It's fascinating to hear one after the  other.  I listened to the first Chicago show... it's like they just rolled into town... hurried set-up... get in and out, end of story... but loose and fun.

I listened to a mono mix (from vinyl) of Jan & Dean's Command Performance, as a bridge between the two BB shows... and a comparison between stage styles.

The second night sounds like they worked hard to get a good show... better song order for the set list... more polished.  I enjoyed the addition of 409 and In My Room.  Adding some songs (even if repeated from BBConcert) to have in the can in case a live album got mixed.  And Papa Oom Mow Mow worked great as an encore.

I thought the instrumental backing for Please Let Me Wonder worked better the first night... but the vocals are better the second night.  All in all, fascinating.  I remember driving past the Arie Crown at McCormick Place, as a kid, in 1965.

1961.  From the description: Same music, same record label (Arvee) as Hully Gully by The Olympics from 1960.

<Probably all it would take would be someone giving me one good reason to buy the set, and I would crumble.>

Apart from the chatter, which is delightful (there are a number of moments where Carl is clearly in charge... at one point asking for icewater in a bucket due to the pain in his hands from playing... another when Brian is pushing him... and Carl warns him off) and the comedy and sarcasm, music unreleased highlights, for me, make this a must have:
BLOWIN' IN THE WIND - one of Al Jardine's finest lead vocals... sung straight... beautiful
HULLY GULLY - there's an incredible out-take with plenty of riffing and improve, with the band singing "Peanut... peanut butter" in place of the regular chorus, which is great musically, and absolutely hilarious.  Reminds me of classic Jan & Dean schtick like "Schlock Rod pts 1&2."
SATISFACTION - infectious because these guys are big fans of the Stones... THEY are enjoying doing this
TELL ME WHY - great vocal from Carl... again, this is a wonderful moment behind the curtain... a "genuine" party moment because they absolutely love the Beatles.
CALIFORNIA GIRLS - proves why they were at the peak of their powers.  A wonderful, impromptu, mostly straight unplugged full version of the hit.
SHE BELONGS TO ME / THE ARTIST (LAUGHT AT ME).  Funny Mike stuff... the initial thought is that this is Mike doing a bad Dylan impersonation, until you realize he's doing a parody of Sono Bono's bad Dylan impersonation in "Laugh at Me" (check Sonny's original out on You Tube!). 
FOOLING AROUND / HANG ON SLOOPY, et. al) - A medley of various hits of the time all using the same chord progression. Interesting to note it begins with Dino, Desi & Billy's "I'm A Fool" and Wayne Fontana & the Mindbenders' "Game of Love" (both uncredited).
ONE KISS LED TO ANOTHER and SMOKEY JOE'S CAFE are fun... interesting to compare to the Beach tapes from 1989/Endless Summer.

So I found lots to enjoy in this set. 
 

Right now, I'm brewing up a hot mug of Who Gives a F**k? 

Anyone care to join me?

Mr. Desper - I love this show; a friend sent me a stereo cassette of the radio broadcast back in the summer of 1980.  Through the years, I've thought the mix was amazing for a live show; your video explains some of the rough spots.

One thing I've been curious about since I first heard it. To me, it has always  sounded like Bruce blows out his high voice - badly, to the point of damage - singing bg vocals on this song.  Any recollections about that?

Back in the day, Brother Records Inc. had all their sitars in a Van Nuys warehouse (near the corner of Roscoe and Van Owen).  In the spring of 1967 they were "borrowed" by Jan Berry.  By the time BRI got the instruments back the whole sitar thing was passé.

I'm enjoying this as well... goofy, to be sure (melody reminds me a little bit of Bony Moronie).  Would have been an interesting album in 75...
California Feelin'
It's Ok
Good Timin'
River Song
Back Home
Rollin Up To Heaven
Glow Crescent Glow
Rainbows
Come Go With Me
Battle Hymn of the Republic
Child of Winter
Lucy Jones
In the Back of My Mind
Come to the Sunshine

<<THe project was fully realised: a master was prepared (6/27/77) and delivered to Reprise, who rejected it.>>

You're absolutely right, Andrew.  I miss-stated my premise.  "Fully realized" is just pure speculation, or wishful thinking, on my part as to how those songs might have been expanded with additional group vocals, instrumentation, etc., into something less demo-like.  But that is, of course, fantasy; what might have been. 

As you noted, at the end of the day, the master delivered to Reprise was the one obviously intended for release.

<<Not to mention Henry wrote an opinion piece celebrating SMiLE upon its release a few years back.>>

Henry is a big Beach Boys/Brian Wilson fan.  At a Bel-Air event celebrating Brian's then upcoming Kennedy Center honors, thanks to the generosity of Alan Boyd, I got to direct a video shoot interviewing various attendees, and of the subsequent presentation/dinner/mini concert.   Taking a breather, I got into a conversation with Henry about the music.  In particular, he was a huge fan of the material Brian did between 1976-78... all of the 15 Big Ones, Love You, Adult Child, MIU, etc. stuff.  Very nice guy.

Very entertaining summation of this album, with some interesting speculation about what certain tracks (Lines, among them) might have sounded like had the project actually been fully realized.

Personally, I love it... great production, vocals... clever tag...

http://www.rollingstone.com/music/news/hear-mike-loves-spirited-bittersweet-new-christmas-song-20151106

"I'll go for Cool Head, Warm Heart."

That's a great little track... love that temporary key change bit near the end... and Christian Love at his most Carl-sounding.

I'm also quite fond of Pisces Brothers.

I had heard in early 1979 there was some brief talk among band members back in the Spring of 1979 to possibly do a disco version of Roller Skating Child... issued possibly as an extended live single... but it never went anywhere. I am assuming, after the HCTN backlash, that plan went on hold... though it might have been the perfect choice.

<<Teach Me Tonight (really just the choruses) are a guilty pleasure. Hard to say the song itself is.>>

Teach Me Tonight is actually an old standard, written by Sammy Cahn and Gene De Paul.  It was recorded by - literally - everyone - the hit version came from the DeCastro Sisters in 1955.

<<I enjoy Shawn Cassidy's version but I absolutely love the Spring version. Would have been great to hear a BB version, but I really can't envision any recording of this song sounding better than that done by the Rovell sisters (all three in this case).>>

I have to give the Michael Lloyd/Cassidy version the edge... more developed production (the Spring version has always sounded like a demo to me, rushed and sparse ala Love You)... and the Cassidy version has a great middle 8 that gets repeated twice.  The Spring version has a completely different and very weak bridge.  Better tag on the Cassidy version as well. 

I spoke at some length with Michael Lloyd about this one.  He said he really tried hard to do Brian's sound... but studio time limitations kept him from making it as big a production as he wanted.

It's Like Heaven.

Shaun Cassidy version... produced by Michael Lloyd... great key change and falsetto tag at 2:20.

A Beach Boys version of this would have been a standout on MIU...

https://www.youtube.com/watch?v=lqiZQe3ufB0

I heard the Sea of Tunes release of some of these sessions a few years back and isn't there a medley section where, at one point, the BB (I think Brian) sings a brief snippet of the DD&B hit "I'm A Fool?"

<<And I'm pretty sure Billy Hinsche on harmonica.>>

The man himself confirmed that to me... on Mountain of Love. 

And flash forward 35 years to 2000... the Carl Wilson foundation Beach Party... at the singalong during Mountain of Love, Billy surprised everybody (and Jeff Foskett) when he whipped out his harmonica and reprised that solo.

I had read somewhere (I think in ESQ's excellent LA LIGHT issue) that Full Sail was written by Carl and Geoffrey Cushing-Murray one day while out on Dennis' boat.  And that Geoffrey sings on Full Sail, during the middle 8 ("...adventures on the high seas...")

<<couldn't disagree more, it was apparent to me that voice's Deans without guessing upon first hearing .>>

Sorry, dead wrong.  I've known Dean for decades.  This is Carl's voice; I am sure Andrew or Alan or any longtime scholar can confirm.

<<no it's Dean Torrence, reading from a prepared script so there's no need for him to remember an obscure reference.  the voice is unmistakeable from hearing him shoot the breeze on various Jan & Dean compilations>>

Having been acquainted with Dean since 1977, I can tell you this is not Dean, in any way, shape or form.  It's Carl Wilson, adding a bit of nasality to his voice, in the spirit of the comedy of the moment.  End of story.

<<I'd know Dean Torrance's speaking voice anywhere...>>

Minor note.  Torrance is the city.  Torrence is the name.

Excellent post, Adam.  What I remember very well from the 1970s, as a fan, was Dennis' dedication to Special Olympics.

Is there a link to this?

<<At that time neither 'group' would have wanted to backtack into the by-gone era.  It would have been all about QUALITY.  [and talent]>>

I may have read it wrong but I don't think the question was what they would have wanted to play - but what we would have wanted to hear.

Yes It Is has some of the most beautiful harmonies the Beatles ever cut - with some spectacular "odd" chord changes ala Warmth of the Sun.  A Beach Boys rendition of this would have been spectacular.

And as the Beatles were guitar-based, with wonderful riffs abounding, I would have loved to hear their take on Dance Dance Dance... as the instrumentation lends itself to a Beatles interpretation...