[Merry Christmas from The Beach Boys]

Shared this on some of the other boards so I thought it'd be appropriate share here... just made some new art for my 1977 Christmas Album playlist. I tinker with it every year but decided to really try and go for something new this time with the art. Its a mash-up between MIU cover design and the 1977 Bowie/Crosby picture sleeve art for maximum period authenticity. Versions with and without hats... I couldn't decide. ¯\_(ツ)_/¯

Merry Christmas from The Beach Boys - The 1977 Christmas Album

Side 1:

Christmas Time Is Here Again
Alone On Christmas Day
Bells Of Christmas
Child Of Winter
Winter Symphony

Side 2:

I Saw Mommy Kissing Santa Claus
Kona Christmas
Rockin' Around The Christmas Tree
Santa's On His Way
Christmas Medley
Morning Christmas

Time: 29 Minutes

(This is honestly the only listenable configuration of this proposed album to me. Had to leave off Go And Get That Girl, Michael Row The Boat Ashore, Seasons In The Sun, and Santa's Got An Airplane for not being "Christmas-y" enough.)

I want to like this release so badly, and was very excited when the news dropped. Really enjoyed the new Good Vibrations mix, despite the whole "s-gate" thing. I'm not at all opposed to remixes - and I'm so glad that Mark Linett and Alan Boyd have the opportunity to do them, but I just don't understand why they keep using stuff like unnatural sounding digital reverb or extreme EQ choices like ungodly levels of treble. Is it so hard to just stick with the stuff that's printed on the tape, without too much pro tools ****ery?

I realize that everyone is trying their best, and doing all they can to get us new beach boys material. I'm not a purist, and I don't think its fair to dismiss people's concerns as not being open to "new" mixes. But there are a couple things that keep coming up that I wish Mark, Alan, Howie et. al would listen to - mainly:

1) The treble and bass is really juiced, and make some of the tracks sound harsh to the point of being painful for some people. Its weird because it doesn't seem equally applied to all the tracks. For instance, the new remix of "Good Vibrations" or "Worms" isn't that harsh, but the remix of "Marcella" is. There was a lot of variance of this on the "Feel Flows" set as well. This isn't a new trend and holds true for some random material on the Made In California box - for instance the remix of "Do It Again" is a little bright, but its not going to make your ears bleed. However a lot of the 70s remixes on that set like "It's Over Now", "It's OK", and "Why" have so much top end on them it’s almost like a supersonic dog whistle. I want to be able to enjoy listening to that outtake of "Why" so badly, but it literally hurts my ears due to the top end being so unbalanced. It seems like it would be pretty easy to stop doing this, I don't see what its really adding to the listening experience.

2) Cool it on the digital reverb, and extraneous modern pro tools plugins that "enhance" the sound. I know some people can ignore it, but for others - it so obviously sounds like its not part of the original recording and it sticks out like a sore thumb, taking you out of the listening experience. The recent "Good Vibrations" remix sounds kinda okay to me in this department. "Shut Down" sounds like its been lathered in something totally unnatural, as do whatever crazy echo they coated the drums with in "Marcella" and "Let Us Go On This Way". If this is a indication as to how we're going to get outtakes from the “Brian’s Back” period in the future I think I’m going to go off to a corner and cry.  I liked a lot of the remixes on "Feel Flows" (again not being a purist) - "San Miguel" and "Celebrate The News" for instance always sounded muddy as hell, and it was a fun alternative to hear more separation and detail, even if the EQ is incredibly harsh. Same goes for the remixes of "Games Two Can Play" and "Good Time". As to "Baby Blue" on this set, does nobody notice how the tape hiss that mysteriously reappears and disappears every time Carl’s vocal punches in? I generally don’t mind hearing tape hiss, but when it’s appearance is obviously highlighting the artificial edits on a mix it’s pretty distracting.

I realize you can't please everyone, and you can't make a mix that will make every Beach Boys fan happy. But I see these same types of complaints coming up a lot, and I don't think they would get a lot of counter feedback if they just suddenly stopped doing these things. I didn't read a lot of people complaining about the "Wake The World"/"I Can Hear Music" or "Sunshine Tomorrow" sets. I didn't hear much of "oh man - this sounds so dull I really wish there was WAY more treble on these tracks!" Or - "I really wish the bass on 'Bluebirds Over The Mountain' was rattling my trunk and scaring my cats" Or "why the hell didn't you make 'Do It Again' sound like it was recorded in a CGI cavern?" I don't know, these things don't sound that unreasonable to me. I'm not a luddite or seeking some undefinable sonic audiophile perfection. I just want to listen to this stuff a LOT, i.e. repeatedly (not once for novelty) and I don't want it to LITERALLY hurt my ears. ¯\_(ツ)_/¯

I'll give kudos where kudos is due however - "Feel Flows" was not brickwalled, as were none of the copyright sets or "Made In California", and for that I will be forever grateful.

This thread is literally the saddest thread ever. Is there anything we can do to pressure Mike and Brian? It's ridiculous that this isn't being released. WTF is wrong with them?

I'd have thought that the thousands of people dying miserable deaths alone every day is more sad, but yes, not hearing music does push that into second place.

Yes, well - in Beach Boys message board proportion. And... maybe not even there. Point taken. Goes to show how spoiled I've been in recent years with the copyright releases. I was just really looking forward to this release, and let my guard down in terms of not being able to imagine it being cancelled. For the band to green light the vault clearing of LEID IN HAWAII, the copyright releases for Friends/2020, but not THIS... I was just kind of blindsided. But hey, after a particularly good decade archive wise I really somehow believed this much longer history of dysfunction and bizarre decision making was behind us.

This thread is literally the saddest thread ever. Is there anything we can do to pressure Mike and Brian? It's ridiculous that this isn't being released. WTF is wrong with them?

I love the original "Alone On Christmas Day" and the "Christmas Medley" from the unreleased 1977 album so damn much. They're some of my favorite Beach Boys holiday tunes. Does anyone know the reason why they haven't have been officially released? I'm really surprised they didn't make "Ultimate Christmas", or the "Made In California" box set, especially when utterly lazy dreck like "Santa's Got An Airplane" got the green light.

[Announcing Beach Boys Record Store Day 2013 Limited Edition Releases]

Why hasn't this happened yet?

Announcing Beach Boys Record Store Day 2013 Limited Edition Releases

The Beach Boys are accompanying their career-spanning collection Made in California with a Record Store Day 2013 limited edition release of two "lost" albums and accompanying 7"s.

Titled Reverberation and Landlocked, these two "lost" albums from 1970 have been long speculated about in collector's circles, but are largely unknown to the general public. Although not technically "lost", these collections were working titles for songs that were in the running for the seminal albums Sunflower and Surf's Up.

Reverberation was a working title for the Beach Boys proposed final Capitol album, dated June 19th, 1970 - before the group decided to deliver Live In London instead. Landlocked was a working title for Surf's Up, and was originally a tape of tracks compiled by engineer Steve Desper that were in consideration for the Beach Boys second Reprise album.

Although the original sequencing for these collections is uncertain, various track listings have surfaced over the years - with many of the proposed songs making it on to completed albums. This limited edition release does not attempt to duplicate those original sequences, but instead proposes an alternate 1970, where the Beach Boys released both a last Capitol album, and a new Reprise album in-between Sunflower and Surf's Up, duplicating none of the tracks on those celebrated releases.

Also included are four unreleased 7" singles. Included among the tracks are speed corrected covers of "With a Little Help from My Friends" and "The Letter" recorded during the 1967 Wild Honey sessions and originally released on the out of print Rarities collection in 1983. "My Solution" is a never before released Halloween themed Brian Wilson curio from 1970, whose musical theme was later resurrected for his solo track "Happy Days" in 1998. Also included is Brian's charmingly bizarre health restaurant shout-out "H.E.L.P. Is On The Way", originally released on the 1993 Good Vibrations box. On the flip-side is an unreleased and unfinished slice-of-life Brian track "Walkin'".

Rounding out the 45s  is the unreleased Dennis Wilson gem "Carry Me Home", from the Holland sessions. Deemed "too dark" to be a Beach Boys track, this spine-tingling song has criminally never been released until now. On the flip side is the gospel inspired fragment "Out In The Country" an Al Jardine track also from the Holland sessions.

1967 through 1973 was a very fertile period for the Beach Boys, with all members of the band contributing mostly high quality, if not interesting work. The list of unreleased tracks worked on during this era was huge, many of which for space and sequencing issues were left off Made In California.

All tracks are sourced from the original analog tapes, with accompanying period style artwork, and are strictly limited edition.

Tracklistings:

REVERBERATION LP

1. A Time To Live In Dreams
2. Break Away (Brian Lead)
3. Celebrate The News
4. Sail Plane Song
5. We're Together Again
6. Mona Kana
7. Cotton Fields (Stereo Single Version)
8. San Miguel
9. Can't Wait Too Long
10. Old Folks At Home
11. Ol' Man River
12. Walk On By

LANDLOCKED LP

1. Soulful Old Man Sunshine
2. Lady (Single Version)
3. Good Time
4. Susie Cincinatti
5. Games Two Can Play
6. Back Home
7. 4th Of July
8. Loop De Loop (Original Mix)
9. Over The Waves
10. Big Sur (4/4 Version)
11. I Just Got My Pay
12. Sound Of Free
13. Where Is She
14. When Girls Get Together (Instrumental)
15. Wouldn't It Be Nice To Live Again

WITH A LITTLE HELP FROM MY FRIENDS 7"

1. With A Little Help From My Friends (Speed Corrected)
2. The Letter

HELP IS ON THE WAY 7"

1. HELP Is On The Way
2. Walkin'

MY SOLUTION 7"

1. My Solution
2. My Solution (without narration)

CARRY ME HOME 7"

1. Carry Me Home
2. Out In The Country

Also, remember Carl's musical taste at the time, if "Like A Brother" is any indication. I'm glad we have it, but that album is so MOR it makes "Imagination" sound like Slayer. He may just not have been into the whole 50's throwback thing that Paley had Brian involved with. Combine that with all the other factors...

Anyone also hear the digital glitches on Cotton Fields? These are the same as on the Hawthorne set. I always thought just my copy was messed up until they showed up in the same places on MIC as well.

Dude, you know what I meant. I wish I could say I like listening to it. I don't. I guess I'm glad someone does. The end.

Face the facts, fellows: Recorded music is unnatural by its very definition.

Mark L. isn't replacing any mix that has ever been done. He's simply offering new perspectives, using new technology, approved by the surviving members of the band. The kind of analog bias paraded here has far more to do with snobbery than it does with anything musical.

It's really not snobbery - it's COMPLETELY musical. I like a lot of the new mixes on the set, and some of the edits. I'm not a analog purist by any stretch of the imagination. But the digital reverb just sounds bad. I don't give a sh*t if it sounds "natural" or "unnatural" or if it's classified as an "effect". It sounds bad, like duophonic sounds bad. There's a reason why they spent so much time building those echo chambers back in the day - you can hear the difference.

Yeah, heaven forbid someone should put reverb on a Spector cover.

Yeah, except it's nasty digital reverb, the same stuff that's slathered over a lot of the 60's stereo remixes. Makes me want to tear my ears out, and will instantly date these mixes to the pro-tools era. We'll look back on these mixes like we look back on duophonic. Why add fake effects that aren't on the tapes? I just don't get it.

Reduce treble, and fold down to mono and this is almost salvaged! Now if there was only something to do about all that digital reverb...

[Sound really nice:]

Mixed bag IMHO.

Sound really nice: The stereo Do It Again, We're Together Again, Back Home, Wouldn't It Be Nice To Live Again, California Feelin', Soul Searchin', and You're Still A Mystery are all really nice. I enjoy em.

Sound too "modern" but I don't mind: Susie Cincinatti, Lady, It's OK, Rock N' Roll Music, Had To Phone Ya, and Why. I don't mind enjoying these on their own, but they do sound weird when slotted next to vintage mixes of other songs from the same period.

Sound terrible: It's Over Now, and especially You've Lost That Lovin' Feeling. There's no feel to the mixes - they actually feel "unmixed". Crazy separation, and vocals are too low in It's Over Now. Everything is fighting each other. Thank god we still have the box set version that you can speed correct. And You've Lost That Lovin' Feeling - what's up with that? Totally limp, and then there's that weird effect on Brian's voice... was that added?

Also, did they add echo to some of the live track vocals - are is that on the original recordings? Both Blondie on Sail On Sailor and Carl on I Can Hear Music sound really unnatural.

I actually think this would be a pretty sensible route for releasing archival material that is "less palatable" by the general public. It's more substantial, less messy, and probably more lucrative than beachboyscentral.com downloads, and who really pays attention to limited edition vinyl releases except the people who really care? A classy, low-stakes way to give the fans what they want without potentially "marring" a high profile career-spanning box set...

Sometimes people need to be given good ideas... 

[Announcing Beach Boys Record Store Day 2013 Limited Edition Releases]

Announcing Beach Boys Record Store Day 2013 Limited Edition Releases

The Beach Boys are accompanying their career-spanning collection Made in California with a Record Store Day 2013 limited edition release of two "lost" albums and accompanying 7"s.

Titled Reverberation and Landlocked, these two "lost" albums from 1970 have been long speculated about in collector's circles, but are largely unknown to the general public. Although not technically "lost", these collections were working titles for songs that were in the running for the seminal albums Sunflower and Surf's Up.

Reverberation was a working title for the Beach Boys proposed final Capitol album, dated June 19th, 1970 - before the group decided to deliver Live In London instead. Landlocked was a working title for Surf's Up, and was originally a tape of tracks compiled by engineer Steve Desper that were in consideration for the Beach Boys second Reprise album.

Although the original sequencing for these collections is uncertain, various track listings have surfaced over the years - with many of the proposed songs making it on to completed albums. This limited edition release does not attempt to duplicate those original sequences, but instead proposes an alternate 1970, where the Beach Boys released both a last Capitol album, and a new Reprise album in-between Sunflower and Surf's Up, duplicating none of the tracks on those celebrated releases.

Also included are four unreleased 7" singles. Included among the tracks are speed corrected covers of "With a Little Help from My Friends" and "The Letter" recorded during the 1967 Wild Honey sessions and originally released on the out of print Rarities collection in 1983. "My Solution" is a never before released Halloween themed Brian Wilson curio from 1970, whose musical theme was later resurrected for his solo track "Happy Days" in 1998. Also included is Brian's charmingly bizarre health restaurant shout-out "H.E.L.P. Is On The Way", originally released on the 1993 Good Vibrations box. On the flip-side is an unreleased and unfinished slice-of-life Brian track "Walkin'".

Rounding out the 45s  is the unreleased Dennis Wilson gem "Carry Me Home", from the Holland sessions. Deemed "too dark" to be a Beach Boys track, this spine-tingling song has criminally never been released until now. On the flip side is the gospel inspired fragment "Out In The Country" an Al Jardine track also from the Holland sessions.

1967 through 1973 was a very fertile period for the Beach Boys, with all members of the band contributing mostly high quality, if not interesting work. The list of unreleased tracks worked on during this era was huge, many of which for space and sequencing issues were left off Made In California.

All tracks are sourced from the original analog tapes, with accompanying period style artwork, and are strictly limited edition.

Tracklistings:

REVERBERATION LP

1. A Time To Live In Dreams
2. Break Away (Brian Lead)
3. Celebrate The News
4. Sail Plane Song
5. We're Together Again
6. Mona Kana
7. Cotton Fields (Stereo Single Version)
8. San Miguel
9. Can't Wait Too Long
10. Old Folks At Home
11. Ol' Man River
12. Walk On By

LANDLOCKED LP

1. Soulful Old Man Sunshine
2. Lady (Single Version)
3. Good Time
4. Susie Cincinatti
5. Games Two Can Play
6. Back Home
7. 4th Of July
8. Loop De Loop (Original Mix)
9. Over The Waves
10. Big Sur (4/4 Version)
11. I Just Got My Pay
12. Sound Of Free
13. Where Is She
14. When Girls Get Together (Instrumental)
15. Wouldn't It Be Nice To Live Again

WITH A LITTLE HELP FROM MY FRIENDS 7"

1. With A Little Help From My Friends (Speed Corrected)
2. The Letter

HELP IS ON THE WAY 7"

1. HELP Is On The Way
2. Walkin'

MY SOLUTION 7"

1. My Solution
2. My Solution (without narration)

CARRY ME HOME 7"

1. Carry Me Home
2. Out In The Country

I LOVE Transcendental Meditation. It's coooooh. If you don't understand that song, you don't understand Brian Wilson.
Don't Go Near The Water is pretty good too, and I think you could call me a hardcore fan.

[Friends]

Elated, but a bit disappointed. I guess we knew all along we should be lucky for whatever we get.

Major Omissions:

Friends - Felt they could've dug deeper a bit from the Smiley->Friends era. It was a period where there was still significant activity from Brian, with alarming beauty. I would kill to hear any scraps, no matter how "insignificant."

Early 70's - Big Sur (early version), Out In The Country, and Carry Me Home are all gems. My Solution is a great curio. As far as all of the "Blondie/Ricky" being airbrushed out of the BB history - I could care less outside of live performances and Sail On Sailor. I could also care less if I never hear Here She Comes, Dear Brother, or Leaving This Town again. Same goes for We Got Love, It's A New Day - all that garbage.

Brian's Back - Arguably the last seriously creative era from Brian, and criminally overlooked. Give me more quirky 15BO instrumentals, Just Like Heaven with Brian vox, Life Is For The Living, Deep Purple, Lines, Everybody Wants To Live, My Diane, Marilyn Rovell, Alone On Christmas Day, New England Waltz, Lazy Lizzie, Stevie, I'm Starting To Say - ALL OF IT. My guess is Brian is the biggest blocker of this material - out of bad vibes, embarrassment, who knows. My suspicion is we won't get an accurate archival deep dive into this period until he is gone.

80's/90's - Don't give a sh*t. Soul Searchin' and You're Still A Mystery are nice for posterity.

Live - Where are 70's era Surf's Up, Jumping Jack Flash, Mess Of Help, Cuddle Up, I Got A Friend, Dennis sung Rhonda, In The Back Of My Mind, Caroline No, I'm Waiting For The Day etc. How about some live Mike Love TM poetry for good measure?

Ugh. The album version is perfect, and would've been a much better single. It just FEELS right. Proof that BW works best when he has a deadline, and doesn't have the time to overlabor and second guess what he's doing. That's probably why the whole album came out so good.

What i don't get is that it costs like 30 dollars a year tops to host an album on itunes. I don't need tne physical copy, but i can't see how if there's at least four people who'll download smiley smile why they won't just make it available for download internationally.

Yeah - seriously. If they can't make enough back to release domestic physical product, just release them as FLAC/MP3 on beachboyscentral.com (ha!) for the hardcores, make some quick money, and everyone can be happy. Don't the Stones and McCartney both do that now?

Anyone have an extra ticket for one of the NYC Beacon Theatre shows they'd be willing to sell? I was on the fence about going, but now I'm starting to regret it! Show sold out way quicker than I thought.

That whole skit is really telling as to how much of Brian's self-confidence as an artist was wrapped up in the popular acceptance and success of his music. Really sad stuff.

Did nobody post pictures of the artwork (or the disc, but none of you guys have opened them yet  ) or did I just miss the post?

I wanted to drive the hour to Berkeley to pick one of these up but I had to spend all my money on books for school.

Anyone know if the attempt to re-record the 1967 Hawaii Live album in the studio were possibly intended to be sped up as well in the overdub process? I did the speed up thing to my "Little Help" on rarities, and it makes a world of difference.

Please put Murry back on one version!