I got tix this morning.  Cheap seats, though.  After I ran my order through, I tried to see what seats would come up for the highest price (around $100), and Row A was still available fifteen minutes after the start of ticket sales.  I don't think there's too much interest, going by that.

Well the four shows in my general vicinity have sold out, so someone must be interested. I'll be at the Beacon show.

I think Dana Gould read this on his podcast.

No, I think that was the longer, 8-page letter to Brian from 1964:

http://www.lettersofnote.com/2009/12/all-i-tried-to-do-was-make-you-all.html

That's right! I stand corrected.

I think Dana Gould read this on his podcast.

Perhaps someone has touched on this, but since we know that Mark Linett has done some work on a stereo "Wild Honey" mix, and the song Wild Honey is on 50BO's, perhaps we will see a new stereo mix of said track. That would be enough to make me shell out the money for the CD's.

Also - I don't hate the cover art, but there are so many cool images of the band out there I don't understand why all of these recent compilations never use them.

From My iPod:

The Gap Band
Garbage
The Garden Party
Garland Jeffreys
Garth McDermott

http://www.time.com/time/magazine/article/0,9171,2120479,00.html

You need to be a subscriber for the full article, but this preview has the Smiley quote.

Pacific Ocean Blue. By leaps and bounds.

Surfin' Safari: Surfin' Safari
Surfin' USA: Surfin' USA
Surfer Girl: In My Room
Little Deuce Coupe: Little Deuce Coupe
Shut Down Volume 2: Warmth of the Sun
All Summer Long: I Get Around
Christmas Album: Little St. Nick
Today!: Dance, Dance, Dance
Summer Days  (And Summer Nights!!): California Girls
Party!: Devoted To You
Pet Sounds: I Just Wasn't Made For These Times
Smile: Surf's Up
Smiley Smile - Heroes & Villains
Wild Honey: Let The Wind Blow
Friends: Busy Doin' Nothin'
20/20: Cabinessence
Sunflower: Cool, Cool Water
Surf's Up: 'Til I Die
CATPST: Marcella
Holland: Sail On, Sailor
15 Big Ones: Back Home
Love You: Honkin' Down The Highway
M.I.U.: Come Go With Me
L.A. (Light Album): Good Timin'
KTSA: School Day
BB85: Getcha Back
Still Cruisin': Wouldn't It Be Nice 
Summer In Paradise: Remember (Walking in the Sand)
Stars & Stripes Vol. 1: Caroline, No
That's Why God Made the Radio: Isn't It Time

Mark Linett explained the Pet Sounds track-bouncing process you're asking about in several interviews and articles in more detail, but check out this thread from the archives of this board: Some of your questions are answered.

And it's funny to see the same issues raised then as have been in this thread. And others. 

http://smileysmile.net/board/index.php/topic,9040.50.html

Thanks a lot. I find the whole topic fascinating, and the closer I listen to some recordings, the more I appreciate the sophistication of the techniques. I've been trying to find a good book about production and sound design, but I can't find one that's really in depth. Do you know of any serious books that dissect all this in detail? What I'd really like is a book that gave a whole history of recording technology beginning with Edison. Something especially comprehensive.
I end up getting disappointed when I buy books that supposed to be on this subject, because their always very vague, and emphasis biography and anecdote more than they do actual technical understanding.

Fishmonk - This is the closest I know to what you're looking for:

http://www.amazon.com/Perfecting-Sound-Forever-History-Recorded/dp/0865479380/ref=sr_1_1?s=books&ie=UTF8&qid=1342324877&sr=1-1&keywords=perfecting+sound+forever

Here's Jeff Tweedy doing it:

http://www.youtube.com/watch?v=m6LmXDEs9do

The version from the Bridge School Benefit is also acoustic.

Okay, that's the second time I saw someone say basically "this year or never." What would stop them from doing it later?

Mayans, of course.

It was Brian. No Prayer tonight, though.

Did you record it?

No, sorry. I like to live in the moment...

It was Brian. No Prayer tonight, though.

Good Timin'! Come Go With Me!

I'll be on the lawn with the wife and kids for this one. A different experience from the Mohegan Sun show, to be sure. But the only way to do it with four-year-old in tow.

I'm thrilled that this is out there, but there are some really clumsy edits in it.

You can save it using any audio capturing software, like Sound Tap.

Busy Doin' Nothin'

With all the original singers taking their original vocal parts (except Brian giving his falsettos to Jeff), why does Brian always sing Mike's lines on Add Some Music, when Mike is standing right there?

For the same reason Dennis sang "Help Me, Rhonda" in the early seventies with Al standing on stage with him.

He did mention it. Right before they played the song.

My first official Beach Boys show. No complaints from me. Think  I'll get lawn seats for the PNC Bank Arts Center.

What is the Beacon's capacity?

Just under 3,000, IIRC.

Beatles Mono Box
Jellyfish - Fanclub
Hitsville U.S.A
Sam Cooke - The Man Who Invented Soul

KTSA

No love for the Rick? Now if they were only a couple thousand dollars cheaper...

Plenty of love for the Rickenbacker - coming from someone whose closest connection so far was a Rickenbacker T-shirt.

Seriously though, they're iconic guitars, I think every guitar player who is a fan of a certain era and a certain sound in rock has wanted one in their collection since learning about them, but in all honesty the company doesn't make it easy to get them and the guitars themselves which I have played various models range from terrific to near-sloppy. Let me explain:

- Since I was first aware of the brand, Rickenbacker as a company can be a pain in the ass. That's brutally honest: On several occasions, I've been to a music store or trade show and received literature advertising some simply beautiful guitars, electric and acoustic. Some of these models were drop-dead gorgeous and had fresh designs...yet when you would either ask the stores or look for more info on actually buying or trying out one of the new models, you'd get nothing. Anyone interested, let me know because somewhere I have literature on some great acoustics by Rickenbacker that were advertised, that I had a poster of them hanging on my wall, yet to my knowledge they were all but impossible to buy.

- I have never seen such a negative reaction from music store employees than I did around maybe 1992 when I had some pennies saved up and wanted to buy a Rick: I'd walk into various stores asking about them and the answers ranged from dismissive to outright hostile. I never bought one.

- Some of the iconic models like the John Lennon 325 look much better than they play. That guitar is one of the most iconic in rock history, what Beatles fan wouldn't want one? So when I saw one in a shop in Boston, I was thrilled! I picked it up, went to strum a few chords, and my fingers could barely fit inside the frets. It is a *small* guitar, of course it is a 3/4 size but I had no idea it was that small until actually trying to play one. It was actually unplayable for my hands, I was disappointed but if that's how the original Lennon model was sized, I'm amazed he could play it.

- Another letdown was walking into yet another shop and seeing a new Fireglo 360/12 hanging there. *This* is the icon, the "Harrison" guitar everyone wants...when I tested it out, the finish on the fretboard was cracking, the frets were rough and not rounded off on the edges, and it just didn't feel right or felt like it needed a radical set-up to be 100%. I was expecting more from such an expensive and famous guitar.

- The positive: A friend/bandmate had a Jetglo 330 6-string that was a phenomenal guitar, a well-crafted instrument that played and sounded great. Everything you'd want from a Rickenbacker, and he ended up trading it off. If all Ricks were like that 330, the reputation is warranted. That was a sweet guitar. All Rick basses I've played and tested have been solid if not fantastic - no complaints there other than I prefer the Fender Jazz Bass style.

Rickenbackers are overpriced (IMO) and they deliberately manipulate the values by making certain models hard to find (seen any Carl Wilson or Susanna Hoffs signature models recently? How about when they were brand new, were they easy to find?). The quality I've seen has varied from incredible to inconsistent.

Yet I still want to own one. No doubt about it. A custom color black/white "tuxedo" finish 360/12 with gold hardware, with that special on-board compressor borrowed from the McGuinn model, just for a blast of 60's nostalgia even if there are better compressors out there. Yep. Even if it takes the company 10 years to fill my order, someday I'll get it.

I played a LOT of Rickenbacxkers before settling on the 330.  Like many people who buy them, my inspiration was The Beatles, but I didn't like the 325's feel or tone (through the inevitable AC30), so I got the model more associated with Townshend. And that has been my main six-string on stage and in the studio for 25 years or so. But The brand itself can be wildly inconsistent and, if not cared for, they are notorious for having truss rod issues, which may explain why so many music store clerks have a wild hair up their ass about them.  Well, that and the fact that they aren't made for Yngwie-styled shreddin'!

How about Love? 13th Floor Elevators? Howlin' Wolf?

Howlin' Wolf is in.