Yes, it's part of Lars' collection -- thanks, smile-holland:)

[19th/20th and 26th November]

Hi there
After my friend passed away earlier this year, he left behind a huge Beach Boys collection.
Among this is an almost complete worldwide collection of singles and EPs (about 900 ex, promos, solos, Japanese, French etc etc),
RIAA gold awards and a complete collection of reel to reel tapes (several still sealed)..
These are now being auctioned off at 19th/20th and 26th November at Omega Auctions UK.
Have a look!

https://bid.omegaauctions.co.uk/auction/search/?st=beach%20boys&sto=0&au=181&sf=%5B%5D&w=False&pn=1

https://bid.omegaauctions.co.uk/auction/search/?st=beach%20boys&sto=0&au=176&sf=%5B%5D&w=False&pn=1

[The RIAA awards:]

After the recent passing of my friend who was a huge BB collector, the family are looking for buyers of his quite uniqe collection of various RIAA-awards and an almost complete worldwide Beach boys EP/singles collection.
The RIAA awards:
Beach boys white matte RIAA gold award for Good Vibrations presented to the Beach Boys
Beach boys white matte RIAA gold award for All summer long presented to the Beach Boys
Beach boys RIAA gold award for I get around  presented to Capitol records
Beach boys RIAA gold award for Surfin USA  presented to Capitol records
Beach boys RIAA gold award for Spirit of America presented to Carl Wilson
+ BPI award for Smile, presented to Nonesuch records(for 100 000 copies sold)

The singles/EP collection
Highlights; approx. 900 ex, including Candix Surfin, X-record Surfin, Italian Surfin USA w/ rare cover, Japanese Caroline No, promos etc etc.

The collection will be auctioned later this year. But feel free to PM me if interested in some of this:)

Anders

I think one point that Desper is making that is being glossed over is that record making in the 1960s-early ‘70s was not perceived how it is today. There was not a “record all the parts individually, and then later have a thing called a mixdown, then go back and tweak etc”. It was a process of getting the 1/4” mono or stereo master - that was the “performance” that was captured to tape.

And what is especially interesting about this very salient point is that 1970 and the surrounding years were themselves a bridge between the two major eras in recording.  I consider the mono, stereo, three-track, and 4-track era to be of a piece -- despite the increased possibility of overdub, the principles of 3- and 4-track recording are essential live to mono, microphone based technique.    The 16- and 24-track era are also of a piece after a certain time.  I think automation is definitely the harbinger of the new era, as hard as it might be to pin down when the true "multitrack era" began.

But 8-track era is sui generis.  Too few tracks for an overdub festival, too many tracks entirely conceive of the recording as a strictly performance based medium.  I think the early, pre-automation 16-track era inherited its initial mindset from 8-track mindset, and that's where we find ourselves for Sunflower and Surf's Up.  And that's where we find ourselves as far as Donny's point goes.  The mix is now way more important than it ever has been before -- certainly, just 3 years earlier there's was not much one had to do to mix at all -- since everything had been tracked together and monitored largely in mono while so doing.  Now, you actually have to put work into a mix, and do some planning.

I think it's at these moments where a lot of the value of art gets imparted into the art.  At the human moments.  Sometimes it doesn't even have to be good art, as such, but because the moment captured in time is so human, there is value there.  I've always thought that Jackson Pollocks sell for so much at auction not so much because his painting is "good" but because he was able to imbed himself and his time in the canvas.  I think this goes for a lot of abstract artists especially.  But it needn't be limited to abstract artists -- part of the great thrill of seeing a painting in a museum is the ability to see the brushstrokes in 3D and know they were created by a human in some other time; in some other part of the world.  If you're lucky, you can smell the art.  There's a particular sculpture-type thing in MOMA that smells like an ashtray.  That artist connected with me, somehow, by allowing me to smell the cigarettes they constantly smoked while making the art.

It's about sharing a moment with a human, I think.  So hearing the original mixes and masters are an added human connection -- Steve and Carl and whomever else was drafted into running a fader on the ol' Quad-8 injected their humanity in that move, recorded their existence, and passed it on to us.  To not have those moments there in the music is unequivocally a loss, but I think that the identity of art includes loss as a sine qua non, indeed, essential player.  It's the shade to the dark that gives us chiaroscuro.  It makes art a conversation--a chronological experience--a lung inhaling and exhaling.

And then of course, what is lost gets compensated for by equally human moves -- and again, it's a question of the individual appreciator's values, but there is no responsibility to privilege one set of human moves over another's.  It's humans that do remixes, humans that do remasters, and at the end of the day, in our particular case of the Beach Boys, we know these people are good humans who authentically love the music -- which helps a lot.

Great, great post - thx.





anderswyller.com

Thank you, Howie ❤️ - I guess it's hard for you not to post the full monty ...

[50 Ways to Save Your Lover]

... while we wait for the Feel Flows box set to be released; here is my brand new video for the song 50 Ways to Save Your Lover taken from the album Skinny Songs released earlier this year. The video is made by Christina Ommestad, anivid.no. Enjoy!

https://www.youtube.com/watch?v=Fs9Gm879IsM


anders, Oslo
anderswyller.com

... magic: isolated backing vocals for Feel Flows track -- absolutely beautiful -!

... double post - 

... for us who tend to drop by this thread some 5-50 times a day; we all have to take the responsibility to keep it alive – my take today; we will get a digital release before Christmas – a box set will materialize in 2021 – it is most unlikely the record company will be able to make a box set before Christmas – unless it’s already been in production – And for the company’s potential income – they know the box set will sell around 5000 whether Christmas or not -
And in a way, since Surf’s Up was released in 1971 it doesn’t seem too far out to release a box set to commemorate the release of this equally great (my all time favourite) record - have faith! -- all the best from Oslo

❤️

I don’t agree – I think this was a great, great article – actually summarizing my own feelings about the band at that time – giving credits to the guys as a band, and to the songs and albums in a way I would put it myself. Never mind the flaws or errors – not important – it’s the overall understanding of the BB and their importance through this period that matters.  Thx for sharing.

Wow, thanks Dean - thanks for listening -
all the best from Oslo

Hi Smilers -
I've been around these shores for quite some time - a huge Brian and Dennis fan since 1976 – but also a singer/songwriter for some 30 years, releasing 9 albums over the years with my own stuff:)  -- In 2018 I spent some time with Linett mastering my album that came out that year -- Now this year; a new album has just been released; Skinny Songs -- please listen!:)
https://orcd.co/skinnysongs

thx!
anders
anderswyller.com

Cool cover -! Seems like an EP release. https://frequencesledisquaire.com/product/musique/vinyle/7-pouces/7-beach-boys-rsd2018-in-paris-with-andy-williams/

Short report from Oslo show:
Yeah, Brian fell off his chair for the encore – it looked dramatic – The Spektrum fell silent, 3000 people held their breath - Paul Mertens and three others got him back on his feet. This was just before going into GV. Brian asked if we wanted some Bad Vibrations!:), -  well seated again he got into song as if nothing had happened.
Highlights from the show; Wake the world/add som music. Wild honey/Sail on Sailor with Blondie in top form. 2,5 hours, with intermission.
I was surprised how many leads Brian took throughout the show – almost all leads on PS. Great reviews in all news papers here.

 ... which means there are definitely more dates added to the European tour - He will be playing our biggest arena, Oslo Spektrum, with 8200 capacity - which seems a bit ambitious -- but I'll be there - welcome, Brian!

 ...  I wanna know. Now.

… Brad Mehldau is a great jazz pianist – check out his beautiful, though demanding, 16:44 minute version of GOK on his newly released ’10 years solo live’ on Nonesuch Records – on Spotify, Tidal …

http://www.billboard.com/charts/billboard-200

I am on holiday up in the mountains - far away from both California and stable Internett connection - but
check out NRK.no and the programme NITIMEN - (sorry, very Norwegian) - but
the best i can do for the moment (the streaming is available in an hour from now, I guess)

But it is true👼

Two minutes ago; The right time w/Al/David just soared on Norwegian radio - world premiere🎯
... and here, Norway?!🏂

Oslo, Norway

According to amazon.jp the bonus track on the japanese edition is Revival of Love (2012 Version) - do I read japanese? No. Google translate usually does.

One more down! Oslo Spektrum 31. July - tickets on sale now.

Haha - yes, why Norway - TSS debuted on #13 this week - above Pink Floyd which has always been huge here - the Beach Boys never really were. Until 2004 - BWPS sold amazingly 12 ooo copies here - so where did all the norwegians fans come from during the last 6-7years? - they surely weren't there when I grew up - digging the Beach Boys in this country has always been a lonely road travelling