, again, take a look at the Orbison album. It appears the BB album may be similar in that some songs retain some (or most) of the original instrumentation. On the Orbison album for instance, it sounds like they retained some of the guitars/backing vocals on the Lynne-helmed stuff like "You Got It", "A Love So Beautiful", and "I Drove All Night", but re-recorded lighter drums and also some other elements.

Some of it might be down to what they can extract from multitracks on the old recordings. If they have multiple instruments on one track, it's either all or none (or some extractions).

Weirdly, this BB album hasn't exactly been given an imaginative (or easily searchable) title like Orbison's was with "A Love So Beautiful." It appears the BB album title is literally just "The Beach Boys with the Royal Philharmonic Orchestra."

Patrick and Reedman don't seem to have a ton of finesse or inventiveness in their arrangements. This awkward take on "Fun Fun Fun" reminds me of their job on "Oh, Pretty Woman."

It really *is* a bit 60s "Hollyridge Strings"-ish.

A "Beatles - Love" style mashup with remixes would have preferable if they were intent on simply repackaging old BB tracks in some new way.

It *could* be worse, as the Orbison album actually integrated a "duet" with someone who wasn't even alive when Orbison died (and has expectedly been slathered in autotune):

https://www.youtube.com/watch?v=ecxXZ-dlvdQ

To be fair, I was pleasantly surprised that the final album includes both the an "all Orbison" version and the duet version.

The BBs also could have gone a bit of the "classical" route without the overblown giant orchestra overdub format by doing something like McCartney's "Working Classical", which includes some quarter chamber music arrangements of his "pop" songs (and a couple originals as well).

Or, you know, they could open up the BRI vaults and do a "Live" boxed set, a 70s rarities boxed set, and so on.

But, as an *ancillary* product, as much as I find the quality of the product mixed at best, this new BB album isn't a huge deal. If it opens some doors to other projects, then it's a good thing. Problem is, we've been hearing for decades now that the hits compilations and whatnot help fund/justify archival releases, and I'm understandably skeptical that that's actually the case.

But I would imagine we'll still get something along the lines of "Sunshine Tomorrow" in a 1968 format by the end of the year, at least as a digital-only release.

Little strange the picture they used for the cover is the same picture used on the friends album cover...

Ugh. A symphony orchestra playing along to the record of "Fun, Fun, Fun". I'll pass.

I can understand the enthusiasm on the part of all the guys (except David who wasn't asked, I guess) considering how well the Elvis and Orbison sets sold in Britain, but I'd be shocked if it even charted on these shores. The last one, the "Aretha Franklin sings along to the RPO" CD, sank without a trace here.  

WHY?!?!

After a hiatus from posting here I wanted to quickly comment on this new track.

Consider me someone who really likes what I’m hearing with ‘Fun Fun Fun’ - and I was one of the haters when this project was first announced. I couldn’t believe they were recording new percussion for these tracks - any percussion on the original tracks is already perfect. And with that said, all the original tracks are perfect anyways so why even bother?

But the orchestra adds an element to these tracks, I can’t really define what it adds - it doesn’t make the tracks better, it doesn’t make them more spiritual, it doesn’t add anything that was missing from the originals. But it adds something that interests me and keeps me listening to the track over and over again. It’s probably that I enjoy listening to a new take on these songs.

Anyways, I’m not here to debate the merits of this new release. Its coming out and that’s that - some will hate it, some will love it, some will think its meh...and more power to everyone for their opinions. For me, this sounds like it will be an album I’ll listen to and enjoy.

I hope everyone is doing well here!

I actually like it, shocked to say that!

Unless they are reuniting and they haven't announced it yet..  :o

Welcome back, Rab!  :woot :woot :woot

I find it interesting that he's OK with a hologram tour but won't (as far as we know) reunite with the actual REAL Beach Boys?

Maybe a hologram costs less than paying your former colleagues

Seventeen ballads might have worked but not this Greatest Hits pillage. Kokomo, ffs.

The selections do not indicate that much thought went into picking them.

Hi rab. Good to see you around. Hope you're doing OK yourself. :=)

I'll go see if there's a James Last Plays The Beach Boys LP somewhere.

Cheaper, and way, way better.

I don’t think it’s a bad idea but that version of “Fun, Fun, Fun” does not sell me on it at all.

Probably better idea than execution.   

God. Awful.

Let's set up a new poll. what's more redundant?

"Fun, Fun Fun" studio version with minimal and bland orchestral overdub.

versus

Mike Love's 5th re-recording of Do It Again feat. loud idiot on backing shouting.

I love it  ;D

And I've never understood why. I've never found anything about it musically or lyrically that appealing. Just because it's one of like two "big" songs Bruce wrote doesn't earn it a place in the pantheon of Beach Boys hits. When I took my sons to see the band in 2014, that was our bathroom break song.

I think I'll stick with this:

(https://cps-static.rovicorp.com/3/JPG_1080/MI0000/934/MI0000934723.jpg?partner=allrovi.com)

Still letting this sink in and going solely on the only preview track posted so far. I don't get what the hype is about if there is hype beyond the usual PR done to promote it.

I hope the other tracks offer something in the way of creativity or a different interpretation of the existing tracks.

I'll say this in all honesty and hope the remaining tracks disprove this: Anyone with a basic DAW recording setup and a keyboard with somewhat respectable string or orchestral samples to work with could cook up a similar track on their laptop. Take a quality version of any BB classic, dump it into the DAW, and with either good ears and musical instinct or arranging/orchestration knowledge add the orchestral trimmings on top.

Years ago when I was studying all that stuff, we were given a project to "sweeten" a classic track in the same way as Fun Fun Fun seems to have been done. We didn't have access to a Philharmonic orchestra or the use of Abbey Road studio 2, but we had if I remember Opcode's "Vision" program, an Ensoniq keyboard, a Soundcraft mixer, and a Yamaha SPX 90 for adding effects like hall reverb and the like. I did "I Feel The Earth Move" by Carole King. Had to write out a score to hand in, and record and mix the results on that old-school rig. I added horn stabs to punctuate Carole's vocals like this: "I feel the earth (horn hit)...move...(horn hit)...under my feet...(horn response)" and added the typical lush string section sustained chordal backing when she goes to the major 7th chords and sings "oohh baby, when I see your face...".

It was sweetening an existing final mix, and blending in the results so it didn't sound obtrusive. A fun exercise, I think it still exists on a DAT somewhere lol.

But I guess the point is, anyone who has recorded at home and posted their results here and on YouTube and other online outlets could produce a similar effect by simply plugging in a classic BB track and sweetening it. It's not Abbey Road or a world-class orchestra, but the sound would not be too far off from what I heard in Fun Fun Fun.

If the producers did get access to the raw vocal tracks, I hope the other tracks on the project have more creativity and perhaps some different interpretations...otherwise it will be like that orchestra from Germany or wherever that was when Mike and Bruce played in front of an orchestra and the arrangements didn't add anything except the visual and the gimmick of "Hey, wow, it's a full orchestra on stage with Mike and Bruce!".

At least the 50+ year old Hollyridge Strings projects had some creative sounds and uses of a full orchestra to interpret the BB's music a little differently.

Yeah I think guitar fool hits it on the head. The problem with these kind of releases is that they have to justify their existence by adding as much as humanly possible to the tracks with the orchestra. Look at fun fun fun, I think if they had Tastefully added a little bit of strings with some swells during the chorus tags and maybe some chugging cellos and stuff like that during the verses this could be pretty decent. But as it stands, it seems like they're really trying to justify this project by killing the feel of the songs with way too much production and way too much Orchestra

That's not a new thing. As early as his first full year of touring post-reunion, he continued to use Dennis and Carl videos/vocal tracks to play along to. You could go to a "Beach Boys" show in 2013 (and subsequent years in some cases) and see and hear Carl and Dennis Wilson, but not Brian Wilson or Al Jardine.

It's easier to talk about Brian or whomever else, or sign off on letting others mix the catalog, or sign off on holograms, than it is to actually *work* with the guys on stage or in the studio apparently.

For me Tears In The Morning and Deirdre top Disney Girls. It doesn’t fit on Surfs Up. Its just one of those songs that’s just meh.

I really want a copy of the VDP overture....! Anyone?

PM me.

What irks me most about this project is that The Beach Boys (for all intents and purposes) are still around, as Brian, Mike, and Al represent the band in the present day, even in their different groups. At least Elvis and Roy had the excuse of being dead for many years before they released those orchestrated versions.

I feel uncomfortable with the idea of classic Beach Boys tracks being tampered with in this fashion, ESPECIALLY considering Brian Wilson is still very much alive and present. He already perfected those tracks 50+ years ago, and now some tabloids are trying to say they're an improvement on the original versions? What absolute horseh*t.
.

Very well said. PS poster monolithic/ Nicko1234 brought some time back hilarious point during "Disney Girls" discussion that it's covered by famous singers, therefore somehow it's big proof it's got merit. Everybody knows the artists cover the other artists' songs, even forgettable & lesser songs in the catalog. He should've just said he's big Bruce fan & likes "Disney Girls" & be done instead of writing things like that.

Face it, Bruce is just replacement, it's not fair Al isn't represented by any song he's written.

It’s one of two things. Either the people who put this crap out have no clue what their doing... or.. they don’t give a sh*t. Well it’s probably both. There’s no way in hell anybody in The Beach Boys camp or at Capital/EMI think there’s a market for this sort of release. Last years Sunshine Tomorrow reached #145 on the charts with very good reviews. So instead of following that up with the next proper archival release which would be FRIENDS, they lose that momentum and release whatever the F*** this is.

We all know there have been concerts that have been recorded. Made in California hello! How bout releasing them in the entire show, and not just 1 song!

Now that's what I'd like to see more of -- release those concerts!

As for the symphonic remakes, Aretha Franklin has also been subjected to the RSO treatment. She could tour with them in person, but given her famous aversion to flying, I wouldn't expect it.

They probably do think there is a market for it - in the UK at least. It's the same market that got the Roy Orbison one to #2 in the UK and one of the Elvis ones to #1. If it's pushed like those ones were there will be adverts, it will be for sale in all the supermarkets and it is being released just before Father's Day.

Something strangely familiar about this album...


(https://images-na.ssl-images-amazon.com/images/I/61yMjUGqvSL._SY355_.jpg)

Bruce's 1998 project was all new recordings. This 2018 BB album is all vintage BB recordings with overdubs. Very different.

Bruce's 1998 project was both better and worse. It was more respectable as a new recorded work and wasn't futzing with classic old recordings. But it also wasn't very good. It certainly didn't help that he released it during one of the most acrimonious, politically charged moments in the history of the band. Then again, they also released the "Endless Harmony" doc and CD in that same year, and those were good.

It's strange. I don't see a need for this project. But I'm probably *slightly* more interested in it because it uses the old vintage recordings. The guy s(either individually or together) doing *new* recordings of these old songs sounds even less interesting. At least with the remixes on the old stuff there might be some new bits to pick out that sound interesting (as was the case with the Orbison CD).

The original recordings will always be there and easily available. This new CD will *not* supplant the original classic recordings in any way. I would imagine within a few years (likely sooner) this 2018 CD will be forgotten.

I don't think anybody short-term or long-term whose opinion matters at all will argue this new CD is "better" than the original recordings. It's all just hype mode right now.

There clearly IS someone at Capitol/UMe who think there's a market for this CD; they're putting it out!

I'm sure it's due to the success (much more so in the UK than the US) of the Orbison CD, which hit #2 on the UK charts, as well as the success of other assembly line Patrick/Reedman projects that has made Capitol and BRI interested enough to sign off on this.

And remember, they're just signing off on this stuff. It's an easy extra paycheck. I would imagine, considering it's mostly EMI-owned masters (a couple of post-1969 tracks on there), BRI probably didn't even have to pony up any money to do the project. It was all Capitol/EMI/UMe.

Someone probably showed the BBs the other recent albums of this ilk, and they thought "sure, let's jump on the bandwagon", and had to do *zero* work on this other than listen to it (maybe) and sign off on it. To them, it's probably akin to another "Sounds of Summer" style repackaging.

Which gets us to why comparing such a set to "Sunshine Tomorrow" probably isn't a worthy comparison. This new 2018 orchestral CD will no doubt be marketed much more like another "Greatest Hits" set, and will probably (unfortunately) outpace "Sunshine Tomorrow" in sales and chart position (at least in the UK anyway).

I'm not saying this set is what *I* wanted, but the reason it's happening is not surprising at all. I don't think this CD will crack the Top 10 or 20 (or maybe even 50) in the US. It will probably chart in the US if given enough promotion, and will chart higher (though probably not #2) in the UK.

My only hope is that BRI is still also looking deeply into archival releases. Starting with 1968 copyright extension material, but also stuff *well beyond* that. An FTD/Dick's Picks sort of thing for the archives would be easy to do and would enhance their legacy among rock journalists that matter even more than orchestra overdubs onto "Fun Fun Fun."

https://youtu.be/Gy6WJ-w1WhY

Look at the last three letters in the YouTube link for Fun, Fun, Fun. Even YouTube wants to know "WhY".  Places that should be quiet so various aspects of the music are accentuated, now sound too busy and unnecessary. Isolated vocals may have some cool interpretations. But just because you can add more instruments does not mean you should. And they shouldn't have.

I've said this elsewhere, but I'm quite curious to hear what they've done to Sloop John B and Don't Worry Baby. Other than that, I'm not too fussed about this release, and like the most of us, are more eager for something Friends related. It's the usual stuff you'd expect from your average BB comp with a bit of glitter sprinkled on top. I imagine by 2030, the Royal Philharmonic Orchestra will have made an album for everyone in the Rock and Roll Hall of Fame. One question does remain though:

 WHY THE [insert profanity here] DOES KOKOMO NEED AN ORCHESTRAL BACKING!? :angry

Unfortunately (and kind of inexplicably), this tracklisting looks much more like they picked hit/recognizable song titles, and *then* tried to shoehorn an orchestral arrangement into the picture.

There's really no other reason to take up-tempo relative "rock" songs like "Fun Fun Fun" or "Oh, Pretty Woman" and add a full orchestra.

Even Jeff Lynne with ELO eventually stopped putting strings on *all* of his songs (and he didn't always use a full philharmonic orchestra when he *did* use strings).

A good thread would be songs that should have been on this album.

For example, imagine "still i dream of it" or "cabin essance" backed by the royal Philharmonic     :o

I'm most excited to hear H&V

Email from The Beach Boys’ website says “Good Vibrations” will be the next single from this album and will be available for downloading/streaming tomorrow.

Probably not coincidentally a tie-in to the "Good Vibrations" SiriusXM channel.

Good Vibrations doesn't really work

Jeeeeez... put me in the 'Why oh why...?' camp with this. The superb, meticulously worked out arrangements of the originals are all still present and correct... and a completely unnecessary load of orchestral goop has been superfluously ladled over the top for the new album versions. It's not even isolated vocals with vaguely interesting new string backing... it's the whole original vocal and instrumental arrangement with extra sludge on top. This REALLY bugs me.

I finally listened to Fun Fun Fun and Good Vibrations. FFF had me going 'dull, and unnecessary, but not actually offensive... file under 'pointless and irrelevant' and 'do not buy' but someone might like it'. But Good Vibrations really is messing with the Mona Lisa. The cellos sawing away on the triplets in the chorus was new, bold and incisive in 1966. Adding a load of OTHER orchestral instruments is complete overkill... and also what everyone else always does. Less is more, guys. Sparing is powerful. 'More' is... what every greenhorn orchestral arranger does. This is just aural soup on top.

The bit that REALLY kills it for me, though, is the bit at the end of Good Vibrations' harmonica bridge. What's so great about that bit is that the quiet section is coming to an end... the harmonica's just faded away... and then, here come the Beach Boys, back again with that harmony crescendo to take you back into the closing sections of the track. There's the sound of them breathing in in preparation, and then...

"...aaaaaaAAAAAAAAAAAAAAHHHHHHHHHHHHHHH!!!!!!!!!!!"

You know what I mean. It's a powerful moment, one of the best musical moments in the group's entire career. Just the original Beach Boys, all singing their lungs out in an amazing harmony.

And now... it's got a load of pointless extra strings dumped over it. Sorry guys, but you blew it. File under 'Never Darken My Doors Again'.

I'm not buying this. In case you hadn't guessed.

Good Vibrations

https://youtu.be/TvvIKS2oHsc

Just what I expected...  ::)
I think the trailer used a live performance/rehearsal of Good Vibrations. Is there a single and an album version?

an awful lot of hate here over a product you don't have to buy

Notice on the end of Good Vibrations, it sounds as if they isolated the Theremin Overdub from the original Multi Track and let the tape run until the end. There is a cut off. I love being a music geek!

This isn't a "should I buy the album or not?" thread (at least, not exclusively). So criticism/commentary on the need for the album's existence, and actual criticism of the end product is absolutely warranted and in fact the whole point of such discussions and the board.

This is great so far. Just a different take on the songs. Great for those who love it, and for those who don’t they can choose not to listen. I agree, the negativity gets the best of us, most of the time, when it’s the majority of what we see but you can rise above all that, enjoy the music, and still let the negative Nancy’s get out what they need to.

That chello part in the chorus of GV sounds sick and pretty cool interpretation and arranging of the orchestral parts throughout the song - they must’ve had a fun time doing this. Can feel the energy.

Let’s pickup on those good vibrations. Seriously wonder what Brian and others in the band would think if they read this board as faithful as we do. Let’s not take this gift of music for granted.

Update: Just listened to Good Vibrations. This one is quite good - it's better than Fun, Fun, Fun but I'm still waiting for their versions of SJB and DWB and still not too keen about the other tracks chosen.

Okay, okay, so it is a big and well respected orchestra ; but it is ultimately no more than a " tribute band" .

I don't think the criticism of this release has been excessive. And most of the criticisms are warranted. This release isn't some huge blight on the band's legacy or anything. But it's not what needs to be released (and hopefully they're also working on other actual substantive releases).

And, with all due respect, while I appreciate a ten-thumbs-up positive attitude, and I realize we should all take a look at ourselves now and then and make sure we're not being too cynical or negative, just saying "Yay!!!!" to any product that is churned out doesn't really make for a very interesting conversation. And worrying what a band member might think about what we say here is always a bad idea, because then it truly would be sycophantic, all-positive-all-the-time musings. Then what's the point. The perfect place for "I agree 100% Everything's awesome!" posts is on the official Facebook and Instagram pages and whatnot.

On the grand scale of BB releases, this release is somewhere well below new studio albums or new archival releases, and somewhere a bit above the latest new compilation found for sale at Rite Aid.

Now having listened to the RPO version of "Good Vibrations"...well...it sounds just like their version of "Fun, Fun, Fun"...like someone playing the record while the orchestra just playis along to it.

If anything, this makes me appreciate the Hollyridge Strings. At least there was some kind of merit to that.

Nobody's a bigger "rah rah" objective supporter of all of the guys than me, but there's a reason I'm skipping this.

First ‘webisode’ in a series apparently.

https://www.facebook.com/thebeachboys/videos/10156397501869140/

My biggest qualm is that these orchestral overdubs don't add anything to the music. Because a song like GV already is (and is famous for) being a grand production, adding yet more causes the song to be bloated and over-the-top in arrangment and production.

This product is pointless and yet another poorly done cash grab. Maybe I wouldn't be so harsh if it was just the vocals with the orchestra, but by just making it the released song with overdubs it just falls flat in terms of moderation and taste.

    The worst part about this album is: this is what Capital and BRI are focusing their resources on instead of more archival things from Boyd/Mark in the vein of Sunshine Tomorrow.

Sorry, BUT how do you actually know that ? just maybe there is a separate work in progress  !

Just want to add/correct that not only did the Roy Orbison album hit #2, two of the Elvis albums hit #1 in the UK (and the third hit #6).

EDIT: I'd love a Beach Boys series similar to FTD. As the Elvis fan I am, FTD is awesome and eye-opening.

Also, I'm worried this may not be forgotten after 2 years because supposedly the Elvis RPO songs are among the first songs chosen (supposedly) when asking devices such as the Amazon Alexa for an Elvis playlist.

     I'm not authorized to answer this question.

Indeed, the Elvis orchestral remakes albums are the most commercially successful. With the Christmas album, that makes a whopping three of these RPO concoctions so far and with no end in sight.

The same problems remain IMO. The cuts where Elvis was already using an orchestra anyway are tolerable. The 50's era rock and roll cuts with the orchestra overdubbed on top are an abomination.

...and yet someone must be buying them. If these same "someones" fork out a small fortune for this Beach Boys edition I would think a second volume would be announced soon after (shudder).

My opinion on the Good Vibrations mix: if you don't like negativity, you can skip it.

----

A VERY slight improvement on the FFF production, but I mean to damn it with faint praise. It's still worse than the original, so why bother?

As with FFF I find myself subconsciously trying to mute the orchestra, but for a different reason this time. The overwrought intro robs the song of its abrupt vocal tag opening - a Brian trademark - and the cello hits on the chorus mean the orchestral director probably watched Love & Mercy the day before recording.

The best I can say for it is that the orchestra only intrudes in places, rather than the whole thing, and the ascending notes leading up to the chorus are actually quite stirring.

The mis-timed cymbal at 2:20 (https://youtu.be/TvvIKS2oHsc?t=2m19s) sums up this whole project for me. If it existed in the original album mix, it's successfully buried. Here it's front and center.

First review in.....A positive.

The Beach Boys With The Royal Philharmonic Orchestra:
The Beach Boys With The Royal Philharmonic Orchestra
(UMC/Virgin 6765746)

There are few catalogues more beloved than that of The Beach Boys, and subjecting their iconic songs to symphonic makeovers adding new arrangements from The Royal Philharmonic Orchestra – conducted by Steve Sidwell & Sally Herbert under the production of Don Reedman & Nick Patrick – is a bold move, even though it has paid off handsomely for similar projects revitalising the catalogues of Elvis Presley and Roy Orbison. 17 tracks are included, spanning the years 1964 to 1988, and they have won the unanimous approval of The Beach Boys themselves, with Brian Wilson ‘proud and humbled’, Mike Love judging the project ‘a phenomenal thing’ and Bruce Johnston complementing ‘the beautiful fairy dust of the orchestra’. As one who came to the project with mixed feelings, I am pleased to report that overall, it seems to have worked well. I particularly enjoyed the treatment given to the collection’s earliest song Fun Fun Fun, whose original surf guitar intro now follows a lush orchestral intro, which then melts into it. 1968 hit Darlin’ is also given extra depth and resonance by an intelligent and sweeping arrangement that envelops the band’s classic harmonies and adds extra sparkle. The already symphonic elegance of God Only Knows and Good Vibrations is probably less well served, especially the latter, whose instant familiarity is held at bay by a superfluous 25 second intro, and whose textured soundscape is a little compromised. I would personally rather hear the tracks as originally recorded but as an alternative it’s fine – and anything that brings new converts to the music of The Beach Boys has to be good

http://www.musicweek.com/talent/read/reissues-may-29-the-beach-boys-barclay-james-harvest-bob-stanley-pete-wiggs-present-paris-in-the-spring/072617

I mean, I'm not gonna particularly denigrate the idea of a BB product getting a good review I suppose. But this review is pretty much the opposite of how I feel. The album is far from a "bold move"; it's in fact a pretty cookie-cutter approach from Patrick and Reedman, and it's also Capitol/UMe mining a resource they (mostly) already own for the millionth time.

Something relatively "bold" would be something like Giles Martin's work on the Beatles' "Love", where all sorts of tracks have been mashed together rather inventively, with keen attention paid to matching (via ear or digital manipulation) speed and pitch of multiple songs. Adding an orchestra to "Fun Fun Fun" isn't nearly as bold as having the vocal track to "What You're Doing" playing over the "Drive My Car" backing track, with the "Taxman" solo flown in, and having it *all* actually sound like it goes together.

I suppose I get why someone might feel that songs that already have some orchestration and/or lush arrangements benefit less from the orchestra, but all that then leaves is uptempo "rock" tracks, and those sound goofy with orchestration.

I'm also a bit wary of an "album review" that mainly only highlights to the two full tracks that have already been publicly released. I'm not saying that the reviewer hasn't listened to the full album front-to-back, but I'd love to hear more about the songs we haven't heard much from.

Heroes and Villains and Help Me, Rhonda sound awesome! https://www.facebook.com/thebeachboys/videos/10156410623054140/

Thanks for posting that! I love his last line from Al:

"It's an enlightening project, and we need enlightening because things are getting so dark. This is a nice balance for people, I think."

I think that's an important point. These tracks are meant to build us up, not bring us down. Overall when all the opinions (good or bad) are said and done the people who love this album will find joy in listening to it again and again and that's what matters. I'm glad that Al seems to like it a lot.

Good Vibrations has such a great moment during the "Gotta keep those, a lovin good, vibrations a happenin with ya" middle eight - those strings sound so sad and beautiful! The snippet of Heroes and Villains sounds like a trip, and Help Me Rhonda sounded beautiful. Thanks to the review above I'm really looking forward to hearing Darlin.

This quote by Al also caught my ears. I agree with what he said although I won't connect it to this project as nothing I've heard of it yet has any substance to my ears and even the content of the interviews are the same stuff that gets said during the promotion of other such projects. That said, we as a society definitely need to focus more on the accomplishments of the Enlightenment. Much of the difficulties we have seem to come because many people just spit out idiotic nonsense without first building themselves an opinion. And an opinion of course isn't the same as a gut feeling, but something that you build yourself by looking at the facts and reflect with reason. So, thanks to Al for mentioning that.

Agreed Rab, great quote from Al!

I totally miscontrued what this project involved.  I thought they were going to the multitracks and isolating the vocals, then putting the vocals to an orchestral accompaniment based on the original instrumental arrangements.

Instead this is just the same original BB tracks with a few orchestral overdubs that are often difficult to notice or to hear and are completely superfluous.  Crazy!  Why bother?

I think a mixture of things is going on. Several of the songs, namely GV and Rhonda, don't have all extant elements of the songs on the multi-tracks. So they'd probably be more likely to work with mono elements on those tracks.

Also, the Orbison album is like this as well. Some songs are more stripped down than others, some retain more backing elements than others.

I guess it's possible every song on this BB album has the full, original backing track. But I still have the impression they were given some multi-track elements to work with. I can't imagine they literally just dubbed the orchestra over the straight mono or stereo original mixes.

But yes, based on what we *have* heard so far, these tracks are tending towards retaining much more of *all* of the elements of the original recordings as compared to the Orbison album.

Also worth noting is that I've seen a couple brief interview excerpts with Jerry Schilling (now president of BRI of course), and it sounds like he jumpstarted this album, based in part on their previous work on a similar Elvis album. I got the impression Schilling, who of course was a long-time Elvis associate prior to working with the BBs in the late 70s/80s, was familiar with the Elvis album (and later the Orbison) and sought out a BB-themed project.

Let's be clear. As *part* of a multi-tiered, multi-armed strategy to keep the BB empire alive and thriving through multiple projects, this album is a fine idea and can't do anything but help. If this ends up being the *only* noteworthy thing this year or over the next few years that actually gets released, then of course it would be a disappointment.

But it's the right approach to get all the surviving members to work together even if they don't want to literally work together in the same room at the same time.

We can only hope the divisiveness of stuff like post-C50 and Mike's attitude towards the L&M soundtrack and all of that is behind us. Jerry Schilling running BRI is the best chance we'll ever have of the empire not crumbling and of actually thriving. I think we saw some of the first fruits last year with the multiple "Sunshine Tomorrow" related releases.

Count me in the "I'm not buying this or ever listening to any of it again" camp. 

https://twitter.com/TheBeachBoys/status/1004045018410041344

I had hoped for the same - Take the vocal tracks and surround them with new orchestral arrangements to replace the original instrumental tracks. That would have been new and potentially very, very interesting sonically and musically because you'd hear the songs in a new light when it's hitting on all cylinders. But when new sweetened orchestral tracks are added to the original instrumental tracks which the original producer and arranger (Brian) spent so much time and effort to get the sonics *just right* with limited technology in the studio...it's not as much of a draw for me either.

...Is Bruce wearing the shirt Mike is selling?

Heard F, F, F this morning on radio. Glad the band are being heard and at least this album might get new buyers and kead to ither new or archive releases. BUT.........the orch adds nothing that my ears  tell me " must buy". Just the opposite !

I forgot to mention this in one of my previous posts, but listening to "Fun Fun Fun" the other day on Sirius, it sounds as though they *did* have access to the multi-tracks. They drop the backing out at one point for an "a cappella" interlude. It also sounds like they have overdubbed some additional non-orchestra instrumentation in spots, namely drums on this particular track. In this way, it's much like the Orbison album, where on some songs they used elements of the "vintage" backing tracks but then also added some new "rock band" overdubs as well.

So, while some of the songs (GV, Rhonda, H&V) have a varying amount of elements that are locked into the mono mixes, it sounds like on the whole they *did* have access to multi-tracks and the choice to make some of the songs sound more like an orchestra simply playing *on top* of the full old BB tracks was an artistic decision as much if not more than a technical/logistical necessity.

Brian's webisode

https://twitter.com/TheBeachBoys/status/1004412112775442432

"I refuse to retire"

He actually sounded passionate when he said that

"Don't Worry Baby" actually sounds quite beautiful.

I know there are some "concerned" fans out there who talk about Brian's back, Brian's health, and think he should retire. Bruce said recently something like how Brian shouldn't be touring anymore because of poor health and blamed some of Brian's fans for that.

From my perspective, Brian lives for music. We all have a reason for waking up in the morning and getting out of bed. We don't all just wake up to watch TV and then go back to bed. Brian is the same as all of us - to happily get out of bed in the morning he needs a passion in his life, and that passion for him is music. Sure, he loves his TV and deli food. But he's got a serious hope in his life: a drive to keep on trying for that number 1 hit again.

So when he says "I refuse to retire" it should sound passionate because it certainly is. And many of us are surprised by the statement because we're so used to the false rumors in the past of Brian being controlled and told what to do. To an extent I'm sure Brian is steered in certain directions for the sake of the brand name. That being said, it is his passion and it's what he lives for. So touring, recording, and writing songs are all part of this life of music he lives for. He'll be making music, sharing his muse until the end, and it's something every fan, band member (past or present), and future fans should be incredibly grateful for.

PS, I agree, with Coco, Don't Worry Baby does sound beautiful, and I can't wait to here TWOTS in its entirety!

My favourite: SLOOP JOHN B. A totally new musical track, based on Brians arrangements but in a more intense style. Epic!

The vocals on YSBIM and Darlin' are fantastic in the mix. Especially on YSBIM, wow!!!


//RD

Wow! Don't Worry Baby sounds brilliant with the backing, as does what I heard of Warmth of The Sun!  :thumbsup I think it works better on the slower tracks like these than stuff like Fun, Fun, Fun and Good Vibrations. Perhaps I did judge this album a bit too harshly at first, but I still dread to think what Kokomo will sound like.

Album now on Spotify here in NZ. Will have a listen soon.

Edit: Individual songs on YouTube also.

Where? I'm not seeing any.

On spotify in Ireland and the uk now.

This is actually really fun, sloop john b really works

Still nothing up yet on Youtube or Spotify U.S.  ???

Will be out after 12 in the US

It’s the 8th here so yes, probably after 12.

Here’s a link that works for me as a test.

Warmth Of The Sun

https://youtu.be/SoXjyqq7oyk

It’s weird to be carrying on with my day and then realizing “Oh yeah, there’s a new Beach Boys album out tomorrow.” Not really excited or actively thinking about this release, although I hope it’s successful and look forward to giving it some spins.

It's now officially out, and it is bad to say the least.

Standouts:

Don't Worry Baby. Some really beautiful strings to accompany Brian's vocals.
Sloop John B. Ahhh finally a great sounding version with the "ooooh yeah yeah" tag vocals in (and they put it in twice!)
Disney Girls. I was among those who was thinking "Whattt??" when seeing that on the track listing. But it's one of the best tracks on this set (probably the best). Bruce sounds extraordinary against that backdrop of strings. Even if every ounce of your being hates the idea of this project, listen to this one track...and if you hate it apologies for wasting your time! 10/10
In My Room. Just like with Disney Girls, the strings really make such a great backdrop for the vocals.
The Warmth of the Sun. Just like the above two, the strings go perfectly with the vocals. Actually, this really reminds me of Murry Wilson's instrumental album, which had WOTS on it.
Good Vibrations. The middle eight strings are really beautiful.

Things I disliked:

Wouldn't It Be Nice. Why not just use the original track if you're going to basically emulate the original anyways?
God Only Knows. Same problem I had with WIBN. The tag is gorgeous but the rest of the song is basically a copy of the original backing track, only it sounds far inferior to the original.
Kokomo. It's sounds way too much like the original. I would have loved to have heard a reimagined chill string backing track, with zero percussion. Make it into something totally different that we're not used to.

The tracks I didn't mention I was indifferent about. It's a great album and I really thank all those who performed and put it together. That version of Disney Girls is stellar. I mean, the original track from SU hides so much of Bruce's voice (and you probably won't understand what I mean until you hear this new version), but this version is like a totally different animal...the track I thought I'd least like on this album turned out to be my favorite.

I can totally see why many will dislike this, and more power to them. The creators of this altered some really cherished music so I'd hope they'd expect at least some backlash for it. I will be listening to certain tracks from this over and over again. Of course they can't replace the originals but they are a fun and different (and mostly really beautiful) way to listen to these songs.

As someone who loathed the idea of this project in the beginning, count me as a fan of most of this album :)

Congratulations Royal Philharmonic Orchestra!  You made me physically ill.  No matter how good you think you are, don't add extra noise to songs that are already classics.

I already commented on this release on this board but wanted to do so again, as at other times I might have put too much weight on the negative aspects. So moderators, if you think this should be in another thread, feel free to move my post.

The Symphonic Sounds album features a lot of examples where the idea of playing Beach Boys songs with an orchestra shows the potential such a concept has. A lot of really well done performances. And the album is also an excellent production!

The weak stuff unfortunately is so bland that it drags down the rest of the album. Namely the song selection is a big problem. And Adrian Baker. If you aren't Jan Berry, Brian Wilson or Phil Spector, than don't try to play Rock'n'Roll songs with an orchestra, especially if you don't play the backbeat. The melodies of the Rock-songs are strong enough that you can re-arrange them and make something worthwhile (Jan Berry for example re-arranged "Drag city" as a Bolero). They did a very good job on "Darlin'". But even when the backbeat is played (the Surf-medley and "Wouldn't it be nice" , the latter being more or less a cover of the original and showcasing an electric guitar playing the lead melody), it all sounds wrong and as if not a lot of thought was put into it.
"Kokomo" and "Disney girls (1957)" are nice, Mike and Bruce sound very good. But the arrangements add nothing. Both songs are more or less the same as the original ones, only now the orchestra plays the parts. You can appreciate it for what it is but nothing more.
I am sure Adrian Baker is a nice guy and he certainly loves to sing Beach Boys songs. I don't mean this in a disrespectful way but each single thing I have heard from Baker's music fills me with deep disgust. In fact his only contributions that I kind of like are on "Summer in paradise": the surf guitar licks on "Island fever" and the "way-in-the-background" falsetto on "Still surfin'". That's it. And his contributions on Symphonic Sounds are just as unlistenable as anything to my ears. That's a shame.

Now, the medleys "Overture" and "Water Planet Suite" show a lot of great examples of the potential of such a project. The lonely violin playing "Surfer girl"'s melody, the slowed down arrangement of "Wouldn't it be nice"'s intro, the beautiful way the strings play the background vocals of "Don't worry baby", the cellos on "Sloop John B.". There are many very beautiful parts. And when the "Water Planet Suite" goes into "All summer long" you realize what is wrong when using a song like that and not re-arranging it. It sticks out like a sore thumb. Same goes for the chorus of "Good vibrations".

A couple of songs get an individual treatment. "God only knows" is just beautiful. Although it sticks to Brian's original arrangement it also adds something new. Tammy Trent's vocal is really nice, although it looses power during the ending.
Not enough  can be said about what a great singer Matt Jardine is. And "Darlin'" showcases that. It also uses the orchestra in a very dynamic way. No drums IIRC and it works. Really a cool performance.

As I already said, the production is excellent. If you own the album, listen to it again on a good hi-fi. You'll find a lot of beautiful music. The album's weak points, which I  tried to point out, are: a superficial look at the catalog of Beach Boys music and the bland arrangements especially on Rock-songs. And Adrian Baker.
Congratulations anyway to Bruce Johnston, Bob Alcivar and Keith Wechsler for making this album and everyone who was involved.







They not only think they are good. They are great musicians. It's not their fault if they get told to play arrangements that we don't like. It takes nothing away from their skills.

I have the Symphonic Sounds CD; enjoy it a lot. Think they did a good job with this.

I really liked this one.  Despite the great playing and arrangements on the original Pet Sounds recording, what we have today just sounds too mushy to my ears.  Whether it's because the original master wasn't available for any of the remasters (isn't the best quality in the vaults a copy of a copy or something like that?) or because of Brian's recording technique, allowing the instruments to bleed together, I just don't get on with the lack of separation between the instruments.  Hearing something close to the original arrangement,  with higher fidelity  - and crucially, the original vocals - is a real treat for my ears.

I'd go further, and in my fantasy world, I'd like to hear all of the Pet Sounds instrumentation re-recorded, along with the original vocals.

Some of these tracks clearly work better than others, but I'm always up for hearing those beautiful harmonies in another context. 

BTW, this is my first post in 12 years  8)

I would totally agree with you about the mushiness if we had access to only the mono track. But the Stereo remasters of WIBN give this song all the clarity it needs...to my ears it sounds so clear its almost like I'm in the studio while it's being recorded. I'm glad you're enjoying this track though! I think there's something for everyone on this album if people are open minded about it.

Also, welcome back to posting after 12 years!

Are those Bruce harmonies on Kokomo new?

I'm here to talk about some interesting things on the album. Sounds like on Help Me, Rhonda they were able to pull The Guitars on the intro from the Mono Master as well as Carl's Solo. His solo sounds less echoey.  I sent the MP3 file through a channel separator in Audacity.You hear the true fiddly sound that Carl was trying to play.  Makes me wonder though was Help Me, Rhonda suppose to be a Country Rock song? On Heroes and Villains, it sounds like they found some of the missing 2nd verse vocals which had been missing for a while and isolated them for the mix. Brian sings a single vocal during that part, which is doubled on the Mono Mix. These vocals weren't used on the Sunshine Tommorrow Vol. 2 Vocal only Mix. On Kokomo, you can hear a buried Bruce harmony vocal double. Which is awesome! On Wouldn't It Be Nice, Mike's Solo Vocal is isolated for the bridge which is clearer than ever before. Better than the Stereo Mix. Lastly on Good Vibrations all they had to work with was the Mono Master but, with technology they were able to push elements up in the mix.

Great post!

Regarding "Good Vibrations", there are multi-track elements at their disposal (whether they used them or not), including most (or all) of the backing track elements, plus part of Carl's lead and some layers of backing vocals (as heard isolated in the "Love and Mercy" film and in a rough mix floating around).

Also, not sure if it's been mentioned yet, but the unused acapella tag from the PS box set has been incorporated into "God Only Knows," which is a nice touch.

They've been playing more tracks from the album on the SiriusXM channel today. I heard "Darlin'" and "God Only Knows", both of which sounded at least better than "Fun Fun Fun."

A new article (with some new quotes, though nothing Earth-shattering) from Billboard:

https://www.billboard.com/articles/columns/rock/8459923/beach-boys-royal-philharmonic-collaboration-interviews

Evidently Bruce was not consulted on the album, as he was surprised Jerry Schilling put "Disney Girls" on it.

I kind of wish "Forever" had been on the album so that each band member had a lead vocal represented.

All who were involved in this project should be fired.

Sadly this album cements the fact The Beach Boys are has beens.

Jerry Schilling being in at BRI is probably the best thing that's happened to BRI as an organization in EONS. Let them do this project and then, if all goes well, we should be seeing more substantive releases in the future.

This project is fine as a shot in the arm for the "brand."

I think you have missed the point. Despite all the talk of the album as ‘art’ and ‘new audiences’, it boils down to making money at the end of the day. I don’t think any legacy artist thinks any differently.

it’s a quick cash grab. Scraping that barrel.

No, they're there on the original mix. They're just mixed much louder in this new mix. They've mixed those Bruce bits up to just about equal volume as Mike's lead.

The booklet has a quite comprehensive list of players on the original recordings, for those who like those things. At least instrument wise - vocally they just tend to stick to lead vocals, except Kokomo which just has vocals by Mike, Bruce, Carl and Al and Heroes And Villains, where they credit the backing/harmony vocals (all 6 members at the time).

Link posted by Brian's facebook account:

The Beach Boys in Their Own Words: America's Band Tells the Tales Behind Their Pop Masterpieces

https://people.com/music/the-beach-boys-stories-behind-songs-royal-philharmonic-album/

I still don't like Kokomo, but having the Bruce harmony louder on this version makes it a lot nicer sounding.

It would be nice if they remixed it without the dated ‘80s production. It might make the song a bit more bearable.

When I first heard about this project, I was sceptical to say the least. I have been pleasantly surprised by how good it sounds to my ears. I often imagine classical elements to BB songs, so I guess this record speaks to me. I am glad it is in my collection.

Disney Girls, Kokomo, Heroes And Villains, Warmth of The Sun, and Good Vibrations totally blew me away. The others were okay. God Only Knows is the only one I'd say that I truly dislike. I'd like to make an album combining the best of this project and Bruce's 90's project together into one album. Then it would be a perfect BBs Symphonic Album

The Beach Boys Reflect on Their Royal Philharmonic Collaboration: 'It's Like a Punctuation Mark on an Entire Career'

https://www.billboard.com/amp/articles/columns/rock/8459923/beach-boys-royal-philharmonic-collaboration-interviews?__twitter_impression=true

The Albums a bit meh for me...

Agree with the quality of Disney Girls. Now I want other BB tracks to be remixed to highlight lead vocals in the same was as was done with Bruce. He sounds exquisite!

I just listened to the RPO version of Don't Worry Baby because it came on Sirius. To me, not having heard these sorts of albums before, it is a really strange marriage of a rock/pop song and a classical arrangement, kind of 'neither fish nor fowl'. My brain tells me that the arrangements are technically well played, but it seems a really odd fit and the extra orchestra sweetening seems to go against the grain of the song.

If this is one of the standout tracks as folks have suggested, I think it's safe to say this is not the album for me. For whatever reason I'm just not feeling it.

There are a hand full of the tracks that have compelling elements, but they're mostly because the remix has pushed something previously a bit more buried to the fore, like Bruce's harmony vocal on "Kokomo." Some stuff sounds a bit more dry and upfront and modern, so "Darlin'" for instance certainly sounds fresh and Carl's vocal sounds like it could have been cut yesterday. But that's really more due to the excellent work of Brian and the engineers (and Carl) on the original recordings.

Some of the orchestra swells and arrangement pieces sound goofy and very much a case of "well, we gotta add *something* and make *something* sound a little different." In a few cases, they've rejiggered the underlying melodies of some of the background arrangements, replacing Brian's choices with their own. I'm all for hearing an interesting alternate version, and even to hear an intriguing countermelody, even if written by some random guy in 2018. I'm fully prepared to say someone can make one individual decision here or there that sounds better to me than what Brian did. I'm not predisposed to blindly say everything Brian could have done will always be better. But in this particular case, I hear nothing that actively *improves* on Brian's arrangements/production.

But some of the tracks sound fine and interesting enough. Some sound goofy.

Hopefully we'll see some more exciting releases announced as the year progresses.

While I’ll agree that this album isn’t for everyone, I hope everyone checks out this RPO version of Disney Girls. Had they done the whole album like that song I think it would be getting a much better reception among us more ardent fans.

One thing that I forgot to gripe about: the harpsichord on YSBIM is so jarring from the original that I can’t enjoy the song at all. The original version has that heavenly harpsichord (Brian made it sound like an instrument that has never been played before or since the recording of Still Believe In Me) and that magic is completely missing from this version.

And one positive thing I will re-emphasize, this version of Sloop John B is amazing. They really made it into their own track without destroying the heart of the original version. And they added that extra vocal goodie at the end which really makes that track for me.

Get a good pair of headphones or speakers and listen to just Disney Girls and Sloop John B, it’s worth it.

Thanks! I listened and I agree with you. It's dramatically better than Don't Worry. The orchestra arrangement is pushed MUCH further into new territory, and the sound of the orchestra works well for the song. (The opening notes sound... for lack of a better word... "Disney"!) Bruce sounds great against the more minimal backing, again compared to Don't Worry where the vocal has extra competition.

Will check out the others you mention as well.  :)

Nothing will.

I have heard a few of these tracks played on the SiriusXM Beach Boys channel lately and I was intrigued, as I wasn't aware of this project being in the works.  I am a fan of orchestral music and a big fan of the Beach Boys so this album is a win for me.  The songs are the old familiar favorites, but the orchestral arrangements provide a much fuller, richer, and warmer sound.  "The Warmth of the Sun" was done beautifully.  As Al commented "...the fans are just gonna take this one to heart, they're gonna love it.  They're going to feel the way I do I'm sure, I hope they do."   I do love the album and musical arrangements and I appreciate and enjoy hearing the Beach Boys in a new and musically diverse manner.

I agree with YSBIM it does nothing new. Same with California Girls, there is a Take during the original Session from 1965 where Brian complains about too much G#d D#mn Vibe. Well the new PH mix has just that, too much Vibraphone. Sloop works great since the used the original Vocal Tracks as well as parts of the original Instrumental 4-Track. You can really hear the Glockenspiel, Bari Saxes and Drums Track. I wished they had used Bill Strange's high 12-String part though. It's so magical on it's own. I'm sure they could have cheated on Good Vibs as well since some of the Vocals exist as well as the complete Backing Track Masters.

Depends on which material we're talking about. I could remix "A Friend Like You" and make it sound better. 60s material not so much.

It's interesting how the new string arrangement on "In My Room" is just a bit like the string arrangement done for their 1964 "Red Skelton Hour" TV appearance (as seen/heard in "An American Band").

Sitting at number 1 on amazon UK, 3 versions in the top 100.

Annoyingly amazon have sold out so hopefully that doesn't put off potential buyers, capitol probably didn't anticipate the interest.

Mike and Bruce on a UK morning show

https://www.youtube.com/watch?v=rSQ155YNolg (https://www.youtube.com/watch?v=rSQ155YNolg)

The Orbison orchestral album hit #2 in the UK last year: I'm pretty sure he hadn't seen that kind of chart action since the Wilburys and "Mystery Girl" in 1988/89 upon his death, so they should have anticipated the BB album would probably be more popular in the UK than in the US.

Well, this is a curious album and no mistake. Where it excels -- Sloop John B, Disney Girls, You Still Believe in Me...........there , it justifies its existence.

Some of the arrangements are both too quiet and lacking much creativity.

Plain bad....is the unforgiveable burying of BWs brilliant vocal tags...especially the ending of God Only Knows.

If only, if only.........the excellence of Sloop etc had been shown throughout, the album could have been a GREAT addition to the catalogue.

YSBIM is a disaster. It's been turned into a bright and optimistic song, missing the underlying vulnerability completely. The strings on the whole album are closer to Mantovani than anything truly classical. Brian put better strings on Don't Talk Put Your Head On My Shoulder.

Saying that, something different happens with Heroes & Villains. A person who understood Brian and VDP's intentions seems to have had some input.

In My Room also just about works. Vocals are beautifully mixed and the strings are reasonably restrained, except the Middle 8 which gets too loud.

The piano on Darlin', which I love, seems to have been removed; part of an overall "smoothing" process which misunderstands the reasons the originals are so great.

Curious what you mean by this.

I think the song selection is overall very satisfying and a nice cross-section of the band's career. Having said that, there are some songs that aren't really elevated by the addition of the orchestra, while I can think of others where the added instrumentation would have worked much better. "Surfer Girl" and "Forever" come to mind, and the latter would have given us a Dennis-lead vocal on an album where every other band member has a lead vocal represented. 

I have to chime in to say this. I listened specifically to Heroes And Villains and You Still Believe In Me because those two songs had elements in Brian's original arrangements that simply destroyed me, as in those musical triumphs that can be heard where you're just stunned at how beautiful or how emotional this young guy's music could be.

In the case of Heroes, it was that "sweeping strings" orchestral section, and when I heard the outtake where Brian is running the orchestra through take after take, I was simply blown away. Same with a lesser known outtake of Brian rehearsing different parts for the bowed upright bass to play...testing different rhythms, patterns, etc. The way that bass was mic'ed and cut through...wow.

YSBIM...The moment when Brian reaches that high falsetto "whine" when he says I wanna cry..... and extends cry into a long descending musical phrase, followed by Mike's lower register recap of the same phrase...then it explodes into a vocal swirl of counterpoints and harmonies in between the two, punctuated by of all things a bicycle horn...Holy sh*t...THAT is the stuff that brings tears to my eyes and hits me in the gut. Sheer, unique beauty in music. Pop music as high art. Innovation. All of it. It's what got me hooked...no, obsessed.

So I hear the new orchestral versions. Heroes starts with a teaser in the cellos, but ultimately I don't hear anything that either compliments or enhances what Brian put on the track originally. If there had been something to set this apart, I would have been more enthused. But it is hard to be enthused when there are basically parts being added atop what was there originally. And what was there originally (and even more perhaps what was left unused in 66-67 via the various session tapes) was so unique, it just can't measure up.

YSBIM...Again, maybe it's a personal bias I have because the original is so special to me. That one part is beyond words. So hearing a string section covering up the very dynamic and octave contrast that made the original brim with anticipation and the soft-loud contrasting of dynamics that made the vocal explosion payoff so compelling is lost under multiple orchestral layers...where the payoff, the original climax of the song was almost entirely due to the vocal soundscape punctuated by a bicycle horn...

I don't know, I just don't know. I tried to give these two specifically an open-mind listen, but it's hard to not want to go back to the original(s), crank them up and fill the room with pure 1966-67 sound and sonic bliss after hearing these new takes.

Apparently more of a projection at this stage, looks like this might hit #4 on the UK charts:

https://uk.news.yahoo.com/brit-winner-jorja-smith-line-170000713.html

Higher than That's Why God Made The Radio?  ::)

TWGMTR hit #15 in the UK, but it hit #3 in the US in 2012.

I'm guessing the symphonic album will not get anywhere near #4 on the US charts.

To compare to Orbison's symphonic album from last year, it hit #2 in the UK and #151 in the US.

In the US: #14 (CD's and Vinyl) #64 (Digital) -- #55 on iTunes

More recent chart comparisons: "Sunshine Tomorrow" hit #49 in the UK and #145 in the US.

Not sure why these symphonic albums seem to be more popular in the UK. Is it really because the albums are recorded by the Royal Philharmonic?

I think mostly just because they are heavily advertised and sold anywhere that sells any CDs - so every supermarket in the country basically. The RPO probably helps since even if they own an Elvis/Orbison/Beach Boys comp, this is a new version, and having the Royal Philharmonic instead of just any old orchestra is probably good name recognition. But generally I think its just advertising and timing. Beach Boys before Father's Day. Orbison in the lead up to Christmas, etc.

Notably, the Aretha one didn't trouble the charts and it's also one I didn't see heavily promoted and that I wasn't able to buy at the same time as getting the milk.

To fuel pointless reunion rumours and conspiracies, Al mentions in the HMV interview playing live with the RPO at the Royal Albert Hall, and Bruce mentions the same idea when discussing playing the Albert Hall next year on BBC Breakfast this morning...

https://www.hmv.com/music/the-beach-boys-with-the-royal-philharmonic-orchestra-interview-2018

https://www.youtube.com/watch?v=rSQ155YNolg

That would be amazing and it might have staying power with fathers day coming up etc.

It's currently at 1 on amazon and 2 on itunes which is really remarkable, could easily finish higher.

Are there different charts for the UK with these same retailers? Or what charts are you guys referencing?

10:14 pm EST, in the US: Amazon #14, iTunes #27 on the respective album charts.

Forgive me if this was previously discussed, but are people seeing this in stores? Wasn’t in my local Target. Saw it sorted in the Beach Boys section at FYE, but it wasn’t featured in the new releases display or anything.

I bought it at Barnes & Noble, wasn't on display, with the other Beach Boys CDs, it was the only copy out.

I dunno, guys.  Haven't been able to muster up the enthusiasm to listen to this entire thing in full.  What I have listened to at least boasts some interesting mixing nuances, but this album still ultimately remains a cash grab above anything else.

Everything released for sale is a "cash grab."

Whether you love or loathe this album (and I think even folks sympathetic to the good things the project portends are at best mixed on this particular album), far more thought (Schilling) and effort (paying for an orchestra) went into this project than something that would be far more of a "cash grab" like doing a "Sounds of Summer II" or something. Or, I dunno, reissuing another bloated "Pet Sounds" set with a few bonus tracks to try to get fans to buy a 27-disc set for five new live tracks.

Yes

https://www.amazon.co.uk/gp/bestsellers/music/ref=pd_dp_ts_music_1 (https://www.amazon.co.uk/gp/bestsellers/music/ref=pd_dp_ts_music_1)

http://www.itunescharts.net/uk/artists/music/the-beach-boys-royal-philharmonic-orchestra/albums/the-beach-boys-with-the-royal-philharmonic-orchest/ (http://www.itunescharts.net/uk/artists/music/the-beach-boys-royal-philharmonic-orchestra/albums/the-beach-boys-with-the-royal-philharmonic-orchest/)

That HMV article is truly bizarre. It's worded as if all four of the main guys are all together in one band. The wording of the questions and answers certainly allows for them to be touring in two separate factions, but if one weren't very familiar with the current lineups, they'd read that article and assume all four are actively touring.

Even the articles that don't dig into the weeds when it comes to this stuff usually takes a moment to point out the two different tour lineups.

Sure, but then you get stuff like Endless Harmony, Hawthorne, CA and 1967 - Sunshine Tomorrow which are far more worthwhile pursuits than this.

I can only imagine the thought process involved with this album: How can you repackage the same music yet again?  Let's tack an orchestra to these songs!!!

It's not a zero sum game. These orchestral albums made money for the Presley and Orbison estates, and one assumes Aretha was compensated as well. Why wouldn't the Beach Boys try it too?

The band's archival releases have their own purpose and schedule -- largely driven by copyright law. No one at BRI is going to stop releasing rarities sets because BB with the RPO comes out. They don't have the same purpose or audience.

Exactly. The Michigan '66 copyright extension set came out even though they put out a bloated "Pet Sounds" anniversary repackaging that same year.

They've been putting out copyright extension sets every year all while reissuing the old albums on hybrid SACDs, vinyl, etc.

They didn't do the symphonic album *instead* of another project. As I've said, if we don't see anything else interesting for like the rest of this year and next year, then we can maybe start to complain more about what *did* get released, and even *then* it's not likely a case of the symphonic album having *replaced* some other archival project.

Again, they installed Jerry Schilling in the last couple years after seemingly *decades* of non-management from Elliott Lott, and the symphonic album was Schilling's idea. I have a suspicion Schilling was also a BIG part of getting this SiriusXM channel going for the BBs, which is also a big deal. The takeaway here is that they are listening to *and* approving recommendations of Schilling's. What we can hope for next is that Schilling not only continues to spearhead the copyright extension sets, but also *recommends* additional archival plans.

Check out this quick piece on an Elvis event (a SiriusXM event!) from August of 2017 where Schilling talks about the BB's:

https://www.memphisflyer.com/WeSawYou/archives/2017/08/22/jerry-schilling-isaac-hayes-monroe-ave-festival-fight-night-loflin-yard-and-more

The pertinent part:

And, Schilling said, “I’m back managing the Beach Boys after 30 years.”

He was the Beach Boys’ manager for 10 years. “I love their more deeper music. I love it all, but I think there’s a lot more obscure Beach Boys music I wasn’t familiar with in the beginning. We all know ‘Good Vibrations,’ the car songs.”

He particularly likes “Warmth of the Sun” and “Feel Flows.”


“They’re great to work with. And they’re very, very diverse. It’s America’s band. They’re the Beatles of America.”

Also keep in mind that, possibly unlike any number of years in the past, those that *fully understand* not only the demand from hardcore fans but also the *importance* of the BBs archive (that it's not just an asset on a shelf somewhere, but actually even after all these years a game-changing, career/image/perception-enchancer/changer) have the ear of Schilling and others as much as they possibly can.

I don't know what exactly is coming, and we know the political minefield the BB universe will *always* be, but despite the C50 clusterf**k, things on the BRI side of things are looking better than they have in some years.

Dis-a-ney Girls may be my least favorite Beach Boys song ever, but this RPO take is probably the most palatable version of it I've heard.

Yes!  And the “deeper music” would be Adult Child!  I hope we see that, officially, soon!

Something I noticed upon listening to Heroes and Villains: the "la la la" verse followed by "Stand or fall..." It sounds to me like they found the multitrack master for that section. Is this the case? It sounds very different to the mono only version. I have never heard that section in that mix before. Can anyone confirm this?

That’s sourced from the Hawaii rehearsal take found on Sunshine Tomorrow.

Mike and Bruce doing further plugs today, on Radio 2 this afternoon (Steve Wright mentioned his love of Santa Ana Winds).
These boys (and The BB's) are everywhere at the moment in the UK.
Whatever people think of this 'new' album, it is certainly garnishing a lot of interest in the band.

Very true

Thank you jiggy22. I listened again today and thought it did sound very Hawaii-style. Good to see I am not alone in my suspicions.

#4 UK

http://www.officialcharts.com/charts/albums-chart/

From the AP Mike and Bruce on the album:

'Fun, Fun, Fun:' Beach Boys team up with Royal Philharmonic

https://www.youtube.com/watch?v=-iKrF5AlI4s

Did it chart in the USA?

No. It's also fallen off the US iTunes chart after a week. The truncated 50 Big Ones, Greatest Hits, has replaced it. It's the cheapest compilation on iTunes at $5.99, so it appears to re-enter their charts often.

It charted on the Billboard 200 this week at #165.

That sounds about right. That falls in line generally with how the Orbison album did. I expected the album would at least creep into the Top 200.

Its one spot below Sounds of Summer  :lol

I was hoping the rest of the album to be more like Disney Girls, which I think is really well done.

Too many of the songs basically tried to repeat the original backing track. The worst culprits even relied heavily on the original backing track - which really negates the purpose of their inclusion.

This album should be RPO + The Beach Boys' voices, nothing more.

So Capitol just added this to the Boys Youtube. Notice anything different than the released one? https://www.youtube.com/watch?v=5DkXR-CbPE0  Yes it has the Vocals and parts of the Track in Stereo. Why wasn't this one the one released on CD?

Now that I've had a while to process this album, I must say I really like it.

Was this album necessary? No, but if it doesn't replace any other planned or potential releases, I'll take it.

Is the tracklist stellar? No. I don't understand the inclusion of tracks like "Fun Fun Fun" and would loved to have seen other tracks better suited to symphonic treatment ("Surf's Up" anybody?), but there are a lot of really cool moments on other tracks. "Sloop" for example. I love the fresh arrangement with those deep (cello?) notes. I also like that they've flown in parts of different lines from different recordings and mixed the vocal stack up a bit. I love how clean everything sounds. Heck, my least favorite Beach Boys song ever, "Disney Girls", is almost kinda listenable here. (Still evokes thoughts of a funeral on a cold, rainy day, but at least it's a pretty funeral.)

Thoughts on how it's doing? I think America has been suffering from what I call "hit fatigue" with the Boys for some time now. On top of that, I think there is a perception that they've just added a violin here and there to original tracks. The release of "Fun Fun Fun" as the first single reinforces that for the casual fan who might have checked that out and rolled her eyes. (WHY WHY WHY was "Fun Fun Fun" included, let alone released first???)

As far as the U.S. is concerned, I think there was an expectation that this set would get Elvis numbers. The first Elvis w/RPO went as high as #21 on Billboard in the U.S. The next two volumes of Elvis had lesser charter placings each time but at least they cracked the Top 100, whereas the Orbison set was a flop. The Aretha Franklin one was even more of a flop here. It might as well not even exist. One would think (hope?) that The Beach Boys were more of a commodity in the states and an RPO set with them would surely outsell the Elvis sets....but evidently that's not the case.   

I can offer no explanation for why these things chart so high in other territories (especially in the U.K.) but I doubt we'll be seeing many more of these from other artists whereas there will probably be at least one more Elvis RPO CD on the way (a Gospel set seems like a natural for this sort of treatment).

   

The larger issue of why RPO releases do well in the UK and not the US isn't entirely clear, though I would imagine some factors including advertising budget relative to the country's population and the obvious UK-centric nature of the RPO itself play a role.

But in terms of how recent RPO releases have played out, this BB release is pretty much precisely on the nose as far as where it would be expected to perform. It's performing *very* similarly in both the US and UK to the last similar RPO release from last year featuring Orbison.

There are other similarities as well, including both the BBs and Orbison having already had a gazillion hits repackagings floating around over the years, and their respective RPO releases being mostly hits-centric as opposed to closely cultivating a list of songs that would be best suited to orchestral accompaniment.

Relative to other BB releases, the UK and US have often flip-flopped for whatever reason. "Sunshine Tomorrow" hit #145 in the US and #49 in the UK. Meanwhile, back in 2012, "That's Why God Made the Radio" hit #3 in the US but only #15 in the UK.

Given all the factors, while I'm sure Capitol/UMe would have loved to see the RPO album do even better in the US, I doubt they're surprised by the chart placement.

f*** me is that the actual vocal multitrack we're hearing here? or at least an intact stereo vocal take???

I haven't watched that new video yet, but it was established a number of years ago that they have partial multi-track vocals for the song. You can hear some isolated vocal parts in the "Love and Mercy" film.

Off the top of my head, I want to say they have parts of one of Carl's lead vocal overdubs, and then partial backing vocal overdubs. But it's all incomplete compared to the finished master.

Here is what Alan Boyd said in a post here back in 2015 in response to questions about "Love and Mercy" and the song's use in that film:

We do have in the archives partial vocals for "Good Vibrations," from a copy of an original 4 track master.  This 4 track (which now exists only in a vintage 8 track copy) only had some of the vocal parts, none of them doubled, and was apparently copied to a separate, now missing 8 track onto which Brian would have then added all of the rest of the vocal parts and layers heard in the final mix. 

I'm a little late to this thread but I've been listening to this album since Sunday (a UK Father's Day present) and have got to say I really like it. The arrangements which work best to my ears are God Only Knows, Sloop John B, Heroes and Villains and Here Today: these have a real energy to them and try to do something different to the original arrangement. I can also appreciate why some like Disney Girls and can honestly say that I dislike none of the tracks. It's a fun listen (even Kokomo).

My only gripe is with the mix of California Girls - there's a stray percussion hit (high hat?) in the "orchestral prelude" at 0.10. It's audible in the original mix of the track (at the same 0.10 mark) but somewhat muffled due to the nature of mono. In the stereo remix on the 2012 Summer Days (And Summer Nights!!) reissue the stray percussion is still audible but quieter. The mistake is accidently highlighted in the new mix.

The album is definitely worth more than the 2/5 it received on the All Music Guide site. It's a worthy experiment - I'd give it a solid 4.

There are some good discussion points in this post. A lot that can be pulled out and hashed out.

First, I'd say what pretty much everyone knows who has been alive since the 70's. The name "Elvis" carries a cache and brand power that may only be rivaled by The Beatles in terms of marketing in the music world. There are few if any names among musicians of the 20th Century that have anywhere near the power that Elvis has. Put his name or his image on anything and people will buy it. It's as simple as that. As ridiculous as some of the merchandising got - and I'm someone who remembers Elvis lamps in the stores in the few years after he died - the Elvis estate in more recent years has been pretty good stewards of the music catalogue. And I'd say as Elvis' fans would get something like the orchestral album to buy, they'd buy it.

Second, I have to ask specific to the US market: If the track record on these other releases from Aretha and Orbison was less than stellar in terms of sales, did they think a Beach Boys release would really take off and do Elvis-like sales? If 2 out of 3 (and those without the name 'Elvis') failed to sell in the US, where was the mindset that assumed a Beach Boys set would be different?

Third, and perhaps controversial: Whoever it was earlier in the thread that mentioned Mike's touring and the notion or watering down the brand...I have to think that played a part.

Apart from any UK-centric loyalty or support of the orchestra or even that it was done at Abbey Road, I think the Beach Boys and their music is still more exotic and more appealing outside the US, perhaps as it has been for decades. It's something about the California mythology and what the music conjures up in the imagination that has a strong appeal outside the US.

But more than that, for all of Mike's boasting about playing 150 or 175 or however many shows he plays each year, it becomes commonplace in the US when every year there is some press in the small-town markets in nearly every region of the US that Mike is playing a show.

And I think Mike's handling of that name and how he has used it to plug his own music and his own projects when he makes those yearly TV lip-synch appearances on parades and July 4th shows and the like has watered down the name. I hear from people who are not invested Beach Boys fans as exist here but who like the music who mention the live shows, and they say things like "they're not all there" or get confused about which original members were there, etc.

Since 2012 we've had over 5 years solid of Mike shaping the brand name the way he wants to do it, and perhaps it has had an effect on the general public and potential buyers of Beach Boys releases in terms of what they think of these various appearances and how willing they'd be to buy something "new" from the Beach Boys they see on TV or in their local press every year. I think it may have an impact.

The estate (which as I understand means EPE - see below) has nothing to do with the music. The catalog is owned by Sony/BMG. EPE is still destroying his legacy by making him to what must in every reasonal person's eyes look like a laughingstock.
As a not native-speaker I don't know if "estate" only means Elvis Presley Enterprises or if it does include Sony/BMG. So if it does, please ignore my post, I just wanted to make sure that this is clear.

It's clear, but my wording was not!  ;D Thanks for the clarification.  The main point in referencing Elvis was when his orchestral albums are compared to the others, including the BB's, and stating that the name Elvis carries enough weight as a brand and an icon that anything with that name is almost guaranteed to sell to at least enough numbers of fans to justify the release. The Beach Boys, especially in the image surrounding that name over the past 5 years which millions of American viewers and concert-goers would have seen, has nowhere near that kind of brand power anymore.

Still at number 4 in the UK this week.

https://www.youtube.com/watch?v=hF4zyFyrsN4 Capitol posted another making of, yes once again a different mix! Anyone a fan of  Billy Strange's 12 String Guitar?

PLEASE tell me THAT mix is on the album. If so...I'll buy it.

That is fucking great.

Fresh, exciting, a different perspective on the original while maintaining the integrity of the original. A really creative arrangement, major kudos to the arranger for this.

I'm all in on this one.

Now if that specific mix is NOT on the album, someone needs to answer for it. Like, yesterday.

Because that right there is a triumphant reinterpretation and rearrangement of a brilliant 52 year old recording.

THAT should have been the teaser, not Fun Fun Fun.

I have been pleasantly surprised by some of the tracks on the album.  This one, Here Today, Heroes.  I am definitely more intrigued after reading the ESQ article.

Also, did you know Kokomo is on the album?  Did you know it was their biggest number one hit? Mike never fails to mention that and certainly is all about it in the ESQ piece.  His Kokomoization of the BB never ceases to amaze me.

Sloop was the first track from this that really grabbed me. So is this YouTube mix the same one as on the album? Heroes didn't do it for me.

As far as Mike and Kokomo and his boasting and the interviews to ESQ and the whole lot...no surprises there at all. It's become status quo. He thinks he is the Beach Boys and wants everyone to think that too.

It's not the same mix. I can't place the exact difference off the top of my head but I think there is more of the original track floating about on the album.

Agreed - not the same mix as on the album: the album mix is even better: fuller & got more energy. Just love the instrumental backing to the "threw away all my grits" part - got some extra trombone or something in there. It's a beautiful arrangement.

Also agreed that "Fun, Fun, Fun" is one of the less interesting tracks here, but I guess those responsible for marketing the album to the general public felt compelled to lead with one of the best known and most accessible songs. I'm guessing most people wouldn't know what a sloop was.

"Here Today" is an interesting one. It's really a despairing song about the fragility of love, but the orchestral arrangement gives it a driving beat and the instrumental break just takes off somewhere else entirely. It's a strange juxtaposition of sad lyric and energetic track, but I really enjoy it anyway.

Like most others, I think some songs work really well, in particular Sloop, GOK,  California Girls and Disney Girls. Others like FFF and Kokomo, not so well. Kokomo in particular sounds to me to be the weakest song on the CD.....could have done w/o that one, though in the world of Mike Love that would never be allowed to happen.

Number 8 in the UK this week.

Down to 14 this week.

22 this week.

COMMENT:

BEACH BOY MIXER >>> https://www.thebeachboys.com/mixer?utm_source=ExactTarget&utm_medium=email&utm_content=https://UMe.lnk.to/Beach-Boys-MixerEm&utm_campaign=22209195&utm_umg_et=73156454

DIY -- level / panning / mute

Short, but Good Listening,  ~SWD

Volume 2?

https://www.clashmusic.com/features/surfs-up-the-continuing-adventures-of-the-beach-boys

The main challenge, it seems, was actually picking which of the Beach Boys countless hits to utilise. “There’s several 100 songs to choose from, but some of them were obvious,” Mike explains. “They’re already talking about doing another volume, so there’s room for more. I mean, ‘Do It Again’ is not on this album but it was number one in Great Britain…”
Bruce adds: “There’s enough to have a second album that isn’t watered down. Don’t worry – it’s going to be good!”

Great timing as usual. Official lyric video for ‘Wouldn’t It Be Nice’, for an album released months ago.

https://www.clashmusic.com/news/its-a-brand-new-video-from-the-beach-boys

Read a recent interview with Orbison's son; they are apparently churning out a second volume of Orbison RAH re-records. Uggh.

I don't know what's in the Orbison vaults, but I believe there's likely oodles of unreleased stuff that should be released. Unfortunately, his estate is now on the track of doing "hologram" tours, orchestral re-records, and trying for the millionth time to do an Orbison biopic.

I wouldn't be surprised if the BB set sees a second volume as well. It didn't sell super well in the US, but sold well in the UK. I don't think it's needed; unless it's along side more vault releases.

Listened to the album - it's curio. Interesting idea. Still, would be cooler if they did different songs instead of predictable "California Girls" & such. 2/5.