My ex bought me a mint test-press of Love You for Christmas several years ago. And a busy of mine got me the RSD isn’t it time 10” not long after.

Hey folks, my "band" just released Christmas Eve, the new xmas single! Enjoy!!
hear it https://soundcloud.com/fare-forward-voyager/christmas-eve

I've been a Jan & Dean fan for years now, but for all this time I had only been able to listen to the remixes of their songs from 1996, since that's what is available digitally and on most CDs I have found. However, I recently picked up the Jan & Dean Complete Liberty Singles CD, which has all of Jan Berry's original mono mixes, and man they are just blowing my mind! I honestly feel like I'm rediscovering Jan & Dean all over again. Jan's mixes have so much punch and low end, that's just totally missing from the remixes. They are so powerful and they really rock. On a side note, I think Jan & Dean made better Surf Rock than the BBs simply, because of how driving and powerful the songs are. One of these reasons I think was that he had really great drums (Hal Blaine and Earl Palmer playing in unison), whereas BW was always telling his drummers (Denny, Hal, etc...) to play more gently.

ANYWAY, if you're a Jan & Dean fan and haven't heard Jan's original mixes, pick up that CD (or mono vinyls if you're lucky) and enjoy!   

Yeah, I have all the original albums in both mono and stereo and most of the singles, and Jan was THE MAN!
he had a great ear (even if not a very good voice!) and its a crime these mixes aren't more readily available.

BW still had it on great production!
https://www.youtube.com/watch?v=Bql-nmcjz2o

Thought that was a Murry (or Rick Henn?) production?
Either way it IS great!

You're thinking of "Come To Me" and "Let's Take A Holiday", respectively. The single "Tonight You Belong To Me"/"Goodnight My Love" was produced by BW.
EDIT: both "Come To Me" and "Let's Take A Holiday" were produced by Murry - the former was also written by Murry, the latter by Rick Henn.

Oh, ok! Thanks Craig!
PS, I'm sure you get this a lot, but any news on your sessionography?

What everyone else says...Its Great!
Wish Mike was on those verses and wish there was a better drummer/ drum sound, but its way stronger than most of BW's solo work, energy-wise!

BW still had it on great production!
https://www.youtube.com/watch?v=Bql-nmcjz2o

Thought that was a Murry (or Rick Henn?) production?
Either way it IS great!

We have this cassette/album, so I don't think we need any more crossover events between the two bands:

ooh, I remember getting that at a swap meet back in the 80's when finding anything by either band was difficult! Thanks for the memories!
Also, why surfer,why?

Speaking of the intro of "Look", I've always felt the first 20 seconds were *so* magical, and almost reminiscent of the intro of California Girls. So much so that it kind of feels like a successor or tip of the hat/sequel to that beautiful CG intro.

Agree, I've left it off Smile mixes in the past for not being on the December tracklist/missing vocals but I've been listening to it a lot more lately and it's really something special. Smile's a lot less without it. Probably the single best backing track Brian produced in that era, maybe slightly behind something like Surf's Up or Cabin Essence. Hence why I really really wish a version existed with that clarinet melody to make it feel as finished as the other songs

Intersting that you like it so much. It always seemed to me to be an idea that was never completed. Like BW had the crying horn idea, tried it on Look and thought, "sounds good, think I'll use that on CITFOTM" and the drums during the chorus, didn't he try that same pattern out on Cabinessence, and then reject it?
And the weird intro is like the creepy Child intro as well. Then the main melody which is the vocal outro for GV...it just seems like BW crammed all these production ideas into this half-assed song so he wouldn't forget them.
That's my take.
Glad others can enjoy it on its own merits, but it really just seems like a cheesy Charles Ives ish mess too me!

I've never thought the 'I'm Waiting For The Day' bass vocals were Dennis, but I've gone back and forth on if I thought it was Mike or Brian (or both). It's rather annoying, because I can't completely convince myself either way.

Funny, I've ALWAYS assumed it was Dennis! I say split the difference between Mike and Brian and the remainder IS Dennis.

Okay, here's what we know about the '68 version:

- There's an intro and it's recorded separately to the rest of the track
- On Unsurpassed Masters (labelled as a rehearsal but probably isn't), there's what seems like an early attempt at the full backing track that follows almost exactly the same structure as Brian's piano track for the 1967 version: verse/chorus/verse/chorus/bridge/short verse/chorus fadeout. Prominent electric harpsichord, not much percussion and no acoustic guitar in this version. Definitely nothing from here in the released take. The choruses each cycle round 4 times, once more than the choruses in the Wild Honey version.
- Also on Unsurpassed Masters is the '68 take that we all know, that Brian calls out on the count-in as "pickup 2nd verse". And that's apparently where it goes from: verse/chorus/bridge/short verse/chorus fadeout. No more harpsichord, acoustic guitar and percussion added, Carl does his dee-dums on the chorus and the group do vocals on the fade. Aside from instrumentation the only real difference from the other backing track is that this time the chorus cycles round 6 times instead of 4. If it's just carrying on from the second verse, no idea if that means it would be cut into the early backing track or a different take entirely that we haven't heard. Or, a whole other insert or something. Thing is, the instrumentation means it can smoothly follow the intro while the 'rehearsal' backing track just doesn't work, so I don't think that earlier take was on the cards for being used. I just can't get my head around why Brian would go from recording the track in one go to picking it up with a separate take from halfway through. UNLESS.......
- On the Archaeology boot there's the fast handclap section with the wordless harmonies and the tag with Brian doing an extra "baby you know I can't wait forever" vocal that I'm starting to think might both be vintage '68. What if the handclap bridge was gonna follow the first chorus and lead back into the verse, and that's why Brian recorded verse 2 through to the end of the track separately? That transition always seemed kinda awkward in the early attempt and doing it this way just works. Chords work out too. Of course in the Archaeology clip it leads to the tag but that edit feels pretty unnatural. This is pure speculation though.
- There's a short a capella overdub on Get the Boot that doesn't seem to fit anywhere. Logically it would make sense over the "I miss you darlin'/I miss you so hard" bridge towards the end of the song but the chords are totally different. It works well cut up and used as backing vocals on the chorus but like...would Brian have ever done that? Probably not. This one's a mystery.
- The choruses are the same as the Wild Honey version. Same melody, same lyrics. We know this cos Brian keeps singing off-mic. Did that in '67 too. Must've been into it.
- No clue how the verse melody goes but it'd have to accommodate the "now I'm alone lyin' down lookin' up at the stars" lyrics somehow because that part's a short verse reprise. I think I have an idea of how it could go but Brian's singing something totally different in the background of the '67 verses that's too hard to make out so back to square one. This song hurts.


So here's my fanfiction wishful thinking edit of how it was supposed to go: https://drive.google.com/file/d/0B1IgrH_V1DalSjNtbTFZQ05MYk0/view?usp=sharing

Inconsistent sound quality because of various bootleg sources and using both the GV set mix and the twofer mix to switch it up a bit gotta keep it F R E S H

It goes: intro/verse/chorus (normal)/middle eight/verse/chorus (long)/bridge/short verse/chorus (tag). I think this is all pretty historically plausible apart from maybe the "miss you darlin'" vocal cut into the chorus but hey, I like it. Here's an alt version discarding the Archaeology tag vocal for an ending with better quality - https://drive.google.com/file/d/0B1IgrH_V1DalQTRGWVViRDVpc0U/view?usp=sharing

Oh man, that's great! That crummy reverb on the Archeology stuff does stand out, but at least this version has some sensible structure to it. A real treat to these ears.
I really appreciate your ability to organize in your mind these various pieces and create some kind of cohesive whole from them. I imagine you sitting in your leather easy-chair, in your lamp-lit mahogany study, quietly smoking your pipe as you contemplate putting these sound-puzzles together. To me they've always sounded like random, fragmentary ideas (SMiLe style) that BW hoped would somehow come together, but your various mixes (including your SMiLe) throw that idea out the window.
Anyway, good job!

Is there any bootleg that collects all of the known circulating fragments/versions of this song? It's always been one of my favorite productions from Brian. But I only know the version on the 1990 twofer, the GV box set, the Get The Boot brief fragment, and now the Sunshine Tomorrow version. I'm not that well educated on the making of the song, and I'm kind of having a hard time trying to pick out the parts being discussed in this thread to follow along. I know bootlegs are illegal and frowned upon, so I really hope nobody tries to send me a compilation with every single fragment and version available.  

Yeah, there's the Archeology box-set that has the extra "baby you know I can't hold out forever" backing vocals over the verses, which NOBODY seems to use in their fan or studio mixes (I'm looking at you wjcrerar, and you Linnet!) even though its a great little BB chant!

Don't worry, I know about that one! Just didn't use it because it's in poor quality. I really can't tell when it's from though. I've come round to the idea that the handclap section is actually from '68 (that's definitely '68 Brian falsetto and the same acoustic guitar as on the verses), but the archaeology stuff's mixed really weirdly with lots of reverb and sounds all 80s-ish. Is it possible that those are the mixes that were prepared during the KTSA sessions? The "baby you know I can't wait forever" vocal or whatever it is has to be Brian but it doesn't sound like the 60s. I convinced myself that it was his Here Comes the Night voice, but then there's a part at the end where it's more clear and it sounds exactly like he does at the Knebworth concert on Surfer Girl. Hmm.

I forget, what is the source for the story that they worked on CWTL during KTSA, and has ANYONE ever described what was done? Why is info on this track so maddeningly fragmentary!?

I hear what you're saying about Brian's voice on those vox, and the bad reverb certainly muddys it up, but it still "feels" like 60's BW to me, for what that's worth.
Also, that handclap/vocal intro is is so energetic and classic BW I cannot believe the archivists haven't given it a proper treatment! Hoping you can give it its due!

Is there any bootleg that collects all of the known circulating fragments/versions of this song? It's always been one of my favorite productions from Brian. But I only know the version on the 1990 twofer, the GV box set, the Get The Boot brief fragment, and now the Sunshine Tomorrow version. I'm not that well educated on the making of the song, and I'm kind of having a hard time trying to pick out the parts being discussed in this thread to follow along. I know bootlegs are illegal and frowned upon, so I really hope nobody tries to send me a compilation with every single fragment and version available.  

Yeah, there's the Archeology box-set that has the extra "baby you know I can't hold out forever" backing vocals over the verses, which NOBODY seems to use in their fan or studio mixes (I'm looking at you wjcrerar, and you Linnet!) even though its a great little BB chant!

 Hey, thanks for being such a great promoter of my little music thing, I really appreciate it!

Now I know that sounds pretty exciting...and it is!
I used soundcloud as the platform to throw some music on the inter webs. Its 40-something indy-pop (?) stuff, i guess...
Not perfect, but I've enjoyed recording these, and i hope you'll find something to enjoy as well.
Let me know either way!
Thanks
  Oh yeah, https://soundcloud.com/fare-forward-voyager/sets/love-songs-for-stupid-people the link, d'oh!

Thanks Stephen for this!

Does anybody else think "Untitled (Redwood)" might have been an early take for Time to Get Alone?  Given that the song was intended for Redeood, it makes sense.  I hummed the verse melody over it and it certainly fits.

Hey, I've always thought that. In fact I am surprised by it being titled Untitled (Redwood) on the new release.
Here's a demonstration of how it fits that I just whipped up... https://youtu.be/KAqmMjUoodU

 

NIce one. I saw someone write that on the other board but couldn't quite imagine it in my head, but you nailed it!

Unfortunate that this is the stuff that BRI (and Capitol) are wasting their time on instead of opening up the archives.

 

I feel that PBS shouldn't have to do pledge drives and should be fully funded by the government. If politicians and citizens feel it's worth *partially* funding, then it should be worth fully funding.

Way OT...
Yeah, cos nothing says legitimate non-biased reporting like GOVERNMENT FUNDING. AM I Right?!
If people wanted to fund it, they would. Its not virtuous to force people to support things they disagree with. If you enjoy PBS, pay for it. For me PBS is as bad as CNN or FOX, although at least those organizations don't pretend to be nonprofits who don't take advertising money. LOL

This is meant to be a democracy. If you don't feel the government should pay for PBS then you can organize people and try to get that to change. If we can't make change through democratic means because there is too much support going the other way, then we have to accept that part of being a grown-up means having to sometimes participate in things that we don't want to with the knowledge that someday other people will have to participate in something we support that that they don't want to. Learning to compromise is a crucial part of being an adult.

(YOU CAN SEND THIS TO THE SANDBOX, but its my last comment on this) Yeah, so according to you, following and agreeing to the whims of the masses is being an adult. Having principles...not so much. Ehh....Also this is meant to be a republic, not a democracy. Rule of Law, not rule by mob.
You want to compromise your principles to just get along? Great. You do that. And you can even call that being an adult.
Don't expect others do the same.

Unfortunate that this is the stuff that BRI (and Capitol) are wasting their time on instead of opening up the archives.

 

I feel that PBS shouldn't have to do pledge drives and should be fully funded by the government. If politicians and citizens feel it's worth *partially* funding, then it should be worth fully funding.

Way OT...
Yeah, cos nothing says legitimate non-biased reporting like GOVERNMENT FUNDING. AM I Right?!
If people wanted to fund it, they would. Its not virtuous to force people to support things they disagree with. If you enjoy PBS, pay for it. For me PBS is as bad as CNN or FOX, although at least those organizations don't pretend to be nonprofits who don't take advertising money. LOL

What kind of person is this mix for?

It's for the casual fan. I put songs like Barbara Ann (and BTTYS, either though i use what i consider the far superior album version) on this because i wanted to have the hits on here. SIP (Live 1993) is on here becuase it's a guilty pleasure of mine.

Interesting. I still think there are many better, early(ish) tracks that even the most casual fan would enjoy more than BA. Something about that track seems to erase all of the beautiful progress the band was making up to that point and that is very jarring to me. I understand it was a hit, but i advocate against it! 

I'd ditch BTTYS, BA , Lady Linda, and SIP (live) and add Lonely Sea, Our Car Club, Be Still, WIBNTLA, and Pacific Coast Highway.
What kind of person is this mix for?

Who says "Not for us now!" in All Summer Long?

Its AL, or so I've always thought...

Found http://www.thefashionisto.com/the-beach-boys-pictures-1960s-style/ blog article about the Boys fashion over the years. FYI

Really good! Impressive job

.sure sounds like Carl to me saying, "Hi, this is Alan Jardine, and this scene takes place at a typical Beach Boys party" or something to that effect.

yeah, its carl mocking jardine's bit on cassius love vs sunny wilson. I doubt dean would have remembered that obscure reference, but he is a weird guy...

LOL. So, the worst case scenario is what we have now? Finally we agree!