I got into the Beach Boys heavily right around the year 2000, so my collection has only really consisted of the 2fers for all this time for the main early albums. But as time went by, and I heard my more mono like the US capitol singles boxset etc then I knew I was missing out! Not for everyone, and this discussion I have seen countless times on here, but for people like me who believe a lot of the power and feel of their early work is lost in the wide separation stereo versions, I cannot wait for these to be released!
Listening to the HMV clips has truly got me excited. Songs like farmers daughter sound so much more than they ever did on the stereo counterparts.

Yeah, he's an awesome singer, with a range that is lower than most. His bass parts are almost unmatchable in modern pop, but a lot of his lead vocals are out of the comfort zone of his range. Thats not to say I don't like him. His little squeeks and hiccups when he's singing notes that obviously aren't natural to his vocal range are part of his charm I reckon.

I love PS in stereo, bar one track - YSBIM. BW's voice needs to be double-tracked on that one, it's far richer and more soaring. Alas, the double track wasn't available on the existing multitracks.

If I understand correctly, this latest release of the album that people are talking about features the lead vocal restored to all of its double-tracked glory.

It seems nobody is sure how they were able get the doubled vocal in as I believe it was previously assumed to have been recorded live during the final mixdown.

You sure you aren't thinking of the restored bridge of "Wouldn't It Be Nice?"

Always preferred "You Still Believe In Me" with the single vocal.

No, he's right. The vocal is now double tracked on the mofi version.

I think most of the Today songs sounds great with the separation of the stereo mixes, and a real shame about the missing overdubs for SKMTW as it's certainly lacking without them.

Fun, fun, fun - I just cannot imagine liking a stereo version over the single mono version on the US capitol boxset. The power and drive of that mono version is just brilliant.

Why do fools fall in love - I like hearing the new intro but totally get why he probably canned it. It's soooo sloppy. The timings are too out to be released as anything but a novelty.

Pet Sounds - The new mofi stereo is now definitive for me! Unbelievable. One question. Has anyone ever remixed a mono version using the multitracks? I seriously reckon a decent mono mix could be done to mimick Brian's mix, yet avoiding the muddiness of the second generation, bounced down copy that is hauled around for releases now. I know certain key parts would still be missing as per stereo vs mono but is that a stoopid idea?

I think i'd defintely put it in the Forever Changes category. Sells nothing when it came out and then re-appreciated years later.

The reception to Heroes and Villians vs Good Vibrations kind of acts as a precursor to the response I think the album would have gotten at the time.

There are loads but I think the most romantic is Forever. The words and feel of the song are just perfect. I prefer God Only Knows and this is a close second as favourite beach boys song but definitely the one I'd sing to a girl for sure.

the moment i heard this, i thought, if you follow the timing he sings "once upon the sandwich isles..." you can sing that melody with the rest of the words right through to upon hawaii all in the first line. Drawing out "upon hawaii" and singing it the exact same way they do in BWPS. maybe thats something he remembered in 2004? just start singing the moment the music starts and it works perfectly, isn't rushed and totally in keeping with his descending vocals as per heroes and villains, so it's not even a stretch of an idea that it may have gone like this. of course, who knows?

i think the fact he calls out to van to check and then sings is significant. it's like he's looking for agreement, so strengthens the case to me that he's singing a genuine melody, rather than made up on the spot!?!

That does sound cool, but that would leave us two lines short, as you can easily fit both lines from 2004 into this new melody in the time it takes to sing one line the 2004 way. Correct?

There were vintage lyrics that went unused for this song in 2004 which only strengthens the idea that a melody with more words was an intention.

As people may have read elsewhere on here, I'm a big fan of mono on a lot of original mixes of the early beach boys. The power, feel, and mix I generally find to be ALOT better than the stereo counterparts. Same with Beatles and a lot of other 60's music.

So it's with a fair amount of thought with that in mind that I consider the modern stereo Pet Sounds to be my favourite mix by a long way. The original mono has a feel certainly but it's almost too dense and muddy, when put against the stereo mix for me. Mark Linett deserves a lifetime achievement award for the 1996 stereo mix because he 100% nailed it! It's clear. Bright without being overly EQ'd like some latter stuff he's done, and you can hear things that never even saw the light of day on the mono. The panning is beautiful and not overdone either. It's was like this was his big one. The project that he really took his time over and got completely right. I'm forever greatful for the fact he did it. No matter how many times I listen back to the mono, which is a lot, it's suddenly like someone has placed earmuffs on me because of the difference. Going back to the stereo is like having my ears cleaned out!

Now how I wish I wish Mark Linett could have got hold of the multitracks to remix The little girl I once knew. I think it's Brian Wilson's ONLY poor mix in comparison to what instrumentation I can hear being played on unsurpassed masters. He buried some gold in that song!!!

I've not got this....yet. I may do. I'm very happy still with my 1996 boxset version, even though i've bought each variation of the album since.

Over at the Hoffman board though, i've seen some say they now consider this release as the definitive stereo version. A lot of these opinions are obviously very individual but that fact that a few have said it counts for something i reckon.

Pretty much everybody here knows why these albums were never released

Yes, but seemingly sharing it with so obviously a new member, should be added to that list on a stone that Moses was handed to by God.

Jeez. No wonder this place has a rep.

Awesome dialogue people! Thank you for taking the time to clear up and inform us on these important details. Loving reading through.

I distinctly recall reading that the left-center-right nature of some early sixties stereo mixes is because the consoles were wired like that.

Now that I did not know! Thank you.  And that explains and excuses, (well not excuses....rhythm track and lead vocals should NEVER be panned hard to one side...PERIOD) the heavy panning when first used in the 60's. It still does not excuse these mixes being the definitive versions on the only albums you can purchase in 2012!! The US capitol singles mono boxset is pure heaven to listen to. Now I want it all please!!!

Whilst I think the sound on the pastmasters is clearly pretty hot, maybe a bit too much low end in some cases, I can't get over the super wide stereo versions used on the early albums. I'm whole heartedly against a song having the lead vocal or rhythm section panned hard to one side. It drives me nuts that some tracks are only widely available in these formats. All the power/drive/feel of a track is some what diminished to me. 2 off the top of my head I can't stand are Farmers daughter (track hard right) and Don't worry baby (vocals hard left and right). Why oh why are the original monos so hard to come by?

There's a real morbid obsession going on to turn everything in the beach boys catalogue into some hard panned, poorly mixed second class version of what made the originals sound so great as a whole. Just so it can be stereo!? So what that I couldn't hear the second timpani clearly on the third bridge? It all blends to create that overall sound, and Brian knew how to do that better than anyone.  Some, and I mean only some of the stereo versions used for the DCC compilations are miles better to my ears but even then, please can I have some well released mono mixes of the early catalogue? Or are there any i've clearly missed?

Sorry, that sounded like a bit of preaching, all just my opinion of course.

Don't Worry Baby got a stereo remix with the vocals centered on the Summer Love Songs collection a few years back.  I for one like the original hard panning, particularly on this song.  I know it's a matter of taste and the mono vs. stereo camps are pretty equally divided, but I feel that most of the Beach Boys music is far too layered to be mashed together on one track.  The mono songs always sound so muddy to me, whereas the stereo tracks breathe and have more life.  Your mileage may vary.

You know what, I genuinely am thankful for Mark Linett's work in making some great, great stereo mixes. I'm a big big fan of the Pet Sounds stereo for starters, and apart from the new H&V stereo mix on TSS which I really don't like, I don't think there's a single other stereo mix that he's done that I don't like. Well mixed, eq'd and great panning.

I also never argue mono is better than stereo or vice versa. I literally take each song and each mix on it's own merit to me. Part of what annoys me is that the better versions of some songs are littered about on various new compilations only whilst the "to me" inferior earlier stereo mixes are the ones used for everyone to buy as "The Beach Boys - Album" version. It's that whole early 60's way of over doing panning. That's the stereo that I can't get on with. I also love having both mono and stereo versions of songs. Sometimes I just love hearing the muddier, more powerful version of a song, and another time, I love to listen to the separation and instrumentation you can hear from the space to breath you mention. And you're absolutely right about the layering. Newer stereo mixes Linett has done have really brought songs a new lease of life, with entire parts that are completely buried in mono mixes audible.

Whilst I think the sound on the pastmasters is clearly pretty hot, maybe a bit too much low end in some cases, I can't get over the super wide stereo versions used on the early albums. I'm whole heartedly against a song having the lead vocal or rhythm section panned hard to one side. It drives me nuts that some tracks are only widely available in these formats. All the power/drive/feel of a track is some what diminished to me. 2 off the top of my head I can't stand are Farmers daughter (track hard right) and Don't worry baby (vocals hard left and right). Why oh why are the original monos so hard to come by?

There's a real morbid obsession going on to turn everything in the beach boys catalogue into some hard panned, poorly mixed second class version of what made the originals sound so great as a whole. Just so it can be stereo!? So what that I couldn't hear the second timpani clearly on the third bridge? It all blends to create that overall sound, and Brian knew how to do that better than anyone.  Some, and I mean only some of the stereo versions used for the DCC compilations are miles better to my ears but even then, please can I have some well released mono mixes of the early catalogue? Or are there any i've clearly missed?

Sorry, that sounded like a bit of preaching, all just my opinion of course.

Paul McCartney says that the Here, there and everywhere intro was a very deliberate attempt to do a Beach Boys harmony. I've lost count how many times I've read and heard him say how influenced they were by them across the Revolver and Sgt Peppers albums. This was the real creative/competitive surge in both bands at the same time. Neither has ever done anymore than openly praise the other during this period as far as I'm aware. And certainly not shied away from admitting any influence from the other.

Oh and i've defintely read Paul McCartney say that walking basslines was one of the biggest influences he took from Brian, or really took note of. Something to that effect.

This answer came straight to me.

Intro: The little girl I once knew
Outro: In the Back of my Mind

Thank you very much for the info guys. And I'd defintely not heard the same went for cool cool water!

So how did he affect that one then? The running order and splicing water chant into the middle etc? Do people think that was a smile intention he was playing out also?

I was wondering if anyone could please fill in the gaps of my knowledge regarding the 71 recording of this part of surfs up. I've been doing a bit of searching and only really found what I've already heard. That being that Brian got involved only for this part of the song and completely orchestrated it from start to finish.

Is there anymore info than this? Are there accounts of actually how and when he got involved? I'm sure i read somewhere once that he came out from his bedroom suddenly after hearing them working on it? I love that thought that he wanted to complete an unfinished intention for smile music. Of course, as wiki says, it's unknown whether or not it was a valid 66/67 idea. Is that definitely the case?

Anyway, any help or info on this would be greatly appreciated.

I used to visit the Smile shop website all the time in about 2001. Really wish there were some archived stuff from there around but thats a different topic.

Anyway, between that, Cabinessence, Ryan's smile site, Project smile etc I learnt a lot of what i know and love, then when the Smile Sessions was announced, I was compelled, after years of just reading to sign up and join in.

I know this doesn't help you but I was at a Brian Wilson gig in Portsmouth, UK in 2005 I think and was sat around in my seat after the show, still in awe form the gig watching someone give out the backstage passes near us. He literally got to the end and had 2 left and handed them to my friend and I. I then went backstage, met the man himself, got his autograph and shook his hand. Quite literally one of the moments of my life. I wish I could go back and thank that guy even more than I did.

Again, not to rub it in but to say that these things can happen.

Great news!! And yes, what a time to be a fan! I've often wondered how lucky I am. All the people who waited years for all the great stuff that has come out over the past 10 years or so, as well as Beatles anthology stuff, i'm relatively new having only followed for 15 years.

The vocals on do it again sound great! Better than i'd ever expected great! Really looking forward to this all!!

Haha. Fair enough!

ZOMG STOP MISUSING THE WORD "AMAZING".

BUT.....it says he spent 10 years doing the whole album? 10 years!!! With that can do attitude he'll have a Smile cover polished off before all religion ceases and electricity is free.

Saying, "I spent ten years on this," rarely means, "I spent the entirety of ten years on this." Brian didn't spend 38 years on Smile, knowwhatimean? It was likely something he did for fun in his spare time between other projects.

I really didn't think he spent 10 years solid recording this.

Love it! Such good clean fun.

Sounds great so far.....but what did you do to H&V? The backing track is lower than on the mono and I can't even hear the drums (unless there's something wrong with my system).

This was a big complaint of mine regarding the Stereo H&V on the boxset. The mix is just awful. No excuse, hold your hands up Linett, terrible. Once the backing vocals kick in on the verses, you may as well call it an acapella!!

I added the instrumental track on the Stereo H&V, now it's perfectly balanced.

Cool! Did you do it on everything or just the verses? I'm thinking I may have to do that now rather than just sit here dismissing the released version! Nice one.