The picture above of Brian in the sandbox is from the 1976 Saturday Night Live show. He played GV in the sandbox (I have the video). ALso, I remember when it ram the first time. I was 17 in 76 and I laughed my head off. I still think it was funny.

LUCY JONES and HEY THERE MOMMA are definitely different songs, although they're similar - and they both have wop-bops in the vocals.  But the chord progressions aren't the same.

Thanks for setting me straight, Alan. I had heard that "rumor" for about 10 years. That they are alike must be why Steve thought it was Lucy Jones when hearing it over the phone with a friend of mine.

Though I have always heard negative comments (from non BW fans) about Brian's reuse of certain "grooves", I love it! It gives a sort of wink to those of us that have followed him though the years. So the ADD SOME MUSIC coda - I'M THE PIED PIPER - CHILD OF WINTER - WON'T YOU COME OUT TONIGHT coda always brings a smile to my face.

And don't get me started about SHORTENIN' BREAD. Bob Hanes and I were talking about this riff back in 1998 when it was used in SOUTH AMERICAN. Hanes said that he thought that it was music to heal Brian's heart and keep it pumping strong.  Then when I was at the soundcheck for the PS tour stop in Houston, I saw a very nervous Brian sitting at the keyboard being asked by Darien what tune he wanted to rehearse. Brian pulled a pair of dark sunglasses from his pocket, took a long drawn-out breath, and started playing SHORTENIN' BREAD. He banged away for about two minutes,  toojk off his sunglasses and said "Let's Do This!"

Freakin' Priceless.

PS - I heard that you, Alan used this tune to help relax Brian during a back catalouge project.  True?

Bob Flory

Hey Alan,

There has been some talk that Lucy Jones is the same track as "Hey There Mama" backing track that 's been going around for years.

Also, the track with Carl singing the bridge is called "Dancing The Night Away (Baywatch Nights)". I've got a clip from Entertainment Tonight" with Brian and Mike singing the bridge. Also have an interview with Brian at the sessions with Mike and Carl recording the bridge vocals. Brian does not want the song to go to Baywatch Nights because he thinks it will make a great single. The interviewer remarks that there are is a video crew recording the session for promotional purposes. Another film for Alan to find.

Bob Flory

Why do we love the Beach Boys? It seems the longer I am immersed in their music (going on four decades now) I find new reasons to stay interested. I think the one thing that keeps me always returning to the well is not the “weird” Beach Boys, the stoned Beach Boys or even the Fun Fun Fun Beach Boys. The central factor has always been the “heart” of the group, especially Brian Wilson.

No matter if it is Kiss Me Baby or God Only Knows or even Vega-Tables, there has always existed a soul and feeling that is hard to describe yet is as tangible as any other emotion. Once, while talking to Bob Hanes, he asked me why I got started with the group. I said that I liked some of their music, but when I was 15, I heard Please Let Me Wonder on the Spirit Of America LP and I realized that Brian Wilson (with Mike’s help) verbalized the same feeling about love that I had. And that was that falling in love shouldn’t be an “oh golly gee” kind of feeling. Falling in love should completely and utterly devastate you, but in a good way. Please Let Me Wonder said that with it’s “forgive my shaking, can’t you tell my heart is breaking” line so well.

So before anyone only comes to the group because of the strangeness, drugged out weirdness, or even the All American Feeling of the music, take time to listen for the heart in the music. It’s what is missing is so very very much of today’s music.

Ok, I sound like a girl now……..

Bob

Hey Stephan, I am sorry to have blundered so badly on my inquiry about CottonFields in duophonic sound. I meant the version recorded by Alan Jardine at Sunset Sound.  From what Alan Boyd now says, the duophonic version could have come from Capitol when it was processed into duophonic for the Stateside release of Sunflower.

I feel like such an ass. Again, sorry for the mix-up.

I had interviewed Brad Elliott for my website PETSITE about 5 years ago about his assembly of the 1983 LP "Rarities" for Capitol.  He had this to say about the tape he found in Capitol's vaults:

BE: The tape inventory sent us to an odd reel stored separately from the mono single masters. When I pulled it out, it was a tape that had three or four different mixes of Cotton Fields -- all the single version, but all slightly different. The first mix on the tape was the one used as the single, while the other mixes included the sound of a child speaking (somewhat like the "Hi" at the beginning of The Trader). I remember there was one mix where the child's voice preceded the beginning of the actual song, and I think there were two mixes where the child's voice was mixed into the song at different points. Since the original single version had never been released on a U.S. album at that time, I chose to go with the mix used on the single. In retrospect, I wish I'd used one of the other mixes, simply because it would have been different.

Always interesting stuff. Again sorry about the confusion.

Bob

If you really want to freak, search out  the "A Baker's Dozen" boot from the 90s. It has 13 ML/AB works that range from passable to "HOLY S**T"!

Word on the street is that Brian is letting his version stand as the finished SMILE project and does not want any of the outtakes released as a set.

I love both the DCC version and the 2001 mono tranfer by Mark. I know that the 2001 tranfer was done with the 1996 mono boxset tapes but the 2001 version sounds better. I know that it was mastered louder from playing through my DAT's digital imputs.

Anyone else?

PS - Going through my BB stuff about a month ago I found a Carl & The Passions / Pet Sounds set still sealed in the shrink wrap.

Man, I gotta check this stuff out more often.

It's marking the aniversary of the release of GV? Is it the long awaited GV box we were hoping for in 1997?

Nah.............we couldn't get that lucky.

Bob

Sorry Stephen that my question wasn't as clearly worded as it should have been.

A reel marked as "Safety Copy Of The Last Capitol Album" resides in the BB tape vault.  The track listing is as follows:

1.  COTTON FIELDS single version - duophonic
2.  LOOP DE LOOP - pulled to "Second Warner Brothers Album" reel
3.  ALL I WANNA DO - pulled to "Sunflower" master reel
4.  GOT TO KNOW THE WOMAN - alternate mono mix
5.  WHEN GIRLS GET TOGETHER - backing track, no vocals
6.  BREAK AWAY
7.  SAN MIGUEL - pulled to "Second Warner Brothers Album" reel
8.  CELEBRATE THE NEWS
9.  DIERDRE - pulled to "Sunflower" master reel
10. THE LORD’S PRAYER - duophonic
11. FOREVER - pulled to "Sunflower" master reel

Since the date of either the assembly or the copying is marked as  June 19, 1970 on the tape box, I was wondering if

     A.) This was something you assembled with the group for release.
     B.) Considering the fact that duophonic mixes of Cottonfields and The Lord's Prayer are used, might their have been
           some Capitol engineers involved?

Thanks again. Sorry about the vaugeness of my original post.

Bob Flory

I can't wait for Peter's book to drop. Having hepled out some behind the scenes (Peter would sometimes ask Bob Hanes a question which in turn would come to me cuz Hanes knows how anal I am about information) I have been looking forward to this addition to our BB/BW knowledge base.

Peter has been nice enough to exchange e-mails with me towards the end of last year and I'd like to thank hime for putting up with my questions which he answered gracefully.

Thinking about the SMILE period, I have been discussing with Mr. Hanes my thoughts about the people surrounding Brian during this process. It seems to me that those around Brian at the time (Parks, Anderle, Vosse, etc) were embarrased about the "Little Deuce Coupe - Fun Fun Fun - All Summer Long" Brian Wilson. They were helping Brian expand his horizions but, it also seems that there was alot of "Hey Brian, you don't want to be THAT guy! Do other things, but not that "internal combustion sound (as Van called it)." You could tell that really didn't care for BW previous output before PS.

And Andrew Doe's comment about 6 blind men is never better illustrated than a scene from Beatiful Dreamer. Brian describes his utter terror during his first LSD trip and his freaking out. Yet Lauren Daro laughs about the story with a sly "This is wonderful." He tells how Brian freaked and HE WAS LAUGHING about it. Some freakin' friend. I think that  counter to what Mike Vosse said, there does seem to be alot of "FUN" at Brian's expense. I alsothink that BW was getting farther out in order to gain exceptance from this group. Being cool was and still is and objective that people want to obtain. Too bad it's a pathetic pursuit.

Anyway, can't wait for the book Peter. If it's as good as the spread in AH magazine, it's gonna be killer!

Bob Flory

[Sweetie]

Thanks Alan for the info.

I may have asked you this in the past so please forgive the repeat.

In an interview done in San Francisco in Dec. 1981 (when the BB were playing the Circle Theatre), Brian said that the group has cut Sweetie with Alan, Mike and Brian singing a combined lead. He goes into great detail on this and even talked of the key of the song (B).

Was this found in the vaults.

Also, the version of GV on the Rarities LP of 1983 came from The Best Summers Of Our Lives 1/4 track reels sent to radio stations. As of 2000 (the last time I checked) that mix had not turned up in the vault. Has it since been found?

Thanks again,

Bob

Hey Stephen.  I asked this in the Alan Boyd Thread. I should have asked you first as you were the engineer. Here is my question:

Since the LAST CAPITOL ALBUM reel says saftey copy on it, was a copy sent to Capitol? The reason I ask is that if Cotonfields and The Lord's Prayer are DUOPHONIC, wouldn't that have been done by Cap and not at Brother Studios?

Thanks,

Bob Flory

Alan's response

I don't know if Capitol ever received the LAST CAPITOL ALBUM from The Beach Boys.  The Beach Boys still have the original master - or what's left of it (several tracks were snagged from that reel for inclusion on master reels for SUNFLOWER and THE SECOND WARNER BROTHERS ALBUM).  I have no idea how or where (or why) those duophonic remasters were done, to tell the truth.

Alan Boyd

Any of the Unplugged Series from Fall 1993. They were fan-freakin'-tastic!

With the non-stop revenue stream that could be had, why are the BB & Cap so SSSSLLLLOOOWWWW in putting outtakes, alternate mixes the numerous concerts onto a digital download site? This seems to be a no brainer. The faithful fans of the group are slowly greying and will soon be interested in reading AARP magazine rather than downloading tunes.

I know people have writen of this before. I was just wondering why the indifference from the group. hell, it would make Mike more cash than the lawsuits (no lawyer fees!!).

Bob

[Boys & Girls]

Hey Alan, glad to see you still haunt this board. I hate when LIFE sticks it's ass in to my BB time.

Anyway, two quickies.

1.) Is there a tune called Boys & Girls writtenby Brian for KTSA in the vaults.

AND.....

2.) Since the LAST CAPITOL ALBUM reel says saftey copy on it, was a copy sent to Capitol? The reason I ask is that if Cotonfields and The Lord's Prayer are DUOPHONIC, wouldn't that have been done by Cap and not at Brother Studios?

Thanks,

Bob Flory

Hey, first day back posting and I just wanted to stir things up!

I really do like 15 Big Ones. Not all of it (I could do without A Casual Look and the TM Song). But there is something there that had been missing from earlier LPs. Brian's presence can be felt. And to paraphrase Jon Stebbins about  Brian's talent, even his uninterested talent beats anyone elses laser like focus. Having just recently pulled this CD from the back of my collection, I've been playing it non-stop in my car for days.

What does everyone else think? Is it time for the funny farm?

Man, after being away for several months, things sure have changed!!! Great site, guys!!!! Love the new board!

Now that I've said that, the answer to the Cottonfields question is that the Alan Jardine produced version was used for Sunshine Dreams.

Now flash foward 10 years to 1992 and Capitol (in order to promote the new two-fers) used the LP version on the Absolute Best Of The BB Vol. 2. , as well as the rough mix of WIBN.

Well heck, they used the LP versions of Be true To Your School and Help Me Rhonda on Vol. 1 as well.