Both boards should do like Jesus fucking Christ and turn the other (butt) cheek…

I don’t know about the rest of you, but I find this ”EH forum vs. SS forum” thing really tiresome. Why not listen to some Beach Boys music and focus on something positive instead? 

Maybe you could move the EH vs. SS discussion to its own thread? I want to read people’s thoughts on Sounds of Summer and not get involved in a lot of drama I neither care nor know anything about.

I was walking to pick my kids up the other day and blasting Sounds Of Summer on shuffle and "Wind Chimes' came on. Now, I've always preferred the Smiley version of the tune and I find myself only really listening to SMiLE in the fall and winter -- it's never been summer music for me. But with it being the first stereo version, I let it play through. Now, this was just a gorgeous New York City spring day. We don't really get many anymore, for years it's felt like it goes from April to August. But hearing that bombastic bridge/B-section -- the horns, the harmonies, mixed with the perfect temperature, lush trees, and eden-like sunshine -- my heart just exploded. It was LITERALLY "the thing." It took me RIGHT to that place. The place where there's joy, and hope, and you can't help but look and DWELL on the bright side. Just ZENITH Beach Boys heaven.

After all these years, that's never happened with me and that song until the other day and THIS comp. Perfect timing.

Great post! I love both the SMiLE and Smiley Smile versions of Wind Chimes — amazing music! The stereo mix of Wind Chimes on SoS is actually a 1:1 copy of the stereo mix first issued on Made in California back in 2013. Same mix, EQ and mastering. It sounds amazing and I’m glad it’s on the new Sounds of Summer!

Just heard about this thanks to the Sail On podcast, so I’m a little late to the party… although the party seems to have fizzled out? I understand projects like these can be very hard to go through with but I think PetSmile’s idea is an excellent one and I’d love to be part of it!

I expect that the next announcement will be that we get to hear another track from the box set.

As mentioned above, everything on this ”set” is lossy. Just had a look myself and there’s absolutely nothing above 15 kHz which is a sure sign of (terrible, low quality) compression.

Just wondering what software you are using to test, just to know.
?

I use iZotope RX as it has a great looking spectrogram function, but there are lots of different software offering this. Audacity has one, but it’s pretty basic. Then there’s software such as Tau Analyser or Trader’s Little Helper if you want a quicker alternative.

The plot thickens.

Granted, anyone can paste a copyright or ownership tag on anything posted online, the more dubious the more likely it can be done, HOWEVER:

Take a look at this discussion which fell off the radar here a few months ago:

http://smileysmile.net/board/index.php/topic,27459.0.html

"Iconic Artists Group" is under the same umbrella of LLC's and business entities as "Iconic Brothers LLC", which is - as you can read at that link - The LLC listed June 26, 2020 that acquired the BB's song titles from Mike's interests. Again, read the link. "Iconic Artists", "Iconic Brothers"...those company names are attached to multiple interests sharing the same corporate address as Irving Azoff's various interests, as Azoff is a co-founder and owner of "Iconic Artists". For those unaware of who Irving Azoff is, google the name.

So if this dump of live material is listed to "Iconic Artists Group LLC", it connects directly to the group of interests and LLC's under the "Iconic" umbrella of holdings and Irving Azoff's interests, and that signing over of Mike's interests in the songs listed in the public documents at the link above into "Iconic Brothers".

That's all I'll post about it, but for those interested in going down the rabbit hole and some truly inside baseball, the links to start with are there.

That is, unless someone just felt like tagging "Iconic Artists Group LLC" onto a collection of bootlegged live tracks ripped from other sources...but I doubt that's the case.

Happy digging. 

Thanks for the info. Wasn’t familiar with this Irving Azoff character before but I quick Google search educated me. I wonder how he managed to become so successful. He must’ve worked his Azoff.

As mentioned above, everything on this ”set” is lossy. Just had a look myself and there’s absolutely nothing above 15 kHz which is a sure sign of (terrible, low quality) compression.

Someone """acquired""" the apparently lossless download and none of the spectrograms exceed 192kbps MP3 quality, sometimes less, so if you have the original bootlegs on CD they're probably higher fidelity than this. Supports the idea that some were just ripped from YouTube.

The first track on the Tidal version comes with a few seconds from a Youtube ad. Classy! I think you’re right about the streaming versions being ripped from Youtube.

BTW, looking on Tidal, details say ”copyright 2020 Iconic Artists Group, LLC”. I’m beginning to doubt that this is an official release... No sign of UMG/Capitol anywhere.

I’ve only listened to the first 14 songs in that playlist so far, and that’s Big Sur 1970 in quality similar (or perhaps the same) to Vigotone’s GSHG set but with the missing songs patched in from a common low-quality source. If this is an official ”release”, they sure don’t make a lot of effort but are probably just grabbing the nearest available bootleg sources. 😢

Ed might be playing a slide, or perhaps the photographer just caught him in the middle of a lick?

Blondie seems to be playing an A (or perhaps a D) on the fifth fret. Ed could be riffing around an A note (7th fret) on the D string. Carl is also playing around A (or D). It's a bit hard to tell from the photo because of the low resolution, but Al seems to be playing a really cramped C7, but that wouldn't fit with "Here She Comes" at all, and not with what the others are playing either! Or maybe he's going from an Am to something else? If so, it would fit with "Here She Comes" (the "Listen, listen, hear the music play" part).

All of these notes and chords - apart from Al's C7 (if that's what he's playing) - would fit with the key of the song, both with how it's played on the LP and live in 1972.

[Hawthorne, CA]

Calling all Beach Boys scholars! Lonely Days is a real gem and one of the biggest pleasant surprises for me when Hawthorne, CA was released. If I'm correct, we now have the following versions and bits and pieces:

Lonely Days (on Unsurpassed Masters, Vol. 19, hidden within various Cool, Cool Water recordings) – 1:24
Lonely Days (on Hawthorne, CA) – 0:52
Lonely Days (Alternate Version) (on 1967 – Sunshine Tomorrow) – 1:45
Lonely Days (Session Highlight and Track) (on 1967 – Sunshine Tomorrow 2 – The Studio Sessions) – 3:14

It seems to me like the version on Hawthorne, CA is the truest representation of what's on the master tape as it has a cold ending complete with stray organ notes, while the 1967 – Sunshine Tomorrow version is more of an obvious cut and paste job.

Then there's the material on 1967 – Sunshine Tomorrow 2 – The Studio Sessions which seems to include a couple of rehearsals/run throughs of the song. This doesn't overlap with the rehearsals on Unsurpassed Masters, Vol. 19.

Also, there's some interesting studio chatter on the Sea Of Tunes CD:

Bruce (?): Aaah...
Carl: I'm sorry. I gotta get used to it, Brian. f***! Gimme a chance.

Brian: We can't cut it without a fucking rhythm section.

The "Track" on 1967 – Sunshine Tomorrow 2 – The Studio Sessions has an additional and unique section (with tom fills) that's not found elsewhere. Where did that come from? Could it be an additional edit piece recorded separately later on the tape? Or was it always part of the original recording but edited out for Hawthorne, CA and 1967 – Sunshine Tomorrow as there weren't any vocals recorded for that section? Why wasn't that instrumental part included on 1967 – Sunshine Tomorrow (which to my ears sound like the backing track repeated twice, once with vocals, once without)?

Wow, that's a lot of text about pretty much nothing. 

Anyway, my question is: how might the original master tape sound prior to the cutting and pasting?

There's a "℗ Maison Orcharde" note in the description, a company that seems to specialize in grey area (or perhaps outright bootleg) live recordings. I seriously doubt this has anything to do with Capitol/BRI.

Voted for Orange Crate Art. Not a fan of The Walkmen on vinyl.

Edit: edited typos

I’m a feminist, a politically correct moron, and a socialist and thought it was quite funny.

Oh blast! It's still available on 7Digital but only in mp3 format and I really want it in lossless. I guess that's what I get for being too slow. Hopefully it'll be available once again... 

Is slow the word?  Thing came out 6 years ago.   

You're right. Slow isn't the right word. I'll be honest and say that I had little or no interest in the Beach Boys (or music in general) at that time... 

Thank you very much for that video! Fascinating stuff! I could listen to Mark talk about this for hours. Mark (and Alan) are doing an amazing job with the copyright extension collections and I sincerely hope they will continue to put them out... even if it means I’ll have to buy them twice or thrice every time to make sure they’re selling enough of them!

2 humanoidboogie: cool username. The previous ava' image really fit it. The new Brian is nice.

Thank you, my previous avatar disappeared so I had to find a new one. When in Rome...

Please forget my above links! Let’s talk about something befitting this thread:

The Smoke (not the UK or NZ bands, but the Michael Lloyd one) and their sole ’68 LP which in my opinion is a masterpiece. Why oh why is there still no official reissue of this gem? Surely Sundazed would be the perfect label for this one!

Tagga till!!!

This has to be Topic of the Month! We are so incredibly lucky to have Stephen Desper on board.

http://smileysmile.net/board/index.php/topic,26631.msg650976.html#msg650976

I thought the same thing we he started that thread! We are incredibly lucky to have him here. I mean, it's the man who engineered some of the finest recordings ever done, yet he is graceful enough to share his knowledge and memories here on this forum. Thanks you, Stephen. It's an honour!

Thanks for the Sapphire Thinkers link. According to Richard Falk in "Endless Trip" it's "richly melodic and relaxed" and "blends elements of psychedelia and folk-rock on some catchy but rather lightweight songs. Fans of bands such as Art Of Lovin' and Growing Concern will find much to adore here."

Sorry that Dom wasn't your cup of tea, but thanks for giving it a try! I think it's a great LP to play late at night on headphones (and no need for drugs, by the way! ) but I understand that it's not for everyone.

Speaking of albums that are a bit different, here are two classics and two of my favourites. You might've heard 'em already, though:

https://www.youtube.com/watch?v=wQhIhKpmwrg

https://www.youtube.com/watch?v=0MRecD7E0yw&list=OLAK5uy_lJr3ncbznjJwcEs5wb0isx9e0I8Wos178

I realise that I'm straying from the subject now... Sorry about that!

... and it has arrived. What a magnificent piece of work this is! Some absolutely stellar detective work. Well done, Ian and Jon! So far I've only skimmed through it and it'll take some time to read it all, but I'm looking forward to it.

One tiny thing, though: for the Swedish shows, "Konserthuset" is spelled "Koncerthuset" throughout. Also, the entry for the November 3, 1966 show in Denmark reads "Falkoner Centret, Torsdagm, Denmark" (an error also appearing in Badman's book). There is no place called "Torsdagm" in Denmark. I believe this is some kind of translation error or misunderstanding as "Torsdag" is the Danish word for "Thursday" –– which was the day of the week the concert was performed. Minor quibbles, I know, but just thought I'd throw it out there.

Thank you very much for that link! That show is a fascinating chapter in the band’s history. Funnily enough, I just read about the visit to Prague in Mike’s biography. ”We also needed a Hammond organ. Only two were available in the entire country, and the one we got had sticky keys, a missing amplifier tube, and some rogue notes.” 

The audio in that clip of ”Break Away” is surpringsingly good. Did the film crew capture that from the board or did Mr. Desper and the band a professional recording of the entire show?