Is that like (according to Dave Barry) - "Well since she put me down I've got owls puking in my bed."

Thought of two three more:

Here Comes The Night - DJ Reservice Mix
Honkin' Down The Highway - 45 mix (missing guitar break)
Lady Lynda - 45 mix

Brian remixed "Surf's Up" for the 1991/2000 reissue program ? Never heard that before and, given his involvement in the album was less than complete, I have to question that statement.

Wonder if she meant remastered? I pulled my CD of Almost Famous and ripped Feel Flows. Sounds like it was sourced from vinyl.

"Sheep's knot, the little curl, eye wont stew".

Don't text from the pub! LOL LOL. That is GREAT Andrew !!! Love it!

Target is only awful to me because after their data breaches last year, they hired a guy to run their IT Security that is SO bad it ain't funny!

One thing that got me thinking about this was the following line from an interview with Nancy Wilson from Heart. When she was married to Cameron Crowe, she was helping him put together the soundtrack for the movie Almost Famous. They both wanted the BB track "feel Flows", but they couldn't find it at the time:

Nancy Wilson: When it came to putting together the soundtrack we rediscovered “Feel Flows” by the Beach Boys. It plays during the closing credits but that song wasn’t even available on CD at the time. I had to dig the old vinyl out of Ann’s basement. Brian Wilson remixed it for the CD but the version we used was copied straight over from the vinyl, so that it would retain the warmth and the character of the original. There’s a beautiful velvety thickness that you only get from vinyl. That was a real college song for me. If you listen closely, you can hear the crackles.

Thanks for the info. I just found it today right before I was going to order the Japanese version. And get this....WHERE did I find the Japanese version on sale for $27?

Sears........no kidding!!!!

And I am sorry, but I really want to hear the fully mixed version of Calender Girl. Brian himself was very happy with it!

Oh Well Oh My Oh Gosh Oh Gee!
She really sends chills inside of me!

Under the weather today so I have just been back in my office looking over my BB collection. This is a just to amuse myself post, but what's an old guy to do? I was wondering what BB tracks are currently no in release here in the states? I will be more than glad to start the list:

Sea Cruise
School Days - 45 mix
Here Comes The Night - 45 mix
It's A Beautiful Day - original 45 mix and LP mix
Trombone Dixie - the original mono mix on the first PS CD
In My Car, Island Girl, Somewhere Near Japan - Still Cruisin' tracks
Rock And Roll To The Rescue
I Was Made To Love Her - extended mix

And I am not sure if the releases from 1999 (20 GV, 20 More GV, and The Brother Years) are still in print. If not,
Rock And Roll Music - 45 mix
It's Ok - 45 mix
Friends - mono 45 mix

Sorry, being lazy, but that is all I can think of now. Any more?

Target is awful.

I agree. Don't EVEN get me started. But they have this so...

I find it interesting that David, who is brilliant in what he does, did not know the history of why HCTN was done as a disco record. Here is why the idea came to Bruce.

Bruce was working with Curt and California Music (Curt had taken over running that trademark). Curt had cut HCTN FOR California and was going to record it as one of their records. When Bruce became involved with the group again, he talked about this re-involvement with Curt and Curt suggested how great it would be to cut HCTN with the BB. To quote Bruce from late 1978:

I told Curt Becher, who is a guy who when he was a baby produced records for The Association like “Cherish” and “Along Comes Mary”, and then he had his own album … I told him I was going to work on the Beach Boys project. Curt and I had talked about cutting “Here Comes The Night” (for our own album), but he said that the Beach Boys should really be the ones to do it. So I approached everybody and I thought – “a Beach Boys disco record. Before anybody hears it, they’re going to hate it if they love the Beach Boys”. But if I’m right, when they hear it, they’ll realise that disco – in terms of the Beach Boys – is a lot different than disco in terms of Cerrone or Giorgio Moroder. It has to be because it’s the Beach Boys. So I decided, “Okay, I’ll talk it over with them”. Curt and I are co-producing “Here Comes The Night”. None of the guys played on the track; we used our own people. When it came to putting the vocals on, because it’s so much more rhythmic than you’re used to with normal Beach Boys vocals, Curt was a little curious as to whether they could sing the parts. But I’m telling you, I wasn’t surprised. They sang the parts … I’ve got it all done now, and it’s incredible. It’s nice to know that you can be in the record business for seventeen years, and have all these things change, and you can go into this style you’ve never sung in and (snaps fingers) you’ve got it. The first day! And it was really hard to sing. It was hard for me to sing ‘cause it’s so syncopated.

That is how the recording came to be. I always thought that the single version should have been on the LP to allow more time for other tracks, like Companion, etc.

Thanks for sharing this.

Dave, always. I have lots of items like this. Way WAY too many!

Here is my little LA collage from facebook:

Brian Wilson - No Pier Pressure - Target Exclusive

1. This Beautiful Day
2. Runaway Dancer
3. Whatever Happened
4. On The Island
5. Half Moon Bay
6. Our Special love
7. The Right Time
8. Guess You Had To Be There
9. Don't Worry
10. Somewhere Quiet
11. I'm Feeling Sad
12. Tell Me Why
13. Sail Away
14. One Kind Of Love
15. Saturday Night
16. The Last Song
17. In The Back Of My Mind (Target Exclusive)
18. Love And Mercy (Target Exclusive)

The Beach Boys Revive With
"Keepin' The Summer Alive"
By STEVE POND
RollingStone Magazine 3/20/80

After hiring a personal manager for only the second time in their nineteen year history, the Beach Boys have recorded, Keepin' The Summer Alive, an album that Carl Wilson says "got us more excited than anything we've done in years!"

The band's new manager is Jerry Schilling, Carl's personal manager and the group's former road manager. Their only other manager was Murry Wilson - Carl, Brian and Dennis Wilson's father who supervised the group when it formed almost two decades ago.

According to one source, the band - recovering from bad experiences at the hands of several businessmen, including Mike Love's brother Steve - had split into factions, each member represented by a different adviser, and each jealously protecting his own interest. "I think we were all a little gun shy," says Carl. "When Jerry stepped in, we were all really bogged down in the business. He let us concentrate on our music.'

As a result, he says, the album produced by Bruce Johnston and recorded in Big Sur and Los Angeles, sounds just like we're supposed to sound! We didn't phone in our parts this time. We're singing the melodies together, the way we used to de in songs like 'Surfer Girl'.

Carl cowrote two songs with Randy Bachman, including the rhythm & blues-flavored title track; another four or five were collaborations between Brian Wilson and Mike Love. One of those, Sunshine was written literally on the spur of the moment, when Brian "shoved instruments into our hands and made up this island-type melody on the spot." Bruce Johnston's "Endless Harmony," a song about the Beach Boys, was another story: "He first called it Ten Years Harmony," says Carl, "which tells you how long he's been working on it.

"We don't even care how the album sells," he concludes. "We just love it" But Carl's not quite sure why things jelled: "Just timing, I guess. Mike started contributing more and Brian opened up again. Remember that campaign a couple of years ago: 'Brian's back'? It was too early then. But now he's really back."

The group will begin touring in March. Most of the shows will be in large arenas, but the tour will include several shows at the Palace, a 3000-seat hall in Cleveland. "We don't want to rule out anything," says Schilling.

I find it interesting that David, who is brilliant in what he does, did not know the history of why HCTN was done as a disco record. Here is why the idea came to Bruce.

Bruce was working with Curt and California Music (Curt had taken over running that trademark). Curt had cut HCTN FOR California and was going to record it as one of their records. When Bruce became involved with the group again, he talked about this re-involvement with Curt and Curt suggested how great it would be to cut HCTN with the BB. To quote Bruce from late 1978:

I told Curt Becher, who is a guy who when he was a baby produced records for The Association like “Cherish” and “Along Comes Mary”, and then he had his own album … I told him I was going to work on the Beach Boys project. Curt and I had talked about cutting “Here Comes The Night” (for our own album), but he said that the Beach Boys should really be the ones to do it. So I approached everybody and I thought – “a Beach Boys disco record. Before anybody hears it, they’re going to hate it if they love the Beach Boys”. But if I’m right, when they hear it, they’ll realise that disco – in terms of the Beach Boys – is a lot different than disco in terms of Cerrone or Giorgio Moroder. It has to be because it’s the Beach Boys. So I decided, “Okay, I’ll talk it over with them”. Curt and I are co-producing “Here Comes The Night”. None of the guys played on the track; we used our own people. When it came to putting the vocals on, because it’s so much more rhythmic than you’re used to with normal Beach Boys vocals, Curt was a little curious as to whether they could sing the parts. But I’m telling you, I wasn’t surprised. They sang the parts … I’ve got it all done now, and it’s incredible. It’s nice to know that you can be in the record business for seventeen years, and have all these things change, and you can go into this style you’ve never sung in and (snaps fingers) you’ve got it. The first day! And it was really hard to sing. It was hard for me to sing ‘cause it’s so syncopated.

That is how the recording came to be. I always thought that the single version should have been on the LP to allow more time for other tracks, like Companion, etc.

Yep thats where I hear it. Especially after going back and listening to the chorus in vocals only mode.

Listening to Brian and Al's new song Right Time, I keep hearing the chorus from Lay Down Burden. Anyone else here that, or am I losing my mind.

 

I started thinking about how many times I have seen the group in concert. Then I see these people that are talking 96 times etc. I think wow! Makes me feel a little better that Andrew Doe didn't get to see them until 1980. If a man of his statue started late like I did, I don't feel SO bad LOL.

I first started listening to them in 1973 when (no kidding, everyone has story) I had a crush on a girl named Rhonda. My brother had the greatest hits Vol. 2, I listened to that song, then the whole LP. I was hooked from there. Even though they came here through Houston in 1975 and 76, it was 1978 when I first saw them right after their "wonderful" trip through New Zealand and Australia. If anyone has Jon and Ian's wonderful book call the beach boys in concert, you will read about Brian being a manic on the stage at that time, running around etc. He was that night. And on the following Monday I found out why. My friend Beau Weaver, one of the top jocks in the US back then, knew the group from his days in LA working on KHJ. He came to Houston and KILT. When the group was in town, he invited my to go with him to the hotel to meet them ahead of time but I couldn't make it. He told me that he was at the bar with Dennis when Brian came in. He ordered 5 White Russians. He downed them bam bam bam and then walked out. Beau said Dennis told him "wow, guess Brian was thirsty!"

Saw them every year after that when they came to town. Was SO SO bummed when they didn't come through in 1980 to promote KTSA. So wanted to here those tracks live!

I remember waiting for the newest issue of Goldmine to be delivered to my house. I would spend a lot of time reviewing the tiny print ads. My best find was a new original Japan release of one of Carl's solo CDs, which I quickly purchased for $35.00.

I placed an ad in Goldmine looking for Beach Boy material. That ad led me to a long friendship with Bob ( petsite). He lives in Texas, and actually flew up here to Milwaukee to attend Brian's concert with me, that was Brian's first tour, third stop, I believe.

I hung out on the old AOL Beach Boys message boards and participated in an auction run by Lauri Klobas. I won one of the items, but more importantly won the friendship of Lauri, which lasted until her untimely passing years later.

Those were very good times..

How are you my friend? Tried calling but couldn't get through. Please PM me!

Bob, I spoke to Alan Boyd about that track.  I suspect that the tape was assigned a 45 master number because the track was included on the rare Capitol promo EP "Brian Wilson Introduces Selections from BEACH BOYS CONCERT" (Capitol PRO 2754/2755) -- not because it was considered for single release.  Alan had forgotten about that EP.  I agree that the mixes are the same.

Lee

Oh, this EP!

It's also too bad to think about some of the 'old' timers that aren't around anymore, who never got a chance to see a lot of this stuff. Greg Larson and Bob Hanes come to mind.

Bob was one of my besties. We use to talk at least 4-5 times a week. His passing was one of the reasons i kind of laid low here and other places. Too many memories. Finally the music got me going again. The last time I talked to Bob, it was just before he passed. He played the demo of California Feeling over the phone to me. Sharing until the last. They don't come any better than him!

Lee IS the man! Thanks for the info. Oh, someone pinged me on the side saying "MONO CD of the Concert LP....from WHERE?" Sorry, meant to say the mono concert LP tracks on the Capitol Years boxset from Japan. Still one of my Faves!

Still like that Little Honda alternate. Putting together a CD for myself of the guys hits (Fun Fun Fun, Help Me Rhonda etc) only with alternate versions. Yeah, I am that kind of nerd!

The proposed B-Side for "When I Grow Up To Be  Man" was originally the version of Johnny B. Goode that is on the Keep An Eye On Summer set just released. I played this back to back with my mono concert CD and they sound the same. Does anyone know if they are different mixes or just pulled from the mono concert LP master? I know that the intro is has been spliced, but other than that I can't hear any differences.