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Author Topic: American Band movie--a question about it  (Read 47347 times)
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« Reply #150 on: July 06, 2011, 04:35:17 PM »

Wouldn't stuff like early Be4tles stereo mixes (e.g. vocals/bass one side, guitar/piano other side) qualify as 'primitive' stereo?

PS it is nice Mike and Bruce are in the UK but a shame they are only doing the one show  Undecided still looking forward to Bruce will have to say.
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« Reply #151 on: July 07, 2011, 07:06:03 AM »



The only references I can find of Chuck "mixing" Pet Sounds were for a stereo release in another country, four songs mixed in primitive stereo.

Any idea which country and which specific record?

When American Band came out I can remember some fuss being made that some of the included Pet Sounds tracks appeared in true stereo for the first time... Would it be correct to assume that therefore 'primative stereo' probably equates to something like 'duophonic' as opposed to 'true' stereo...?

Am I alone in thinking this info re: Chuck mixing Pet Sounds tracks in stereo is, given the nature of how the album was recorded and our current state of knowledge regarding same, now questionable ?

Turning a mono master into DuoPhonic isn't mixing by any stretch of the imagination. More audio vandalism.  Smiley

As for Brian not being allowed to touch the board at Columbia, hopefully I'll be seeing Bruce pre-gig tomorrow, so I'll try to remember and ask him.


Obviously not having the mixes or a finished 4-song EP as proof makes it questionable. It's also a possibility given that not every Pet Sounds track was taken to Columbia's 8-track for vocals, so if Chuck did take some songs that never went to Columbia he'd be able to fashion a mix.

If Chuck had the instrumental track bounced and mixed down to one track, then vocals on the other three (and this was how Brian was working up to and including Good Vibrations where many bounces were done onto multiple 4-track machines), he'd be able to craft a mix where the instruments were dead center and the vocals hard left and right. And that was the implication as to what these mixes could have been.

Again, sort of having the actual mixes that Chuck is rumored to have done, we have no proof and therefore it is questionable. But not entirely improbable. Smiley
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« Reply #152 on: July 07, 2011, 07:15:51 AM »

Not saying the model pictured behind Desper was Wally' machine, but just the same type of machine. It' definitely not the 8-track shown at Western, nor the 4-track in Brian' earlier home photo.

The one person who could address this part of it would be Stephen Desper. Smiley

Pretty certain that the first time a studio was set up briefly at Brian' house, it was Heider' equipment.  But this would have been before Desper was on the scene.  I'm almost certain that Dennis told me this had caused a rift between them & Wally for a time, because they took what they learned from bringing his equipment in, then ran with the idea & built their own studio without Heider' involvement.  He thought he'd remain around to be a part of designing it, too.


I had also heard that they rented Heider's equipment to get the home studio up and running, but the backstory of Wally Heider feeling slighted in the design process is a new and pretty interesting twist! Just by the number of sessions done with Heider after Brian stopped using Western-Gold Star-Columbia, there was obviously a pretty good business relationship there and Wally got a lot of business from Brian in the process, so the idea of Wally feeling shut out of designing the studio adds another angle to the story.

We know Wally Heider did the sound and recording at the Monterey Pop festival - he's in the movie after all  Cheesy - but isn't it also true that the festival itself used the Beach Boys' touring equipment? Again it seems Wally and the Beach Boys were pretty close in a business sense at that time.
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« Reply #153 on: July 07, 2011, 07:17:58 AM »



The only references I can find of Chuck "mixing" Pet Sounds were for a stereo release in another country, four songs mixed in primitive stereo.

Any idea which country and which specific record?

When American Band came out I can remember some fuss being made that some of the included Pet Sounds tracks appeared in true stereo for the first time... Would it be correct to assume that therefore 'primative stereo' probably equates to something like 'duophonic' as opposed to 'true' stereo...?

Am I alone in thinking this info re: Chuck mixing Pet Sounds tracks in stereo is, given the nature of how the album was recorded and our current state of knowledge regarding same, now questionable ?

Turning a mono master into DuoPhonic isn't mixing by any stretch of the imagination. More audio vandalism.  Smiley

As for Brian not being allowed to touch the board at Columbia, hopefully I'll be seeing Bruce pre-gig tomorrow, so I'll try to remember and ask him.


Obviously not having the mixes or a finished 4-song EP as proof makes it questionable. It' also a possibility given that not every Pet Sounds track was taken to Columbia' 8-track for vocals, so if Chuck did take some songs that never went to Columbia he'd be able to fashion a mix.

If Chuck had the instrumental track bounced and mixed down to one track, then vocals on the other three (and this was how Brian was working up to and including Good Vibrations where many bounces were done onto multiple 4-track machines), he'd be able to craft a mix where the instruments were dead center and the vocals hard left and right. And that was the implication as to what these mixes could have been.

Again, sort of having the actual mixes that Chuck is rumored to have done, we have no proof and therefore it is questionable. But not entirely improbable. Smiley


I can think of two songs that didn't need taking to Columbia for the vocals sessions.  Grin

Seriously, the vocals for "Sloop John B", "You Still Believe In Me", Caroline, No", "That's Not Me", "I Know There's An Answer" and "Don't Talk..." were apparently recorded at Western.
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« Reply #154 on: July 08, 2011, 12:30:48 AM »

OK, it's a 'fess up moment.  Grin

Asked Bruce if the info about Columbia not letting Brian touch the board was indeed true, and his eyebrows went up about six feet. "Are you kidding ? It was strictly union there ! No-one was allowed to touch the board there - not even Terry or me !"

Additional gobbet - if Terry hadn't made a fuss, Columbia would have thrown their 8-track out back in the early sixties.

So, my apologies to SWD. He right, me wrong.

The show last night, although strictly meat & potatoes, was great, as was hanging with the band before and after. Completed 'the set' by meeting Mike, who was great company, as were all the band.
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« Reply #155 on: July 08, 2011, 02:21:24 AM »

Completed 'the set' by meeting Mike, who was great company, as were all the band.

Aha, that means that your "interviewed/spoken to"-list has yet again extended !
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« Reply #156 on: July 08, 2011, 08:00:02 AM »

Asked Bruce if the info about Columbia not letting Brian touch the board was indeed true, and his eyebrows went up about six feet. "Are you kidding ? It was strictly union there ! No-one was allowed to touch the board there - not even Terry or me !"

Additional gobbet - if Terry hadn't made a fuss, Columbia would have thrown their 8-track out back in the early sixties.

Very interesting! I got the impression Brian was a very "hands on" producer, and under those strict conditions it's hard to imagine him wanting to be there to mix too often. And hard to imagine as well turning over full manual control like that over his mixes to an engineer at Columbia rather than the trusted Chuck Britz at Western, as far as Pet Sounds final mixes, an engineer who allowed Brian to work the board if he wished.

Just for the topic at hand, in case anyone has not seen this series of photos, Brian at Columbia:


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« Reply #157 on: July 09, 2011, 07:40:52 PM »

Still hoping to confirm that the eng in those photos is the mysterious Ralph Balantin.  Oh to know what all those patch bay points go to and come from.
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« Reply #158 on: July 09, 2011, 08:41:12 PM »

Asked Bruce if the info about Columbia not letting Brian touch the board was indeed true, and his eyebrows went up about six feet. "Are you kidding ? It was strictly union there ! No-one was allowed to touch the board there - not even Terry or me !"

Additional gobbet - if Terry hadn't made a fuss, Columbia would have thrown their 8-track out back in the early sixties.

Very interesting! I got the impression Brian was a very "hands on" producer, and under those strict conditions it's hard to imagine him wanting to be there to mix too often. And hard to imagine as well turning over full manual control like that over his mixes to an engineer at Columbia rather than the trusted Chuck Britz at Western, as far as Pet Sounds final mixes, an engineer who allowed Brian to work the board if he wished.

Just for the topic at hand, in case anyone has not seen this series of photos, Brian at Columbia:


Why is the engineer in the picture flipping the photog off?  and if brian couldn't touch the board, why would he be showing him what to do, which seems to be what is happening.
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« Reply #159 on: July 10, 2011, 11:28:19 AM »

Here are a few stills of the GV promo film shoot outtakes...note the firehats. If we can date this, it's a start. As mentioned before, the date would surely be prior to October 24 1966 because the band was on tour after that, and they mentioned the GV film in interviews while in Europe. Then the firehats appear again November 28, 1966 at the "Fire" session at Gold Star.







These are fabulous! I have never seen them.  Wish they were on the back of album, as candids, in a similar manner as the Pet Sounds back cover was configured.  Thanks, these are very cool!  Wink Maybe for the new release.  It really shows the improvisation both for vocals and for instrumentation. 

Reminds me of using oatmeal boxes to make drums in the Kindergarten for our "rhythm band" - great for sound effects! 
 Wink 

Love it!  Thanks again!

 
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« Reply #160 on: July 10, 2011, 04:52:52 PM »

i've wondered about the bouncing issues as well; i always though it was strange that they used one track of the instrumental 4-track multi-tracks for a reference mix, but now i'm realizing:

it could have been that Brian/Chuck wanted to do the mix at Western, so they used that 4th track ... but was it just a "reference" to be matched by the engineers at Columbia, or was it the actual mix that was transferred to the 8-track machine (thus creating another bounce).  i would guess a reference, but who knows.

Taking into consideration all the comments posted since this post, where Mark Linett spells out the nuts-and-bolts of how he did it with Pet Sounds, I'd have to think when Brian and Chuck did those mixdowns of the instrumentals at Western, they were thinking of the end result. Whatever they did was the way it was going to be, mixed to mono on that one track. I wouldn't consider it a reference mix as that implies changes will be made later in the process.

I compare it to doing a crossword puzzle with an ink pen - whatever you choose to write is locked in. Cheesy It was Brian's ability to see the bigger picture and have an idea of the final results in his mind at these stages of the process that made him so unique.

One other issue: Why have the engineers at Columbia/CBS remained anonymous through the decades? Everyone that goes the next step in reading and researching the Beach Boys and LA pop music in general knows the names Chuck Britz, Larry Levine, etc...yet who were the guys at Columbia who mixed Pet Sounds? Compared to Chuck, Larry, and others, they're hardly discussed.

One thing to bring up...obviously by the photos they had that 8-track at Western by early 1967, whether it was Brian's or Heider's or whoever else it belonged to. Remember Chuck Britz is on record saying he mixed down the "Cantina" version of Heroes, and he was working at Western. I wonder why Brian didn't follow the usual procedure as he did on Pet Sounds, unless he *wanted* to mix at Western with Chuck and with the availability of an 8-track at Western he could mix the Heroes single there.

IF the 8 track was Brian's, what happened to it?  Did he take it home to use in the home studio? ( any pics from there to prove/disprove?)

This is the first photo I thought of after reading the question. It's Brian at home in 1966, with a 4-track machine containing the same model Scully 280 rack units as in the Western photo, and a sweet tube McIntosh amp on top. But again, it is clearly a 4-track machine: The 8-track in the film remains the mystery...


are you sure that's Brian's house? 
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« Reply #161 on: July 10, 2011, 06:01:04 PM »

i've wondered about the bouncing issues as well; i always though it was strange that they used one track of the instrumental 4-track multi-tracks for a reference mix, but now i'm realizing:

it could have been that Brian/Chuck wanted to do the mix at Western, so they used that 4th track ... but was it just a "reference" to be matched by the engineers at Columbia, or was it the actual mix that was transferred to the 8-track machine (thus creating another bounce).  i would guess a reference, but who knows.

Taking into consideration all the comments posted since this post, where Mark Linett spells out the nuts-and-bolts of how he did it with Pet Sounds, I'd have to think when Brian and Chuck did those mixdowns of the instrumentals at Western, they were thinking of the end result. Whatever they did was the way it was going to be, mixed to mono on that one track. I wouldn't consider it a reference mix as that implies changes will be made later in the process.

I compare it to doing a crossword puzzle with an ink pen - whatever you choose to write is locked in. Cheesy It was Brian's ability to see the bigger picture and have an idea of the final results in his mind at these stages of the process that made him so unique.

One other issue: Why have the engineers at Columbia/CBS remained anonymous through the decades? Everyone that goes the next step in reading and researching the Beach Boys and LA pop music in general knows the names Chuck Britz, Larry Levine, etc...yet who were the guys at Columbia who mixed Pet Sounds? Compared to Chuck, Larry, and others, they're hardly discussed.

One thing to bring up...obviously by the photos they had that 8-track at Western by early 1967, whether it was Brian's or Heider's or whoever else it belonged to. Remember Chuck Britz is on record saying he mixed down the "Cantina" version of Heroes, and he was working at Western. I wonder why Brian didn't follow the usual procedure as he did on Pet Sounds, unless he *wanted* to mix at Western with Chuck and with the availability of an 8-track at Western he could mix the Heroes single there.

IF the 8 track was Brian's, what happened to it?  Did he take it home to use in the home studio? ( any pics from there to prove/disprove?)

This is the first photo I thought of after reading the question. It's Brian at home in 1966, with a 4-track machine containing the same model Scully 280 rack units as in the Western photo, and a sweet tube McIntosh amp on top. But again, it is clearly a 4-track machine: The 8-track in the film remains the mystery...


are you sure that's Brian's house? 

I'm pretty sure it's his house - it's a photo feature that came with a Dutch magazine article which was reprinted in LLVS. The other shots of Brian are of his office, him at his jukebox, sitting at a round table at his pad, and this of him at the 4-track. All of the photos have the same clothing and hairstyle.

There is a similar shot of him near a tape machine which I think I have but can't find it or remember where it was found right now.
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« Reply #162 on: July 10, 2011, 07:58:38 PM »

Asked Bruce if the info about Columbia not letting Brian touch the board was indeed true, and his eyebrows went up about six feet. "Are you kidding ? It was strictly union there ! No-one was allowed to touch the board there - not even Terry or me !"

Additional gobbet - if Terry hadn't made a fuss, Columbia would have thrown their 8-track out back in the early sixties.

Very interesting! I got the impression Brian was a very "hands on" producer, and under those strict conditions it's hard to imagine him wanting to be there to mix too often. And hard to imagine as well turning over full manual control like that over his mixes to an engineer at Columbia rather than the trusted Chuck Britz at Western, as far as Pet Sounds final mixes, an engineer who allowed Brian to work the board if he wished.

Just for the topic at hand, in case anyone has not seen this series of photos, Brian at Columbia:


Why is the engineer in the picture flipping the photog off?  and if brian couldn't touch the board, why would he be showing him what to do, which seems to be what is happening.

It is probably just a posed photo.
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« Reply #163 on: July 10, 2011, 08:02:54 PM »

Asked Bruce if the info about Columbia not letting Brian touch the board was indeed true, and his eyebrows went up about six feet. "Are you kidding ? It was strictly union there ! No-one was allowed to touch the board there - not even Terry or me !"

Additional gobbet - if Terry hadn't made a fuss, Columbia would have thrown their 8-track out back in the early sixties.

Very interesting! I got the impression Brian was a very "hands on" producer, and under those strict conditions it's hard to imagine him wanting to be there to mix too often. And hard to imagine as well turning over full manual control like that over his mixes to an engineer at Columbia rather than the trusted Chuck Britz at Western, as far as Pet Sounds final mixes, an engineer who allowed Brian to work the board if he wished.

Just for the topic at hand, in case anyone has not seen this series of photos, Brian at Columbia:


Why is the engineer in the picture flipping the photog off?  and if brian couldn't touch the board, why would he be showing him what to do, which seems to be what is happening.

It is probably just a posed photo.

Which, if true, explains the finger.
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« Reply #164 on: July 10, 2011, 09:12:56 PM »

i've wondered about the bouncing issues as well; i always though it was strange that they used one track of the instrumental 4-track multi-tracks for a reference mix, but now i'm realizing:

it could have been that Brian/Chuck wanted to do the mix at Western, so they used that 4th track ... but was it just a "reference" to be matched by the engineers at Columbia, or was it the actual mix that was transferred to the 8-track machine (thus creating another bounce).  i would guess a reference, but who knows.

Taking into consideration all the comments posted since this post, where Mark Linett spells out the nuts-and-bolts of how he did it with Pet Sounds, I'd have to think when Brian and Chuck did those mixdowns of the instrumentals at Western, they were thinking of the end result. Whatever they did was the way it was going to be, mixed to mono on that one track. I wouldn't consider it a reference mix as that implies changes will be made later in the process.

I compare it to doing a crossword puzzle with an ink pen - whatever you choose to write is locked in. Cheesy It was Brian's ability to see the bigger picture and have an idea of the final results in his mind at these stages of the process that made him so unique.

One other issue: Why have the engineers at Columbia/CBS remained anonymous through the decades? Everyone that goes the next step in reading and researching the Beach Boys and LA pop music in general knows the names Chuck Britz, Larry Levine, etc...yet who were the guys at Columbia who mixed Pet Sounds? Compared to Chuck, Larry, and others, they're hardly discussed.

One thing to bring up...obviously by the photos they had that 8-track at Western by early 1967, whether it was Brian's or Heider's or whoever else it belonged to. Remember Chuck Britz is on record saying he mixed down the "Cantina" version of Heroes, and he was working at Western. I wonder why Brian didn't follow the usual procedure as he did on Pet Sounds, unless he *wanted* to mix at Western with Chuck and with the availability of an 8-track at Western he could mix the Heroes single there.

IF the 8 track was Brian's, what happened to it?  Did he take it home to use in the home studio? ( any pics from there to prove/disprove?)

This is the first photo I thought of after reading the question. It's Brian at home in 1966, with a 4-track machine containing the same model Scully 280 rack units as in the Western photo, and a sweet tube McIntosh amp on top. But again, it is clearly a 4-track machine: The 8-track in the film remains the mystery...


are you sure that's Brian's house?  

I'm pretty sure it's his house - it's a photo feature that came with a Dutch magazine article which was reprinted in LLVS. The other shots of Brian are of his office, him at his jukebox, sitting at a round table at his pad, and this of him at the 4-track. All of the photos have the same clothing and hairstyle.

There is a similar shot of him near a tape machine which I think I have but can't find it or remember where it was found right now.

I found it - and it looks like the same photoshoot that got printed in that Dutch magazine. Note Tony Asher in this one...
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« Reply #165 on: July 11, 2011, 07:43:50 AM »

This is the first photo I thought of after reading the question. It's Brian at home in 1966, with a 4-track machine containing the same model Scully 280 rack units as in the Western photo, and a sweet tube McIntosh amp on top. But again, it is clearly a 4-track machine: The 8-track in the film remains the mystery...


are you sure that's Brian's house? 
[/quote]

There's a much better quality, uncropped version of this shot in Badman.
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« Reply #166 on: July 11, 2011, 08:53:46 AM »




This is the first photo I thought of after reading the question. It's Brian at home in 1966, with a 4-track machine containing the same model Scully 280 rack units as in the Western photo, and a sweet tube McIntosh amp on top. But again, it is clearly a 4-track machine: The 8-track in the film remains the mystery...


There's a much better quality, uncropped version of this shot in Badman.

Yes, but can Badman be trusted?
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« Reply #167 on: July 11, 2011, 07:19:28 PM »

i've wondered about the bouncing issues as well; i always though it was strange that they used one track of the instrumental 4-track multi-tracks for a reference mix, but now i'm realizing:

it could have been that Brian/Chuck wanted to do the mix at Western, so they used that 4th track ... but was it just a "reference" to be matched by the engineers at Columbia, or was it the actual mix that was transferred to the 8-track machine (thus creating another bounce).  i would guess a reference, but who knows.

Taking into consideration all the comments posted since this post, where Mark Linett spells out the nuts-and-bolts of how he did it with Pet Sounds, I'd have to think when Brian and Chuck did those mixdowns of the instrumentals at Western, they were thinking of the end result. Whatever they did was the way it was going to be, mixed to mono on that one track. I wouldn't consider it a reference mix as that implies changes will be made later in the process.

I compare it to doing a crossword puzzle with an ink pen - whatever you choose to write is locked in. Cheesy It was Brian's ability to see the bigger picture and have an idea of the final results in his mind at these stages of the process that made him so unique.

One other issue: Why have the engineers at Columbia/CBS remained anonymous through the decades? Everyone that goes the next step in reading and researching the Beach Boys and LA pop music in general knows the names Chuck Britz, Larry Levine, etc...yet who were the guys at Columbia who mixed Pet Sounds? Compared to Chuck, Larry, and others, they're hardly discussed.

One thing to bring up...obviously by the photos they had that 8-track at Western by early 1967, whether it was Brian's or Heider's or whoever else it belonged to. Remember Chuck Britz is on record saying he mixed down the "Cantina" version of Heroes, and he was working at Western. I wonder why Brian didn't follow the usual procedure as he did on Pet Sounds, unless he *wanted* to mix at Western with Chuck and with the availability of an 8-track at Western he could mix the Heroes single there.

IF the 8 track was Brian's, what happened to it?  Did he take it home to use in the home studio? ( any pics from there to prove/disprove?)

This is the first photo I thought of after reading the question. It's Brian at home in 1966, with a 4-track machine containing the same model Scully 280 rack units as in the Western photo, and a sweet tube McIntosh amp on top. But again, it is clearly a 4-track machine: The 8-track in the film remains the mystery...


are you sure that's Brian's house?  

I'm pretty sure it's his house - it's a photo feature that came with a Dutch magazine article which was reprinted in LLVS. The other shots of Brian are of his office, him at his jukebox, sitting at a round table at his pad, and this of him at the 4-track. All of the photos have the same clothing and hairstyle.

There is a similar shot of him near a tape machine which I think I have but can't find it or remember where it was found right now.

I found it - and it looks like the same photoshoot that got printed in that Dutch magazine. Note Tony Asher in this one...

Tony Asher's a good looking guy. I honestly can't remember too many photos of him and Brian, maybe my fried mind is forgetting some pic that's obvious from a documentary or book or something.
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« Reply #168 on: July 12, 2011, 07:45:23 AM »

Seriously, Tony doesn't look much different nowadays...maybe a bit heavier, and with a beard...
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« Reply #169 on: July 12, 2011, 07:48:01 AM »


Tony Asher's a good looking guy. I honestly can't remember too many photos of him and Brian, maybe my fried mind is forgetting some pic that's obvious from a documentary or book or something.

How can you tell he's good looking from a pic like this?
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« Reply #170 on: July 18, 2011, 10:48:56 AM »

Running this alongside the "Smile box set" thread where similar photos are posted, this is the original source of the photoshoot showing Brian at his home tape machine. The article (when translated... Cheesy) specifically mentions Brian's ability to record at home. This is the photoshoot where Tony Asher is shown with Brian in other shots that did not make it in this article.

The magazine is a Dutch magazine called "Teenbeat" and the issue is dated September 1966, featuring Ringo Starr on the cover. An English translation of this page was reprinted in LLVS, but the date and issue information was not given in that book.

If anyone can do the math with the dates of when Tony Asher supposedly stopped hanging out with Brian, perhaps a firm date of the photos used in this issue could clear something up for us. Or perhaps suggest Tony could have been there beyond the time we may assume he stopped coming around to Brian's house.

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« Reply #171 on: July 18, 2011, 12:39:54 PM »

Let's try another angle - does anyone here recall a single mention of Asher in relation to Brian and his circle post-Pet Sounds ?

Asher recalls that when they first started working together, Brian played him Rubber Soul and said he wanted to top that. Assuming Brian maybe got an advance US copy a week or two before release, that would be November 1965. Asher says he too the three-week leave of absence, Brian recalls they worked together for two months "on and off", so tops that would take us up to February 1966. There's a photo of Brian, Asher, Bruce & Terry Melcher at Columbia, so the latest that could be is mid-April. After that, Tony Asher vanishes.
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« Reply #172 on: July 18, 2011, 02:40:06 PM »

Let's try another angle - does anyone here recall a single mention of Asher in relation to Brian and his circle post-Pet Sounds ?

Asher recalls that when they first started working together, Brian played him Rubber Soul and said he wanted to top that. Assuming Brian maybe got an advance US copy a week or two before release, that would be November 1965. Asher says he too the three-week leave of absence, Brian recalls they worked together for two months "on and off", so tops that would take us up to February 1966. There's a photo of Brian, Asher, Bruce & Terry Melcher at Columbia, so the latest that could be is mid-April. After that, Tony Asher vanishes.


I'd say he vanishes from the scene in the way we thought of it before, but remember too Asher held a steady, lucrative job in advertising when Brian asked him to work on Pet Sounds. Asher asked for and received a leave of absence from that job in order to work with Brian (and that even in 1965-66 corporate standards for a man in his early 20's in a highly competitive Los Angeles firm was quite a request to grant...). And when Pet Sounds was done, Asher returned to his regular job in advertising which wouldn't allow the kind of hanging out which guys like Vosse and other rock stars who didn't do a 9-to-5 gig were used to living every week.

Let's assume mid-April for the discussion, I agree: How do the above photos play into that? Would the photo session that appeared in that magazine dated September 1966 have been shot at the very end of the Asher-Brian collaboration around April 1966 when Asher would have been at the house more often? It could very well be so.
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« Reply #173 on: July 19, 2011, 08:26:34 PM »

those photos seem like Pet Sounds era.  there's an interview w/ Carl (Endless Harmony?) where he mentions Brian had converted a maid's quarters into a "playback room" and he found it to be very thrilling to hear "Sloop John B" being played back over the speakers.

i've always found the McIntosh amp and tiny 4-channel mixer to be an interesting setup.
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« Reply #174 on: July 20, 2011, 05:54:07 AM »

Backtracking slightly, I was reading the liners to Sundazed's excellent Bruce & Terry Best Of... this morning, and was somewhat taken aback to realise that Columbia had TWO 8-tracks back then.
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