I enjoy both mixes very much but I find the mono mix is so much more powerful both dynamically and emotionally.

The mono mix is Brian's Mona Lisa.
The stereo mix is Mona Lisa in 3D.

The Real Beach Boy said he thought he didn't think Jeff liked the stuff after Pet Sounds and before Holland which is why Td presented the above list of material from said era that Brian and band have done live.

I wonder if Brian has ever wanted to do stuff from "Love You" live? He has said that it's his favorite BB album several times and it seems like the band could strike up killer arrangements for it.

Imagine if THIS was the first single from 15 Big Ones...we might not have had to suffer Rock and Roll Music as an encore since 1976. I wouldn't mind seeing Brian dust this one off in concert. Doubtful as long as Foskett is around, but hey. We can dream.

Sorry if this has been covered here before, but why would Foskett prevent this one from being played live?

"Relax The Back"...

Maybe Mike Love could buy it and re-name it "Getcha Back".

Sounds like it must have been a similar set to last year's November concerts.

WHERE IS CAPTAIN BEEFHEART!?

He's a star??

Maybe they'll use "Let's Go Away For A While" to sell diapers?

Almost sounds like Jeff Foskett singing there.

Really looking forward to your sophomore effort, especially after such an auspicious debut!

I take it this is also a portion of said documentary?

http://www.youtube.com/watch?v=e_3ZlgzFqz8

As I mentioned earlier, this thread inspired me to give it a real good listen and the only voices I hear on this track (barring the background cheers) belong to Alan and Brian. Alan is really good at overdubbing and harmonizing with himself (as he did for most of "Come Go With Me"). Brian sounds like he's really getting into the song on this one; a rare moment of joy in one of his unhappiest years.

My wish is that they do one concert and publish it on DVD. A good title would be:  "The Beach Boys: Do It Again"

...or "Still Cruisin' Part 2!"

Does anyone else think he sounds a lot like Boz Scaggs?

Once again, it's Brian - there's an adenoidal quality that Dennis never had. Compare his vocal for "My Diane", recorded at roughtly the same time.

Yup, no doubt about it.

That's not Dennis singing "... for the girls in the stands and all of our fans" ? Sure as hell sounds more like him than Brian. However, their voices were rather similar at the time. Just my ears playing tricks on me, I guess. It sounds like a line Dennis would sing.

Dennis does have a co-writing credit on the tune... but so does the rest of the group.

EDIT:
Listening to it now, the only voices I can place at the forefront are multi-tracked Alan and Brian.

Next somebody will point out that Pet Sounds Live in London isn't culled from just one show...

You mean Brian didn't have multiple costume changes while he performed Pet Sounds live in London?

Interesting point. I also noticed this. Oddly enough, I actually used to get "Here Today" and "That's Not Me" confused with each other and tended to think that "Here Today" was the Pet Sounds track that the Beach Boys played on. The 'surf' sounds and the straightforward vibe of the guitars probably helped with this confusion.

But see, the thing is... I didn't say it was for sure a mandolin. I said it could be the same instrument that starts the track out (which I assume is a guitar). Something is DEFINITELY doubling the notes that the accordions are playing during the part of WIBN where the music ritards ("you know it seems the more we talk about it..."). There's a plucking sound that is impossible to achieve on accordion because it is not a stringed instrument. The more I listen, the more I think it's probably a guitar being played in a flamenco/Spanish guitar style (except with a pick).

Brian used a similar effect recently with acoustic guitars on Lucky Old Sun's "Mexican Girl" (approximately a minute and 46 seconds into the track).

It's in the same channel as the accordions. There's definitely a fast plucking that is typical of a mandolin. Almost like a flamenco guitar. Whatever it is might be playing the same notes as the accordions. It blends really well which is probably what Brian was going for.

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I am sure I detect some sort of mandolin-type string instrument during the part of the song that Sam also mentioned (in addition to accordions).
Perhaps it's a bouzouki?

It's easier to pick it out in the stereo mix. Sounds like it might just be the same instrument (guitar?) that opens up the track.

Thanks for chiming in, Carrie. Good to see you here.

I don't see it as being dishonest; it was a creative decision.  .

So, if I made a 'creative decision' in the next update of the ComGuide (if there is one) to credit all the Wilson/Love songs to just Love, that's acceptable in your view ?

You know me, you know my thing is to see history of The Beach Boys is documented as accurately as possible. That's why I've railed against Mike's mostly unfair credits as awarded in the 1994 lawsuit, just as, when someone slams Mike for the 'nuclear bomb' diss of "H&V" in 1967, I point out that it was Brian's idea and he was directing the cuz.

However, if accuracy, honesty and the correction of errors no longer has a place in the history of The Beach Boys, then fine. Just so long as I know.

I can definitely see where you are coming from, Andrew. However, I find the analogy you used just a bit to the extreme. Again, I say that with all due respect for all the work you have done regarding the Beach Boys history of past and present.

I'll shut up now.   

I don't think the 'creative' editing in the doc really bothers me.

Suppose a BB documentary was edited to imply that Mike Love was largely responsible for "Good Vibrations": would that bother you ?

Leaf was revising history for no better reason than cheap dramatic impact. I thought better of him than that... although, I freely grant, compared with the disproportionate amount of screen time afforded the vile smugness that was Loren Darro, it was no big thing

I think it was more convenient for the film's sake. It would be silly to show the footage of Paul chronologically. It would kill the impact of the climax (Brian and the band completing "Good Vibrations"). Imagine going from that to 3 days later backstage with Paul McCartney. Not the best edit in the world.

So... honesty has no place then ? And you condone that ?

With all due respect, that's just putting words in my mouth Andrew. I simply meant that David probably wanted the film to end with the standing ovation and, editorially speaking, it was much easier to put the footage of Paul before that. Lots of documentary film makers create little "cheats" to further develop the story they want to tell. I don't see it as being dishonest; it was a creative decision. 

You and a whole lot of other people know that Paul and Sir George were there on the 4th night. A little tidbit like that should ruin the entire film for you.

I don't think the 'creative' editing in the doc really bothers me.

Suppose a BB documentary was edited to imply that Mike Love was largely responsible for "Good Vibrations": would that bother you ?

Leaf was revising history for no better reason than cheap dramatic impact. I thought better of him than that... although, I freely grant, compared with the disproportionate amount of screen time afforded the vile smugness that was Loren Darro, it was no big thing

I think it was more convenient for the film's sake. It would be silly to show the footage of Paul chronologically. It would kill the impact of the climax (Brian and the band completing "Good Vibrations"). Imagine going from that to 3 days later backstage with Paul McCartney. Not the best edit in the world.