If you share files that aren't exclusively welded to a single corporate platform then those files can continue be shared among other human beings with similar interests, almost indefinitely, entirely free of algorithms or tracking metrics!

All this being said I know the audio can and has been ripped from youtube and shared on more under the radar channels already, it's just a silly barrier for people to have to go around

https://archive.org/search?query=creator%3A%22Dae+Lims%22

I don't really get the ethos of sharing this stuff exclusively via youtube, which puts a hard ceiling on the audio quality/bitrate and also basically guarantees that interested copyrightholders will see it and have absolutely no trouble getting it removed.  The point of flying under the radar is you get to keep flying that way.

Trailer dropped today!

https://www.youtube.com/watch?v=TXxn0_rT8iM&lc=UgyRzZe-VV4VyG0ND1p4AaABAg

To me an "In Concert" box should dip into 1974, even though it's post-Blondie.  "Feel Flows" and "All This is That" weren't really in the rotation prior to the summer '74 tour but they're such key songs from the era.  I love the Nassau '74 boot

Really cool!  I would love a download for offline listening.  If you just have a big untracked WAV file exported out of audacity I would be happy to track it out and tag it for you.

I believe this is just about retiring from piano/vocal playing as he's always done, due to the age/injury thing with his hands.  The implication is he still will perform in some kind of vocal only capacity.

I'll be at the May 9th show.  Don't really care if it's FINAL final or whatever, really any chance to see the guy is something to jump at. 

A tiny part of my brain wants to get its hopes up about those "special guests", but rationally I know we can cross Brian right off that list of candidates...

So, that reminds me. Is this a two night appearance?  The Lost weekend promo seems to suggest only the 8th, but you're goiing the 9th? 
Expecting more special guests on Saturday as opposed to Friday night? 

It's two nights if you look on their calendar.  I just bought Saturday night because it's an easier night.

I might try to make the free Pasadena show too.  I don't see any info about that gig outside of twitter though, so I don't know if it's an RSVP situation or you just show up or what.

I believe this is just about retiring from piano/vocal playing as he's always done, due to the age/injury thing with his hands.  The implication is he still will perform in some kind of vocal only capacity.

I'll be at the May 9th show.  Don't really care if it's FINAL final or whatever, really any chance to see the guy is something to jump at. 

A tiny part of my brain wants to get its hopes up about those "special guests", but rationally I know we can cross Brian right off that list of candidates...

http://www.clickhole.com/quiz/how-many-beach-boys-songs-have-you-heard-379
 

spoiler: ClickHole is a humor joke site which parodies BuzzFeed, and its brainless listicle-and-poll format.  Ceated by the same people that run The Onion, this is a joke poll where all the song titles are made up.  Except, of course, for Mike's solo opus "I Am All That There Is".

http://artsbeat.blogs.nytimes.com/2012/05/07/how-mad-men-landed-the-beatles-all-you-need-is-love-and-250000/

Mr. Weiner pointed to another “Mad Men” episode from earlier this season, in which a Beach Boys song is played during a character’s LSD trip. “No one ever asked, ‘What does it cost to have that song?’ ” he said. “You think that that’s free?”

I want to hear "Just an Imitation".

A friend has just asked me this. He's new to the band (and in the throes of a newfound vinyl obsession), so I'd want t make sure any comp had a good selection of late 60s to late 70s tracks alongside the hits. Does such a thing exist? Ten Years of Harmony sprung to mind but there's maybe too much focus on 15BO/MIU/Good Timin.

If only MIC were on vinyl...

There's an odd France-only comp called 66/69 that does a good job filling in the margins around the hits.  Fairly easily/cheaply available too:

http://www.discogs.com/Beach-Boys-6669/master/299414

It's Mark and Alan's tinkering - You've Lost That Lovin' Feeling, Wild Honey (Live), etc - that has me tearing my hair out.

What's wrong with Wild Honey now

I called last week, sent an email as requested, and the replacement disc showed up on Tuesday this week.  I didn't get any reply or acknowledgement after sending the email, but otherwise no fuss no muss.

They asked for proof of purchase, I forwarded my amazon receipt, all looking good so far.  Thanks to all who stayed on top of this and rounded up the info.

What's the approximate date on the early version of "Santa Ana Winds"? 

They don't call him Historical for nothing.

When was "Why" recorded???

November 18, 1977
;(

Anybody else think that might have gotten some latter-day sweetening?  The whole texture of the thing, especially the drums, sounds way more 2012 than 1977 to me...

"19/69"

01 Old Man River (section) > Soulful Old Man Sunshine
02 Break Away (alt)
03 Where Is She?
04 Celebrate the News
05 We're Together Again (stereo)
06 Walk On By
07 Never Learn Not To Love
08 I Can Hear Music
09 Do It Again (stereo)
10 Cotton Fields (single version)
11 Time To Get Alone
12 Sail Plane Song (remix)
13 Be With Me
14 I Went To Sleep
15 Old Man River (twofer version with earlier fadeout)

Surf's Up

01 Don't Go Near the Water
02 4th Of July
03 Long Promised Road
04 Fallin' in Love
05 Disney Girls (1957)
06 Surf's Up
07 Feel Flows
08 Lookin' at Tomorrow (A Welfare Song)
09 Day in the Life of a Tree
10 'Til I Die
11 (Wouldn't It Be Nice to) Live Again

Still need to get to work on a 76-80 comp, a general 60s/early 70s rarities comp, a revised Dennis pre-POB comp...

In a world of Allan Kleins and Peter Grants and Albert Grossmans, the Beach Boys had the freaking Captain Kangaroo of slimy managers, but people still manage to freak out about it.

There's always a tendency to say "think of what Brian could have done if he'd just had the full support of the group", and it's valid, but the impression I get is that the boys would have been thrilled for Brian just to keep on contributing or leading like he had in the 67/68 period and would have happily gone along with any leadership he'd shown, regardless of whether they were 'flops' commercially.  It seems like all the way through late '77 they thought a Brian in charge was their first, best hope.

I mean, one imagines Brian had the full support of American Spring, but he still couldn't finish their album.

http://www.skepdic.com/enneagr.html

Like anything else these things can be fun and useful for self-reflection, but I think it's a mistake to imagine that these "types" or categories are in any way "real".  The whole system is deeply bound up in a pretty flakey new-agey worldview, and there can be a narcissism-feeding component to these systems that purport to explain everything about person.  By and large I think people just reading lists of traits so they can go "oh, that's totally me!", I've done it myself many times.

As far as applying it to the Beach Boys I thought their D&D alignment charts were more instructive:

Brian = Neutral Good
Carl = Lawful Good
Dennis = Chaotic Neutral
Al = Lawful Neutral
Mike = Lawful Evil

Oh man, good thing the extended version of "mean for you" didn't end up on Friends, those pony lyrics kill the beauty of the song  

Ha! I feel the other way. They take one of my favorite Beach Boys pieces to another level. Love them and can't believe they left them off the album!

It's funny that on an album that proudly represents the Beach Boys at their peak unhipness, there was still a discussion where somebody said "you know, is that line about puppies and ponies is just a little too much".

I speeded up the MIC version of 5% and it sounds more like the version we are used to and, I think, overall better.
Still a shame about the pitch-correction.

Thought it was well-established that it was the bootleg that was running fast all these years.  I took the MIC version to be the actual speed and pitch of the song as recorded.

Runners, thanks to your post the other day ,I know you love me, and God Only Knows I love you too, but to the casual listener, this will ALWAYS be a She's Leaving Home rip-off. Think about the history... Paul played the song for Brian in April 1967 while the latter was trying to finish SMiLE, Marilyn cried and Brian obviously felt intimidated. Brian must have started playing around with that line of melody and WiS results. Consider: on the one hand you've got a song about a girl leaving home, and in the case of the Brian recording it's about wanting a girl to COME home. And Brian's song is clearly indebted to Paul's melodically — with no prompting and no idea what the song sounded like in advance, I heard the connection right away.

But d00d, it's a strong (but not exact) melodic similarity in one section. Different chords, different arrangement, different production and moon, different style, and the rest of both songs are very, very different from one another. "She's Leaving Home" is about a daughter running away, "Where Is She?" is about teh wifey being away.

Also, you and a few other folks are talking like "Where Is She?" was recorded within days of Brian rushing home after hearing the song, but nop, it took place over two years later. To accuse Brian of deliberately lifting part of it for his own song or liken it to what he did with "Surfin' USA" is silly and extremely presumptuous.

Sorry, I will only "man up to" and acknowledge one section has an extremely similar melody to the other, but that's it. I wouldn't doubt it may have been Brian unconsciously using a variation on something he'd heard prior, but every songwriter under the sun is guilty of that.

Sorry, it's just some folks are doing the tired and predictable "BEATLEZ DID IT BEATLEZ DID IT" and no, they're two different songs, great and unique in their own ways with one similarity. For a casual listener to dismiss it as a Beatles "rip-off" shows how limited their knowledge and appreciation of art is and ultimately, it's their loss.

I like Where Is She, but it's not a mindblowingly brilliant lost gem or anything.

To me, it's one of the best things he did in the somewhat spotty late 60s/early 70s, which is why it upsets me to see people Beatles-shitting all over it. I actually saw someone saying there's a "With A Little Help" reference because Brian used the words "How do I feel" in the song, as if The Beatles invented those words. Just, enough with it all, already.

Since I was the one who brought this up none of this was really my intention to denigrate the song or suggest it was a whole-cloth rip-off.  This tune is totally something to be cherished, a newly-unearthed original (!), non-fragmentary (!!) non-instrumental (!!!) 60s-era Brian Wilson tune - that's a big deal!  I don't mean to suggest that the She's Leaving Home quote is even the most interesting thing about it.

It doesn't constitute shitting on the song to point out the similarity.  It also doesn't really serve to get legalistic and try to winnow it down to just "four notes" in common or whatever...I think there's just an overall similarity in feel, and it  sounds like Brian had She's Leaving Home on the brain as much as he did "Ticket to Ride" with "Girl Don't Tell Me", as somebody else pointed out.  Brian had a lot of amazing, made-out-of-whole-cloth moments in his writiing, and then he also had moments where he did something really interesting with other people's fabric.  And to uh, belabor a metaphor, pointing out the seams shouldn't be all that troublesome.

I love "Where Is She", but it's pretty indebeted to "She's Leaving Home", isn't it?