I believe someone contacted Lee Dempsey about the new board he briefly spoke of, but when we asked we were told it was something he had not even begun to look into.

Bubbly's statement is 100% accurate.  That is the total extent of my -- and ESQ's -- participation in the origins of the PS board.

Nor am I personally, or ESQ as an entity, involved in the financing of the board.  (Comment added 6/19/16.)

And yes, I logged into this board just to say that.

Lee

I have debated whether to post in this thread or not...

For those of you that are newer members, an introduction may first be in order...  I am the former editor and publisher of Endless Summer Quarterly, and I've been a Beach Boys fan and collector for around 45 years. I would put my Beach Boys collection in the top 10 in the U.S., only behind some of the uber-collectors like Bgas, Jim, Panayiotis, and a couple more.  I handed over the editorial reigns of ESQ to David Beard around 15 years ago, when my professional and family priorities caused me not to have sufficient time to dedicate to the magazine, however in full disclosure I still maintain a financial interest in ESQ as a silent partner.  Although I've been a member of this board from the very start, I've kept a rather quiet persona around here, preferring to post mainly in the threads that deal objectively with the band's history and music.

I consider AGD a colleague in the quest to uncover as much factual information about the Beach Boys as possible.  I've learned more from him than just about anyone else on this board (perhaps c-man excepted).  I'll admit that I've been peeved at him occasionally for one of his smarmy public admonitions when I've gotten my facts incorrect, however I've gotten just as many PM's offering me the opportunity to correct myself before he posted anything.  I've just looked through my dozens of PM's from him, and I don't have a single one that could be considered "gossipy" or defamatory toward any individual on or outside this message board.  I don't dispute the reports by others that that he did; I am only speaking from my personal experience.  Andrew knew that I had no interest in that type of discussion.

I've always tried to maintain a neutral stance toward the Beach Boys.  I am a Brian fan first, but I don't hate the touring band.  I think they serve a purpose in continuing to deliver the Beach Boys' music to the masses.  But I've watched as this board has appeared to degenerate into a battle of the BW versus BB camps, with, in my opinion as a third-party observer, negative posts directed at Mike going seemingly unpunished and those threads allowed to flourish, while threads that are even slightly critical of Brian are steered in a direction that will cause them to go away.

AGD's permanent ban from this board is a MAJOR loss that further takes this board away from being a source of historical information, to being a forum for personal sparring and negativity.  This will be my last post on this board, as I try to find another place where the emphasis is on scholarly discussion of the band's music.  And if that place doesn't exist, I may have to create it...

Lee Dempsey

Yeah, first row main floor for $5.50 versus $2.00 for balcony doesn't raise any alarms for me.  Think $140 for an orchestra seat versus $50 for a balcony seat today -- same ratio.

BTW I have a ticket for the 12/19 Tulsa show.  Section C, Row G, ticket price $3.50.

Lee

However, there was a BB show being advertised in Jackson, MS for either Dec. 24 or 25. I tuned in to a Jackson radio station that was sponsoring the show when the guys were supposed to be in town, hoping to hear an interview. Instead, they said the show had been cancelled because Brian had been hospitalized and even gave an address to send him get-well cards.

Thanks for this information Margaret!  I grew up in Jackson, Mississippi, but I would have only been two years old at the time.  But as I became a Beach Boys fan I heard stories of a cancelled Beach Boys concert in Jackson in the '60s, however the reason I was given for the cancellation was the racial instability in Mississippi at that time, and the fact that the venue insisted on a segregated audience.  I'll have to chat with some of my friends that were in the radio business to see if they have any more information about the cancelled show in Jackson.

Lee

FWIW my December 22 1964 ticket is a stub, so much for the ol' gray cells.  

Hopefully not the same as Jim's.

Thanks for posting this Cam.

Ian, Jim, et al, since this was an American Productions concert, shouldn't Fred Vail be able to confirm this string of dates?  Or does he no longer have his log books from that time period?

Lee

Tim K's stuff (aka The_Beach on this board) on YouTube is neat.  There is more discussion of his YouTube channel over in the Media section of this board.  There are a number of factual errors in the descriptions (i.e. "Steve Desper" being misheard as "Steve Aspin") where someone with a rudimentary knowledge of Beach Boys history should know better, but Tim is usually quick to correct them if pointed out in the YouTube comments.

Lee

Your sealed signed copy of the promo kit beats my unsigned one... tho, does yours have the mailer envelope?  

Nope, that envelope is very cool...

On second thought, I've seen that envelope before... I need to check my paper goods file.  Maybe I separated the envelope from the album for some reason.  Buy it could be that I just saw it in someone's collection.

Chris, I'll give you a chance to edit your post to "Good Time" / "Sweet Mountain"...

Interestingly, my "Brian Wilson Talks With and About Spring" tape is the Bomp reissue, but it was sold to me with an original copy of the booklet.  So Jim, i may very well have the booklet that goes with your tape!

I'll throw another Spring rarity out there -- the original LP promo kit with sealed LP, press kit / photo, white wrap-around outer cover, and Spring flower seeds -- still sealed in the shrink wrap, with Marilyn and Diane's autographs on the outside.  How does that stack up against the original interview tape and the "Good Time" / "Sweet Mountain" stock copy?

Lee

http://www.ebay.com/itm/Brian-Wilson-talks-with-and-about-Spring-original-5-reel-Super-Rare-/191839475732?hash=item2caa861814:g:I8QAAOSw9KpW~ebr

Very nice, and definitely the real (reel) deal, as opposed to the Greg Shaw reissue.  The original had a white box, while the reissue had a red and white Realistic (Radio Shack's tape brand) box.  Not worth $1,800 though, and I think there were more than 25, as the program director for Charlotte's biggest FM radio station in the early '70's had one that I couldn't pry away from him.  Granted Charlotte was a Top 50 market, and this guy knew Fred Vail personally, but I think 50 to 100 is a better number.

Lee

Dude's also claiming Brian wrote the "backing track" too. His source ? "It's my educated guess..." - well sh*t, who am I to argue with such cast-iron proof. ?

TOKENHIPPIE is an eccentric long-time collector named Richard Rochford aka Rich Rockford aka Richard Ford.  He's claimed over the past 30 years that Brian actually produced a number of Gary Usher and Jan Berry cuts.  Now if you were to listen to the tracks to "She Rides With Me" and "He Don't Love Me" back-to-back, you can hear some similarities (e.g. guitar run through a Leslie unit), but there is no documentation to suggest that Brian produced the latter.

However, Marilyn did confirm to me a number of years ago that the Honeys are singing backup.

Lee

Brother Records
1654 North Ivar Avenue
Hollywood, CA

Debbie is not alone in referring to the Brother offices as "Ivar" -- Fred Vail does so as well.  It too me a while into my first lengthy conversation with Fred to figure out what he was talking about when he referred to "meeting at Ivar" or "a decision made at Ivar."  

Lee

Fred and I were next door neighbors at that time.  Yeah, it's a bad habit, referring to a business and a set period of time as a single entity, normally lacking further explanation.  Well put.

Debbie, I'm sure everyone in the organization referred to that period, entity, and location colloquially as "Ivar."  I even have a few pieces of memorabilia (press kits and the like) that are marked something like "Copy for Ivar." At first I was wondering who "Ivar" was! 

Lee

Brother Records
1654 North Ivar Avenue
Hollywood, CA

Debbie is not alone in referring to the Brother offices as "Ivar" -- Fred Vail does so as well.  It too me a while into my first lengthy conversation with Fred to figure out what he was talking about when he referred to "meeting at Ivar" or "a decision made at Ivar." 

Lee

Well, I have to hand it to you Hideo, this sheet music book:


shows this:


But I'm looking at a Capitol first pressing US mono copy right now, and it's credited to "Brian Wilson," and a UK first pressing, and it's credited to "Wilson."  I don't have a first pressing Japanese copy to compare.  Maybe bgas will show me up and post his...

Instead of pages and pages of looney speculation and insults why not cut to the chase.

Because it is an invasive question the answer to which we have no compelling reason to know.  I know I wouldn't pose it.  I can't imagine why anyone else would.

I'm shocked I even have to explain this.  Why would Marilyn want to talk about Rocky Pamplin - even in the abstract - just so you could know something about a thread on a message board?  How is that useful or relevant to her current life?

If for some reason it becomes relevant, I'm sure she or any other similar person will make it known.  It's not like these threads aren't being monitored.  Let these people live their own lives and make their own decisions about what they do and don't want to talk about.

Well put Adam.  A couple of weeks ago I was prodded to ask Marilyn a rather trivial question related to something on this board.  Although she was polite in answering, I could tell that the telephone time would have been better spent asking her about her grandchildren, or filling her in on my son's upcoming college plans.

Lee

I know Mikie who used to post here saw it, and I think he may have taken a picture, perhaps posted it at some time on some board.  But it seems he left here unhappy.

According to Mikie it wasn't his choice...

OF COURSE it was Mikie's choice. He had the choice NOT to post the words he did which got him banned, but he chose to post anyway

You know what I meant Chris.  He didn't "leave here unhappy."  He was banned, permanently.  And his transgression, as I understand it, was accusing someone of being a "cheerleader."  Much worse has been written here, bordering on verbal abuse and libel, without a permanent ban being imposed.

Daniel told me that he has the window and it is stored.

There was a discussion about the current status of the stained glass window over in a thread about the ornate carved bed that Brian was filmed / photographed in back in the '70s:

http://smileysmile.net/board/index.php/topic,23375.msg559217.html#msg559217

Lee

I know Mikie who used to post here saw it, and I think he may have taken a picture, perhaps posted it at some time on some board.  But it seems he left here unhappy.

According to Mikie it wasn't his choice...

Hey Manfred -

Those parody videos with overdubbed comic vocals are known as "shreds."  This one was actually covered in this thread back in 2014:

http://smileysmile.net/board/index.php?PHPSESSID=a3490d5faff071a6c980dadf92ac25f2&topic=18005.0

Lee

http://www.ebay.com/itm/The-beach-boys-Surf-in-USA-2-track-7-1-2-Ips-7-inches-/111918324583?hash=item1a0eda1b67:g:VjMAAOSwFNZWuftd

check it out. dodgy?!!

As dodgy as they get...  Note the play on words "Surf In USA," and the titles on the back are the Hite Morgan tracks that have been released umpteen million times.  Easy for anyone with a reel-to-reel deck to dub a CD to a blank reel of tape and pass it off as a "master reel."

Lee

There's a pic on the single's wiki page, could be an international variant, or a fake, but it has a Capitol logo and uses the same mock-up art as the ad:

That's the Dutch sleeve.  Note the catalog number HF 301 in the upper right corner.

Lee

Stand to be corrected but I don't think there was a domestic pic sleeve.

There was a picture of a mock-up of "Gettin' Hungry" artwork in a Billboard ad, but no, there was never a U.S. picture sleeve.  Every copy I've ever seen came in a plane brown paper sleeve.

More than you ever want to know about "Gettin' Hungry" in this thread -- including the artwork I mentioned above:

http://smileysmile.net/board/index.php/topic,16058.msg388451.html#msg388451

Lee

Interesting. I have a US promo copy of Slip On Through, and both sides are mono mixes. I can't immediately tell whether they're fold-downs or dedicated mono mixes, but they are both definitely mono.

Well, I stand corrected... The promo 45 of "Slip On Through" / "This Whole World" is in mono; I just played my copy.  The stock 45 is stereo on both sides.  So I guess the acetate represented the promo mono mix on one side, and the stock stereo mix on the other.  Good catch Harvey!

Lee

PS: Also interesting to note that the promo 45 is pressed on vinyl, and the stock 45 is pressed on styrene.  Vinyl holds up better to deejay cueing and repeated play.  Styrene was cheaper.

     You may also have a test acetate I did, checking mechanical mono compatibility of the matrix. I cut quite a number of acetates in those days to check on the effect the matrix was having as the song went to disc. I would cut them, look at the grooves under a microscope, and then discard them. Sometimes I never even played them, just studied the way the grooves were formed under the microscope to be sure certain factors were in place and other factors were not happening that could cause a mis-tracking. Recording using the matrix and complex microphone arrays was out-of-the-box engineering. There were no guide lines, no precedents to follow. I was doing pioneering work and that required the cutting of many acetates as I tried to see how far I could push the technology while keeping it commercially viable. 

Thanks for the response Stephen.  I just did an aural comparison of the Stereo side summed to mono, versus the Mono side, with both sides peak-adjusted to the same level, and I think this is the likely scenario, as they sound pretty much identical.  The balance of instrumentation to vocals is the same, and the fade is exactly the same.  Looking at the wave files from needle-drops of both sides (L+R fold-down on top; mono mix on bottom), they appear to be virtually identical as well, with the few minor differences perhaps being chalked up to differences in the condition of both sides of the acetate, or variances in my playback equipment:



On the other hand, this version (also from my collection) is most definitely an in-progress mix, despite being marked as "45 MASTER REF":



The cowbell-on-trailing-delay is not yet present, the backing vocals are higher in the mix, and the whole thing is slightly slowed down.  I love the "Murry and Carl's 3rd Mix" designation!

Lee

A search on "Best of Brian Wilson" instead of "Greatest Hits" would have turned up the following thread, among others:

http://smileysmile.net/board/index.php/topic,20450.0.html

Stephen, while we're on the subject of Sunflower, I have in my collection this 10-inch Artisan Sound acetate of "Slip On Through":




Based a listening test I'm pretty sure that side 1 is the final stereo mix that appears on the album and also on the 45 (Brother/Reprise 0924), however Side 2 is a MONO mix (you can see that the word "STEREO" on the left side of the label has been blacked out, and the word "Mono" typed in on the right).  Unlike some DJ 45's which had a stereo version of the "plug" song on one side for FM radio and a mono version of the same song on the other side for AM radio, the DJ 45 of "Slip On Through" only had the stereo version; "This Whole World" (also in stereo) was on the flip side.  So as far as I know this mono mix was never used -- at least in the U.S.

Do you recall creating a dedicated mono mix of "Slip On Through," perhaps for AM radio purposes?

Thanks,

Lee