Mark, is this the missing L.A. tape?  Or an even earlier generation tape?  Can you comment on where it was found - in the Beach Boys archive, or at Capitol, or at what used to be Reprise?

Mike Lovestein's comments are exactly what's wrong with the board and what the fuss is all about.  And you're not a wack job spending all your time on a message board?  People in glass houses shouldn't throw stones.  And look at all the avatars people around here use - real images of the posters is kind of the exception, isn't it?  How do you even know that LaurieArleen's avatar is a picture of her?

I've never witnesses John and Jon "ganging up" on anybody - they put up with more sh*t on the board than they should have, in my opinion, before finally banning those who deserved to be banned.

If crap like Lovestein's comments are now acceptable here, I guess I'll give up on the board as well.

This is what Stephen originally posted for Be Here in the Morning:
000-006.... Start of Song, Brian humming

006-021.... Speeded up Brian Lead Vocal

025-033.... Normal Speed Brian Lead Vocal/Brian Doubles Lead/Brian OD, ah-ha/Group ooo's

035-043.... Brian Lead Vocal/Brian Doubles Lead/Brian OD, ah-ha

047-102.... Speeded up Brian Lead Vocal, then Brian and Alan

105 -124.... Brian Lead recorded through Leslie rotating speaker/Brian OD, ah-ha/Group ooo's

127-137.... Organ vamp

138-147.... Dennis, humming

148-201.... Brian Lead Vocal/Brian Doubled Lead Vocal

201-end.... Dennis, humming


This song was recorded on a Scully or Ampex, think it was Scully. Anyway, the capstan shaft rotates and a rubber puck pushes the tape against the spinning capstan and pulls the tape through, past the recording heads, onto the take-up reel. If you roll a layer (or two) of masking tape onto the capstan -- wrapping it around the shaft -- this effectively makes the diameter larger and since the speed remains the same, pulls the tape slower through the machine. Then remove the tape wrap and play the tape. Anything recorded is slightly higher in pitch. So if you can't reach a note -- do the wrap thing and, presto, instant singing range increase! ~swd

Then he amended it to correct the lead vocal as being Alan:

BE HERE IN THE MORNING

000-006.... Start of Song, Brian humming

006-021.... Alan singing very high Lead Vocal

025-033.... Carl Lead Vocal/Brian Doubles Part, ah-ha/Group ooo's/Murry Wilson (father) sings very last low note. A note that mike could not reach.

035-043.... Carl Lead Vocal/Brian Doubles Part, ah-ha

047-102.... Alan singing high Lead Vocal, then Brian and Alan

105 -124.... Brian Lead recorded through Leslie rotating speaker/Brian OD, ah-ha/Group ooo's

127-137.... Organ vamp

138-147.... Dennis, humming

148-201.... Carl Lead Vocal/Brian Doubles Part

201-end.... Dennis, humming

I assumed that just because it was Alan, not Brian, that did not invalidate his previous explanation of how he sped the lead vocal up.

Yeah, move that post to a new topic line, The Short Version of what happened.

People can form online friendships, with instant messaging and daily PM's, that has nothing to do with sex or harassment or anything else.  It sounds like Charles thought that was what was going on.  But the bottom line is when someone tells you they're uncomfortable with something you're doing, you have to stop - and there's no point in defending yourself to that person, because being uncomfortable is subjective.  There's no logic involved.  To continue to make posts referring to being uncomfortable, and attacking the person's credibility regarding the previous incident with the Prof, is inappropriate.  You apologize and you stop, that's all.

That said, it seems this whole incident has been blown way out of proportion.  Internet drama for those who don't have enough drama in their real lives I gather.

I was referring to Stephen speeding up the vocal on that track, as he has related (on this thread somewhere I believe).  Maybe he could have gotten that high on his own but he didn't on that track - the vocal was altered.

Al did the falsetto parts but they were speeded up - that's not his natural falsetto.

If the DCC is too expensive for your tastes, then I'd get the DVD-A transfer made by Mark - it's definitely the best currently available version out there.

Susie Cincinatti is a dedicated mono mix - I have it on the flip of Add Some Music and the sound effects come in and out at different parts of the song.

Friends and Little Bird received mono mixes - the mixing session tapes are on the boot Goodbye Surfing Hello God.

The duophonic versions ROCK!  Back to Duophonic is my motto!

Wasn't the song long for a single in the 60's?  Maybe someone thought lopping off a few seconds of the tag might help shorten the song and make it more suitable for airplay?

The Beach Boys had been playing Riot in concert (at Big Sur it was preserved on tape) so that must have given Mike and/or Jack the idea to rewrite it - it was a rare vocal showcase for him during this time of everyone in the band (except Mike) writing songs and then taking the lead vocal on their songs.

Count me in the "they should have left it as Riot" group - I like the production and the music, but the lyrics are Mike at his most cringeworthy IMO.  Brian hated it - he never bought into the Jack Riely concept of the Beach Boys as a topical political group, although you have to give Jack credit - his ideas worked to bring the band back into the public eye and into the good graces of Rolling Stone.

There was talk of a TV and movie themed Beach Boys rarities release back in the day - with the Annette tracks, other movie tracks, Karen etc. on it - but it never progressed beyond the talking stage. 

A 1971 Sea Cruise?  That's interesting - I thought the version released on Ten Years of Harmony was from 1976/a 15 Big Ones oldie outtake, produced by Brian.  Is this version produced by Dennis or Brian?  Was it a Dennis solo LP outtake, or meant for the Beach Boys (I guess Carl and the Passions?).

I really don't want to get into a pissing match - we can all be civil here, I'm attacking what you're saying, not you - after all, I don't know you.  It just seemed to me that you were presupposing knowledge of acetates and mixes which no other BB "experts" like Alan, Mark, Peter, or Bob Hanes have any knowledge of.  You said "Wind Chimes received similar treatment, it received a mono mixdown by Brian in 1966, which Linett remixed and recombined for the box set."  That makes it sound like Mark remixed and recombined Wind Chimes from a Brian mono mix - if that's not what you meant, as you now say, then I guess I just misunderstood you. 

The Heroes and Villains comp tape you are referring to (that was the source of the H & V Pts. 1 & 2 sessions boot)was not put together by Brian, as had been assumed for a number of years, but by Stephen Desper and Carl Wilson when they were compiling and copying SMile tapes for a proposed 1972 release of the album.  Brian was not participating in this effort in any way - so I don't know if you can read anything into the assembly order of the H & V pieces on that tape.  I guess Carl and Stephen must have decided what order to put the fragments in - whether it was deliberately ordered so as to construct a long Heroes piece for the album, or just to preserve the fragments to be assessed and rearranged later on the eventual album, I don't know.  We should probably ask Stephen, but besides acknowledging that any such comp tape would have been assembled by himself and Carl, not Brian, I don't think he has any specific memory of the contents of the tape.  No one knows what Brian had in mind for Heroes and Villains Part 2, if such a thing existed (meaning the second side of a single).  We know there was a five to six minute version of the song that likely incorporated some of the sections we're talking about, but we don't know which ones or in what order.  One example of where the "sections" mix is certainly wrong:  "prelude to fade" is at the start of the song rather than preceeding the end/fade/tag.  We can argue what Part 2 was or wasn't - but there wasn't a Brian sequenced tape that Mark worked from is all I'm saying.

Cam, what are you proposing was sitting at the plants - a cardboard cover with only the front cover slick on it, nothing on the back?  I doubt the printers would assemble half a cover.

I just don't like to see statements like Linnett followed a 1966 Brian mono mix of Wind Chimes to reconstruct the box set version go unchallenged - when they're wrong and there is no extant 1966 Brian mono mix.  If you have some proof of this, please share or private message me - butr to present your opinion as fact is to mislead those on the board who don't know better.  Same goes for this illusory Brian tape of the H & V "sections" that Mark followed for the box set as well.

"I don't have a copy, but know people who do"

Right.  Post one of those people's Surf's Up Second Movement track while you're at it.

Cam - it sounds like from your analysis that once the separations were done (which could have been done, and probably were, in advance of shipping to be printed) about three weeks were necessary for turnover for the slicks to be printed, shipped, and pasted onto covers.  So Dec. 16th was enough time before the projected release date of Jan 15th, even allowing for the records to be put into the covers and the albums shipped to stores. 

"I know no Brian mono mixdown of Wind Chimes has surfaced, but one exists"

Where? If you have a copy, please send it to Alan Boyd who has been going through the Beach Boys tqpe archive and has yet to find this item.

The same goes for the sections mix.  "Just because it hasn't been leaked doesn't mean that Brian never made one. There's a lot of Smile stuff that no one here has ever heard, including me."  OK, so no one has ever heard this, including Alan Boyd and Mark Linnett, it's not in the tape archive per Alan Boyd, but it still might exist?  I mean, anything you postulate MIGHT exist, but the evidence in this case doesn't support that it exists.

Dr. Unh, I'm not sure where you're getting all this info, but some of it is erroneous.  There is no Brian mono Wind Chimes mixdown that has surfaced.  There is a multitrack assembly of the parts as represented on the Linnett version, done in 1966, but with an internal countdown between sections that Mark edited out.  No 1966 mono mix.  (I'm certain there was a mono mix done by Brian, based on Mike Vosse's Fusion interview description of same - which sounds distinctly different from the box set reconstruction).

I repeat, Brian did not make a tape copy of the box set "sections" mix - not one that has come to light.  The only "part 2" type mix we have is the one on the Sea of Tunes set.  It did not include many of the sections on the box set version.

This H & V acetate sequenced by Brian is news to me - there was no such acetate used by Mark Linnett to sequence the box set "sections" piece.  We can ask Mark on this site for confirmation of this.  My understanding is that they used the Desper H & V compilation tape, which compiled the sections in the same order as was used on the box set, but which had no input from Brian.

There is, on the Sea of Tunes Smile set, a rough mono mix of some of the sections used on the box set, but it's not the same as the box set sections piece.

Barry Turnbull, a cousin of Brian's?  (Peter Reum I think answered this question as to who Barry was) named the album.  don't know the circumstances of how he named it or why, however - perhaps Peter could.

Alan, can you tell us anything about the "Spanish guitar" sounding instrumental piece that has been linked to the Smile era?  Is this tape still in the Beach Boys archive?  Anything on the tape box that would indicate a date or what the piece was intended for?

Peter - what book?

Andrew - first of all, how do we know when the handwritten list was submitted - you seem to be assuming mid December, I'd always assumed early December, but do we have any evidence for a date?

Secondly, how much lead time for producing covers was customary at the time?  Seems like a month is not that excessive if we're talking about Dec 16 and then having the album come out Jan 15.