This isn't the actual Billboard Top 200 albums chart, but something based (I assume) on sales rather than airplay and streams -- no doubt making it more favourable to a release like FF. Still cool though.

Or it could be a clumsily expressed reference to the line "uninspired, drenched and tired".

Wow - #19 on the UK charts. Still waiting on Billboard.

https://www.officialcharts.com/charts/albums-chart/

86 on Metacritic from seven reviews - five 80s and two 90s.

https://www.metacritic.com/music/feel-flows-the-sunflower-surfs-up-sessions-1969-1971/the-beach-boys

Included is a four-star review from Rolling Stone, which I'm afraid isn't nearly as sharp as the great review they ran for Wake The World/I Can Hear Music.

https://www.rollingstone.com/music/music-album-reviews/feel-flows-the-sunflower-surfs-up-sessions-1969-1971-goes-deep-on-two-beach-boys-classics-1218719/

Who is that on 'baby baby'?

Why would they ruin such a good song with awful signing

Daryl Dragon, perchance? He has a co-writer credit, if the Wikipedia details are to be believed, and the song sounds very much to me like it was made up on the spot.

Speaking of writing credits, Awake is credited to Brian and David Sandler. Whatever became of Floyd Tucker?

I think my favourite thing here is Old Movie. It was always obvious that setting an orchestra loose on Make It Good was a mistake, but I now feel it was no less so on Cuddle Up.

It's now live on Spotify here in Australia.

The Beach Boys Feel Flows Chapter 2: White Hot Glistening

So we're back to "white hot" now?

Imo San Miguel is one of the unreleased greats. Superb energy, rocking guitar solo, great arrangment and sublime harmonies. How the hell didn't this make the cut on Sunflower or Surf's Up

Jack Rieley's perspective on the track selection for Surf's Up, including the exclusion of San Miguel, is related in the posts from "Beach Head" on this page:

http://smileysmile.net/board/index.php?topic=9651.0

Rieley at first appears to take "credit" for the decision on the grounds that it was "just a hook, not a song" -- whatever the hell that means -- before claiming the decision was "made by Dennis Wilson, with Brian Wilson and Carl Wilson and I supporting him". I personally find it a bit hard to believe that Dennis would have preferred having nothing at all on Surf's Up to San Miguel, but who knows.

I would like to a) concur with the above comments about the video, and b) draw everyone's attention to the fact that two killer new tracks from the boxed set have just dropped on Spotify, which I've just commented on in the main thread:

http://smileysmile.net/board/index.php/topic,26791.msg674266.html#msg674266

As usual, Friday brings a few new tasters from the boxed set, which you can access now on Spotify if you're in New Zealand/east coast of Australia, or linked there through a VPN. Otherwise they will be there when the clock strikes midnight in your time zone. (ETA: Actually, it may just be available everywhere - I'm able to get it without the VPN in my pre-midnight time zone right now).

One of these is the most exciting so far IMO, namely the remix of San Miguel we heard a glimpse of in that video with Mark Linnell (I think it was) a year or so ago. It's awesome -- miles more powerful than the previously released mix. Among other things, there is a bit of harmony vocal that wasn't on the previous version in the bit between the last chorus and the fadeout section.

The other is Feel Flows - Track & Backing Vocals, which is also great. It gives us a chance to hear the backing vocals unobscured by either the lead vocal or the Leslie effect (or whatever it was) that was applied on the released version. For the first time, you can really hear what's being sung on the chorus ("white puff glistening shadowy glow"), especially when it continues playing after the instrumental track fades out. Also, the instrumental section has just the saxophone with no flute.

I feel pretty sure that it's Dennis, and can hear a continuity between it and his later bass vocals (the end of River Song and Shortenin' Bread being the two that spring to mind), allowing for his progressing raspiness.

I think I'll just keep it on repeat all day.

'Til I Die - A Cappella is on Spotify either now or later today, depending on your time zone.

Another track up on Spotify: Slip On Through - Alternate 1969 Mix With Session Intro. Nothing too amazing - basically the Sunflower version with fewer overdubs and a false start take at the beginning.

Thanks, SM. One of those "domino" harmony vocals (Carl's or Bruce's?) could have shattered a window.

So apparently no one wants to talk about the other track that just got released. I have a few questions though about Surf's Up - A Cappella.

Was the entire vocal track for the first movement recorded in 1971? Who, if anyone, sings on it apart from Carl? And where exactly did "bygone, bygone" come from? Does it appear on anything that was recorded in 1966/67? Could it possibly have been an idea someone came up with in 1971, and if so who?

Interestingly, this alternate ending is one of the only BB songs I can think of that has a true ending and doesn't fade out.

I can think of loads. The discussion got me thinking about fadeouts though, and some googling turned up the following article which happens to mention Caroline No.

https://slate.com/culture/2014/09/the-fade-out-in-pop-music-why-dont-modern-pop-songs-end-by-slowly-reducing-in-volume.html

Thanks to Joshilyn and SM for their insights. Bruce, eh? Explains why it comes off that little bit too gooey.

The Surf's Up a cappella would seem to be straightforwardly the vocal track from the 1971 version. This Whole World has a different vocal take for both Carl and Brian, though up to the ending the only obvious difference is that Carl sings "full of different people" rather than "lots of different people" and "ooh, here comes another day" rather than "now hear comes another day". At the very end though, rather than the a cappella tag, there's a quite different vocal arrangement designed to bring the song to a climax along with the end of the instrumental track. It's obviously great to hear, and the whole track is beautifully mixed, but the changes that were made on the released version were for the better.

The two tracks are "This Whole World - Alternate Ending" and "Surf's Up - A Cappella". They are now available on Spotify here in Australia, it being after midnight here and us being quite near the International Date Line. The rest of the world should get them as their clocks tick over.

I particularly enjoyed Sunshine. Clearly an album of Imagination demos would have been miles better than what was actually released.

That isn't a demo, it's an early mix of the track that's actually on the album.

Thanks - I guess I mean an album of rough mixes then, without having been buffed and polished into smooth and easy nothingness.

I particularly enjoyed Sunshine. Clearly an album of Imagination demos would have been miles better than what was actually released.

Four star review by Andrew Male in the latest Mojo. Most interesting bit for me: "Won't You Tell Me is an engulfing romantic melodrama akin to Please Let Me Wonder ... it appears here in two versions: as a lavish, chiming Brian and Carl duet; and as a solo Brian demo, with control room interjections from his father that only enhance the pathos". He also more keen on the alternative lyrics to Til I Die than Peter Ames Carlin.

Wasn't expecting to read about this in AMP Capital Market Update. Nonetheless:

https://www.ampcapital.com/au/en/insights-hub/articles/2021/march/market-update-050321