The ending of the documentary shows a baby trying to sing “Barbara Ann”, so who is he/she (in my opinion it’s a boy, but I’m not quite sure)? And is the lady his mother? Why did they appeared in this, I don’t know, kind of “outtake” thing in the end?

One question: there are a little baby and a lady in the end of the documentary, who are they?

The backing track.  They used take 20 for the bulk of the backing track, but the tag of that take was deemed subpar, Brian then had the band do a pickup starting at the tag (he might have rejiggered some instrumentation for it) which I think was two takes.  Then he edited the body of take 20 with the tag pickup piece to create the full backing track, and then all that was mixed to mono in preparation for the vocal sessions.

Wow, thanks. It appeared that Brian used the splicing technique quite a lot even before the recording of “Good Vibrations”~

I assumed Ferrari was the name of the street he was living on at the time.

Oh I’ve found it in the map - Ferrari Dr, located in Beverly Hills. So that’s probably the answer. Thanks~~

On Long Promised Road documentary, Brian talks about his second marriage with Jason. When Jason asked him of the story when they decided to get married, Brian replies, “we were staying in a house on Ferrari...” I don’t get it. Did he mean that they were actually living in a sports car? That doesn’t make any sense to me. Or “Ferrari” just means something else in that conversation? I’m quite confused about that~

Based on my extensive examination of the session tape and AFM contract, and input from a few others on this board, here is the conclusion I have come to:

Tack piano (w/strings taped): Don Randi
Harpsichord: Larry Knechtel
12-string electric rhythm guitar: Carol Kaye
Fender bass (w/tic-tac effect): Ray Pohlman
Upright bass: Lyle Ritz
Sleighbells & Drums: Hal Blaine
Plastic orange juice cups w/sticks: Jim Gordon
Tambourine: Terry Melcher
Accordions: Carl Fortina and Frank Marocco
French horn: Alan Robinson
Alto flutes & Flutes: Bill Green and Jim Horn
Clarinet: Jay Migliori     
Bass clarinet & Clarinet: Leonard Hartman
Violins: Sid Sharp (leader) and Leonard Malarsky
Viola: Darrel Terwilliger
Cello: Jesse Erlich

There were absolutely NO overdubs on this magnificent recording, other than the vocals - however, the tag was spliced in from a separate take.

Sorry I don’t understand the “tag was spliced in from a separate take” part. You mean the tag of the backing track was spliced, or just the vocals? (Or the backing track and the vocals?)

Appeared in about 18’40’’ in the documentary Brian Wilson: Long Promised Road, Jason Fine asked Brian about something called “Dartmouth” (don’t know if I’ve got it right) and started to talk about the place he and Marilyn lived in 1965 (approximately). I just don’t know what that “Dartmouth” was. Is there anybody can explain that to me? What was the “Dartmouth”? If the word wasn’t “Dartmouth”, what was that? Thanks a lot!

I thought that the Columbia Studio in Hollywood (Sunset Blvd) was just that five-story building and all the radio/TV broadcasting and music recording happened in that particular place all the time, but I was wrong. The studio was more like a “complex” - consisting of Radio Building (the five-story building I just mentioned), Studio A, Studio B/C and Commercial/Television Building. So the recording studio used by the Byrds/Paul Revere & the Raiders/the Beach Boys etc. was located in which part? And what was the difference between Studio A and B/C?

Really good question.  "Columbia Square" was indeed a sort of A/V village.  It is my understanding that, before the music boom of the 50s/60s, the facility was pretty much only a Radio / Television place.  Then, at some point around 1960, CBS/Columbia converted some of the radio studio space into a dedicated recording studio along the lines of their NYC studio.  It was a huge studio, much larger than Gold Star, Western, Sunset Sound--and likely bigger than RCA, too.  RCA and CBS of course had to accommodate full orchestral set-ups.  There are some great photos from an LA Simon & Garfunkel session that shows how on a pop session they'd all huddle together in the middle of this giant studio.  So there was one recording Studio A, some radio facilities, and the TV studios A, B, C.  I believe that at some point later on, recording Studio A got cordoned off into separate, smaller recording studios B and C.  I think this was probably very late 60s into the 70s but I don't know for sure.

I'm super interested in the history of this studio as well, and have put together a little info over the years, but to some extent it remains a little more elusive, as does RCA, perhaps because it was less hip to record in these places.

Thanks for your reply, and I remembered some resources were telling that the “Radio Studio One” was the one that converted into a single recording studio for Columbia Records. So where on earth was that? Was it more likely in the five-story Radio Building?

I thought that the Columbia Studio in Hollywood (Sunset Blvd) was just that five-story building and all the radio/TV broadcasting and music recording happened in that particular place all the time, but I was wrong. The studio was more like a “complex” - consisting of Radio Building (the five-story building I just mentioned), Studio A, Studio B/C and Commercial/Television Building. So the recording studio used by the Byrds/Paul Revere & the Raiders/the Beach Boys etc. was located in which part? And what was the difference between Studio A and B/C?

Sorry I might put it in the wrong place but here's my question:

Loren Schwartz was one of Brian's good friend in 1960s but I cannot find much information about him. So what did Loren do at that time and how did he get to know Brian? And finally, how did he get LSD and give it to Brian?

Just that question, how was the relationship between Arthur Lee/Love and Brian Wilson/The Beach Boys? They were both LA bands, but I didn’t remember if they were acquainted...

I would think by "booth", they mean the control room maybe? What is the context of the quotes?

Mike Love: “We were all milling about the hallway just outside Studio 3 at Western Recorders. From the interior of the booth, the speakers were giving off the incongruous sound of a train passing into the distance.”

Brian Wilson (on Billy Strange): “ Oh! Billy Strange! Do you remember 'Sloop John B?' Do you wanna hear what happened? I cut the track, right? Billy Strange was playing direct in the booth. Guitar. Direct in the booth. He was not in the studio. And after it was done, I went 'Well, that's a wrap, guys! That's it!' He goes, 'Hey, wait a minute. What if I played a third above that (sings) do-do-do-do-doot.' And we overdubbed that onto it and the whole track started to sparkle! I couldn't believe it, you know? It was like the difference between night and day. Really something.”

I’m reading the Making of Pet Sounds, the album liner note of the Pet Sounds Sessions released in 1997. Here’s the thing, Mike Love said about a booth in Studio 3 at Western Recorders, and Brian also mentioned ‘the booth’ when recordingPet Sounds in the David Leaf interview. But as I remembered, Studio 3 was a rather small studio, so I doubted if ‘a booth’ did exist in the studio. And when I watched several EastWest Studios virtual tours on YouTube, the narrator always said there was no booth in Studio 3. And I’m quite confused right now. Did a booth exist when The Beach Boys recorded Pet Sounds? And if there was one, what was that booth used for? As an isolation booth? Or some other uses?

Is Wild Honey better than Smiley Smile?

If I’ve got it right, Christine McVie of Fleetwood Mac was once engaged with Dennis. How did it happen? How did they know each other and how did they break up? And by the way, how did the band members react to the relationship?

I wanna know about the timeline.

The Beach Boys started to use CBS Columbia Square in the Summer Days (And Summer Nights) sessions, because of an early 8-track recorder. What was the first song they ever did that (using the recorder)? And what was the date? And The Byrds, who signed with Columbia Records at that time, recorded Mr. Tambourine Man in CBS Columbia Square slightly earlier than The Beach Boys' Summer Days (And Summer Nights), so did The Byrds use the 8-track recorder in that album?

In other words, were there any musicians using that 8-track to produce an album (or a song) before The Beach Boys did?

Did the Beach Boys and the Beatles meet each other before 1965? How did one group think of the songs by the other's early songs? When (if not the end of 1965 - Rubber Soul) did their music start to influence each other?

Just curious about the connection between early Beatles and Beach Boys (except for Capitol Records). Thanks for the information!

It is said that the Byrds version of "Mr Tambournie Man" was based on "Don't Worry Baby" production. Could anyone analyze the similarities of these two songs? Without wiki, I'm not aware that two songs were connected.

Why was "My Obsession" so good for Brian? I just don't get it...

There are claims (without a ton of supporting information) that the John B. was named after John Bethel, an early settler in the Bahamas.
https://www.funtrivia.com/askft/Question146829.html

Wow that's quite useful, thanks a lot!

Everybody knows "Sloop John B"and it was originated from a Bahamian folk song. But what was the last name of this John guy? Did he exist in the real world? And if he did, what actually happened about his sloop? And what was the relationship between the narrator and John?

Just don't have a clue, even in Wikipedia...

It's absolutely a Hammond organ.  I'm not certain that we've ever confirmed beyond a reasonable doubt what Western owned, but it's absolutely a drawbar organ by Hammond.  Quintessential hammond sound.

Sorry, not that professional. In my impression, a Hammond organ was always sounded like 'A Whiter Shade of Pale' or 'Green Onions'.

I'm very curious about the keyboard instrument in 'California Girls'. Check out Wikipedia, there were a piano and a Hammond B-3 organ (keyboards) in the personnel list, but in my opinion, the timbre resembled neither one, how could a Hammond make the sound like that?

The Beach Boys recorded their songs in several studios during their career, and my question is how did they find these studios and what's their first songs recorded there?

World Pacific Studio: Oct. 1961 for "Surfin'"? (Some sources said that it was recorded in Hite Morgan Studios. Don't know which one is correct...) Was it the only studio they could book at that time???

Hite Morgan Studios: Someime in 1961 for some demos?

Capitol Studios: 1962 for some songs from Surfin' Safari album? Why did they seldom use the studio afterwards?

Western Recorders: April 1962 for "Surfin' Safari" single? How did they find the place? Did this studio have the best equipment in LA and why did Brian love it that much?

Sunset Sound: When? Pet Sounds era?

CBS Columbia Square: Maybe around 1965?

Gold Star Studios: 1966 for "Wouldn't It Be Nice"?

Brian Wilson's home recording: The end of '66 for The Smile Sessions?

Brother Studios: Sorry, don't know that much...

So is it possible to find the original lyrics of the instrumental "Let's Go Away for Awhlie", which was eventually unused in the final track?