Revisiting the catalog

[Phoenix]

If I'm known for anything around here (which I doubt I am), it's the continual death of my digital music library, including my long-gestating take on Smile.  In the past five years, I lost more than one digital library, each with every file's properties painstakingly re-tagged, compilations compiled, you name it.  And tho my current library is still intact, it's only a pale shadow of its former greatness.  But now that I recently lost my very time consuming job, I figured I'd go back and pick up where I'd left off.  After all, my version of Smile was virtually finished.  All that was left was compiling a few acceptable versions of the (stand alone track) "The Elements" (one main version and two alternates) and "Child Is Father Of The Man" (both alternate versions.  What I discovered is almost proof of what must be my Smile curse.

Each time my library went it was due to a harddrive failure (Yes, I know)  and I basically saw it happen.  This time I would work on an artist on one drive, and move it to the new library when it was finished and while the library is just as I left it, my Beach Boys folder is gone; erased from existence.  I checked the recycle bin and even used a software recovery program but after trying in vain for weeks, I've given up the ghost and last night I downloaded the entire catalog (barring a few elusive selections) and and piecing things back together.  Hopefully, I'll actually FINISH Smile this time and get it online before the Spector goblins do it in again.  

Before then I have to sift through the various discography folders, and put everything together in one place. Looking everything over reminded me of so many things about the catalog: All the missed opportunities from great stuff that wasn't released, including some GREAT stuff I now have to hunt down again.  The amazing visible (audible) progression from teenage garage band to masters of their craft in just a few years.  All the missed opportunities from all the garbage that WAS released.  The missed opportunities when NOTHING was released.  The incredible releases we've seen since Carl's death.  That said, the reason I'm posting this is because of some of the oddities I came up or rediscovered while looking it over and want to know if anyone can shed some light on them.

Summer In Paradise: I know it's probably been answered before but why we're the "UK tracks" rerecorded?  Was the idea to improve them or did they think the alternate versions would appeal to those on the other side of the pond??  Who was behind the idea?
1993 Rehearsals:  Which musicians are present?  Submissions to Eric's site list Matt Jardine, Mike Meros, Richie Cannata, Mike Kowalski, and Ed Carter.  Is that correct?  Is that everyone?
Landlocked: Obviously aother boot, this one has 14 tracks.  "It's About Time" is the final track but there are no vocals and it's mostly drums and percussion.  What's the deal?  Is it just the drum (and organ?) tracks or is it something?  What's the deal with "Over The Waves"?  Which version of "Lady (Falling In Love) is this?  I remember hearing about distinct versions.  Finally, are there any differences between the versions of "Good Time", "Susie Cincinnati", and "When Girls Get Together" on here and the standard released versions?
Stars And Stripes Stripped: To me this feels like a bad attempt at a good idea.  The lead vocal tracks aren't quiet enough and the Boys' vocals aren't loud enough.  I would have loved to see the guys put out an official release of this, like a modern Stack O Tracks because the album would have to actually be remixed from the masters because the software tinkering just didn't get the job done.  
"Come Go With Me": Is there a big difference between the two versions?  Because I listened to what's said to be both of them (albeit quickly) and couldn't discern anything major but I thought I remembered hearing they were two different recordings.  Where did they each originally appear?

Finally (for now), I'm reaching out to the incredible Seltaeb or anyone who can point me in the direction of his work with the group's stuff because for one thing, his Smile mixes are absolutely ESSENTIAL to completing any shot at a "perfect" Smile, and his extended stuff like "Lonely Days" and "Walk On By" are total joys to experience.  (And if anyone wants to PM me with details about a certain concert recording from 1972 in New York. I'm definitely not going to complain.

[Andrew G. Doe]

the job done.  
"Come Go With Me": Is there a big difference between the two versions?  Because I listened to what's said to be both of them (albeit quickly) and couldn't discern anything major but I thought I remembered hearing they were two different recordings.  

Major differences from the first note - one version has an acapella intro, the other... doesn't. They're basically different recordings from 1976 and 1977.

[Phoenix]

Thanks!

[HeyJude]

I haven’t listened to the two versions in a while, but my recollection is that Al definitely used elements of the original circa 1976 version of “Come Go With me” for the eventual version released on MIU. I think some of the vocals were retained, and perhaps some of the instrumental backing. He definitely punched it up with new drums and whatnot.

I’ve always felt they were somewhere in between a different “recording” or “take” and a different “mix.” Perhaps the best way to put it is that it was partially re-recorded and thus of course remixed.

[Andrew G. Doe]

There's an interview from the time - the band hired a mobile at Brian's house and only Alan showed up, so he decided to do exactly what he wanted.

Yes, the MIU version (acapella intro) used the 1976 track, which I believe Alan pared back to almost nothing. Personally I find the original version too busy.

MIU version

original version (all vocals Alan, by the sound of it)

[Phoenix]

Thanks.  I really appreciate it. 

Does anyone else have any info on the other stuff?

[SurfRiderHawaii]

I'd highly recommend you b/u, in duplicate, via DVD-R. The discs are less than $1.

Or a Blu-Ray data disc, if you want more bang.

[Phoenix]

That's probably a good idea: Hard copies.  The problem with my Smile was I always lanned to back it up once I finished it but it was always a work in progress. Hard copies of my collection would include the source files for all the smile stuff so I'll probably back every thing up this weekend. 

I think the biggest holes left in the collection are Carnege Hall (and to a lesser degree, the other shows that were in that old torrent with it that used to float around), Symphonic Sounds, the non-Smile Unsurpassed Masters, and some Smile stuff.  Can anyone tell me where to look for a copy of "Surf's Up" WITHOUT the "children's song" tag.  I'm pretty sure I got it from Youtube before so if someone could give me a hint of what to type into the seach bar I should be OK.

[Phoenix]

Rather than starting another thread, I figured I'd update my rebuilding process here and try and discuss my renewed reaction to the tail end of the band's output prior to the reunion..  I'm putting everything in order, starting with the official albums and am now up to the first box set.  So far, the only compilations I've included are Endless Summer and Spirit Of America, although I'll create a custom one to cover the non-album tracks on Ten Years Of Harmony, Made In USA, and Rarities, to go between Keepin' The Summer Alive and the self-titled CD.  I'm re-tagging everything as I go and listening to a few songs off each album along the way.  I've said before that my favorite era's are Today! through (the demise of) Smile and Sunflower through In Concert.  I'm not a fan of the post-Smile, lo-fi trifecta (Smiley Smile, Wild Honey, and Friends), nor Love You either.  I much prefer Brian's densely orchestrated pop stuff (like Today! and Pet Sounds) and Carl and Rieley's "70's rock band" take so I've always felt the biggest disappointment in the group's history was them dropping the ball not once, but TWICE by failing to deliver Grade A product when expectations were at it's highest (following the Smile hype with Smiley Smile and following Endless Summer with 15 Big Ones).  Missed opportunities aside tho, I can at least see what Brian had in mind with all five of those albums (Smiley Smile, Wild Honey, Friends, 15 Big Ones, and Love You), tho I still feel TWO lo-fi failures were plenty and wished he and/or the band had skipped Friends and returned to form earlier than 20/20 and Sunflower.  Sunflower is brilliant but I think the disappointment of the three stripped down albums was still too familiar to the band's former fans, who just weren't ready to try their luck again. 

Going through everything, I reacquainted myself with the band's 80's output and man, oh man...  Looking at/listening to it with the perspective of history shows M.I.U. Album for the obvious cash grab is it, and things only got (unbelievably) worse from there.  Both it and L.A. had some high points but unlike the post-Pet Sounds and post Endless Summer stuff, LA and MIU sound like Al, Bruce, etc. trying to make albums they think the public might like, rather than a conscious direction inspired by Brian or anyone else.  I've always had a soft spot for Keepin' The Summer Alive and now I know why.  Unlike many on this board, I actually LIKE when the boys "rock" and I mean rock for real, like on In Concert, "It's About Time", "Surfin' USA, "Do It Again", and yes "Keepin' The Summer Alive"; not their embarrassingly square ATTEMPTS at rocking like "All I Want To Do" or "Bluebirds Over The Mountain" (which STILL sounds more like country to me).  "Keepin' The Summer Alive" sounds like somebody (Randy Bachman?) reminded the group that that they were a GUITAR band when they started and while the rest of the album doesn't live up to the promise of title track, when the guys played the other songs used to promote the album ("School Days", "Some Of Your Love", and "Going' On", and even "Livin' With A Heartache") they all sounded like they actually came from the same album.  The rest of the album?  Not so much.  So M.I.U. and L.A. had a few songs but no cohesive "soul", and Keepin' The Summer Alive had more direction but less punch, but all three of those albums feel like Sgt. Smile's Experienced Exile Sessions Revisited compared to what came next. 

As bad as Summer In Paradise is, I've always said, I would love someone to take the vocal tracks and re-record the songs around them with real, live instruments, especially and worlds less echo, etc.  Worse than the songs, the production on that album is some of the worst (if not THE worst) production I've heard from any big name rock band.  I almost can't believe, guys on such classic albums as Pet Sounds and Today! could listen back to even the SOUND of SIP and think, "That sounds good."  Then again, the 80's were a weird time...except the 80's were LONG gone by then!  Getting to the point, re-listening to the self-titled album from 1985, I was surprised how dated THAT album sounded.  Compared to the rest of it, "Getcha Back" sounds positively timeless!  "California Calling" is the only other thing that doesn't sound like complete 80's cheese and that one makes up for it with embarrassingly cliched lyrics.  I guess the most surprising thing about the band's final turd trifecta is that sandwiched between those two virtually unlistenable albums is how GOOD Still Cruisin' is by comparison!  Regardless of your feelings toward "Kokomo", at least the production (mostly) holds up, even 25 years later.  Sure, the sax solo is pretty schmaltzy but at least it sounds like an actual pop song and not just a exploration of cheesy digital effects.  It's still very dated, especially "Make It Big", and as far as cash grabs go, it makes M.I.U. look like Frank Zappa, but the songs and performances (especially those of Carl and Al) range from good to fantastic.

All this might sound obvious to you (or maybe you disagree) but going back to what was apparently my least listened to period of the group proved very surprising to me on this go around and not always in a good way.  Now, on to the box set!

[jeffh]

After all that hard work you'd think you would back up . I have over five hundred CD's on my hard drive. It backs up automatically every day to an external drive, and every few days to the cloud, via Carbonite. Cheap insurance. I mostly don't want to lose all hundreds of photos that I have of the Grandkids stored on the computer. My son, their father, lost several years of the kids photos when his hard drive crashed last year. He had no backup. Bummer.

[Phoenix]

When I lost the original library, it was at a time when UI had no other drive large enough to back things to.  After that one, I planned to back up the second one "at some point" but spent all my time trying to rebuild it.  This time around, I'm gonna go the hard copy route and will start that when I finish the Boys' stuff.  Woulda, coulda, shoulda...  Thankfully, I'm still "only" on my third attempt overall but this is my fourth time rebuilding the Beach Boys' stuff because of an apparent accidental delete and "cleaning".  I've been going through the official catalog first and will move on to the best boots and my own custom playlists  after that.  I'm currently re-tagging The Smile Sessions so I'm in the homestretch of phase one. 

I think the only things I haven't recovered are a few Smile related tracks (most importantly, the version of "Surf's Up" WITHOUT the "children's song" tag), the Symphonic Sounds CD, and Songs From Here And Back.  Thankfully, it's nothing crucial but I'd still greatly appreciate it if anyone can PM and/or point me  in the right direction