Thanks for the kind words. I certainly regret those kind of errors. I do appreciate you pointing it out, as I am making a list of mistakes.

Hi Ian,

I'm not sure if this one's been pointed out yet, but if not...

The book mentions that one of the canceled "Maharishi Tour" gigs was a show that was supposed to take place on May 11th of '68 at the *Richfield Coliseum in Cleveland Ohio* (page 105). The Coliseum didn't even open until October of 1974 [ground was broken in Richfield, OH in early '73...about 25 miles from downtown Cleveland], so perhaps the show was actually slated for another venue in '68?


IIRC, this same bit of info also appeared in David Beard's Goldmine article on the tour.

As these are seemingly Capitol jobbies, I imagine they'll be listed/listing on other sites (the ubiquitous Amazon).

Phil, curious re your source info about the Capitol origin (not saying I don't believe the news) - any further info?

Not Phil, but the fact that Acoustic Sounds has the product numbers starting with an "ACAP" prefix might be a decent clue. The Analogue Productions releases on their site have their own unique imprint.

Oops. Made a mistake. Post deleted.

Carry on...

Beyond the possibility of precious unbooted stuff, or even the possibility of outfakery, I think the upgraded sound quality of certain material -- say, something like "Carry Me Home" -- might go a long way in helping to explain/confirm the validity of things.

My thoughts exactly. This version of CMH is the earliest generation I've heard. Very clean, no way it's a needle drop IMO.

Thanks, Jon. That's the answer I was hoping for.

However it came to be, it's definitely another weird, wild and fascinating chapter in this band's history.

I'm thinking a quality needledrop of the old California Feelin' boot is a good enough source for "Carry Me Home" to where it would be hard to differentiate. On certain days mine sounds better than some of the CD reissues of Holland I've heard.

I guess it's all in the ears of the beholder then, because my own personal opinion of any of the circulating releases of "Carry Me Home" is that they're not what I would call master tape quality (assuming that these "new"rough mixes were indeed culled from something resembling actual master tapes or multitracks).

But, that's just me.

No, I mean of course you're right. It's not master tape quality, but I think at some point we have to acknowledge we're able to hear it in something approximating the quality of a needle-drop. I will say I don't think I've ever heard "We Got Love" in its studio form any cleaner than I've heard "Carry Me Home", and that's supposedly been provided to me on direct vinyl transfers numerous times from actual copies of the Holland LP.

Not to mention the complaints that came from "master tape" quality stuff on the MIC set. People were bitching left and right about the added delay and effects on tracks like "You've Lost That Lovin' Feeling", "Sail Plane Song", etc. etc. Were those not "master tape quality"? I'm really not giving you a hard time either Dave because I was likely one of the ones doing the bitching at the time. But I hope you get my point here. I actually feel quite bad for Alan and Mark because I know they do their best and they have to deal with criticism just as soon as the product hits the streets. There is no win here for anyone except financially, and even that's debatable in terms of whether anyone is really making money off of Beach Boys reissues. I can't imagine they're selling lights out in this day and age of Spotify and downloads.

If anything, I view what the Beach Boys, BRI and Alan Boyd and company are doing as a gift to the fans. I would have no way of being privy to their accounting, but really the more I think of it I think we owe them all an extreme amount of gratitude, not just for what they've released, but for how cool they've been with the underground releases, such as Dennis's stuff, pre-POB reissue. They're not dumb, and they're aware of what goes on.

It's becoming apparent to me that we as a fanbase are never going to be satisfied. Take a good look around and you know that that's the case. I don't think it's quite this bad...yet... but I think the day is approaching when we'll see members fighting amongst each other here tooth and nail over one generation upgrades of the Country Love tapes. Joking, but only slightly..

I'm not trying to hold myself up as some kind of exemplar in this situation because god only knows I've been as greedy as anyone, but upon reflection, I really think the well has run dry, and that this is what my dad would have called an exercise in futility. There's too many other artists out there that keep putting out good music to keep trying to suck the last bit of nourishment out of this rapidly drying teat. And I say that as a Weezer fan-- compared to that fanbase, the Beach Boys fans are a world class example of civility and honor. Actually I really like Beach Boys fans for the most part, but that's neither here nor there...

If that second Smile-era movement of "Surf's Up" turns up with vocals, you'll know where to find me.

No prob at all -- I get ya, Jason.

My point was simply that wholesale sonic upgrades of key tracks -- and there are other tracks here as well that I'd be interested in from that angle -- might be one really good indicator that this puppy is indeed the real deal. Even beyond the prospect of unbooted stuff or, heaven forbid, some kind of "outfakery" going on. And while, for example, something like the original vinyl boot of Landlocked might currently still be the best way to hear those original 1969-'70 Desper mixes (and it is, IMHO), I still like the prospect of obviously hearing those tracks right off the original masters. In those cases, I'd assume finished original mixes still exist in the "vault."

It's also interesting that Klay stresses that these sound like unmastered (read: probably flat) transfers. No goosed treble, etc. Even if some of the tracks are simply rough or reference mixes, they have intrinsic value to many with that alone.

Do I think I'll ever get to hear any of this particular curio in my lifetime? Probably not. Then again, who knows? I get the politics, discretion and sensitivity of something like this. BUT, I'm happy that a Beach Boys fan did, and I also always hold out hope that we will indeed see official releases of what remains of this material one day. In fact, if past history is an indicator, I'd say it's more a matter of when than if. I've been a BBs fan for 40 years now, and I know "never" is a word that simply doesn't exist within the context of this group.


PS - Just so I don't sound *too* noble, I'm still totally envious of those who have heard that rough, unedited, unmastered, noodling-to-its full-conclusion, all faders up mix of WIBNTLA. That's bucket list stuff for me.  

.

I'm thinking a quality needledrop of the old California Feelin' boot is a good enough source for "Carry Me Home" to where it would be hard to differentiate. On certain days mine sounds better than some of the CD reissues of Holland I've heard.

I guess it's all in the ears of the beholder then, because my own personal opinion of any of the circulating releases of "Carry Me Home" is that they're not what I would call master tape quality (assuming that these "new"rough mixes were indeed culled from something resembling actual master tapes or multitracks).

But, that's just me.

Beyond the possibility of precious unbooted stuff, or even the possibility of outfakery, I think the upgraded sound quality of certain material -- say, something like "Carry Me Home" -- might go a long way in helping to explain/confirm the validity of things. Even if they were just rough mixes. Any observations on that one (or others along that line)?  Maybe any of the folks who didn't just hear through a telephone?

Of course, I'd also be interested in knowing if the unedited version of WIBNTLA here matches the version on that other in-house CD fairly close? Both in "noodling" length or "all faders up" terms.

And all I ever seem find in my local music haunts these days are 15 used copies of the first Hootie & The Blowfish CD.


That is, nice score. Enjoy.

"It's been such a long day so you better hurry home..."

"Loop de Loop," too, right?  Isn't part of the original recording Al doing a Brian imitation?

These would be obvious studio choices for me as well.

In concert...I think this is a pretty good example of his live falsetto range when he was young.


Papa Oom Mow Mow -- Michigan State 1966:

http://www.youtube.com/watch?v=Aq5QJJ8nuao&index=6&list=PL6qtJ4lUEQ0IxgvbHf3gaEG0fFgMT6YDW

It's been awhile since I've seen it, and I think I have a tape somewhere but it would take me hours or days to find it...so can anyone tell me if the BBs actually appear in any part of the title sequence in the "Girls On The Beach" film? And if so, do they appear to be miming the actual workds to the song?

I have this. The opening credits do eventually dissolve into the band lip-syncing the studio version at the beach club. Right at the lyrical point of "...on a summer day. As the sun dips out of sight...." The track goes on, but eventually fades early into the club members' applause (before the studio version's actual coda). Dennis then does his spoken "Crickets" introduction at the end.

I just cant get past that cheerleader line..  ugggh.  It really turns me off.  So corny.

Carl does have a nice vocal though.

"Not to mention ol' Pet Sounds..." is the one that really makes me wince. Structurally. Contextually. Everything about it...lol.


But, that's just me.

Until I came across this album on my ipod today I literally forgot it ever existed, it was so random  

I gave it a listen and bar a few nice moments, "Colors of the wind", "Baby Mine" and "Kiss the girl", it's borders on awful.

Any thoughts?

Sadly, I have to mostly agree with this. Though, I probably wouldn't go as far as "awful."

I think the above tracks work the best because Brian sounds the best on them (particularly Baby Mine), at least in terms of his modern voice, but the material just seems so at odds with the artist here even though the band gives us those occasional flourishes that are supposed to remind us that the whole affair's being "Brianized."

I just can't wrap myself around him doing stuff like Can You Feel The Love Tonight. For me, it's mostly going through the motions MOR...minus Joe Thomas, and frankly, I'm all "cover version-ed" out these days. I can honestly understand why it was quietly released with so little fanfare. On the other hand, if it resonates with others, I think that's great. Maybe, I'm just not a Disney tune guy?

On a somewhat amusing side note, when the album was first released to iTunes, there was only one review for it (a glowing one)..........and it was from Melinda.

Hmmm.....  

Didn't know they were on Regis; would have loved to have seen that. Hope it shows up on You Tube.

They did Darlin' with Carnie and Matt trading leads. As far as I can remember, that was the only complete performance to make it to actual air, but IIRC, they also did a couple of songs leading in and out of the breaks (don't know how complete they were in terms of what the studio audience actually saw). I think I Can Hear Music was one of them. Al did a short sitdown interview as well where he referenced Carl's passing. The show aired on November 23, 1998.

I taped it, but I have a better chance of hitting the lottery than finding that VHS tape these days. Though, I also upped an audio-only file of Darlin' to a mailing list in that primitive, pre-YouTube era...if perhaps that's still floating around somewhere in cyberspace?


Maybe, someone else taped it...and could possibly up it?

I have it and in the next several weeks, I'll be loading it up to my channel  http://www.youtube.com/channel/UCG0rWE6uhNWHUv0u8B33Peg

That'll be much appreciated...I too have it on VHS...somewhere...and as I recall, they did complete versions of "Darlin'" and "I Can Hear Music", and a partial performance of "Fun, Fun, Fun" was also aired. Al played 12-string electric, Ed Carter played bass on the first two mentioned songs and lead guitar on "FFF" while Daryl covered the bass part on synth for the latter. I'm pretty sure Bobby F. wasn't with them yet, so someone else played drums.

The one other thing I remember is that Carnie and Matt *briefly* flubbed their opening lines of Darlin' (i.e. as in..."who's supposed to sing which line of the duet") but quickly and nicely recovered.

I thought ICHM was only partial...but I guess we'll soon see!

Didn't know they were on Regis; would have loved to have seen that. Hope it shows up on You Tube.

They did Darlin' with Carnie and Matt trading leads. As far as I can remember, that was the only complete performance to make it to actual air, but IIRC, they also did a couple of songs leading in and out of the breaks (don't know how complete they were in terms of what the studio audience actually saw). I think I Can Hear Music was one of them. Al did a short sitdown interview as well where he referenced Carl's passing. The show aired on November 23, 1998.

I taped it, but I have a better chance of hitting the lottery than finding that VHS tape these days. Though, I also upped an audio-only file of Darlin' to a mailing list in that primitive, pre-YouTube era...if perhaps that's still floating around somewhere in cyberspace?


Maybe, someone else taped it...and could possibly up it?

[Made In California]

OK, this is probably gonna make me look like an idiot, but is everybody sure that the "rehearsal" version of "The Letter" from Made In California isn't the same thing as the Rarities version? Or at the least, not really a rehearsal?

I'll echo the others -- it's a different performance entirely from the studio version. Beyond that, we also know that a real, bona fide 8/25 concert rehearsal tape actually exists, if only for the stuff from it that's already been commercially released.

While were on the subject on the Hawaii shows/Heider tapes, I wanted to address something I saw while searching the board archives...

Someone mentioned in a previous thread that the version of The Letter on Rarities *wasn't* the version from the Sept 11, '67 Heider tapes, rather, implying it was solely from the Oct. 25th session that was held at Brian's house. That is, the session where Game Of Love was also tackled:

Last post in thread:
http://smileysmile.net/board/index.php?topic=1802.15;wap2


While I don't dispute that some further work was done to the track at that latter "house" session (e.g. the bass guitar sounds replaced; new drum work, etc.), listening to three different source tapes of the 9/11 Heider sessions shows that the Rarities version is indeed derived from the bulk of that earlier session. Same lead vocals by Brian and Mike. What sounds like most, if not all of the same harmonies. Same guitar and organ parts (e.g. organ on first verse, absent on second, returning on chorus -- including the exact same off-the-cuff glissando right before the final "anyway-yay-yay-yays."). And the early fade -- before the track falls apart completely -- right where it should be. Only a tiny bit of speed variation and analog drift as well. The Heider session bootleg mix is also stereo (with different balances between the individual tracks), while the released Rarities version is obviously mono...compressed, limited and echoed up the holy wazoo. Perhaps this is where some of the confusion lies?

Also, for example, while BE originally wrote in the Rarities album liner notes that The Letter was recorded at "Brian Wilson's Home," he also referred to a WH track there as being recorded at Wally Heider's *Home*. When he revised his notes for the 'net, he changed it to the correct 9/11/67 Heider date, while also correcting the aforementioned term to Heider's Studio:

Original:
http://albumlinernotes.com/Beach_Boys_Rarities.html

Revised:
http://www.bradelliott.com/writings/rarities/tracks.html


Thus, in conclusion, unless that version on the Heider tapes isn't really from the initial 9/11 Heider session at all, or unless there's some other info out there that I'm not aware of [and please, feel free to correct me if there is], they are basically one in the same. At least for the majority of the track.

What, if anything, am I overlooking?

Thanks!

Heroes and Villains, bonus track on the live album twofer.

Also:

The Letter (Studio Remake) - Rarities & Covered By The Beach Boys.

[There is no difference between the two discs as to where the music actually ends]

Disc #3 is so perfect now.  Much better for making comps.  Someone was saying that all their copies of Surf's Up end at 4:10 - This one now ends at 4:11 on my player.

Stated time is 4:12, but the sound ends at 4:10. The disc with the error had a stated time of 4:10 and sound ended at 4:10. There is no difference between the two discs as to where the music actually ends. Some tried to say here earlier that the 2 second error cut off the music, but it did not.

Yes, but you're forgetting that within that same timing for both versions (actually 4:11 on either the readout *or* both resulting ripped WAV files), the original, defective pressing had two seconds of silence at the beginning of the track that was also part of that time (actually the end of the previous track). And, most importantly, as a further result, two seconds that got lopped off the end of the final track (i.e. SU). 

Here, with everything indexed correctly on the "good" version, and the beginning starting as it should, that track does go on two seconds later at the end of the fixed version...fading into a more natural and complete silence. That is, the track doesn't quite end at the same place.

You can either look at the waveform, or sync the tracks up at any given point of the song. The "bad" version is always two seconds behind the "good" version in terms of their respective times at identical points. With the ultimate penalty at the end.

Understood, but my point is that the 2 seconds was silence and did not affect the music as some have stated previously.

Not true. A/B them. Listen loudly with headphones if you need to. The new disc has a very, very slight bit more to the fade. It's totally negligible, but i feel the need to point it out for the sake of accuracy.

Here's a zoomed visual of the "good" waveform. That full two seconds at the end does seem to be bona-fide silence, but then again, I'm not sure if what is there musically might not just be so low in level that it doesn't really show up above the waveform's noise floor in a visual (i.e. the "fade"). Though, there might be more sophistcated ways to look at this for those who want to take the time to do it. It sure does just look like two seconds of silence though. (i.e. the length of the actual indexing error). This is zoomed in quite a bit.

http://www.lukpac.org/~dave/goodvisual.jpg

Unfortunately, using just listening, my nearly 50-year-old ears have sustained too much damage over the years to be able to hear much of anything in terms low-level stuff.....no matter how much I crank it up. Mostly just ringing and hissing from tinnitus. So, others will have to "duke" it out as to whether or not any actual music material was clipped off.

I don't see this posted here but stumbled upon some info that a number of Beach Boys' albums (or at least Pet Sounds) is getting the SACD treatment.  There's a blurb about it at Musictap (http://www.musictap.net/2013/12/08/talias-overflow-notes-12092013/).  Also you can order Pet Sounds here: http://www.musicdirect.com/p-45343-the-beach-boys-pet-sounds-numbered-limited-edition-hybrid-sacd.aspx

According to the MusicTap blurb, it sounds as if a number of the Boys' albums up through at least Holland will get this audiophile treatment but this may be an inaccurate report.  

Hi Awesomeman,

There's already a thread for this announcement. Basically, the word is that Kevin Gray is mastering those noted titles on SACD and vinyl for Analogue Productions. There was already a print ad for them but with no formal release date yet.

http://smileysmile.net/board/index.php?topic=16766.0

Also, that SACD of PS pictured is the Mobile Fidelity version that's been out for a couple of years already. Different than the above announced set.

[There is no difference between the two discs as to where the music actually ends]

Disc #3 is so perfect now.  Much better for making comps.  Someone was saying that all their copies of Surf's Up end at 4:10 - This one now ends at 4:11 on my player.

Stated time is 4:12, but the sound ends at 4:10. The disc with the error had a stated time of 4:10 and sound ended at 4:10. There is no difference between the two discs as to where the music actually ends. Some tried to say here earlier that the 2 second error cut off the music, but it did not.

Yes, but you're forgetting that within that same timing for both versions (actually 4:11 on either the readout *or* both resulting ripped WAV files), the original, defective pressing had two seconds of silence at the beginning of the track that was also part of that time (actually the end of the previous track). And, most importantly, as a further result, two seconds that got lopped off the end of the final track (i.e. SU). 

Here, with everything indexed correctly on the "good" version, and the beginning starting as it should, that track does go on two seconds later at the end of the fixed version...fading into a more natural and complete silence. That is, the track doesn't quite end at the same place.

You can either look at the waveform, or sync the tracks up at any given point of the song. The "bad" version is always two seconds behind the "good" version in terms of their respective times at identical points. With the ultimate penalty at the end.

Understood, but my point is that the 2 seconds was silence and did not affect the music as some have stated previously.

Duly noted. And already edited. My apologies.

Edit: I misread post. Carry on. 

My replacement came in the mail today; it looks exactly like the one which came in the set!  
How will I tell them apart without listening?

What day did you originally call, Bgas? Mine still hasn't arrived as of today, and I'd be interested in what their rough time frame of shipment is.

I'm guessing it was last Wednesday, after I saw the post with the toll-free number. Seems I remember them saying something about not shipping until Friday on account of the holiday. And I didn't really expect them to get to it that quickly either. But it's here now!

Thanks!

If mine doesn't arrive by tomorrow, I'll probably just call them again to make sure that it was indeed shipped out.

My disc arrived today. Life is good.

Also, just as an FYI, I talked with someone in Uni's customer service yesterday (actually one of the people doing the disc-sending), and he noted that it's simply a couple of folks taking down names and addresses, and then sending them out as fast as they can (with, according to him, no computer records). Thus, I'd reckon that most folks should start seeing them soon if they haven't already. They were also closed for the holiday until this past Monday.

But...if you do slip through the cracks after some time has elapsed. Don't hesitate to call back (as he duly suggested).

My replacement came in the mail today; it looks exactly like the one which came in the set! 
How will I tell them apart without listening?

What day did you originally call, Bgas? Mine still hasn't arrived as of today, and I'd be interested in what their rough time frame of shipment is.

I'm guessing it was last Wednesday, after I saw the post with the toll-free number. Seems I remember them saying something about not shipping until Friday on account of the holiday. And I didn't really expect them to get to it that quickly either. But it's here now!

Thanks!

If mine doesn't arrive by tomorrow, I'll probably just call them again to make sure that it was indeed shipped out.

My replacement came in the mail today; it looks exactly like the one which came in the set! 
How will I tell them apart without listening?

What day did you originally call, Bgas? Mine still hasn't arrived as of today, and I'd be interested in what their rough time frame of shipment is.