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Author Topic: W i l d H o n e y  (Read 61268 times)
Pinder's Gone To Kokomo And Back Again
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« Reply #75 on: August 05, 2011, 01:33:25 PM »

My personal, PERFECT Wild Honey would be:

1. Wild Honey
2. Aren't You Glad
3. I Was Made To Love Her
4. Country Air
5. A Thing Or Two
6. Darlin
7. I'd Love Just Once To See You
8. Here Comes The Night
9. Let The Wind Blow
10. How She Boogalooed It
11. Mama Says



I actually fully intended to put..... IN STEREO at the end of that, but got side tracked trying to remember the song sequence for Wild Honey without consulting the intranets or my vinyl copy sitting a mere 4 feet away

Didn't mean to come off as a condescending ass  Razz
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monkeytree5
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« Reply #76 on: August 05, 2011, 03:05:36 PM »

While we have a WH topic..

Personally I think the 2 fer sounds terrible, sound wise is that the best out there or is there a better sounding release to buy?

Japanese "Pastmasters" (Toshiba/EMI CP21-6013).

If you have vinyl capability, try the mono Capitol green-label reissue from 1981 (Capitol SN-16159).

Thanks a lot I'll go dig around for those

No problem, Shady.

A well-known audio engineer refers to the Pastmasters discs as "flat transfers" from the Capitol masters. I personally think he's full of merda (and ego), but the CD is the best-sounding Wild Honey I've heard. Most of the Pastmasters Beach Boys CD's sound great compared to the 2-fer's, EXCEPT for Pet Sounds, avoid that one.

I agree with both of these sentiments!  Pastmasters, good!  That audio engineer, dishonest and not trustworthy at all.
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monkeytree5
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« Reply #77 on: August 05, 2011, 03:11:22 PM »




Pet Sounds  psychedelic? Nope-not a chance-wiki was off on that one-of course GV certainly was. WH  was not in any way psychedelic.

So let me get this straight: you tell us to go look at wikipedia to find out what psychedelic music is and then when we actually do go to wikipedia and find something that you disagree with, the source that you initially gave to prove us wrong suddenly lacks credibility? You have officially given up your right to be taken seriously in this dicussion.
Get this straight, proving anyone wrong wasn't the point, jack. If you r e a d it, (try it slower next time) you'll see that it  does a faily good job at explaining what kind of music it is-and I said that I don't agree that PS or WH  qualify as that brand of music. And, further, you may want to take note that I do agree that GV was part of the genre, so button up RR -if you wanna argue all night, bring it on, Clem. Angry

Only on the internet would people with a common love and interest for Wild Honey be this ugly towards each other.
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Mike's Beard
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« Reply #78 on: August 05, 2011, 03:16:41 PM »

While the songwriting on Wild Honey was to a fairly high standard, the production, performances and the mixing especially on the backing vocals are pretty shoddy.
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sockittome
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« Reply #79 on: August 05, 2011, 06:53:42 PM »

That mono production is just really stifling.  There are so many layers just struggling to stretch out and breathe.  A stereo mix would give this album a whole new dimension!
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Pinder's Gone To Kokomo And Back Again
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« Reply #80 on: August 05, 2011, 07:10:46 PM »

I agree 100%

While, being a massive Beach Boys nerd, of course, the rough hewn production has some charm, but for the general record buying public: I think a stereo pressing would have turned even more people onto the album.

I especially feel this to be the case with Smiley Smile.

Go and listen to the (extended) version of Vegetables on Hawthorne California and then go put on the SS version right after.

The differences (aside from the killer extended middle section) are astounding to my ears. The HC version just leaps out of the speakers and it so atmospheric and cool and the increased vocal separation causes the harmonies to be even more impressive. The whole things just SOUNDS cool!

If the original album had been in stereo, I think it's reputation might have been elevated quite a bit.

For hi-fi dudes in 1967 (many of whom were BBs fans, I'd imagine. Oldsurferdude would be able to weigh in, Im sure) I can easily envision the album just sounding flat and boring to them when they slapped it on the turntable right after listening to something like Sgt. Pepper.
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Jay
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« Reply #81 on: August 05, 2011, 08:10:26 PM »

Am I the only one here that wasn't all that impressed with the stereo mix of "Let The Wind Blow"? Sure, it sounded clearer and had better sound quality, but the whole "essence" got taken out in the process. It doesn't matter how "clear" something is. If it has the guts taken out, it's not worth anything. This might have sounded harsh, but it's just my opinion. The stereo mix of "Country Air" was much better though. Still, I'm cautious of a full stereo mix of the album.
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Pinder's Gone To Kokomo And Back Again
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« Reply #82 on: August 05, 2011, 08:34:49 PM »

It would only be as an extra/bonus/alternative thing for us nerds and the random curiosity seekers.

No fan's or Capitol Records stereo Wild Honey would ever replace the one we all know and love.
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runnersdialzero
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« Reply #83 on: August 05, 2011, 09:46:29 PM »

The word "psychedelic" is dumb, especially to describe music. Use other words instead imo.

Not everyone is as straight edge as you, Ryan.

It's just a stupid word. Nothin' to do with DRUUUUUUGS.

"AW YEAAHAH PSYCHEDLIIIIIIC."

Also, making fun of me by name and describing me as "straight edge" means you're either Ben Hogan or my friend John. Shocked
« Last Edit: August 05, 2011, 09:50:09 PM by runnersdialzero » Logged

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oldsurferdude
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« Reply #84 on: August 06, 2011, 10:59:17 AM »

I agree 100%

While, being a massive Beach Boys nerd, of course, the rough hewn production has some charm, but for the general record buying public: I think a stereo pressing would have turned even more people onto the album.

I especially feel this to be the case with Smiley Smile.

Go and listen to the (extended) version of Vegetables on Hawthorne California and then go put on the SS version right after.

The differences (aside from the killer extended middle section) are astounding to my ears. The HC version just leaps out of the speakers and it so atmospheric and cool and the increased vocal separation causes the harmonies to be even more impressive. The whole things just SOUNDS cool!

If the original album had been in stereo, I think it's reputation might have been elevated quite a bit.

For hi-fi dudes in 1967 (many of whom were BBs fans, I'd imagine. Oldsurferdude would be able to weigh in, Im sure) I can easily envision the album just sounding flat and boring to them when they slapped it on the turntable right after listening to something like Sgt. Pepper.
That was me alright. Beatles, Doors, Byrds, Hell just about everyone had better sounding records back then. You had to totally worship the music first just to get through the horrible sound after All Summer Long and Today. Then came SDASN, Party and PS with their destructive Duophonic sound machine(kinda like M. Luhv's hit machine Wink. Back then I wondered what the problem could be-no one knew about the hearing problem. I agree somewhat with the sales issue-but also remember that not everyone(especially people our age) did not have their own stereos yet. I bought my first one from JC Penney's in 1967.
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ghost
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« Reply #85 on: August 06, 2011, 01:09:05 PM »

The word "psychedelic" is dumb, especially to describe music. Use other words instead imo.

Not everyone is as straight edge as you, Ryan.

It's just a stupid word. Nothin' to do with DRUUUUUUGS.

"AW YEAAHAH PSYCHEDLIIIIIIC."

Also, making fun of me by name and describing me as "straight edge" means you're either Ben Hogan or my friend John. Shocked

I am all men as I am no man and therefore I am a god.
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runnersdialzero
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« Reply #86 on: August 06, 2011, 04:37:16 PM »

P.S. I just can't get into "Country Air" and "A Thing or Two" overall. Not terrible, but more "meh" than most other 67-73 material.

imo
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rab2591
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« Reply #87 on: August 06, 2011, 04:47:57 PM »

P.S. I just can't get into "Country Air" and "A Thing or Two" overall. Not terrible, but more "meh" than most other 67-73 material.

imo

That part in Country Air where someone yells "Come On!" (Who does yell this? Anyone know?) right before the chorus - one of my favorite BB moments. I'll agree about A Thing Or Two, though...very much "meh" material.
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« Reply #88 on: August 06, 2011, 05:13:11 PM »

P.S. I just can't get into "Country Air" and "A Thing or Two" overall. Not terrible, but more "meh" than most other 67-73 material.

imo

DO IT RIGHT BABY!
OUTTA SIGHT BABY!

Come on Ryry, this song is GROOVY!!!

When I see my BABY
When I see my LITTLE GIRL
I'M GONNA TELL HER BOUT THE LONELY HOURS I JUST SPENT...

Gosh Darn!!! What a cool song!!!!

Country Air is amazing too. Blast it. GET A BREATH OF THAT COUNTRY AIR, FEEL THE BEAUTY OF IT EVERYWHERE!!! Cosmic stuff!!! A big part of mystical enlightenment is profound ecological awareness as anyone who has tripped on mushrooms or LSD or any such thing in a nice natural place knows.
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gxios
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« Reply #89 on: August 07, 2011, 06:44:46 AM »

This thread sparks a lot of memories. Please indulge me... I remember hearing the Wild Honey lp at the end of 1967.  I was 13 years old.  Even though I lived in an affluent area near DC,  I only knew one person who had a component stereo system- homemade Heathkit tube amp and AR speakers.  This was the time when stereo was getting more widespread, and I remember being really impressed with the Airplane's "After Bathing at Baxters" in stereo- I became more interested in audiophile things after hearing that. The rest of us had our parents console stereos of the day, and they were mid-fi at best.  The first copy of Wild Honey I heard was the stereo pressing- which is bass/treble rechannelled.  From across the room it didn't sound too bad, but I remember wondering why it sounded so dry and underproduced compared to H & V (I hadn't heard Smiley Smile yet). I liked most of the songs, and loved the pounding bass,  but it was so different from all the psychedelic stuff that everyone was buying.  When I heard Dylan's "John Wesley Harding" a month later everyone said Dylan's leading the way back to basics but you weren't allowed to say the Beach Boys were ahead of that pop game, things were starting to get Stalinist then- clear lines between the hip and unhip.  I don't remember what most of my friends thought about Wild Honey sound wise but more than a couple had this record, it was played a lot. None of then bought "Friends"- I think the group's exile was complete by then (I didn't buy it either until a couple of years later, but I did like the 45 of "Friends" and bought that).  My girlfriend liked "Darlin" and I remember girls in the neighborhood dancing to it off the radio. And "I'd Love Just Once To See You" had instant notoriety-  I remember hearing teenage boys singing that last line to girls to see what sort of reaction they would get...and most people thought the background vocals on "I Was Made To Lover Her" said "...you son of a bitch I love her".
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« Reply #90 on: August 07, 2011, 08:26:57 AM »

Hey those are some cool memories! Hmm, singing "I'd Love Just Once To See You" to girls. I think I have a new pick-up technique!

Hey baby, when's the last time you baked me a pie? It's time for you to take a ride. I mean, drive. Dig.
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« Reply #91 on: August 07, 2011, 08:30:10 AM »

Btw, this album became an instant classic as soon as the lyric "With all the other stud bees buzzin' all round her hive, she singled me out..." was conceived.

Is this a Mike Love lyric? If so - genius.
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Chocolate Shake Man
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« Reply #92 on: August 07, 2011, 08:36:29 AM »

And "I'd Love Just Once To See You" had instant notoriety-  I remember hearing teenage boys singing that last line to girls to see what sort of reaction they would get...and most people thought the background vocals on "I Was Made To Lover Her" said "...you son of a bitch I love her".

That's funny. My dad who was about 20 years old when Wild Honey came out still swears that he can hear "you son of a bitch" in the background vocals in I Was Made To Love Her. Personally, I cannot fathom how ANYONE can hear that. Clearly, though, this must have been something in wide circulation during the late 60s. I'd be curious if anyone else knows the story behind that. How did this rumour start? And how on earth could people hear that?
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ghost
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« Reply #93 on: August 07, 2011, 08:53:34 AM »

And "I'd Love Just Once To See You" had instant notoriety-  I remember hearing teenage boys singing that last line to girls to see what sort of reaction they would get...and most people thought the background vocals on "I Was Made To Lover Her" said "...you son of a bitch I love her".

That's funny. My dad who was about 20 years old when Wild Honey came out still swears that he can hear "you son of a bitch" in the background vocals in I Was Made To Love Her. Personally, I cannot fathom how ANYONE can hear that. Clearly, though, this must have been something in wide circulation during the late 60s. I'd be curious if anyone else knows the story behind that. How did this rumour start? And how on earth could people hear that?

I Was Made To Love Her is so far out, so psychedelic, so funky that it just blew every mind that heard it. It blows mine every time I hear it. And I do mean the version by The Beach Boys. Stevie Wonder is a larval still. Brian gave Stevie Wonder part of his astral body so that he could operate transdimensionally outside of The Beach Boys for some of his experimental music. When he saw that Stevie had some success Brian decided (like with Darlin) to take it back into The Beach Boys fold. And rightly so - for Carl Wilson is God. His voice on that song is the most enthusiastic youthful vibrant sound I have ever heard in my life. I LOVE Carl's voice on this album! The track itself has a great, great groove.

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Chocolate Shake Man
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« Reply #94 on: August 07, 2011, 09:00:07 AM »

Thanks for the call.

Now we go to Lexington, Kentucky...
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sparkydog1725
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« Reply #95 on: August 07, 2011, 11:50:39 AM »

Speaking earlier about Past Masters: I like most of them a lot but they are a "warts & all" experience as that unnamed engineer says. On mine Country Air has some heavy distortion going on. It sounds like maybe the organ was the cause. Any else notice this?
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« Reply #96 on: August 07, 2011, 12:03:09 PM »

Speaking earlier about Past Masters: I like most of them a lot but they are a "warts & all" experience as that unnamed engineer says. On mine Country Air has some heavy distortion going on. It sounds like maybe the organ was the cause. Any else notice this?

You mean the tearing sound? Isn't that on all versions? Says in the two-fer book it's on the master, but you know what all those two-fer books are like (with the exception of the KTSA/85 one  angel )
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sparkydog1725
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« Reply #97 on: August 07, 2011, 12:19:20 PM »

Speaking earlier about Past Masters: I like most of them a lot but they are a "warts & all" experience as that unnamed engineer says. On mine Country Air has some heavy distortion going on. It sounds like maybe the organ was the cause. Any else notice this?

You mean the tearing sound? Isn't that on all versions? Says in the two-fer book it's on the master, but you know what all those two-fer books are like (with the exception of the KTSA/85 one  angel )

Yeah, that's a good description of the sound. I need to compare it to the 2-fer - I never noticed it before.
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Jeff
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« Reply #98 on: August 07, 2011, 12:59:47 PM »

And "I'd Love Just Once To See You" had instant notoriety-  I remember hearing teenage boys singing that last line to girls to see what sort of reaction they would get...and most people thought the background vocals on "I Was Made To Lover Her" said "...you son of a bitch I love her".

That's funny. My dad who was about 20 years old when Wild Honey came out still swears that he can hear "you son of a bitch" in the background vocals in I Was Made To Love Her. Personally, I cannot fathom how ANYONE can hear that. Clearly, though, this must have been something in wide circulation during the late 60s. I'd be curious if anyone else knows the story behind that. How did this rumour start? And how on earth could people hear that?

I Was Made To Love Her is so far out, so psychedelic, so funky that it just blew every mind that heard it. It blows mine every time I hear it. And I do mean the version by The Beach Boys. Stevie Wonder is a larval still. Brian gave Stevie Wonder part of his astral body so that he could operate transdimensionally outside of The Beach Boys for some of his experimental music. When he saw that Stevie had some success Brian decided (like with Darlin) to take it back into The Beach Boys fold. And rightly so - for Carl Wilson is God. His voice on that song is the most enthusiastic youthful vibrant sound I have ever heard in my life. I LOVE Carl's voice on this album! The track itself has a great, great groove.



There's a poster on the Hoffman board who takes every opportunity to try to convince people that Smile would have only been 28 minutes, or something like that.  I get the sense that he's really just f***ing with the board, to see whether he can get other people repeating what he says if he just posts it often enough.

This guy is almost certainly doing the same thing.  He figured it would be fun to take essentially an anti-psychedelic album and argue repeatedly that it is in fact psychedelic, then come back a few months later to see if he was able to take anyone in.
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roll plymouth rock
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« Reply #99 on: August 07, 2011, 03:00:20 PM »

Anyone else here really dig the live version of Wild Honey with Blondie lead vox?? I think he really cooks on this tune in particular.....shame I've never heard a clean version of this track done live with Blondie, but alas BB bootlegs from the time aren't renowned for fidelity
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