Yeah, good point on those Christmas Album tracks - haven't listened to those in awhile! Oh well...

hi C-Man, do you have any idea of when did Al started using 12 string electric guitars?

I think the August '67 Lei'd In Hawaii concerts are the first documented case of Al playing an electric 12-string (the red Baldwin). After that, he can be seen playing the Epiphone 12 in live shots from '68 and '69.

ohh cool, thanks!

For a thread ostensibly about a 1970-71 box set, there's an awful lot of discussion of 1976-1980 tracks (which I have also contributed to).

yeah, I think that it started with the discussion of the remake track of My Solution

Yeah, good point on those Christmas Album tracks - haven't listened to those in awhile! Oh well...

hi C-Man, do you have any idea of when did Al started using 12 string electric guitars?

For now though, what do you people think about this:

https://vocaroo.com/dDu4qv2nSPK

The performance isn't great, but what about the overall sound?  If you think I'm on to something I'll take it further and explain what I've done...

Wow!! For a split second at the start I thought the real thing was playing!

same!!! Hahaahha

https://youtu.be/YrOjCMPTdzY


This is the first episode of You're Grass and I'm a Power Mower.  20 plus years in the making.  I'd love to hear your thoughts about this.  We certainly have had some spirited chats about this topic in the past!

The episode tries to answer the question of what instrument played the WIBN intro, and perhaps more interestingly, why it sounds that way.

Thank you for all your efforts!!!! Cool video!

His voice started changing around 1969. Listen to When a Man Needs a Woman, recorded 1968, then Good Time, recorded 1969. The difference is extremely small, but you can here it.
You can really here the difference between 1970 and 1971. Listen to the first 4 lines of Take a Load Off Your Feet, recorded 1970, then to his part in Spring’s Sweet Mountain. His voice had deepened a lot.
Obviously, everyone knows the big change came between 1973-75, but after 1977, his voice began to fluctuate again.
On Match Point of Our Love, his voice sounds ok, but on Lazy Lizzie, his voice is back to all raspy. And his voice continued fluctuating until about 1982, where he settled in to his 80s voice.
He retained this voice until around 1995, where it began deepening again. Listen to the 1988 version of Love and Mercy, than the 1995 version.
His voice settled to what we know now around 1997-1998

After being liberated from Landy circa 1992, Brian started smoking cigarettes again. Not sure exactly how heavily or for how long but there's a video interview of him circa 1994 where he's smoking.  IIRC, he lated mentioned Melinda making him quit after they got married which was 1995, I think.   The smoking habit during that period likely affected his voice.  I remember when the Orange Crate Art and IJWMFTT soundrack albums came out, fans were pretty shocked at how much his voice had changed from 1988-89.

yeah, he can be seen smoking in an interview made to Mike and him (separately) after a Dancing the Night Away/Baywatch Nights session

I thought it was established he had laryngitis around this time?

I believe that is what Brian claims in his autobiography a few years back, but you don't have laryngitis for years ...

It took me months and I’m not a coke user.  He kept getting it, too, because he didn’t take care of himself which made each bout worse.

I'm starting to wonder whether or not it was indeed a major contributing factor in the loss of much of his higher range. At first I kind of shrugged it off as a "typical Brian" answer, but now I'm not so sure.

His voice started changing around 1969. Listen to When a Man Needs a Woman, recorded 1968, then Good Time, recorded 1969. The difference is extremely small, but you can here it.
You can really here the difference between 1970 and 1971. Listen to the first 4 lines of Take a Load Off Your Feet, recorded 1970, then to his part in Spring’s Sweet Mountain. His voice had deepened a lot.
Obviously, everyone knows the big change came between 1973-75, but after 1977, his voice began to fluctuate again.
On Match Point of Our Love, his voice sounds ok, but on Lazy Lizzie, his voice is back to all raspy. And his voice continued fluctuating until about 1982, where he settled in to his 80s voice.
He retained this voice until around 1995, where it began deepening again. Listen to the 1988 version of Love and Mercy, than the 1995 version.
His voice settled to what we know now around 1997-1998

His voice still sounded a little squeaky in 1995, the original version of You're Still A Mystery can be taken as a proof of the way he used to sound in the mid-90's

Keep in mind that “Made in California” was not viewed by the band/label as mainly an “archival” deep-dive set for hardcore fans. It was a coffee-table book/holiday gift sort of CD boxed set for the masses. So they may have had different feelings/thoughts about what would go on a set like that versus what gets dumped onto a “Copyright Extension” set which, in some cases, will only be released digitally.

There is also the simple passage of time that can sometimes lead to band members eventually being convinced to release stuff. Think about the stuff that *didn’t* make it onto the ’93 GV set only to later appear on “Endless Harmony Soundtrack”, and then think about the stuff that didn’t make it onto the EH Soundtrack that appeared later on, and so on.

While I can’t imagine them NOT eventually releasing “Carry Me Home” somewhere, wasn’t that composition technically already published years ago when some band covered it an album of BB/Brian covers? If so, it may be that they wouldn’t *have to* still release that one.

Same thing for “Stevie” and “My Solution”; I think they can be convinced to put those on more obscure archival releases. Frankly, I find the 1980 version of “My Solution” more enjoyable than the 1970 version; certainly more listenable.

There are some archival bits that are unlikely to see official release, but that would be stuff that’s either only available in mediocre or poor sound quality (e.g. the “Hamburger/Cocaine” tape), material that is very challenging to listen to outside of hardcore fandom/scholarship (again the Hamburger tape, etc.), material that is not musically that interesting and is just a bit too “rough” content-wise (e.g. the “Drip Drop” tape), and in a few rare cases items that, whether you agree with it or not, would probably incite backlash/controversy due to the subject matter (I’m thinking of “Lazy Lizzie” most obviously).

Lazy Lizzie?
In a world with Hey Little Tomboy and Roller Skating Child, Lazy Lizzie isn’t that bad.
The reason Carry Me Home wasn’t released was because of Dennis’s Lyrics hit a little too close to home for some members, my guess is Brian

yeah, i remember reading that about Carry Me Home not being released

TFF now has the full schedule up on their website. It will be shown 4 times over 4 days in 3 different theaters.

https://www.tribecafilm.com/films/brian-wilson-long-promised-road-2020

Nice!

I thought it was established he had laryngitis around this time?

I believe that is what Brian claims in his autobiography a few years back, but you don't have laryngitis for years ...

yeah, the laryngitis was something he had during the 15 Big Ones recording sessions, maybe the drugs, forcing his voice during his laryingitis days and cigarrettes gave him that kind of temporary raspiness

So I just thought of something. When the Made in California set was being made, the BBs refused to put 5 tracks on it. My Solution, Stevie, Carry Me Home,  Walking, and Thank Him.
2 of these tracks, Walking and Thank Him, have since been released on the 2013 and 2018 copyright extension sets.
But could the BBs some how stop the remaining 3 tracks from being released officially? I know these songs are super easy to find, but if the BBs truly don’t want them officially released, could they do anything to stop from losing the copyrights?
I’m especially wondering about My Solution, which was recorded on Oct 31, 1970. So the song has to be released by Dec 31, 2020 or the BBs lose the copyrights, and any other label can release the songs.
Same with Carry Me Home, which was recorded in 1972. So they have to release it before Dec 31, 2022.
So, will these songs be on this set, or, in the case of CMH, a 2022 Holland sessions set? Even though it’s clear the BBs do not want these available

yeah, i think that they're going to release My Solution this year, Capitol's main priority is releasing archival BB's stuff due to the 2012 european law 

He sounded like Dennis. 

nah, Denny's voice sounded way more worse during his last years (1981-83) and Brian's raspiness during this interview was something temporary, maybe he had a crazy party last night and he lost his voice for a day or two, but yeah, his voice in this interview was similar to his Brother's voice

[Mike Love’s ‘Luxurious’ California Home on Sale for $8.65 Million]

Mike Love’s ‘Luxurious’ California Home on Sale for $8.65 Million 

The Beach Boys' Mike Love has put his sprawling Southern California property up for sale. Asking price for the three-story, 17,515 square foot home is $8.65 million.

Described in its official listing as a “state of the art, luxurious, one-of-a-kind” home, the compound boasts a long list of impressive features.

Custom wrought iron front doors open to an expansive grand foyer, featuring dual staircases. An adjacent living room boasts a fireplace and formal bar, while the oversized chef's kitchen includes a butler's pantry, breakfast nook and professional grade appliances. The nearby family room features chandelier lighting, another fireplace and large saltwater aquariums.


Read More: https://ultimateclassicrock.com/mike-love-house-for-sale/?fbclid=IwAR0zerQw9P7URoNEH0an2W-b6M525jSZwI-rCAMbT8BkZGLfIiRFUbEGgII

nice property

I created a little song intended for an electric piano-semi-ballad I have on mind

Cool! I'm looking forward to listen to the good things coming from this cool project, good luck!

FINALLY, some news!

Get excited everyone!

https://www.rollingstone.com/music/music-news/2020-tribeca-film-festival-brian-wilson-ronnie-wood-961222/

Cool!!!

https://www.youtube.com/watch?v=pwCE-hjJFe4



Always thought this was one of Brian's best compositions. Hope you enjoy!

amazing arrangement!!!

Yes like Beetlejuice if you get my name right I will appear.......... or not

Glad everyone liked the interview

Sad to report that the GV tape thing was as I  expected, a hoax  ......... I've spoken to the engineer in question and he never worked at CBS in Hollywood and has no idea  who the mystery person is who posted during the interview , or why the troll would claim that he had the tape......

Would have been nice if it had been true however.

Mark

i knew that the guy was bluffing/faking the whole situation, i liked the interview and the mix of the tracks presented on the interview, good job Mark!

In case anyone won't watch Mark Linett's interview video as referenced in the relevant thread, he says that a "large project" is tentatively scheduled for "the fall."

Nice time for a release

yeah, maybe they're going to release it 'til early December

I have no way of knowing whether there is ANY truth in this statement, or whether the guy was just being a troll and trying to get everybody's hopes up in vain for his own lolz... but did anyone here watch the Mark/Warren Huart interview at Sunset with the live chat enabled at the side? It came on by default in my browser and most of it was the fairly forgettable stuff you get in live comment feeds... but, towards the end, after Mark mentioned during the interview that the final eight-track multitrack master tape for Good Vibrations was missing, this guy calling himself 'MegaBirdman2' made two comments at around 3hrs 55mins into the stream (pics of both attached to the end of this post).

I have no idea who he's talking about (I'm based in the UK), but a quick Google revealed that there is an West Coast-based engineer called Robert Honablue, quite old now, who worked at CBS at some point and ran his own studio until recently.

Like I say, this might just be an on-line guy yanking everyone's chain on the IK live chat because, well... it's a live chat, he has a pseudonym and he *can*... but is it worth checking this GV multitrack info out any further?

Caveat emptor: the same guy, 'MegaBirdman2' seemed a bit cheesed off earlier in the live chat thread, as he felt the live giveaways IK were doing during the streamed interviews weren't very fair and he was (unfairly, it seemed to me) annoyed that he hadn't won anything. So I think he might have just been trying to stir things up a bit. If that was his aim, it didn't work, since as far as I could see no-one responded to his Good Vibrations comments at all! Which is why I've posted this... I thought everyone here would be discussing it by now, but it seems it passed unnoticed thus far. I thought 'ah, he's probably just a troll... I'll forget it too'. But then the thought grabbed me: what if it WAS true and the GV multi HAD actually survived by being taken from CBS before all the tapes there were junked? I wouldn't want that info to be missed if there's the slightest possibility it's true...?

*I'm* on the level, by the way. I'm an audio tech journalist based in the UK. I post under my real name, and have been doing so here for years. I interviewed Mark myself and wrote the piece in the UK recording magazine Sound On Sound in 2004 on the recording of BWPS, and also conducted a Sound On Sound video interview with Mark last year in his own studio about... well, all sorts of stuff, but mainly the back catalogue copyright retention reissues. I would love the GV multitrack to be found (wouldn't we all?).

Sadly, I can't necessarily say the same for 'MegaBirdman2'. I've no idea who he is and he might just be trying to get a rise out of people. But surely, what he says might be worth looking into?

MattB

Oh wow, they'll need to check if the info provided by this guy is real, he might be bluffing but yeah, who knows (btw, i loved the Sound on Sound interview of Mark in 2019, you need to interview him when this Feel Flows box set-thing releases)

Mark does the Lords work

Hope he knows how much the beach boys community appreciates home

Oh yeah, i have the same feeling towards Mark, you are the real MVP (well, you and Alan Boyd)

Thank you!!! 

You're welcome, i love to support fellow musicians and more if they love The Beach Boys!

Thanks!!

This just reminds me that we actually don't have that many Dennis backing tracks, do we? "San Miguel" sounds great, I never realized that with the vocals.



RE: Cottonfields

IIRC the players on the session are the Boys themselves plus Red Rhodes on Pedal Steel.

Yes!  And Carter on Bass, Dragon on Keys, and their road horns at the time, Edwwards, Koyen, Peterson, and Small.

Cool, do you have any clue of the musicians involved in the San Miguel sessions?

Yes - the basic track at Sunset was laid down with Dennis on piano, Carl and James Burton on guitars, Lyle Ritz on bass, Hal on drums, Daryl on marimba. Then horns and strings were added at two back-to-back sessions at Valentine nine days later. A couple of days after that, it was back to Sunset for a percussion overdub by Dennis and Hal (castanets & tympani?). Finally, Dennis and Carl added another unknown overdub at Sunset a few days after that (maybe the kazoo solo?).

Fascinating, thanks for the info.

Is that really a kazoo solo? During the bridge you are referring to?
No joke, I always thought that was a fuzzed-out electric guitar.

I think that they recorded a guitar solo and they later overdubbed a kazoo with fuzz in order to double that solo

Thanks!!

This just reminds me that we actually don't have that many Dennis backing tracks, do we? "San Miguel" sounds great, I never realized that with the vocals.



RE: Cottonfields

IIRC the players on the session are the Boys themselves plus Red Rhodes on Pedal Steel.

Yes!  And Carter on Bass, Dragon on Keys, and their road horns at the time, Edwwards, Koyen, Peterson, and Small.

Cool, do you have any clue of the musicians involved in the San Miguel sessions?

Yes - the basic track at Sunset was laid down with Dennis on piano, Carl and James Burton on guitars, Lyle Ritz on bass, Hal on drums, Daryl on marimba. Then horns and strings were added at two back-to-back sessions at Valentine nine days later. A couple of days after that, it was back to Sunset for a percussion overdub by Dennis and Hal (castanets & tympani?). Finally, Dennis and Carl added another unknown overdub at Sunset a few days after that (maybe the kazoo solo?).

Cool! Thanks Mr. Slowinski

In case anyone won't watch Mark Linett's interview video as referenced in the relevant thread, he says that a "large project" is tentatively scheduled for "the fall."

Yes. And he plays new mixes of San Miguel, and the back track for the single version of Cotton Fields.
As Brian would say, it was “outta sight.”
If you are going to watch it, and you just want to here the music:
San Miguel: 3:02:49
Cotton Fields: 3:34:37
The hopeful fall release: 3:38:55

Yeah, the backing tracks of that tunes are so amazing!