Don't know if this has been posted here yet  -- but Joshilyn, these are brilliant and so important.
Keep going!!!

https://www.youtube.com/watch?v=5OjiGUoB_0E

Cool, with these kind of songwriters, it's pretty much almost all in the voicings.

There's a lot of stuff to discuss re: Feel Flows music and production. I've been humbly thinking of suggesting a new thread about it. Just a tiny example: the sound of the backing vocals excerpt of "Break Away". Are these slowed down?

A question from a streamer to those lucky enough to have the physical release: Hawaiian Dream was written by Brian and produced by Dennis? Is that credit right?

And You Need a Mess to Stand Alone and Marcella are at the end as teasers for an eventual next box, right? According to the research included on the Bellagio site, there's a demo for Marcella from late december 1971, obviously not the vocal tracks we're hearing now.

Straight to disc 5. Wow wow wow.

The Surf's Up 1st movement 1971 remake is really odd.
The Soulful Old Man Sunshine 2019 mix sounds *very* different. Was Don Ralke part of the writer credits on the original Endless Harmony release?

A small detail: "Sobra las olas" should actually read "Sobre las olas"

Understood.

I have read both the Record Collector (#521) and the Shindig! (#118) cover stories. The RC one must be one of the best articles written lately about the group. The Dennis piece on Shindig! was largely built for archive quotes, but the Feel Flows era on Record Collector is well thought and has exclusive quotes from all the surviving bandmates (most interesting is Al Jardine talking about All This is That or Bruce Johnston on 'Til I Die -shame that they used "Brian"'s words from the WIBN book about that song) although the real attraction are the insights of Alan Boyd and Mark Linett (not a fan of the sonics on Smiley Smile).

Thanks for the positive comments. I think you should check out the stereo mix of Smiley Smile that we did several years ago and perhaps  revaluate the sound of the record. What we also discovered was the mono album had one if not two additional generations  of copies used to create fades and edits which given the production , greatly lowered the quality of the mono mix

I'm familiar with the stereo Smiley Smile you did. I love the album in its own twisted way, anyway. Although the original is quite lo-fi, by "not a fan of the sonics on Smiley Smile" I meant that you said that you did not like the sound of it, technically speaking. That was another thing I liked about the piece: hearing from you and Alan Boyd's experiences as fans.

I have read both the Record Collector (#521) and the Shindig! (#118) cover stories. The RC one must be one of the best articles written lately about the group. The Dennis piece on Shindig! was largely built for archive quotes, but the Feel Flows era on Record Collector is well thought and has exclusive quotes from all the surviving bandmates (most interesting is Al Jardine talking about All This is That or Bruce Johnston on 'Til I Die -shame that they used "Brian"'s words from the WIBN book about that song) although the real attraction are the insights of Alan Boyd and Mark Linett (not a fan of the sonics on Smiley Smile).

TWGMTR (the song) is a situation where I suspect Brian contributed the title and not much else. And yet, that title is the song. He clearly deserves a credit, given that the entire piece is built around it.

Yet, to take alternate examples from the same dang records, the song "Shelter" on TWGMTR (the album) seems to be almost all written by Brian. The chorus could be Joe, but the rest of its weird little sections sound very much like something BW would cook up.

I believe it has been acknowledged that Brian's credit on "That's Why God..." is a courtesy credit for coming up with the title, and for the verses being derived from "Keep an Eye on Summer."

More like "Your Summer Dream", actually.

Matching up songwriting credits on BB (and solo) records is a huge rabbit hole. I mean, how many songs are credited solely to Mike Love where clearly *someone* had to have some hand in writing some of the music?

On the latest Uncut magazine, Al Jardine seems to imply that Daryl Dragon should have gotten a credit on Don't Go Near The Water: "Daryl Dragon helped a lot too. He was the piano assistant and we had those crazy little chords going on there" I guess he was talking about the dissonant chords at the beginning, and the coda. Obviously they considered all of that as arranging.

I really liked The Grip Weeds' version of You're So Good To Me - video it's at the end of the first link. Never heard of them, but sounds like a solid power pop band. Gonna check them out. Interesting how they took what originally was kind of Brian doing his very own idea of a Rolling Stones track, and put the Ticket to Ride drumbeat over it.

Listening to Susie... er... is this a pattern? ie. The preview tracks coming from the least talented songwriters of the group (and definitely the least associated with the creative bonanza that the Sunflower/Surf's Up era represent)... what's next... a Bruce song?

FWIW, during a press conference en 2013 I asked Stevie about IDL and he answered that it was a song he had written in the style of the BBs during the sixties...

-Ostinato, I've never heard that before!

-Van Dyke told me.

-Pfew!

There are VSTs for Moogs and Arps, so you can get those farty bass sounds and string ensembles from the Brian's Back Era. It would be nice to have a preset to emulate the sound Earl Mankey got on those Love You snares, although I'm pretty sure it's easy to emulate if you know your way around processing.

Do most people feel that the genesis of this voice is from the Modern Folk Quartet's "This Could Be The Night" ? I know this is Spector but it still seems a somewhat odd choice.

I always like to quote from this 1992 French interview with Brian:

-You've made yourself famous in the sixties by composing, arranging, producing and singing ...

-(Sneering.) Heh, heh.

-… songs for a vocal group. It was a unique position at the time: to be a composer, producer, arranger and singer all at the same time. Even Phil Spector didn't do all of that.

-He tried.

-Did he try to sing?

-Haven't you heard a record called "This Could Be The Night"? Well, it sounded like he was the one singing. It's a group called The Modern Folk Quartet. There was a guy in the Quartet who had a nasal sound, and Phil Spector made it amazing sound. It was the first time that I had really heard him take care of an ordinary singer.

This is just my opinion and nothing else, but the last couple of years its been very noticeable the decline in Brian's voice.  Up until about 2016 he could hold a note longer and wouldn't do the talk/sing he does now.  Understandably he's pushing 80, but it kind of seemed to happen quickly for Brian.  The times that I saw him live in 2008 (TLOS) 2012 and 2013 his voice was really really strong. 

Yes. My only two were BW shows were in 2017, and he sounded much better on the non-Pet Sounds half.  However, it's clear that Brian's voice has declined in recent years. Although I don't know how much his performances at home from last year are proof of it, since he was clearly out of shape: lack of excercising, rehearsing, touring, etc.

Might have something to do with the fact that between 2016-2019 he was doing Pet Sounds for the "last" time, about a million times...

Thanks to 37!ws for taping that and yes, having watched The Bee Gees' doc, I'll second any negative opinion about Steve Dahl.

You Tube's algorithm was kind enough to show me this clip of Brian and Joe Thomas at Steve Dahl's radio show (1995, or 1996, they mention the Stars and Stripes sessions).

https://www.youtube.com/watch?v=G1m3ZiJ07hA

You will hear a snippet of a Brian "demo" for what would end beign the Let Him Run Wild remake on Imagination. Joe Thomas says that they were planning a Brian solo album, and that Brian had recorded this playing "all instruments" and doing all the (background) vocals (and Mike's line at the end of the chorus).

Actually, he's playing all the parts on a sequencer, but I didn't know Brian was so involved in the Imagination arrangements, at least on the earliest stages. It has been said that Brian took care of the vocals and left the instrumental arranging to Thomas.

Has anybody heard the whole "demo" or another ones from this project? (obviously, they are not circulating on the bootleg/P2P/Internet area)

That's amazing! Is this interview on the web somewhere? Would love to read it!

I don't think so. It has been collected on a small book called (wait for it...) "Brian Wilson", by Michka Assayas. It's in French (I have a magazine with an abriged version in Spanish). An epub is out there. Google does a pretty good translation.

Of course, it goes without saying that Brian did "This Could Be The Night" for a Nilsson tribute, a gifted singer who wrecked his voice even more than Brian.

[You were into an unique position at the time: to be a composer, producer, arranger and singer at the same time. Even Phil Spector didn't do all of that.]

Funny you should mention that. It made me remember a terrfic interview Brian did for a French magazine in 1992, still under the Landy regime (Now it has been converted into a book):

You were  into an unique position at the time: to be a composer, producer, arranger and singer at the same time. Even Phil Spector didn't do all of that.

He tried.

Did he try to sing?

Haven't you heard a record called "This Could Be The Night"? Well, it sounded like he was singing. It's a band called The Modern Folk Quartet. There was a guy in the Quartet who had a nasal sound, and Phil Spector made it amazing sound. It was the first time that I had really heard him take care of an ordinary singer. Instead of Bill Medley or the Ronettes, all those great singers, he tried an average singer, okay? And it works. I have a copy somewhere, I don't know where.

Wow! A very spirited vocal, and a smart coda for the live performance. This is a board mix, to say the least.

    Only 2 of the Gettin' In Over My Head tracks are playable on Spotify, for example. Is there some weird publishing issue??

GIOMH was a BriMel production licenced to Rhino as part of the BWPS dea l with Nonesuch (both labels part of the Warner conglomerate). My guess: the rights to GIOMH have reverted to BriMel, so, when the Playback anthology was assembled in 2017 BriMel only licenced two tracks from GIOMH to Rhino.

Once again, wise words from David Crosby re: Mike Love:

https://twitter.com/thedavidcrosby/status/1318221408871145483

One caveat...there are a few inaccuracies for the sake of sensationalism in the Kent story

No doubt about it. But one of the things I like is how he paints Carl's public persona.

Thanx to CenturyDeprived for the scans

While I get the feeling that Carolyn was unfairly treated, I reccomend you reading Nick Kent's  post-KTSA piece on Brian for the NME, to get a feeling of his then-daily life. It's featured on Back to the Beach: A Brian Wilson and The Beach Boys Reader

No, I don't remember that, but it's a fine excuse to mention that Greg Leisz has a very impressive and ever growing CV, not to mention his wife, bassit Mai, part of David Crosby's Sky Trails band (i.e. the electric one)

And some good things came out of "Joe's men". Bob Lizik. Paul Von Mertens, and one more...

I wasn't my intention to being dismissive of his playing, just stating the fact that he was one of the regulars at Joe's sessions