"Sections" is certainly better than anything we've had before.  If they had left off roughly the first 2:10 and last :45, that would have been even better IMO, but then that's easy enough to do at home.

If we were ever to get a best attempt at a "finished" Can't Wait Too Long/Been Way Too Long, today's release would have been the time.  So it doesn't look like that will happen -- but a lot of pieces are there.

What thoughts do people have as to what goes where?  Anyone thinking of improving on previous efforts to create a fan finished version??

It’s also on youtube in the US.

Where?  I’ve searched and searched and found nothing.

Wake The World: The Friends Sessions
https://www.youtube.com/watch?v=3xyWvnaxFJA&list=OLAK5uy_leglqA8yPOmWhd1wkPynUpERF78Mpfof8

I Can Hear Music: The 20/20 Sessions
https://www.youtube.com/watch?v=ymMddsuzKyc&list=OLAK5uy_mHwXKak8vDw4iib1F_sz-uvAfzPvDCp5g

Edit: working for me in Canada

Thanks!

It’s also on youtube in the US.

Where?  I’ve searched and searched and found nothing.

That worked!

sydsutcliffe, I really hope that you do use Google Drive, Dropbox or something similar.  It looks like you have some great stuff, but sites like Zippy Share are aggressively toxic.  Just the fact that they try to trick you into downloading things other than the file you want (by giving you at least three different download buttons) is bad news.

This looks amazing.  But -- and maybe I'm just an idiot -- I can't figure out a way to download any of this without also adding crapware like "EasyMovies Search."  Does anyone know how to download just the music?

The main outside influence making SC and even SIP weird and compromised was the whole Landy situation. It's why Brian was barely integrated into the band in 1988/89, and the immediate aftermath of Brian being extricated from Landy was presumably why he wasn't anywhere to be seen on SIP.

But if we're going to start erasing stuff that Landy directly or indirect impacted, then pretty much everything Brian was a part of from 1983 to 1992 would have to be erased. So no BW '88 album, and so on.

And if we're going to start erasing stuff just because *you* think it sucks, then a ton of their entire catalog is on the table.

It ain't just me.

Here's a review of SIP from Blender http://blender.com/guide/reviews.aspx?id=2260:

“Kokomo,” perhaps most kindly described as a Beach Boys– influenced song with the Beach Boys singing on it, was a surprise number 1 hit — hence this lame instant album: a collaboration with obese rap trio the Fat Boys, soundtrack contributions and three ’60s hits to pad it out.

From AMG https://www.allmusic.com/album/still-cruisin-mw0000200452:

The Beach Boys' success with soundtracks, notably their number one 1988 hit with "Kokomo" from Cocktail (but also the title track "Still Cruisin'" from Lethal Weapon 2), provided the rationale for this hodgepodge of oldies and one-off singles. Their new savior, producer Terry Melcher, helps them sound like a professional '60s cover band. Meanwhile, except for one lone contribution, a solid "In My Car," Brian Wilson had quietly disappeared to a solo career.

This is about the only place outside of MikeLove.com where people will actually defend this stuff.  The rest of the world (at least those who are aware of the existence of these albums) recognize that they have no artistic merit, and are just money grabs.  Apparently folks around here used to recognize that as well.  It's unfortunate if that's changed.

Huh? What are you talking about? Of course it's not a unique opinion that those albums suck. So what? What are you trying to say? Saying they shouldn't be erased from history isn't "defending" the quality of the albums.

Read through my post history before you "introduce" me to the fact that critics hate SIP. Read through my post history to find out what I think of those albums.

I'm trying to say that they are not really Beach Boys albums, and should not be treated as such.

If Bill Gates bought the rights to the Beach Boys name, and promptly started releasing "Beach Boys" albums consisting of tracks performed entirely by monkeys, you could argue that those albums also would represent "history," and should not be "erased."  But you'd be wrong, and you're wrong in this case.

But neither case with the BBs involved an outside party buying the BB name and releasing an album. Your analogy is completely inaccurate.

However suck those albums are, however vapid or short-sighted the decisions were to release those albums, it was *THE* Beach Boys deciding to release them and not blocking their release.

If Mike had released a "Beach Boys" album in 1999 against the wishes of Brian and Al, then it would be closer to something analogous.

I feel like I'm being trolled even having to explain why even the crappiest BB album shouldn't be LITERALLY ERASED FROM EXISTENCE. It's asinine and literally not even possible. Which I also feel ridiculous even having to say.

I'm used to Mike & Bruce being in the doghouse but evidently the new (old) trend is to dismiss Carl Wilson as a performing "monkey" (Jeff's analogy) and claim that Al Jardine has absolutely no artistic credibility whatsoever.

Yes, we're being trolled.

Interesting to see the somersaults some will use to try to legitimize this crap.  I see several attempts to mischaracterize my comments, but the Carl=monkeys one is so far out there that I had to laugh at it.

In any case, although I should know better than to waste more time on this, I'll try again.  For both albums, Dennis was dead, and Brian had moved onto a solo career.  If you think that a legitimate "Beach Boys" exists with just the others ... well, I can't help you.  And it wasn't really even all of the others.  Wiki says that Bruce was "the only band member actually to play on" Summer in Paradise.  Still Cruisin' was, in a sense, "better," but given that three of the songs were reruns from more than 20 years earlier, and another was the Fat Boys, it's far from a real album.

Here's the other thing -- these "albums" have not, as the OP lamented, been re-released.  There's a reason for that.  Don't try to act as though I'm the crazy one (or simply a troll) when it's a very small number of you who are fighting reality.

The main outside influence making SC and even SIP weird and compromised was the whole Landy situation. It's why Brian was barely integrated into the band in 1988/89, and the immediate aftermath of Brian being extricated from Landy was presumably why he wasn't anywhere to be seen on SIP.

But if we're going to start erasing stuff that Landy directly or indirect impacted, then pretty much everything Brian was a part of from 1983 to 1992 would have to be erased. So no BW '88 album, and so on.

And if we're going to start erasing stuff just because *you* think it sucks, then a ton of their entire catalog is on the table.

It ain't just me.

Here's a review of SIP from Blender http://blender.com/guide/reviews.aspx?id=2260:

“Kokomo,” perhaps most kindly described as a Beach Boys– influenced song with the Beach Boys singing on it, was a surprise number 1 hit — hence this lame instant album: a collaboration with obese rap trio the Fat Boys, soundtrack contributions and three ’60s hits to pad it out.

From AMG https://www.allmusic.com/album/still-cruisin-mw0000200452:

The Beach Boys' success with soundtracks, notably their number one 1988 hit with "Kokomo" from Cocktail (but also the title track "Still Cruisin'" from Lethal Weapon 2), provided the rationale for this hodgepodge of oldies and one-off singles. Their new savior, producer Terry Melcher, helps them sound like a professional '60s cover band. Meanwhile, except for one lone contribution, a solid "In My Car," Brian Wilson had quietly disappeared to a solo career.

This is about the only place outside of MikeLove.com where people will actually defend this stuff.  The rest of the world (at least those who are aware of the existence of these albums) recognize that they have no artistic merit, and are just money grabs.  Apparently folks around here used to recognize that as well.  It's unfortunate if that's changed.

Huh? What are you talking about? Of course it's not a unique opinion that those albums suck. So what? What are you trying to say? Saying they shouldn't be erased from history isn't "defending" the quality of the albums.

Read through my post history before you "introduce" me to the fact that critics hate SIP. Read through my post history to find out what I think of those albums.

I'm trying to say that they are not really Beach Boys albums, and should not be treated as such.

If Bill Gates bought the rights to the Beach Boys name, and promptly started releasing "Beach Boys" albums consisting of tracks performed entirely by monkeys, you could argue that those albums also would represent "history," and should not be "erased."  But you'd be wrong, and you're wrong in this case.

The main outside influence making SC and even SIP weird and compromised was the whole Landy situation. It's why Brian was barely integrated into the band in 1988/89, and the immediate aftermath of Brian being extricated from Landy was presumably why he wasn't anywhere to be seen on SIP.

But if we're going to start erasing stuff that Landy directly or indirect impacted, then pretty much everything Brian was a part of from 1983 to 1992 would have to be erased. So no BW '88 album, and so on.

And if we're going to start erasing stuff just because *you* think it sucks, then a ton of their entire catalog is on the table.

It ain't just me.

Here's a review of SIP from Blender http://blender.com/guide/reviews.aspx?id=2260:

“Kokomo,” perhaps most kindly described as a Beach Boys– influenced song with the Beach Boys singing on it, was a surprise number 1 hit — hence this lame instant album: a collaboration with obese rap trio the Fat Boys, soundtrack contributions and three ’60s hits to pad it out.

From AMG https://www.allmusic.com/album/still-cruisin-mw0000200452:

The Beach Boys' success with soundtracks, notably their number one 1988 hit with "Kokomo" from Cocktail (but also the title track "Still Cruisin'" from Lethal Weapon 2), provided the rationale for this hodgepodge of oldies and one-off singles. Their new savior, producer Terry Melcher, helps them sound like a professional '60s cover band. Meanwhile, except for one lone contribution, a solid "In My Car," Brian Wilson had quietly disappeared to a solo career.

This is about the only place outside of MikeLove.com where people will actually defend this stuff.  The rest of the world (at least those who are aware of the existence of these albums) recognize that they have no artistic merit, and are just money grabs.  Apparently folks around here used to recognize that as well.  It's unfortunate if that's changed.

Couldn't disagree more with the premise of this thread.  Yes, a few guys calling themselves the Beach Boys put out a couple of albums in the late 80s and early 90s.  But they are at best Beach Boys tribute albums.  Not even that really.  And it certainly does not help the band to be associated with such drek.  Why wish for that?

We don't know whether any other pieces are out there but unbooted.  And I'm not just looking for the pieces.  The song deserves a comprehensive construction rather than the half-hearted attempts of the past.

If all we got for Can't Wait Too Long was a "2018 Stereo Remix" and "Sections," I would be very disappointed, and would not buy it.  Why can't they make a legitimate attempt to compile a best-guess version of the final song?

And if you can ... get us a definitive Can't Wait Too Long!

Okay some things I just realised:

- the chorus in the master take cycles 4 times, not 6. No idea how I miscounted. So it's definitely consistent with the template set out by the full track runthrough. More credence to that being the definitive structure the song was meant to have.

- the handclap section is the verse. Same chords, same number of bars, same tempo, different arrangement. No idea what this means. I'm even more confused now. Help.

This doesn't really help, but as Grillo mentioned above, your efforts are really appreciated.  You've managed to take a "song" that was never fleshed out in its various releases and show what might have been (and, to some extent, what still could be).  This might be a riddle without a definite solution, but the best guess is still a very nice listen ....

I'm interested to hear whatever he might do with the isolated vocals.

Well, the versions that have been released aren't really songs, because for whatever reason, the compilers haven't made the effort to put the various sections together in a way that makes some sense.  But as wjcrerar has shown, it's certainly possible.  Here's hoping that they do so next year.  Otherwise, fanmixes will be the best we have.

I like this very much.  As you say, the edits can use some polishing, but even as is, it blows away the versions on the two-fer, the GV box set and Sunshine Tomorrow.

Amazing stuff Bill!  What a list!!!  Seems right up Brian's  '66/'67 alley.  The "I know you'll feel better when you send us in your letter....." lyric/section of "Vega-Tables" has always seemed to me like a line from a snake oil salesman/game show host....

And the notion that Brian wanted to keep the purpose behind SMiLE a secret instantly makes me think of Brian's "Smog" recording.  Please correct me if I'm wrong but I think it was recorded during the "Love to Say Dada" sessions and thus the final sessions for SMiLE..... 

You mean the sessions that were recorded after Smile was canceled, for a song that was never part of the Smile track list?

Personally, I think it makes more sense to keep album sessions with the year the album was released and not the year they were recorded. Or even if the single came out the previous year. Was the Do It Again single released in 68? I would still keep it with the 20/20 material.

Again, one big issue is the 50-year copyright.  They lose the rights to material that is not released within 50 years.

A 1969 set would revolve around 20/20 and a lot of Sunflower sessions (and would be great).  A 1970 set would have Sunflower (Desper spatializer effect?) and those sessions (plus early Surf's Up stuff). 

The 20/20 sessions actually were completed by the end of 1968.  If the goal is to release material that otherwise would go out of copyright because it had not previously been released, the 20/20 outtakes and session material would need to come out next year.  The songs for what would become Sunflower were recorded in both 1969 and 1970, so presumably a Sunflower-oriented set would need to come out in 2019.

All you more history-minded members, what else can we possibly expect from '68 set? The Friends sessions, early 20/20 sessions? What unreleased songs did they do that year? The Letter, what else?

First of all, we can expect both the whole Friends and 20/20 sessions, since the sessions of the later were over by the end of 1968.

Other stuff we can expect is:
・Early version of All I Wanna Do (Instrumental)
・Early version of Walkin' (instrumental)
・Some of Friends outtakes: My Little Red Book, Our Happy Home, You're As Cool As You Can Be etc
・Live highlights from 1968 (including unreleased live cuts around the era of Live in London- it was recorded in December, 1968)
・The definitive edit of Can't Wait Too Long
・Perhaps 70s remakes of Friends tracks, as related stuff

Overall, these would surely make a pleasant 2CD (or so) collection for us to listen to.

Don't forget the definitive edit of Old Folks at Home/Ol' Man River.

Mark/Alan, I’m not sure if you will get a chance to read this, but I’ll take a shot anyway.

First, thanks to both of you for the very, very well-done Sunshine Tomorrow.  Not only was it a great surprise, but it gives us hope that we will get more of these 50-anniversary packages over the next few years.  It was also very encouraging to hear you say at the end of your Rock N Roll Archaeology Project interview that “hopefully next year we’ll be doing the ‘68 package.”  A lot of folks here would certainly echo that.

If in fact there is a ’68 release, it would be wonderful to have “definitive” (to the extent possible) versions of Can’t Wait Too Long and Old Folks at Home/Ol' Man River.  We’ve had several releases of both of these songs in various forms, but it doesn’t seem like an attempt has been made to pull everything together to create best-guess final versions.  It’s difficult, of course, when both songs have missing pieces.  But you have a lot of material to work with.

In any case, these two songs are arguably Brian’s most ambitious post-Smile songs.  It would do a lot for his legacy to have a release with the best possible versions of both.

Thanks!

I toss in the extended Beach Boys SMiLE version on the air every now and then just to jolt the stoned folks out of their gourds from time to time.  

I actually heard Mt. Vernon and Fairway on the radio the other day.  THAT must have jolted a few people.

I'm a fan of the extended tag on the Smile Sessions, but not the hum-de-dum insert.  Unfortunately, released versions give us both or neither.

I've tried creating a hybrid version myself, and it seems like it should be easy, but apparently my editing skills are not good.  Does anyone have one that they consider to be relatively seamless?