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Author Topic: The "Leila Revelation"  (Read 66340 times)
runnersdialzero
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« Reply #325 on: October 17, 2011, 09:07:54 PM »

Maybe the '66 mix of CIFOTM track will be an easter egg or available in some special way.

Maybe they're saving something for a possible "50th anniversary box set"?

"Okay, fellow execs, so we need to put together a 50th anniversary box. Of course, we're going to have to include the hits, just like the 30th anniversary box set did, but what else do we need?"
"Oh, I know what all the fans have just been clamoring for. Let's see. Of course, we need to include 'Good Vibrations,' 'Kokomo,' and 'Surfin' Safari.' How about that 1966 mix of 'Child Is Father Of The Man'?"
"YEAH!!! That'll guarantee that we sell a million units!"


Yeah, there weren't a billion unreleased tracks on the '93 box set.

o wait.
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« Reply #326 on: October 17, 2011, 09:30:03 PM »

I always thought the Sea of Tunes  and Vigotones boots sounded fine.  Not perfect but more than acceptable.  The reality is that there isn't a lot of revelations on The Smile Sessions it appears.  Hey, they have nice artwork, vinyl and a great liner notes etc.

None I repeat none of the holy grail is in this box.  The stuff is lost or erased.  End of story.

We get a nice Wild Honey outtake and that's about it.

Yeah, that's pretty disappointing. I think they did the best they could though. At least we get cool new photos, some new session excerpts and the music is (I hope) in much better quality!

Well, personally, I expected to be disappointed, so in a way ... I'm not. Smiley

In the meantime, as it looks so great, I decided to not put the box into my LP rack but rather use it as a decorative element someplace in my living room. It is worthy to be visible all the time. I hope the 3D cover colors don't fade that much by the constant exposition to light.
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runnersdialzero
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« Reply #327 on: October 17, 2011, 09:45:26 PM »

Hopes should've been kept modest all along, really. Yeah, you hope the supposed 2nd section of "Surf's Up" was found, but was it ever really likely? Naw.

The bootlegs served their purpose, but I'm geeked the f*ck out over hearing stuff like "Barnyard" and "Holidays" in good quality after years of subpar quality. It being an official release of this thing (finally!), the liner notes, the sound quality clarity, and the handful of stuff none of us have ever heard make this very worthwhile, to me.

One of the cooler things about this is how comprehensive they were with their inclusions, thus giving us even more options as far as making our own mixes. We get their edit of "Heroes And Villains", but then we also get several of the bits and pieces to work with ourselves. This is one of the few recent releases like this where they realized what they had, they realized what people wanted, and they did as best they could on it. I'm pretty thankful for that.
« Last Edit: October 17, 2011, 09:50:34 PM by runnersdialzero » Logged

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« Reply #328 on: October 17, 2011, 10:48:57 PM »

This makes me think of those folk who express disappointment when their first-born isn't the gender they'd hoped for.

Yah, transgenderism at birth can be a real bitch.

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« Reply #329 on: October 18, 2011, 12:12:51 AM »

Hopes should've been kept modest all along, really. Yeah, you hope the supposed 2nd section of "Surf's Up" was found, but was it ever really likely? Naw.

The bootlegs served their purpose, but I'm geeked the f*ck out over hearing stuff like "Barnyard" and "Holidays" in good quality after years of subpar quality. It being an official release of this thing (finally!), the liner notes, the sound quality clarity, and the handful of stuff none of us have ever heard make this very worthwhile, to me.

One of the cooler things about this is how comprehensive they were with their inclusions, thus giving us even more options as far as making our own mixes. We get their edit of "Heroes And Villains", but then we also get several of the bits and pieces to work with ourselves. This is one of the few recent releases like this where they realized what they had, they realized what people wanted, and they did as best they could on it. I'm pretty thankful for that.

Well said!
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buddhahat
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« Reply #330 on: October 18, 2011, 03:45:11 AM »

Part 3(?) of the Leila Revelation, split into two posts. Of course, spoilers abound.

Really starting to love these guys:




Woh, saucer of milk over here for Olsen please. Claws away my dears. Can I just point out that if there was _literally_ a b*ll*cks filter on this thread, I'd be about the only person left posting here (and maybe Mylene, unless s/he's not what s/he seems). Some of you guys are NOT the welcomingest, are you? And yes, for the record, Jessica Rabbit is my favourite cartoon character. Jeez.

Anywhere, here's the latest from B as promised. And now I'm _out_ of here, and I reckon he is too.

Leila

- - - - - - - - - - - - - - - - - - - - - - -
Later than expected. Can't even clear my desk in this place without wannabe George Smiley f**kwits dumping more stuff on me to do.

First, a couple of corrections. S was in touch yesterday to tell me that whatever I noted down on Saturday night, it's actually Carl that sings the first 'Canvas the town…' line in Surf's Up on Disk 1 (from 1971, the phrase descending), and Brian the second (from December 1966, the phrase _rising_). Also someone else (Mike?) harmonises with the second line on the 'Are you sleeping?' part. This is in the 71 mix too, but it is _way_ more prominent in the new version thanks to a remix, and sounds very cool. Like I said, I was a bit loose and floaty on Saturday night. Sorry.

Also, about Tag To Part One, I had to ask S here, as I hadn't written it down. He's confirmed that the version of that section in the stereo Sections mix (Disk 1, Track 22) has the overdub that sounds like the piano in Wind Chimes, and runs for four bars. The version in the Part 2 mix runs for only two bars and either doesn't have the overdub or doesn't play long enough for you to hear it before you cut to the country theme (the next section).

Also, I think S has the hidden tracks somewhere-he has everything, as far as I know-but they weren't in the playlist we were using. I forgot to ask him if we could listen to them, to be honest. I'm not that bothered about listening to Good Vibrations rewind anyway… and it's not like I (or anyone else here) doesn't know what the 1966 Capitol SMiLE Promo Ad sounds like, right?

I also didn't bother listening to Disk 5 in more than a quick scan through. I've never been that into listening to Good Vibrations sessions-I was more interested in the unbooted sessions for the rest of the album. I sat through Sea Of Tunes 15 a couple of times years ago and thought my ears were going to melt, so I'll wait until I get my own copy before subjecting myself to that. The way I figure it is, that tune _was_ actually finished, and there wasn't much interesting stuff that ended up not making the cut, except maybe the "hum de dum" part, and that's in the Disk 1 version, so I'd already heard it. I did check with S, who _has_ sat through the whole thing, that there weren't any amazing new vocals or sections or anything, and he said no, so I skipped most of the disk. So shoot me.

Right, on with the show.

Disk 3 - all tracks stereo unless noted

Track 1-Session for the verses of DYLW. Brian's ears are on good form here. With all the musicians playing, he spots that Carol Kaye is doing something wrong, and eventually figures out that she's strumming her Fender too hard for his liking. When she finally gets it right, he's pleased. "Thaaaat's it! I knew I'd find it if I really searched and reached out!". Later he makes a very odd comment even for him. "OK, here we go… that's, er… Town Hall, ah, Ripped." WTF? Then, trying to get the tempo right, he half-mutters, half-sings the snatch of vocal I mentioned the other week, with mention of the Sandwich Isles just audible. But I've still no idea if this was a true attempt at singing the verse vocal melody, or just Brian clowning around trying to establish the tempo and not that bothered about what he was singing.

Track 2-Session for the Bicycle Rider chorus section. We hear a couple of harpsichord and tack piano versions, but I don't think we hear the final take used in the master.

Track 3-Session for the backing track for the "Wa halla lu lay" section. Brian isn't happy at first. "It's not together, it's just not happening, man. Let's make it happen." He gets there eventually though. Eventually we hear the final take with the trippy slide guitar overdub that didn't get used in the end.

Track 4-the closing music box section. Just the master take. Unlike in the Disk 1 album and BWPS, this goes on through the music box breakdown and starts up again, before coming to a hard end (not a fade).

Track 5-just the overdubs for the chorus section that turned that part into Bicycle Rider. So just the "ba ba ba"s in one ear, the "just see what you done" and "church of the american indian" lyrics in the other, and the fuzz bass right in the centre.

Track 6-a heavily edited "You Are My Sunshine" session. We hear Brian talking about the lyrics to the "Old Master Painter" section, but he never used these, even in BWPS. He also talks about adding echo to the "faraway hills" line. We hear a late take, but not the final version - the laughing saxophone is different from the one on the Disk 1 and booted version. Then we hear the Part 2 session, for the section that memorably became False Barnyard later. The track evolves from a very jumpy, staccato feel into the finished thing. Carol Kaye is playing acoustic guitar on this session and we get to hear her a bit playing solo when Brain requests it. Eventually we hear the final take of the fade. There are no vocal sessions.

Track 7-however, this track showcases the acapella 'ah, ha, hum dum de dooby doo' overdubs recorded onto the False Barnyard fade when it was used in the Cantina mix of H&V. No "when skies are grey" stuff.

Track 8-the Home On The Range verse for Cabin Essence. Not much here - we hear Carol Kaye beg for another chance after flubbing the banjo line (yes, she plays banjo) in Take 10. There are a couple of complete takes, but not the final one. And there's lots of reverb added to the end too.

Track 9-Who Ran The Iron Horse session. We hear Brian making sure that the dobro player's part (the "tinging" of the spike on the metal railroad) is audible, and checking to see if the players want a rest (nice of him-wish my employers were as thoughtful). I think we hear the final take here, and again, there's too much reverb added at the end!

Track 10-The Grand Coolie Dam session. We hear the mad take with all the drums wigging out like on Secret SMiLE, which is cool, and then the master take, but it's actually faded out into reverb several bars before the cold end that you can hear on Disk 5 of the Good Vibrations box set. I guess they wanted to save a few seconds… sheesh

Track 11-the session for the first version of Wonderful, the August 66 harpsichord version. We hear several run-throughs, including one complete one, with what sounds like Dennis calling in over the talkback in the middle to apologise that Carl is going to be late, but we never hear the master instrumental take. Wasn't that lost? And there are no vocals.

Track 12-a heavily edited session for the Rock With Me Henry Version. First we hear the harpsichord track, then the semi-complete track with bass, Rock With Me Henry backing vocals and Carl's breathy lead. It's just as incomplete as it was on Sea Of Tunes though, with over half the track lacking a lead or BVs. Carl flakes out quite early. His comment "I need some water, man" has been mixed out.

Track 13-the session for the "mamamamamama" tag. No more coherent than it was on Sea Of Tunes, and they never achieve a complete version, although what there is (two partial run-throughs) is here in stereo.

Track 14-Version 3 of Wonderful, the incomplete April piano version heard on the Smiley Smile Sea Of Tunes volume, and it's _still_ incomplete. We hear Brian run through the first two verses then start again, unsatisfied ("I blew it, lets do another"). He starts again and we hear partial backing vocals on the first two verses, but then even those vocals end, and then the track fades out halfway through the second verse. So there's no complete version of this here either. That sucks, as it sounds really cool.

Track 15-Look session. You lovers of the early arrangement with the heavy drums, it _is_ here! After just one run-through, we hear the master assembly in stereo, which plays to a cold ending (no fade). 12th street rag is here as expected, and there are no vocals anywhere.

Track 16-the early October 7th 66 verse session for CIFOTM. This was on Sea Of Tunes 17. Brian tells Chuck Britz how many tape tracks he should be recording onto. We hear two and a half run-throughs of the chorus, and then a "final" take, although of course none of this was ever used. Then they run through the "verse" twice, with a third take being the "final" one. There are no vocals on this version.

Track 17-the session for the backing for the second version of CIFOTM, the October 11th 1966 one that was used as the model for the BWPS version of the track. As far as I know, this was never booted, and it's one of the more interesting sessions. Brian is obviously in a hurry, he asks Chuck Britz to work fast at the start of the session excerpt. Chuck protests that he's ready, and they go straight into recording the chorus. We hear an early run-through, and the excitement in the studio at how great the track is sounding is palpable ("It's gonna sound great!" "Oh, it's beautiful, man!"). After two more full run-throughs of the chorus, Brian (whose on the studio floor working with the musicians) works on the trumpet part, concerned that the trumpet is "speaking late" compared to the rest of the musicians. He accepts a suggestion from the trumpet player, who tries adjusting his mute. ("You wanna hear this thing…" [sound of mute being adjusted] …tighter? This is the Henry Busse sound, but it fits…"). The trumpet line, which the player then demonstrates solo, gets the "pinched" sound used on the finished track. Everyone is knocked out. Someone says "greeeeat!" and Brian comments with wonder "whuh… that sounds more like A BABY! THAT'S OUR BABY!!!" (And it sort of does) Brian then calls it " Outtasight!" and thanks the guy. It's a sweet little exchange. Immediately, we hear a take, although it isn't quite the final one, which is a shame, as we then move on to the verse session, with the delayed electric guitar. I never really understood how much of a rock and roll sound there is in that guitar, but you appreciate it when you hear the guitarist running through the changes solo before the main run-through-it sounds like a really country and western blues sound (remember what Dennis said…?). We only get one take of the verse, and it's not clear if it's the final one or not, and then we hear the session for the eerie bass and piano section (the one that finishes up the BWPS version of the track). Again, we only get one take of this, and it seems to be the final version. There are no vocal sessions, unfortunately, nor are there sessions for the vocal section with the piano which kicks off this track on the Disk 1 version of the album. Wierd.

Track 18 is the Surf's Up Part 1 session with the percussionist using the car keys ("I'm gonna take my ring off before I rooon it… that's part of the jewellery sound"). We hear three run-throughs, the third being the master take we all know, and Brian carefully adjusts the car keys percussion sound ("The harder you throw 'em, the worse it sounds… beautiful, now it sounds like jewellery!"), the part where the musicians slow down, and reassures Carol Kaye, whose worried about the getting the track right for some reason ("Even if it isn't my money, I worry!").

Track 19 is the George Fell Into His French Horn session, heavily edited, but the most interesting stuff is here. First we hear the horn players doing the "random" playing, which sounds eerie and ominous, almost like a horn version of the water chant (now there's an interesting bit you could use for your own Air part of The Elements, if you want to roll your own version of that…), then they appear to be making gusty wind sounds with descending scales (another fun 'Air' candidate) and emulating laughing sounds with their horns. Finally we hear the spoken "comedy" section, with the musicians talking through their instruments. This is short, as it's pretty tedious, but we do hear the part where they joke about George having fallen into his French Horn, so completists should be reasonably satisfied. I yawn, look at my watch, and move on…

Track 20 is the multitrack December Brian solo piano performance of Surf's Up. Everyone knows this and there's not much different here. As usual, there's no "canvas the town" line after the first verse, just a pause with no lyrics. The track doesn't fade out, but continues to a hard stop ("let me hear it in the phones, the whole thing").

Track 21 was a surprise-after all these years, we get to hear a minute and a half of 'Jazz' on the Friday Night session. And thats just what it is - a load of session musicians noodling. Thoroughly competent but dull. Interestingly, we hear Carol Kaye afterwards saying "That's having fun on Brian's time… that's what happens after the Fire". And what was recorded the previous day…? After that, they nail IWBA in one take and it goes straight on into Friday Night, only without the Workshop tool overdubs (you can still hear them very faintly in the background, though).

Confusion abounds on Track 22, which is the piano and bass track for the Vega-Tables verses. We hear some of the overdubs on the first verse, such as the clanging percussion, flipperty-flipping wobble board, and a bit of carrot-munching, but no vocals. As on Sea Of Tunes, the piano performance runs on into a badly timed performance of the backing to the 'Sleep A Lot, Eat A Lot' section, with the group joking and clowning around over it. However, the piano track has then been edited to loop back into the verse piano section. On this pass, we hear different overdubs, the group coughing, some discussion captured on the tape, "hey, Brian… it's coming up again… are we going to do anything?" and then some more vegetable chomping noises. The track then fades swiftly.

Track 23 is an attempt to re-record the "Sleep A Lot" section, with the group all struggling to fit around Brian's piano so they can play and sing the part at the same time. This was put out on Facebook a few weeks ago, right?

Track 24 is the fast "Sleep A Lot" section used in the Disk 1 version of this track. but what we hear is not the track session nor the vocal session, but (literally) a mix of both, which is odd. The backing track starts, the recorded vocals fade in, then the backing is faded out, leaving the vocals acapella to a fade-out. This is odd as we know from Sea Of Tunes that there are more vocals at the start of the track (before they're faded in here) and more track at the end (after its faded out here). Once again-wierd.

Track 25 is the slow "Sleep A Lot" section used for the second chorus on the Disk 1 version of this track, with the freaky backing vocals "teh-oo-la, teh-oo-la" and 'row, row, row, row'. Theres just one pass of this section with all the overdubs in place, mixed in stereo.

Track 26 is the session for the short 'bop-bop-bop-bop, doo-do-doo doo-do-doo' insert. Brian plays the single backing chord, then it's played again with the group overdubs in place over the top. I wonder how many takes they took.

« Last Edit: October 18, 2011, 03:49:28 AM by buddhahat » Logged

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buddhahat
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« Reply #331 on: October 18, 2011, 03:45:28 AM »

Spoilers


Disk 4

Track 1-the Vega-Tables sessions wind to near there close with the session for the fade. This is great and I hadn't heard any booted versions of it before. Brian is clearly still working out a lot of aspects of the arrangement, adjusting the tone of the guitar, and the pattern that the strings and percussion are playing. After experimenting with the rhythm of the strings for a while, he drops a bombshell on the talkback. "OK, this is gonna throw a real shocker in here-after all this time, the fiddles are gonna be SUSTAINED. Can you believe that?". Gradually the track approaches its final form, with Brian changing the percussion until he finds a cup sound he wants, advising Lyle Ritz on his bass sound, and physically moving the cello players around to get the sound balance right. Eventually we hear just over a minute of what is probably one of the most interesting arrangements from all of the sessions. Shame it fades out before we hear the whole thing!! I guess the disks were really packed, they must have needed the space. There are no vocals here, but remember you get those in the montage on Disk 1.

Track 2-this is the session for what Brian calls on the tape the "Ballad Insert", the harmony section of the song that closes the BWPS version of the song ("I know that you'll feel better…" ect). This is a bit like Unreleased Backgrounds on the Pet Sounds CD-it certainly sounds like its all Stack-O-Brian. We hear him try to record one harmony part in slightly wobbly and unsuccessful fashion, then he says he's going to put down a piano track to sing to. He must have erased over it, though, because we don't hear it, just the rich harmony parts for the section without the lead. Its still bloody great though.

Odd that there's no session for the bongy mono organ overdub, the one on the end of the Smiley Smile version. Could that have been a Smiley-era overdub?

Track 3-and THIS is why you buy this set. At long last, Holidays, in stereo and in full quality. I've heard parts of this session booted before, I hadn't heard all of what's here. Its a good, lively, interesting session, with Brian working hard on the choruses and verses with the musicians. In between, we hear the piano player (Brian? Van Dyke?) playing early arrangements for the whispering winds tag, including a full run-through of the tag and the little Bach-like pre-tag thing. Unfortunately (as it's quite lovely) the other musicians are talking over this section… There's even a part when Brian asks to hear the second chorus, and I'd swear you can hear him singing wordless 'scatty' vocal parts in the background, but frustratingly, there's no microphone on him at the time, so its _very_ faint and mostly obscured by the piano, and even less conclusive than the vocal melody fragment in the Worms session. Before you ask, it's not the 'Rock Rock Roll' lyrics or melody. You then hear Brian talking the musicians through the arrangement for the whispering winds tag, and adjusting the marimba and clarinet parts. Then we hear the final track in stereo, with the pre-tag and tag edited on, and playing to a hard fade, with Brian interrupting on the talkback to close the session ("OK, hold it, let me play it back").

Track 4-another valued addition to this set, this is the session for the August version of Wind Chimes, sounding beautiful. Brian adjusts the timing and physical position of the saxophonists and runs through the clarinet parts solo. Then we hear all of the complete Take 5 in it's glory, right to the end, and a re-take of the ending section from the "tinkling pianos" part to the end.

Track 5 is the session for the October version of Wind Chimes, which I'd never heard before. The early takes of the track start with a very simple marimba part which got more developed later. Brian has Carl, who is at the session, snap his fingers on off-beats to keep time, and has to tell Van Dyke when to stop playing. Eventually we hear the master take, right through to the end of the second verse. No chorus is played, presumably because Brian took the choruses from the August version of the track?

Track 6 is the session for the re-recorded "tinkling pianos" section which closed the version of Wind Chimes on the Good Vibrations box set (the Disk 1 version uses the August version of the track for this bit). We hear a couple of attempts to get the cascading tack piano parts right before hearing the master take.

Track 7-oh boy, over eight minutes of full-on Fire sessions. We hear several run-throughs (Takes 4, 6 and one other), with Brian reducing the level of the cymbal and upping the level of the discordant flute section, which he runs through solo briefly. We then hear him trying to get the instruments to fade out properly for the ending edit piece, and adjusting the order in which the bassists and drums stop playing. He asks Hal Blaine to "put out" the bassists, and reins him in when the drums are too ba-dum-tish "comical". Eventually they nail it. No vocals, no surprise there.

Tracks 8-15 cover Love To Say Dada and Cool Cool Water in various attempts, and although the instruments are different on each one, the music is similar. The Dada run-throughs on piano and Fender Rhodes, which apparently date from December 66, show that the music Brian wrote didn't really change that much through all the different versions of the track. The piano version isn't complete, but the Rhodes version is pretty much a complete run through (Brian solo, with no vocals). All that's missing, compared to the Love To Say Dada version, is the opening section of the latter track, the bit that sounds like Whistle In. The sessions for the ILTSDD sections are good to have in full quality, and slightly more complete than the versions on Secret SMiLE, but they don't really reveal anything previously unknown about the structure of the track. Most annoyingly, there's no full performance of the CIFOTM-like section we hear the musicians briefly start at the end of one of the takes. I wonder what the sheet music the musicians had said, if there was any. There is also a complete run-through of the second day "AirDada" version of the track, with the chirping bird sounds in the breaks. (what is it exactly with the unused bird sounds on SMiLE?)

The Cool Cool Water sessions were interesting. They date from the early Smiley period, and have something of the laid-back, Lei'd In Hawaii-style group vocal feel of that album. you hear a few different takes of the basic musical idea with the group singing vocals very like the ones that ended up on Sunflower ('drink a little-' and 'drip drip drip drip-'), once round the piano, and once on a harpsichord. There's a definite 'Smiley' feel to these tracks, and even though their incomplete, there great to have. There's even a version with Brian at the piano where he's developing ideas for a middle eight that never got used on any other version, although there are no vocals on that take, and it peters out. Finally, we hear the versions of the opening section that were completed during the Wild Honey sessions (as heard on the Good Vibrations box set) and the remixed version that formed the basis for the first part of the track as completed on Sunflower. Interestingly, there are no sessions for the Water chant anywhere. Could this have been a Smiley-era session after all? Mind you, that hasn't stopped them including the Smiley H&V vocal sessions, nor the Cool Cool Water stuff, so that's odd.

Finally, there are a number of one-off tracks. I've described some of these already in Leila's earlier posts. The session for "You're Welcome" (Track 16) is hilarious, with the group at first attempting to achieve the effect of gradually arriving while singing the song by starting outside the studio, marching in and up to the mike as their singing. Sensibly, they chose to achieve this using echo during the mixing eventually, as the realist approach doesnt work. There's also a bizarre interlude after the master take where they try another feel, singing as though their all old people with quavery, Granpa Simpson-style voices. The engineer is non-plussed. "Uhh, Brian… the other take was better…"

Track 17 is a June harpsichord version of With Me Tonight (although Brian calls it 'You're With Me Tonight' at the start of the session excerpt). This was available on SMiLE boots for years as the fast harpsichord version with the group singing live ("na, na-na na dum-dum di doo"). Odd to think it's more of a Smiley track, although it's not clear from just listening whether this is a home studio recording or not. There is only one run-through on the session presented here (the one that was booted), with a prior very brief run through an earlier take of the bass line only, with accompanying finger snaps. The bass feel is very cool, very Motown.

Tune X is Track 18. There's no session for this, just the semi-complete track with all the overdubs we heard on Secret SMiLE, but properly mixed this time. This track is interesting, but it still sounds unfinished to me. I'd love to know what plans Carl had for this.

Similarly, Dennis's "I Don't Know" (Track 19) sounds like it was maybe part of something else, and on the short session excerpt (we do get some of Dennis's session here, unlike the previous Carl track), we hear someone asking DW himself to "run the other sections down", suggesting there was more to this number too. As it is, all we hear are three takes of a falling scale arranged for strings and ripping fuzz bass, with Dennis playing a snare drum along. The final take has a bit of banjo, too, but it still sounds like a chorus from some larger track. It seems to be in the same key as Tune X, too, so I wonder whether the whole thing was just an arrangement exercise Brian set his younger brothers to see what they could come up with in the studio. Who knows.

Track 20 is the session for Three Blind Mice and has my favourite Brian Wilson quote on the whole set. Pointing at the tuba, he says "Could we have the bass, and the, uh… whatever that big huge thing is". Well, he was only 23. This sounds brilliant, and it's great to hear it in full quality after all these years, but there are no great surprises here: it's not like he breaks into the Bicycle Rider theme 18 months early in a previously unbooted section or anything.

Track 21 is Teeter Totter Love, and although SMiLE fans dreamt of hearing this for years, you have to ask yourself whether it was worth it-S goes as far as to call it "the only bad track on the whole set". Jasper Daley's voice is like a cross between Les Dawson and Darth Vader with a 40-crack-pipes-a-day habit, singing through a canyon full of tumbleweed. The backing track is pretty cool, in an upbeat 60s kind of way-think of the flutey Austin Powers theme tune and you'll have it. I wonder if they could ever take the vocals off it and give us just the backing track, like the Fairy Tale Music on the box set? But then again, wasn't this from an acetate? So maybe not.

Aside from the boring Underwater Chant (swim swim, fishy swim swim, eeeeeel), and a lame edit of the Hal Blaine Vega-Tables Argument session (but then, show me a better version of this bloody interminable 'comedy' session…), that's pretty much it-apart from the final track on Disk 4, which is a late surprise bonus. It's a whole load of H&V mono mix sections edited together. Judging by the track title ("Early Version Outtake Sections") and the sound of these, perhaps these were all done by Brian at the time of his assembly of the Cantina mix. Certainly some of the parts in that version are here, but there are also a load that didn't make that version, and some which are usually thought to belong to Part 2, if there ever was one, like "Gee" and the upbeat "a-Heroes and a-Villains" choruses. Or maybe this track _is_ another early edit version, although the splices are rougher in a couple of spots than they are on the February 1967 version.

Here's what you get, anyway: the first two verses of H&V, just like on the Cantina mix, edited straight into the "dumb whistle" part (there's no "echo explosion", though) and then the early "Children were raised" section. After "often wise" and the piano, we get the third verse with 'still got the jive to survive with the Heroes and Villains'. The backing track then continues, with verse backing vocals like the ones after the second verse in the Cantina mix underneath, but not acapella like they are in the Cantina version. I really dig this assembly. Trouble is, it just fades out towards the end of the section, and then edits badly into the "In The Cantina…" part, which goes through to full unedited woo-woos and banjo, but no "You're Under Arrest". Instead, "Gee" starts up. The track then runs through the Part 2 H&V chorus sections as on Mark Linett's old H&V Sections mix on the Good Vibrations set, but with a couple of omissions. Some bars are edited out, not very well it must be said, there are some odd handclap overdubs, and the Swedish Frog section is missing. Also, the track edits straight to the False Barnyard fade instead of including the slow "dut-dut-dut" section, and ends there.

Looking back to Sea Of Tunes 17, I think this might be an oober-re-edit of all of the mono mix attempts documented on Disk 1 of that set-some of these dodgy edits and the handclap overdubs are definitely the same as on some of those mono mix attempts. If that's true, then these are actual BW mixes, re-edited in 2011 into something more coherent. It still doesn't hang together particularly well, and there are still lots of missing pieces (could you live with a 67 edit without "You're Under Arrest?") but this might be the closest purists ever get to a long Brian-mixed Heroes and Villains. Unless, of course, the edit sequence is _also_ 67-vintage. We may never know, unless the sleeve notes let on...

And that's it.

Last of all, a political Postscript for those who don't work in the clique of cliques that is Westminster:

We all used to refer to Mr Fox as the ex-Foreign Secretary even when he was still Defence Secretary (he was shadow foreign secretary for a few months in 2005). It was a running gag that came from what they used to say about David Owen. Years ago he was Foreign Secretary under Labour, but he left Labour to found the SDP and thought he would be a big cheese one day with them, maybe even Prime Minister… but it never took off and he eventually disappeared into the political wilderness. So rather cruelly, he was forever known as 'The ex-Foreign Secretary' round here.

Similarly, because the Conservatives were in opposition for so long, the joke was that Mr Fox might never get to be more than an ex (shadow) Foreign Secretary… which is even worse! Of course, eventually they did (sort of) get in and he became more than that, but to us he was always "the ex-Foreign Secretary", and apparently it used to wind him up no end, as all he ever wanted to be was Defence Sec. And now he's not even that! All I can say is, it couldn't happen to a nicer guy… I shouldn't be saying that in public, but I'm changing jobs imminently, so I really don't care.

FIN (cue fading out False Barnyard theme)
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« Reply #332 on: October 18, 2011, 04:31:20 AM »

Spoilers


Disk 4

 that's pretty much it-apart from the final track on Disk 4, which is a late surprise bonus. It's a whole load of H&V mono mix sections edited together. Judging by the track title ("Early Version Outtake Sections") and the sound of these, perhaps these were all done by Brian at the time of his assembly of the Cantina mix. Certainly some of the parts in that version are here, but there are also a load that didn't make that version, and some which are usually thought to belong to Part 2, if there ever was one, like "Gee" and the upbeat "a-Heroes and a-Villains" choruses. Or maybe this track _is_ another early edit version, although the splices are rougher in a couple of spots than they are on the February 1967 version.

Here's what you get, anyway: the first two verses of H&V, just like on the Cantina mix, edited straight into the "dumb whistle" part (there's no "echo explosion", though) and then the early "Children were raised" section. After "often wise" and the piano, we get the third verse with 'still got the jive to survive with the Heroes and Villains'. The backing track then continues, with verse backing vocals like the ones after the second verse in the Cantina mix underneath, but not acapella like they are in the Cantina version. I really dig this assembly. Trouble is, it just fades out towards the end of the section, and then edits badly into the "In The Cantina…" part, which goes through to full unedited woo-woos and banjo, but no "You're Under Arrest". Instead, "Gee" starts up. The track then runs through the Part 2 H&V chorus sections as on Mark Linett's old H&V Sections mix on the Good Vibrations set, but with a couple of omissions. Some bars are edited out, not very well it must be said, there are some odd handclap overdubs, and the Swedish Frog section is missing. Also, the track edits straight to the False Barnyard fade instead of including the slow "dut-dut-dut" section, and ends there.

Looking back to Sea Of Tunes 17, I think this might be an oober-re-edit of all of the mono mix attempts documented on Disk 1 of that set-some of these dodgy edits and the handclap overdubs are definitely the same as on some of those mono mix attempts. If that's true, then these are actual BW mixes, re-edited in 2011 into something more coherent. It still doesn't hang together particularly well, and there are still lots of missing pieces (could you live with a 67 edit without "You're Under Arrest?") but this might be the closest purists ever get to a long Brian-mixed Heroes and Villains. Unless, of course, the edit sequence is _also_ 67-vintage. We may never know, unless the sleeve notes let on...



That is very very interesting - IMHO
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« Reply #333 on: October 18, 2011, 04:35:10 AM »

Spoilers


Disk 4

 that's pretty much it-apart from the final track on Disk 4, which is a late surprise bonus. It's a whole load of H&V mono mix sections edited together. Judging by the track title ("Early Version Outtake Sections") and the sound of these, perhaps these were all done by Brian at the time of his assembly of the Cantina mix. Certainly some of the parts in that version are here, but there are also a load that didn't make that version, and some which are usually thought to belong to Part 2, if there ever was one, like "Gee" and the upbeat "a-Heroes and a-Villains" choruses. Or maybe this track _is_ another early edit version, although the splices are rougher in a couple of spots than they are on the February 1967 version.

Here's what you get, anyway: the first two verses of H&V, just like on the Cantina mix, edited straight into the "dumb whistle" part (there's no "echo explosion", though) and then the early "Children were raised" section. After "often wise" and the piano, we get the third verse with 'still got the jive to survive with the Heroes and Villains'. The backing track then continues, with verse backing vocals like the ones after the second verse in the Cantina mix underneath, but not acapella like they are in the Cantina version. I really dig this assembly. Trouble is, it just fades out towards the end of the section, and then edits badly into the "In The Cantina…" part, which goes through to full unedited woo-woos and banjo, but no "You're Under Arrest". Instead, "Gee" starts up. The track then runs through the Part 2 H&V chorus sections as on Mark Linett's old H&V Sections mix on the Good Vibrations set, but with a couple of omissions. Some bars are edited out, not very well it must be said, there are some odd handclap overdubs, and the Swedish Frog section is missing. Also, the track edits straight to the False Barnyard fade instead of including the slow "dut-dut-dut" section, and ends there.

Looking back to Sea Of Tunes 17, I think this might be an oober-re-edit of all of the mono mix attempts documented on Disk 1 of that set-some of these dodgy edits and the handclap overdubs are definitely the same as on some of those mono mix attempts. If that's true, then these are actual BW mixes, re-edited in 2011 into something more coherent. It still doesn't hang together particularly well, and there are still lots of missing pieces (could you live with a 67 edit without "You're Under Arrest?") but this might be the closest purists ever get to a long Brian-mixed Heroes and Villains. Unless, of course, the edit sequence is _also_ 67-vintage. We may never know, unless the sleeve notes let on...



That is very very interesting - IMHO

Definitely!
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« Reply #334 on: October 18, 2011, 07:00:19 AM »

If she is indeed telling the truth, stereo Hollidays just became one of the big tracks I'm looking forward too.
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« Reply #335 on: October 18, 2011, 11:38:54 AM »

Can't wait to listen to the box myself after reading this.
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« Reply #336 on: October 19, 2011, 01:11:00 AM »

It sounds like there's tons of session dialogue that hasn't appeared before on boots. It's hard to get excited about session "highlights", I didn't think the stuff on PSS were really that great, but it seems like TSS is going to have a lot of interesting exchanges on it.
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« Reply #337 on: October 19, 2011, 06:12:50 AM »

**Spoilers**


Finally, there are a number of one-off tracks. I've described some of these already in Leila's earlier posts. The session for "You're Welcome" (Track 16) is hilarious, with the group at first attempting to achieve the effect of gradually arriving while singing the song by starting outside the studio, marching in and up to the mike as their singing. Sensibly, they chose to achieve this using echo during the mixing eventually, as the realist approach doesnt work. There's also a bizarre interlude after the master take where they try another feel, singing as though their all old people with quavery, Granpa Simpson-style voices. The engineer is non-plussed. "Uhh, Brian… the other take was better…"

This sounds too funny for words! This session is unbooted, right?
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« Reply #338 on: October 19, 2011, 06:33:01 AM »

**Spoilers**


Finally, there are a number of one-off tracks. I've described some of these already in Leila's earlier posts. The session for "You're Welcome" (Track 16) is hilarious, with the group at first attempting to achieve the effect of gradually arriving while singing the song by starting outside the studio, marching in and up to the mike as their singing. Sensibly, they chose to achieve this using echo during the mixing eventually, as the realist approach doesnt work. There's also a bizarre interlude after the master take where they try another feel, singing as though their all old people with quavery, Granpa Simpson-style voices. The engineer is non-plussed. "Uhh, Brian… the other take was better…"

This sounds too funny for words! This session is unbooted, right?

Even though the song is only 1:08 long, three takes (March in, Master & aOld Folks at Home) and a lot of larking about seems an awful lot to pack into a 6:41 session. Suspect there's lot been spliced out… wonder if there were any more takes, for example?
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« Reply #339 on: October 19, 2011, 06:51:30 AM »

Actually there are three attempts at the 'march in' before the master take.
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« Reply #340 on: October 19, 2011, 08:34:03 AM »

This I am longing to hear.  More so every day. How'm I gonna get any work done in November?
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« Reply #341 on: October 19, 2011, 09:50:03 AM »

Two quick points about "You're Welcome" as described. It sounds similar to what Brian did with Vosse, VDP, etc during the chants when he wanted everyone to talk like Smokey The Bear, taking on another character in their voice. And the "old man" voice...it's totally unrelated but in 1995-96 Beck did the same thing on his tune "Where It's At", where they recorded several tracks of Beck playing different characters including talking like an old man, saying "where it's at!" for the chorus. Interesting to hear Brian on that same wavelength 30 years earlier...

And wasn't there a Beatles Christmas message where they were recorded as a group walking up to and then away from the microphone as they were chanting something? I can't recall the year of that disc, curious if it was before or after Brian attempted the same thing with the BB's.
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« Reply #342 on: October 20, 2011, 08:56:20 AM »

I'm psyched that takes 4 and 6 of Fire are included - they are not on SOT or Secret Smile or BBOV - they're "cut out" with just the ending of the take included.

I was really hoping that in the session "excerpts" Alan and Mark would deliberately include takes that have NOT been previously booted, and they appear to have done that with Fire.

For discs 3 and 4, besides the session chatter, we have new takes of:

DYLW verse
DYLW chorus/BR
DYLW hawaiian section
YAMS - new complete late take
Wonderful Aug 66 - several run throughs with one complete take
CIFOTM - remake, three takes of chorus
IWBA/FN - an excerpt of "Jazz"
Vegetables - sleep a lot section vocal session
Fade to Vegetables - unclear if there are any takes on here not previously booted
Vegetables ballad insert session
Holidays - session for tag
Wind Chimes - remake version with some early takes
Wind Chimes remake tag session
Fire takes 4, 6 and maybe one other unbooted take
Love to Say Dada - early run throughs on piano and one complete take on Fender rhodes
Cool Cool Water WH session
You're Welcome session
I don't Know
Teeter Totter Love

I have to say this is more previously unbooted material than I thought we would get!
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« Reply #343 on: October 20, 2011, 09:01:05 AM »

I'm psyched that takes 4 and 6 of Fire are included - they are not on SOT or Secret Smile or BBOV - they're "cut out" with just the ending of the take included.

I was really hoping that in the session "excerpts" Alan and Mark would deliberately include takes that have NOT been previously booted, and they appear to have done that with Fire.

For discs 3 and 4, besides the session chatter, we have new takes of:

DYLW verse
DYLW chorus/BR
DYLW hawaiian section
YAMS - new complete late take
Wonderful Aug 66 - several run throughs with one complete take
CIFOTM - remake, three takes of chorus
IWBA/FN - an excerpt of "Jazz"
Vegetables - sleep a lot section vocal session
Fade to Vegetables - unclear if there are any takes on here not previously booted
Vegetables ballad insert session
Holidays - session for tag
Wind Chimes - remake version with some early takes
Wind Chimes remake tag session
Fire takes 4, 6 and maybe one other unbooted session
Love to Say Dada - early run throughs on piano and one complete take on Fender rhodes
Cool Cool Water WH session
You're Welcome session
I don't Know
Teeter Totter Love

I have to say this is more previously unbooted material than I thought we would get!

Thanks for taking the time Bicycle Rider - that is great news!
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« Reply #344 on: October 20, 2011, 10:22:15 AM »

Good work, and very much appreciated.
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« Reply #345 on: October 20, 2011, 12:25:50 PM »


Track 17-the session for the backing for the second version of CIFOTM, the October 11th 1966 one that was used as the model for the BWPS version of the track. As far as I know, this was never booted, and it's one of the more interesting sessions. Brian is obviously in a hurry, he asks Chuck Britz to work fast at the start of the session excerpt. Chuck protests that he's ready, and they go straight into recording the chorus. We hear an early run-through, and the excitement in the studio at how great the track is sounding is palpable ("It's gonna sound great!" "Oh, it's beautiful, man!"). After two more full run-throughs of the chorus, Brian (whose on the studio floor working with the musicians) works on the trumpet part, concerned that the trumpet is "speaking late" compared to the rest of the musicians. He accepts a suggestion from the trumpet player, who tries adjusting his mute. ("You wanna hear this thing…" [sound of mute being adjusted] …tighter? This is the Henry Busse sound, but it fits…"). The trumpet line, which the player then demonstrates solo, gets the "pinched" sound used on the finished track. Everyone is knocked out. Someone says "greeeeat!" and Brian comments with wonder "whuh… that sounds more like A BABY! THAT'S OUR BABY!!!" (And it sort of does) Brian then calls it " Outtasight!" and thanks the guy. It's a sweet little exchange. Immediately, we hear a take, although it isn't quite the final one, which is a shame, as we then move on to the verse session, with the delayed electric guitar. I never really understood how much of a rock and roll sound there is in that guitar, but you appreciate it when you hear the guitarist running through the changes solo before the main run-through-it sounds like a really country and western blues sound (remember what Dennis said…?). We only get one take of the verse, and it's not clear if it's the final one or not, and then we hear the session for the eerie bass and piano section (the one that finishes up the BWPS version of the track). Again, we only get one take of this, and it seems to be the final version. There are no vocal sessions, unfortunately, nor are there sessions for the vocal section with the piano which kicks off this track on the Disk 1 version of the album. Wierd.

Sounds like we're getting session material, albeit brief, for the verse too. I find the verses of Child, along with the Tag to Cabinessence, the most awe inspiring and cinematic of the feels he composed at this time. I'm really keen to hear the session for this.
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« Reply #346 on: October 20, 2011, 05:06:40 PM »

No Ball and Mitt?
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« Reply #347 on: October 20, 2011, 10:46:20 PM »

Andy Kaufman is alive! Some suspects are:

Liela
Nobody
Dennischild
Ghost
Jack Reiley (90s posts)
Magic Transistor Radio
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