But I'm proud to say I didn't pay a dime for them and got them for free online. My principle is, if certain names are attached and others left off of any project related to the Beach Boys, I don't give them a dime or a penny of my money. Best money I never spent.

It is becoming so incredibly difficult to get the corporate support that enables these highly specialized niche oriented projects to happen at all. Proudly stating that you won't pay a dime for a project because I acknowledged AGD for historical research in the special thanks isn't just a matter of availing yourself of the YouTube option. It feels more like a sort of boycott.  And this time it hurts a little, because (as you may have noticed), there is no promotion for this year's stack of tracks. We're hoping and praying that people who appreciate the hard work that goes into these projects will support that work by buying copies/downloads and proving to Universal Music that there is a market for this kind of Beach Boys archival collection.

The attention and feedback you all have given over the years has been inspiring. As for the stuff between the message boards and whatever it is we stepped in that made you decide to not actually purchase our latest work.... I don't know what to say to that. I hope you'll change your mind, because we need all the help we can get out here.

As far as the new sets of music, yeah they're great, terrific listening - Kudos especially to Mark and Alan. But I'm proud to say I didn't pay a dime for them and got them for free online. My principle is, if certain names are attached and others left off of any project related to the Beach Boys, I don't give them a dime or a penny of my money. Best money I never spent.

Appalling.

The chord structure IS actually the same chords as Our Sweet Love. Haven't seen anyone mention that on these boards yet, but it's been discussed elsewhere. I'm working on syncing up the two but it's not finished yet...

Same verse progression, different time signature.

THE BEACH BOYS 1968 - I CAN HEAR MUSIC - THE 20/20 SESSIONS

Do It Again (alternate stereo mix) (2:46)
 (Brian Wilson-Mike Love) 
Lead vocal: Mike (with Carl)

Recorded May 26, June 6 & 12, 1968

Do It Again (a Cappella) (2:30)
 (Brian Wilson-Mike Love) 
Lead Vocal: Mike (with Carl)

Recorded May 26, June 6 & 12, 1968

I Can Hear Music (demo) (1:00) 
(Barry-Greenwich-Spector) 
Lead vocal: Carl

Recorded circa September, 1968

I Can Hear Music (track and backing vocals) (2:42) 
(Barry-Greenwich-Spector) 
Lead vocal: Carl

Recorded October 1, 1968 (track), October, 1968 (vocals)

Bluebirds Over The Mountain (alternate mix) (2:56) 
(Hickey) 
Lead vocal: Mike

Recorded September 29, 1967, October 15, 16, 28 & 29, 1968

Be With Me (demo) (2:45)
 (D. Wilson) 
Lead vocal: Dennis

Recorded August 29, 1968

Be With Me (2018 track mix) (3:17)
 (D. Wilson)

Recorded October 2 & 16, 1968     
               
All I Want To Do (Dennis Wilson lead vocal take 2) (2:13) 
(D. Wilson) 
Lead vocal: Dennis

Recorded November 9, 14, 16, 20 & 21, 1968

The Nearest Faraway Place (alternate take) (2:13) 
(Johnston)

Recorded June 20, 1968

Cotton Fields (track and backing vocals) (2:25) 
(Ledbetter)


Recorded November 18 & 19, 1968 

I Went To Sleep (a Cappella 2018 mix) (1:35) 
(B. Wilson-C. Wilson)
 Lead vocal: Group

Recorded June 1968

Time To Get Alone (a Cappella) (3:36) 
(B. Wilson) 
Lead vocal: Carl (with Brian and Al)

Recorded October 2 & 4, 1968

Never Learn Not To Love (track and backing vocals) (2:25) 
(D. Wilson)

Recorded September 11, 16, 17 & 18 1968

Never Learn Not To Love (a Cappella) (2:23)
 (D. Wilson)
Lead vocal: Dennis
Recorded September 17 & 18, 1968

Walk On By (2018 mix) (1:55) 
(Bacharach-David)
 Lead vocal: Brian

Recorded May 29, 1968

Rendezvous (Do It Again early version) (2018 mix) (2:36)
 (Brian Wilson-Mike Love) 
Lead vocal: Mike (with Brian)

Recorded May 26, 1968

We’re Together Again (a Cappella) (2:01) 
(B. Wilson-R. Wilson) 
Lead vocal: Brian (with Dennis & Carl)

Recorded May 22 - 29, 1968

I Can Hear Music (alternate lead vocal) (2:11)
 (Barry-Greenwich-Spector) 
Lead vocal: Carl

Recorded October 1, 1968

All I Wanna Do (early version track) (2:24) 
(Brian Wilson-Mike Love)

Recorded May 24 & June 8, 1968 

Sail Plane Song (2018 mix) (2:19)
 (B. Wilson-C. Wilson) 
Lead vocal: Brian

Recorded June 8, 1968

Old Man River (a Capella 2018 mix) (1:18) 
(Kern-Hammerstein) 
Lead vocal: Group

Recorded June 5, 1968

Medley: Old Folks At Home/Old Man River (alternate version) (2:57) 
(Foster/Kern-Hammerstein)
 Lead vocal: Group

Recorded June 10, 1968   

Medley: Old Folks At Home/Old Man River (alternate version track) (2:59) 
(Foster/Kern-Hammerstein)

Recorded June 10, 1968

Walkin’ (2:48)
 (B. Wilson-Jardine) 
Lead vocal: Brian

Track recorded June 18 & 19, 1968; vocal recorded circa October, 1969

Been Way Too Long (sections) (7:56)
 (B. Wilson) 
Lead vocal: Brian (and the group)

Recorded Fall 1967, July 24, 25, 26 & 30, 1968

Well You Know I Knew (1:42) 
(D. Wilson)
 Lead vocal: Dennis

Recorded June 3, 1968

Love Affair (demo) (2:00) 
(D. Wilson)
 Lead vocal: Dennis

Recorded August 29, 1968

Peaches (demo) (2:26)
 (D. Wilson) 
Lead vocal: Dennis

Recorded August 29, 1968

The Gong (session highlights) (5:29)
(D. Wilson) 
Lead vocal: Dennis
Recorded November 16, 1968

A Time To Live In Dreams (2018 mix) (1:54) 
(D. Wilson-Kalinich)
 Lead vocal: Dennis

Recorded November 1, 1968

All I Want To Do (early version) (1:12) 
(D. Wilson)
 Lead vocal: Dennis

Recorded October 16, 1968

All I Want To Do (Dennis Wilson lead vocal take 1) (2:10) 
(D. Wilson)
 Lead vocal: Dennis

Recorded November 9, 14, 16, 20 & 21, 1968

Bluebirds Over The Mountain (basic track) (1:48)
 (Hickey)

Recorded September 29, 1967

Bluebirds Over The Mountain (mono single mix) (2:51) 
(Hickey) 
Lead vocal: Mike

Recorded September 29, 1967, October 15, 16, 28 & 29, 1968

Mona Kana (demo) (1:16)
 (D. Wilson-Kalinich) 

Recorded July 25, 1968

Mona Kana (2018 mix) (3:03) 
(D. Wilson-Kalinich)

Recorded November 15, 1968

We’re Together Again (remake track with backing vocals) (1:58)
 (B. Wilson-R. Wilson)

Recorded September 3, 6 & 9, 1968

Time To Get Alone (remake track) (2:46)
 (B. Wilson)

Recorded November 21, 1968

Oh Yeah (0:54)
 unknown 
Lead vocal: unknown

Recorded October 14, 1968

Is It True What They Say About Dixie (Audree Wilson) (1:47)
 (Caesar-Lerner-Gerald) 
Lead vocal: Audree Wilson

Recorded 1968



THE BEACH BOYS 1968:
Brian Wilson, Carl Wilson, Dennis Wilson, Mike Love, Al Jardine & Bruce Johnston

Compilation and New Mixes Produced by Mark Linett & Alan Boyd
Edited, Mixed and Mastered by Mark Linett at Your Place Or Mine

Executive Producers: Matt D’Amico & Peter Fletcher
Art Direction: Susan Lavoie

Original Recordings Produced by The Beach Boys

Engineer: Stephen Desper

Brother Records, Inc: Jerry Schilling, President

Session Research: Craig Slowinski

Special Thanks: Howie Edelson; Elliot Kendall; Ross Schwartz; Mark Kaplan; Pacific Title Archives; Stephen Kalinich; Al Gomes, Connie Watrous & The Rhode Island BB Posse; Brad Rosenberger; Les Prebilsky; Lee Dempsey; Andrew G. Doe; Margaret Gwynne; Betty Collignon Wright; Lori Lightfoot; Steve Latshaw; Panayiotis Bogdanos; Les Chan; Monty & Bailey Linett; David Beard & Endless Summer Quarterly


THE BEACH BOYS 1968 - WAKE THE WORLD: THE FRIENDS SESSIONS

Meant For You (alternate version with session intro) (2:17) 
(B. Wilson-M. Love) 
Lead vocal: Mike & Brian 

Recorded April 1, 1968

Friends (backing track) (2:38) 
(B. Wilson-C. Wilson-D.Wilson-Jardine)

Recorded March 13, 1968

Friends (a Cappella) (2:20) 
(B. Wilson-C. Wilson-D.Wilson-Jardine) 
Lead vocal: Carl (with Brian)

Recorded March, 1968

Wake The World (alternate version) (2:12)
(B. Wilson-Jardine) 
Lead vocal: Group

Recorded March 28 & 30, April 1, 1968

Be Here In The Morning (backing track) (2:20) 
(B. Wilson-C. Wilson-D. Wilson-Love-Jardine) 

Recorded March 29, 1968

When A Man Needs A Woman (early take basic track) (0:50)
 (B. Wilson-D. Wilson-Jardine-Korthof-Parks)

Recorded March 18, 1968

When A Man Needs A Woman (alternate version) (2:08)
 (B. Wilson-D. Wilson-Jardine-Korthof-Parks) 
Lead vocal: Brian

Basic track recorded March 18, 1968; vocals recorded March, 1968

Passing By (alternate version) (1:44)
(B. Wilson) 
Lead vocal: Brian

Recorded March 22, 1968

Anna Lee The Healer (session excerpt) (1:22)
 (B. Wilson-Love)

Recorded April 2, 1968

Anna Lee The Healer (a Cappella) (1:54)
 (B. Wilson-Love) 
Lead Vocal: Group

Recorded April 2, 1968

Little Bird (backing track) (2:00) 
(D.Wilson-Kalinich)

Recorded February 29, 1968

Little Bird (a Cappella) (2:04)
 (D.Wilson-Kalinich) 
Lead vocal: Dennis & Carl

Vocals recorded February 29 - March, 1968


Be Still (alternate take with session excerpt) (2:09)
 (D.Wilson-Kalinich) Lead vocal: Dennis

Recorded April 3,1968

Even Steven (early version of “Busy Doin’ Nothin’) (2:52) 
(B. Wilson) 
Lead vocal: Brian

Recorded March 26, 1968

Diamond Head (alternate version with session excerpt) (4:33) 
(Vescovo-Ritz-Ackley-B. Wilson)

Recorded April 12, 1968

New Song (Transcendental Meditation) (backing track with partial vocals) (1:51)
 (B. Wilson)

Recorded March, 1968

Transcendental Meditation (backing track with session excerpt) (2:22)
 (B. Wilson-Love-Jardine)

Recorded April 4, 1968

Transcendental Meditation (a Cappella) (1:52) 
(B. Wilson-Love-Jardine)
 All vocals: Brian

Recorded April 4, 1968

My Little Red Book (2:45) 
(Bacharach-David) 
Lead vocal: Brian

Recorded April, 1968

Away (track) (0:57) 
(D. Wilson-Hinsche)

Recorded circa January 1968

I’m Confessin’ (demo) (2:17) 
(B. Wilson)

Recorded February or March, 1968

I’m Confessin’ / You’re As Cool As Can Be 1 (track) (1:38) 
(B. Wilson)

Recorded February or March, 1968

You’re As Cool As Can Be 2 (track) (1:14)
 (B. Wilson)

Recorded February or March, 1968

Be Here In The Morning Darling (track) (3:29) 
(B. Wilson)

Recorded March 6, 1968

Our New Home (track) (2:02) 
(B. Wilson) 

Recorded March 20, 1968

New Song (track) (1:26) 
(B. Wilson) 

Recorded March, 1968

Be Still (alternate track) (1:03)
 (D. Wilson-Kalinich)

Recorded March, 1968

Rock and Roll Woman (track) (2:19) (Stills)
 Recorded March, 1968

Time To Get Alone (alternate version demo) (2:04) 
(B. Wilson)

Recorded March, 1968

Untitled 1/25/68 (track) (1:07) 
(D. Wilson)

Recorded January 25, 1968

Passing By (demo with new lyrics c1971) (2:34) 
(B. Wilson-Shapiro-Almer) 
Lead vocal: Brian (with Stan Shapiro & Tandyn Almer)

Demo recorded circa 1971

Child Is Father Of The Man (original 1966 track mix) (3:36)
 (B. Wilson)

Recorded, mixed & edited late 1966



THE BEACH BOYS 1968:
Brian Wilson, Carl Wilson, Dennis Wilson, Mike Love, Al Jardine & Bruce Johnston

Compilation and New Mixes Produced by Mark Linett & Alan Boyd
Edited, Mixed and Mastered by Mark Linett at Your Place Or Mine

Executive Producers: Matt D’Amico & Peter Fletcher
Art Direction: Susan Lavoie

Original Recordings Produced by The Beach Boys
Engineers: Stephen Desper & Jim Lockert

Brother Records, Inc: Jerry Schilling, President

Session Research: Craig Slowinski

Special Thanks: Howie Edelson; Elliot Kendall; Ross Schwartz; Mark Kaplan; Pacific Title Archives; Al Gomes, Connie Watrous & The Rhode Island BB Posse; Stanley Shapiro; Billy Hinsche; Stephen Kalinich; Brad Rosenberger; Lee Dempsey; Andrew G. Doe; Margaret Gwynne; Betty Collignon Wright; Lori Lightfoot; Steve Latshaw; Panayiotis Bogdanos; Les Chan; Monty & Bailey Linett, David Beard & Endless Summer Quarterly

Despite all that, I'm delighted to have 'closure' on 'Good News' at long last.

Or has it been known for years what that was? If so, I missed the memo, clearly...!

As we were working on this project we went back and re-reviewed all of the surviving "Smiley" session tapes, and I was hoping to find "Good News" in particular even though there's nothing on any of the tape boxes or tracksheets mentioning that title.  On one reel there was this very brief fragment with a couple of acoustic guitars strumming and on that bit you can barely make out Al mumbling/singing off mic, difficult to discern the words he's singing... but there was something kinda familiar about the tune he was humming.  So I checked a couple of my dad's old Kingston Trio LPs, and there it was: "Good News," an old traditional gospel tune adapted by Lou Gottlieb (of the Limeliters), the first cut on side two of the 1959 LP "The Kingston Trio At Large."

The Kingston Trio version is on YouTube. Check it out.  A Beach Boys version might have been a wonderful thing. Al was definitely onto something there!

https://www.youtube.com/watch?v=_-SGONxEJFM

....and I should probably clarify, I'm speaking strictly about Brian Wilson material from the time period covered in the article. 

For the record, that article was wildly overblown and filled with hyperbole and misstatements, not the least of which was the outright fabrication that "the LA Weekly was granted exclusive access..."

The fact is, it was written by someone who worked with us on a project some ten years prior to the publication of the LA Weekly article, and at that time he'd had an opportunity to hear some archival things that we had recently catalogued and preserved.  When he was working on the article many years later I was happy to answer some archival questions and describe some things we'd since discovered within the tape vaults.  I'm sure I played a couple of things for him over the phone, in the interest of helping him get his facts straight. But I was not at all pleased with the article as published in the LA Weekly.

(For a more realistic look at that era, I'd refer folks instead to the recent article in MOJO by Domenic Priore.)

Stephen Desper speaks the truth.  There's very little "undiscovered" Brian within the tape archive, and most of the material of note has found its way onto recent archival releases.  There is a small handful of unheard and very rough unfinished basic tracks that may or may not someday find a home if the label ever wants to undertake, say, deluxe multi disc packages centered on specific albums...and there are, of course, a few other items ("Walkin'" and "Carnival" come to mind) that have never been officially released but have long been passed around amongst collectors.  But there is no treasure trove of unheard Brian gems lurking in a dark corner of a dusty vault, as far as I know.  I've looked.

blah blah blah. any other tracks in this style? thanks for the suggestion of our team!

Mid tempo shuffles anchored by quarter note keyboard chord clusters?

Hmmm.

Off the top of my head....

Our Sweet Love?
Let Him Run Wild?
Aren't You Glad (too fast?)
I Wanna Pick You Up?

Is that the kind of thing you're looking for?

Hey Coda Hall, look what I came across!

It's my understanding that the photos from this particular session were taken by a celebrated old-school Hollywood portrait photographer named John Engstead, who'd gotten his start at Paramount Pictures back in the 1920s.

(It's a long, long way from Clara Bow and Gary Cooper to the Beach Boys...)

Mr. Boyd, is there a physical splice on the mono master for the single?

Yes indeed.  Several.

In fact, the original master tape of the Smiley Smile LP contains so many splices (as well as a couple of song tags without fades), that a subsequent copy had to be made which was then used as the "master" for that album.  The original album, pseudo stereo masters, and master safety copies were all generated from that copy of the actual first generation tape.

I believe the "Sunny Down Snuff" section from the single version was recorded June 14, 1967 as part of the session known as "Barbershop,"

As for the "Stand or fall" verse in the single version, that's a little harder to pin down.  There's no surviving multitrack with that lead part, which is why that third verse presented some difficulty when it came time to construct a stereo mix of the song.  We have the master 8 track of the first two verses, but a multi of the third verse has never turned up. 

As a matter of fact, after all of the tape archaeology we went through on that project, and careful examination of all the surviving reels and mixdowns, I'm thinking that THIS might be what engineer Jim Lockert was referring to when he described some of what went on during the Smiley era mixdowns.  If any of you recall Byron Preiss' book from wayyy back, there was a lengthy quote from Jim in which he described how Brian would record a lead vocal, mix it down to mono, and then erase the lead vocal and put down another verse and then mix that to mono....

"We had one piece of tape for the verse.  We'd mix it to a 2 track, we'd erase the vocals on the verse, and we'd rerecord the second set of vocals on it. We mixed each piece of this down as we went along"

As it turns out, all of the vocals for all of the other songs on Smiley Smile do exist on the original 8 track reels for each of those songs.  There are no missing vocal parts for any songs on that album - EXCEPT for that third verse section of the single version of "Heroes and Villains."  Might this have been what Jim was recalling? The master 8 track for the verse section of the "Heroes" single is completely filled, with Brian's doubled lead for the first two verses.  Is it possible that Brian and the group first laid down the "la la la" parts and the "Stand or fall" bit, mixed it down, and then wiped the lead tracks so that Brian could overdub the lead for the first two verses? 

I know I might be adding 2+2 and getting 6 here (I hate speculating on these things, to be honest), but based on what we've found on the master tapes, and considering what Jim Lockert described years later, it's a plausible explanation.  Sonically, on the single those verses certainly sound as if they were mixed around the same time.

(It also kinda explains why Brian would have settled for such a clunky edit from the first chorus into the third verse, which crashes hard into and actually clips the first "la la" - there might not have have been any way to go back and fix it or generate another copy of that verse, since that lead vocal may only have existed on the 1/4'' fragment they'd just clipped by the time they got around to assembling the pieces).

nothing to be sorry about.  That ('Al Jardine') voice's Dean's

It's Carl Wilson. 

There were several sessions for the Party album in August and September of 1965.  Dean was not present for that particular session.

I've been away (lost and gone and unknown) for awhile, recently came back to LA and finally had a chance to dig into Jim Murphy's book....

This is amazing! 

Incredibly detailed, meticulously researched, and yet thoroughly readable and entertaining throughout.  Jim not only uncovers a wealth of fascinating info about the formation of the Beach Boys (including biographical profiles on just about everybody involved, from Al Jardine's parents to the Morgans and the Dix Brothers), he paints a vivid picture of Southern California and the LA music business in the postwar years, and really captures a strong sense of what it must have been like for the boys growing up in those days. 

This is truly an essential must-read for any serious Beach Boys devotee, and for anyone with even the slightest interest in Southern California pop music of the era.

We do have in the archives partial vocals for "Good Vibrations," from a copy of an original 4 track master.  This 4 track (which now exists only in a vintage 8 track copy) only had some of the vocal parts, none of them doubled, and was apparently copied to a separate, now missing 8 track onto which Brian would have then added all of the rest of the vocal parts and layers heard in the final mix. 

On the original 16 track of FALLIN' IN LOVE, just before the master take begins, Dennis (who was singing live during the basic tracking) quietly announces, "'So Tough' by Carl and the Passions."

Keeping in mind the fact that this alum was released back in the days of three track, my guess is that when they initially recorded the song for single release, the first generation three track master would have been filled with the track, and two sets of vocals.  For the single, there would have then been a dubdown on which the two sets of vocals would have been combined onto one track, leaving the third track open for the instrumental overdub.  The mono single master would have been mixed down from this three track.

For the stereo album, however, that second generation three track would have made for a really awkward stereo mix.  There was no flexibility in panning within the stereo spectrum back then - the choice was hard left, center, or hard right - so a stereo mix from the second generation would have either had all of the vocals on one side only, or the instrumental track would have had a weird split with the basic track on one side, the sleighbells and glock on the other, and the vocals in the middle.  Either way, it would have made for a strange split, depending on one's speaker placement.

My guess is that the choice was made to utilize the first generation three track for the album master since a stereo version of the song with the doubled vocals split left and right might have been considered to be a more satisfactory stereo listening experience... and since, back then, they almost always utilized the same compiled three track master reel to produce both the stereo and mono masters for an album, they might have just opted to use the same three track of the song for both editions rather than going to the trouble of getting the mono single master back from the label or digging out the second generation three track and swapping it out with the the first gen three track.  Either that, or someone decided they didn't want the mono and stereo album versions of the song to be glaringly different.

It's impossible to know for certain, in any case!

I just went for a haircut at a funky barbershop in Silverlake in Los Angeles caled Rudy's. The place has a semi-hipster vibe, the music is usually very eclectic.... and today "Leaving This Town" was on the playlist.  That was unexpected!  And pretty cool.

I really enjoyed the interviews with Steve Binder, Dean and everyone about the T.A.M.I Show.  Makes me want to go back and watch the film again.

God, please let us go on this way.

[SHIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIITTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTT !!!]

I so want to hear the track "Alan Boyd accidentally erases Good Vibrations vocals"!!!

I only heard it the once, about a decade ago: as I recall it's about four and a half minutes long and consists of one long - maybe ninety seconds - banshee wail of "SHIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIITTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTT !!!" followed by a short silence then maybe three minutes of a strange thumping noise, which I've been told was a head repeatedly hitting a desk. Personally, I'd leave it in the vault.

Honestly, I thought it was one of those Zeppo Wilson reels.

I still get residual headaches thinking about it.

I so want to hear the track "Alan Boyd accidentally erases Good Vibrations vocals"!!!

Awwww, man, I can't believe that got out. I'm utterly mortified.

Thank you all so much!  Your kind wishes mean a lot, and are very much appreciated. 

Looking back, it's kind of amazing to realize that 2014 marks the 30th anniversary of my first encounters with Kingsley Abbott, The Legendary AGD, Panayiotis Bogdanos, Les Chan (I still miss him terribly and I suspect I always will), Mike Grant, et al.  Quite apart from all of the incredible music that we're still celebrating, my association with the Beach Boys has introduced me to some of the most wonderful people on the planet. 

Late at night I think about the love of This Whole World, you know?

My guess on the lead vox originally in question in this thread is: Bruce and Al.

I think it's Matt and Bruce. Al is really prominent on the "tell me your secrets" and related lines, though.

it's Matt and Carl singing the high lead in the choruses.

A couple things that annoyed me.  Mike never mentioned Brian even once and seemed to make a point of not showing Brian in pictures on the video screen with the exception of album covers.  However, Mike did make a point to stop the show and tell the audience that his friend John Stamos will be turning 50 on the 19th and showed a couple full screen pictures of the guy.  Seriously?

It's my understanding that neither Brian nor Alan wanted their likenesses to be displayed within the context of the touring Beach Boys performances.  BRI archival footage and vintage photos of the group had been used as part of the video presentation for the first few shows of the summer tour that kicked off last month, but all of that material has since been taken down, with the exception of the Carl Wilson footage and photos used in the "God Only Knows" video.