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Author Topic: The Stephen Desper Thread  (Read 718544 times)
Rob Dean
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« Reply #1700 on: November 30, 2015, 02:25:50 PM »

Got to say (with great glee) that the 'see for miles' CD is the most treasured item in my collection BECAUSE i have got Brian, Marilyn and Diane to sign the sleeve  Grin
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bluerincon1
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« Reply #1701 on: November 30, 2015, 04:16:57 PM »

Is information is great!  It seems, then, that the Spring project was really motivated by the Rovell sisters with Brian and David (and of course Stephen) happily going along.

I used to visit a record store in Santa Barbara - American Pie Records - and its owner, Dennis Hartman (or "Dr. D") turned me on to the Spring album.  He showed me several imported albums and Picture Sleeve covers  from Europe with the American Spring name.  Each had a different cover.  They can be seen on discogs.com.   Rhino released it (they had also re-released the Honeys tracks) in 1988. The See For Miles version came out a year later.  I always thought Rhino's re-figured track line-up had a better flow.  It's always an interesting time (post "Surf's Up" / pre "Carl & The Passions") with eight possible Beach Boys (Al, Bruce, Carl, Mike, Brian, Dennis, Blondie, and Ricky) for a brief time.  Yet, with those members (with the exception of Bruce who left) only 8 tracks released on "So Tough."

BTW: Mr. Desper did you engineer the Honeys 1969 single " Tonight You Belong To Me"/"Goodnight My Love."  It has a wonderful, full sound.

Again thanks for all the help and knowledge.  I haven't learn some much since I read David Leaf's book back in the 80's.

Warmest Regards,
bluerincon1
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Andrew G. Doe
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« Reply #1702 on: November 30, 2015, 11:30:54 PM »

To my knowledge, never as an LP. However, outside the US, the 1972 album was released as by American Spring.


Sorry but IF we are talking about the 'SPRING PLUS' 'see for miles' release (expanded version) in the late 80's it certainly was a CD and LP release

Thanks Rob, l stand corrected.
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MrRobinsonsFather
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« Reply #1703 on: December 01, 2015, 12:13:01 AM »

Hi Mr Desper,

http://youtu.be/s7nqaz99_ms

The link above is a track called Sweet and Bitter and says you engineered it along with Brian Carl playing on the track and Mike on lead. Do you recall working on this song ? Says it was during the sunflower/surfs up period. This has been brought up before but nobody's heard of these sessions he's posted (there are 2 others on his channel).
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Stephen W. Desper
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« Reply #1704 on: December 01, 2015, 09:52:54 AM »

Hi Mr Desper,

http://youtu.be/s7nqaz99_ms

The link above is a track called Sweet and Bitter and says you engineered it along with Brian Carl playing on the track and Mike on lead. Do you recall working on this song ? Says it was during the sunflower/surfs up period. This has been brought up before but nobody's heard of these sessions he's posted (there are 2 others on his channel).

COMMENT:  I remember this song as being a one-day-wonder, coming together in such a short time I almost forget about it. Right now I'm listening through the matrix and leading edge device which is resoling all the encoded spatial sounds still captive, even on the link you sent. Sounds so much better this way, with all the tracks spread out in the panorama so you can hear each one distantly. This was recorded at the height of my microphone array technology development techniques -- between Sunflower and Surf's Up. I should post a study-video of the track ... some day. ~swd
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Stephen W. Desper
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« Reply #1705 on: December 01, 2015, 10:13:05 AM »

Is information is great!  It seems, then, that the Spring project was really motivated by the Rovell sisters with Brian and David (and of course Stephen) happily going along.

I used to visit a record store in Santa Barbara - American Pie Records - and its owner, Dennis Hartman (or "Dr. D") turned me on to the Spring album.  He showed me several imported albums and Picture Sleeve covers  from Europe with the American Spring name.  Each had a different cover.  They can be seen on discogs.com.   Rhino released it (they had also re-released the Honeys tracks) in 1988. The See For Miles version came out a year later.  I always thought Rhino's re-figured track line-up had a better flow.  It's always an interesting time (post "Surf's Up" / pre "Carl & The Passions") with eight possible Beach Boys (Al, Bruce, Carl, Mike, Brian, Dennis, Blondie, and Ricky) for a brief time.  Yet, with those members (with the exception of Bruce who left) only 8 tracks released on "So Tough."

BTW: Mr. Desper did you engineer the Honeys 1969 single " Tonight You Belong To Me"/"Goodnight My Love."  It has a wonderful, full sound.

Again thanks for all the help and knowledge.  I haven't learn some much since I read David Leaf's book back in the 80's.

Warmest Regards,
bluerincon1
COMMENT: That's before my time. Since they were signed to Capitol, I expect all the Honey's songs were recorded at Capitol Records tower, used by Brian a lot. Undoubtedly by staff engineers such as Don Henderson, but not certain. Capitol does a good job. Many top artists record there. ~swd
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Andrew G. Doe
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« Reply #1706 on: December 01, 2015, 10:36:58 AM »

The 1963/64 Honeys tracks were recorded at Western, mostly, but also at Gold Star and Capitol. The 1969 single was recorded at Sunset, United and Wally Heider.
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« Reply #1707 on: December 01, 2015, 02:39:17 PM »

Hi Mr Desper,

http://youtu.be/s7nqaz99_ms

The link above is a track called Sweet and Bitter and says you engineered it along with Brian Carl playing on the track and Mike on lead. Do you recall working on this song ? Says it was during the sunflower/surfs up period. This has been brought up before but nobody's heard of these sessions he's posted (there are 2 others on his channel).

COMMENT:  I remember this song as being a one-day-wonder, coming together in such a short time I almost forget about it. Right now I'm listening through the matrix and leading edge device which is resoling all the encoded spatial sounds still captive, even on the link you sent. Sounds so much better this way, with all the tracks spread out in the panorama so you can hear each one distantly. This was recorded at the height of my microphone array technology development techniques -- between Sunflower and Surf's Up. I should post a study-video of the track ... some day. ~swd

Thank you for answering, was wondering about this song for a while. I'm guessing Don Goldberg was someone they were thinking about for brother records.
« Last Edit: December 01, 2015, 02:41:32 PM by MrRobinsonsFather » Logged
Stephen W. Desper
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« Reply #1708 on: December 01, 2015, 09:32:26 PM »

The 1963/64 Honeys tracks were recorded at Western, mostly, but also at Gold Star and Capitol. The 1969 single was recorded at Sunset, United and Wally Heider.


Comment:  Thanks Andrew for setting the record straight. Actually, you can hear the room sound behind the vocals if you listen carefully, and that signature sounds like Gold Star to my recollection. But that studio is not on your list for the single, so Huh 

~swd
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Stephen W. Desper
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« Reply #1709 on: December 01, 2015, 09:34:44 PM »

COMMENT:

If you like to hear The Beach Boys in a concert setting, here’s almost two hours of a special show.

The Philly Spectrum broadcast concert of 1980 before 20,000 fans, captured direct on four reels of 15ips tape, is not a bad show. There are some stellar moments making it well worth a listen to the end. This is the Beach Boy show band I knew and loved.

My recommendation is to listen over headphones for the most detail, best representation and a great overall listen. Speakers are also good, but personally I prefer this one over a pair of good headphones.

Check it out under PERSONAL ARCHIVES   [ SPECTRUM 1980 Concert ]   at http://swdstudyvideos.com

Good Listening,
  ~Stephen W. Desper
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Emily
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« Reply #1710 on: December 01, 2015, 11:04:54 PM »

The 1963/64 Honeys tracks were recorded at Western, mostly, but also at Gold Star and Capitol. The 1969 single was recorded at Sunset, United and Wally Heider.


Comment:  Thanks Andrew for setting the record straight. Actually, you can hear the room sound behind the vocals if you listen carefully, and that signature sounds like Gold Star to my recollection. But that studio is not on your list for the single, so Huh 

~swd
To be able to recognize the sound of a room...   Shocked
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Stephen W. Desper
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« Reply #1711 on: December 03, 2015, 10:58:36 AM »

The 1963/64 Honeys tracks were recorded at Western, mostly, but also at Gold Star and Capitol. The 1969 single was recorded at Sunset, United and Wally Heider.


Comment:  Thanks Andrew for setting the record straight. Actually, you can hear the room sound behind the vocals if you listen carefully, and that signature sounds like Gold Star to my recollection. But that studio is not on your list for the single, so Huh 

~swd
To be able to recognize the sound of a room...   Shocked

COMMENT:  It's not as hard as you think if you know how to listen.  I once walked into a potential client's control room -- he wanted it corrected from where it was to being flat. I walked in, cleared my throat rather loudly, and drew a response curve of the room as I heard it. Suggested a few modifications and left. Several weeks later, he called me to come back. He had hired someone to make a "professionally" measured response curve of the room. He had kept my scrap piece of paper with the curve on it and said both were within 1 dB of the other. He said he wanted me to take on the job -- saying if anyone can do this by clearing their throat, they must know how to correct the problem. That contract lead to two control room remakes and a bottom-up design for a mastering room with a seismically isolated cutting lathe. Like any profession, if you have enough experience... .  Whether a car mechanic or medical doctor, sometimes all you need to do is make a simple test to reveal the problem. ~swd
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bluerincon1
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« Reply #1712 on: December 06, 2015, 07:15:33 PM »

Mr. Desper and to all:

Not knowing anything about sessions at all (unless the AFM forms can be found), I would think they recorded at Gold Star.  My reasoning is that Brian idolized Phil Spector and respected the job Larry Levine did, and since he thought of the Honeys as his Ronettes, it would make sense to try to create a similar sound at the same studios.
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bluerincon1
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« Reply #1713 on: December 06, 2015, 07:39:13 PM »

Mr. Desper:

 I read your comments on whether Mike Love actually said to Brain " Don't ---- with the formula" and I have a similar question.

 Many groups have articles or books that talk of unreleased material.  For years, fans have read about unreleased songs that are in the Beach Boys archives.  Some have been posted on youtube, but in your opinion, does the group have a large catalog music of unreleased music.

 Personally, I am not a huge fan of what people think is unreleased music, just for the simple fact (that for the most part) if it was good it would have been released.  Excusing tracks that have been lost, and later found, there are exceptions ("Wouldn't It Be Nice To Live Again" "It's A New Day" , "We Got Love" songs from the 15 Big Ones and Adult/Child sessions) that group politics are involved. but for the most part, many of the unreleased songs I have heard seem to be songs that aren't finished, or broke down in recording, run throughs, weren't that good, or have some type of negative connotation (like Brian's long time view on the "Smile" material).

I guess I am asking since the Beatles "Anthology"  had many newly created outtakes mixed from different, incomplete takes (or "outfakes" as I have read) and at the archival releases by the group ("Endless Harmony"  "Hawthorne, CA"  "Made In California") seem to have more alternate mixes of released songs or live versions, rather than new songs.  I was wondering if the same kind of innuendo that credits Mike with saying something he may or may not have said, similarly applies to this.  Do you think there is a "holy grail" of many unreleased songs or that there are some unreleased songs with others being more incomplete or unfinished.

Thanks you your time reading this.  I really do appreciate your insights.

Being the engineer from an era in the group's history were it's believed there is much unreleased material, what do you think is the real story?
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« Reply #1714 on: December 06, 2015, 07:57:53 PM »

Mr. Desper and to all:

Not knowing anything about sessions at all (unless the AFM forms can be found), I would think they recorded at Gold Star.  My reasoning is that Brian idolized Phil Spector and respected the job Larry Levine did, and since he thought of the Honeys as his Ronettes, it would make sense to try to create a similar sound at the same studios.

The AFM sheets from all the Honeys' sessions have been located - except, interestingly, one that is known to have been recorded at Gold Star, and that's "The One You Can't Have". Otherwise, the early sides (co-produced by Brian and Nik Venet) were all done at Capitol, but the early ones Brian produced by himself were done at Gold Star ("He's A Doll" and "The Love Of A Boy And Girl"). As for the later stuff - Murry produced some sides at Sunset, only one of which has subsequently been released to my knowledge ("Come To Me"), and Brian produced backing tracks at United and vocals at Wally Heider for "Goodnight My Love" and "Tonight You Belong To Me".
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bluerincon1
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« Reply #1715 on: December 06, 2015, 08:12:40 PM »

 That makes since that Wally Heider was used.  I read somewhere that group did make a deal with Wally Heider in late 1967/early 1968 to make Wally Heider's their semi-official recording studios.
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Stephen W. Desper
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« Reply #1716 on: December 07, 2015, 06:21:39 AM »

COMMENT:  Looks like c-man has put to rest all the questions about where The Honeys made their recordings. It's all before my time with Brian, so I can add nothing.

Concerning your questions bluerincon1, the arrangement with Wally Heider to which you refer is probably a "block booking" they made with him. During that period in Hollywood, there was so much recording going on it kept all the studios booked-up weeks in advance. When Brian got an idea and wanted to record, he constantly had to wait for studio time to open up. Sometimes he would be able to buyout the person who had a date booked, but that was expensive and did not always work. So The Beach Boys block booked Heiders studio for a month. And I believe it was extended after that. That way Brian had use of a studio whenever he wanted it. Also expensive, but it got him what he wanted and the per-hour rate was also reduced, as Wally gave them a good rate. Eventually this gave way to just renting the equipment and not the equipment and the studio from Heider. Thus, the equipment was moved to Brian's den and living room where recording by the entire group continued to produce several albums there under the engineering expertise of Jimmy Lockhart.

To answer your other question, when I worked for them they recorded many songs and as the recording took shape made judgments as to whether to continue to finish the song or abandon it. Therefore there are many unfinished songs that will never be finished. You can call them what you want. I don't know how many songs are in the vault now, but if their recording habits are the same today as back then, there are probably a number of abandon tracks still in the vault.
It's like an artist, a painter. Ever been to the studio of a painter? Unfinished canvases litter the floor, stacked up one against the other. Depending on the artist's mood, he works on one and then another. Some get finished, some never finished, some painted over. Look at how the masters of the past use to paint over other works, famous works. X-ray's have revealed this. Many times I have taken a 2" multi-track that was an abandon song and bulk erased it (clearing all tracks at one time) so that this expensive reel of tape could be used again for a completely different song. Sounds horrible now, but that's the way it was.    

I was just discussing this topic with a fan last night on the phone. From Friends thru Holland and all the various recordings in-between, the entire group of six members usually worked together in the same area, room, or studio. They all played together on stage and traveled as a group. Then came the solo albums, and the growth of each member from a musical point-of-view so that by the time Bruce produced Keeping The Summer Alive, it was rare to have even three group members in the studio at one time.  Usually it was only one at a time, layering parts on a 48 track recorder. Dennis never showed up. Brian made a couple of visits. At that point Bruce was holding the group sound together. The team effort had become splintered by virtue of technology. Not the same vib as when everyone is there at the same time. Given that the team effort was further broken by the untimely death of Carl and then Dennis, and the split of the touring bands, I doubt that many tracks are now recorded -- at least not in the abundance they were when it was a team or group effort. It seems to me the big push now is in touring, not recording. The days of endless hours spent in the studio by the group as a group are long gone, and can never be recaptured. It is still possible to mimic the great hits on stage using surrogate singers and a couple of original members, but that is about it. Go see all the shows you can -- time is running out. Make as many memories as possible -- and make them good.

With Good Listening,
 ~Stephen W. Desper
« Last Edit: December 07, 2015, 12:24:21 PM by Stephen W. Desper » Logged
bluerincon1
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« Reply #1717 on: December 07, 2015, 07:00:08 PM »

Mr. Desper:

I cannot find the words to describe what I just read.  That's  no hyperbole either.  I learned more in a few paragraphs than about the band than most books or articles I have read on the group.  What you said makes perfect sense.  TV did the same thing.  How many classic shows from the 50's are lost because the tapes were erased and used again.  It was cheaper to do.  I read a Billboard article that discuss this practice was used my most major labels until the early 80's.  If something wasn't used it was junked to save money and space.

I guess with 50 years of interviews where songs (at that time) were being concurring recorded but unfinished, that there were songs announced, but unfinished.  I think fans think there is some holy grail of unreleased songs somewhere that are being prevented from being released by group dynamics.

It reminds me of Martin Lewis, who came up with fake Beatle titles like "Pink Litmus Paper Shirt" and "Colliding Circles" to pad out an article on Beatle songs as a goof and to pad out an article he was writing.  But the goof because was accepted as real and, as he says, fans to this day still don't believe his story.

Of course, it is well known that the group would use a discarded melody from one song and include it in another ("I Just Got My Pay" - "Marcella") even recycling elements of a melody ("Thinkin 'Bout You Baby" - "Darlin'" - "Break Away").

The only artist who I can think of that kept everything was Mr. Zappa (excluding possibly his MGM years).  I sure you have a ton of stories about him and the Mothers also.

Again thank you and with the warmest regards,
bluerincon1
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Stephen W. Desper
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« Reply #1718 on: December 09, 2015, 05:47:03 PM »

Mr. Desper:

I cannot find the words to describe what I just read.  That's  no hyperbole either.  I learned more in a few paragraphs than about the band than most books or articles I have read on the group.  What you said makes perfect sense.  TV did the same thing.  How many classic shows from the 50's are lost because the tapes were erased and used again.  It was cheaper to do.  I read a Billboard article that discuss this practice was used my most major labels until the early 80's.  If something wasn't used it was junked to save money and space.

I guess with 50 years of interviews where songs (at that time) were being concurring recorded but unfinished, that there were songs announced, but unfinished.  I think fans think there is some holy grail of unreleased songs somewhere that are being prevented from being released by group dynamics.

It reminds me of Martin Lewis, who came up with fake Beatle titles like "Pink Litmus Paper Shirt" and "Colliding Circles" to pad out an article on Beatle songs as a goof and to pad out an article he was writing.  But the goof because was accepted as real and, as he says, fans to this day still don't believe his story.

Of course, it is well known that the group would use a discarded melody from one song and include it in another ("I Just Got My Pay" - "Marcella") even recycling elements of a melody ("Thinkin 'Bout You Baby" - "Darlin'" - "Break Away").

The only artist who I can think of that kept everything was Mr. Zappa (excluding possibly his MGM years).  I sure you have a ton of stories about him and the Mothers also.

Again thank you and with the warmest regards,
bluerincon1

COMMENT:  Thank you for your kindheartedly observations. To repeat myself from previous posts, “I have erased more Beach Boy tracks than you have ever heard.” Talking about Martin Lewis myth tracks, you may find the points I make concerning the so-called fictitious “un-released” albums (such as the fabricated "Landlocked") an interesting read. You can find these mentioned in the latter part of Part One and again documented in the Addendum to Part One. This part of my book Recording The Beach Boys underscores the points you make in your post. If you have not read these parts of my book, I encourage you to avail yourself of the book. It’s free and it’s a good read. See:  http://swdstudyvideos.com. Again, thanks for your kind words.
~swd
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« Reply #1719 on: December 22, 2015, 03:07:24 PM »

I've been reading this thread since it has started off and on.  I have learned alot just about music here and the insight is invaluable. 
THANK YOU FOR TAKING THE TIME.

Ok, i have read the archived thread, but I can't find the answer to this:

Listening to the smile boxed set, its all studio recorded (commercial studio),  they had worked on these songs (i am glossing over).  Since there was a deadline to get new product out, why
not just take the studio stuff, mix it down (if it isn't) and give it to Capitol?  I know they moved to the house because of Brian and other reasons, why re-record these minimalistic versions
when you have stuff in the can you can use? 
[ I love smiley smile much more than the polished versions in the smile box Smiley  As a kid i wondered, what the hell are they doing? but it was so fascinating...still is ]

Thank you so much. Apologies if this is in the wrong thread.
I hope all of you have a great holiday.

Jay
Spatializer owner!  Smiley
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« Reply #1720 on: December 22, 2015, 11:59:26 PM »

To All:

In regards to Smile, the music was very negative to Brian.  For many years it brought up bad memories and did not want to have anything with it (apart from the group singing Heroes And Villains).

In regards to 1969, here is my theory.  The group in 1969 was at a crossroads.  They sued Capitol that spring, but contractually owned them an album.  It was similar to Jimi Hendrix.  Jimi was sued to deliver an album to Ed Chalpin because Mr. Chalpin proved he had Jimi under contract before he signed with Chas Chandler im 1966.  The lawsuit was settled in 1968 with Chalpin getting the rights to the follow-up to "Electric Ladyland" (Chalpin turned around and sold the rights to Capitol).  

This placed Jimi in a difficult situation.  He didn't want to hand over new material to a rival company (and possibly damage his relationship with Warner/Reprise), and he didn't want to hand over a live album of previous released material, since he didn't want Chalpin to benefit from any material he recorded after Jimi left him.  It took him a year to finally deliver Capitol an album: live but with totally new material (with  two of the songs by Buddy Miles).  That's why the material from this album has never been on any of Jimi's compilations.    Other material from the concerts has but not from this album.

So in 1969, the Beach Boys slowed down their recording, suing Capitol and looking for a new label.  It was a similar situation:  do you give new material to a label (Capitol) that you are at odds with, having felt they haven't promoted you properly the last few years, and would probably not promote your new album since they have not vested interest.  It was only after the group signed with Warner and was on its way producing their first album, that attention was turned to Capitol.  At some point in early 1970 (from a Beach Boys article I read), Carl mixed the Live In London album and delivered it to Capitol.  Capitol accepted the album since it had live versions of hit songs that the label released, and would probably be a better seller than a new studio album.  Of course, Capitol chose not to release it for another 6 and half years, while mother company EMI, released it in other territories over the next 2 years.  This, combined with Capitol's non-promotion of "Cottonfields" in the Spring of 1970, shows Capitol's lack of interest.

I do not think there was ever a "Last Capitol Album" ("Reverberation"/"The Fading Rock Group Revival").   I think there were songs put to tape in early 1969, but after "Break Away" was delivered and the lawsuit was started, the recording stopping.  (Something similar happened when the group renegotiated with Capitol in 1967 and when their deal with Warner/Reprise ended in late 1971).     Of course, being proficient as the six members were, there was some recording done ("Cottonfields" and "Slip On Through" were put on tape that summer).  I tend to believe that the "Last Capitol Album"  was a reel of songs that could be used for an album, but it was not an album.  

I tend to think the re-recorded "Cottonfields" was not necessarily recorded to be a single, but it was recorded to see if Al's version/arrangement  of the song was better or truer than Brian's from 20/20.  I think that by 1970, when hadn't had any material released in nine months, that "Cottonfields" (remember: not a new song, but a remake) was given to EMI to release, and Capitol just went along with it.

That is what I think about the so-called "Landlocked" album.  First, why would Warner release an album of songs that it had already rejected half of?  Also the release timetable was too short.  If the album was released, say six-seven months later, in February-March of 1971, it wouldn't make sense.  Sunflower's release in foreign markets occurred in November of 1970, so to have only 3-4 months to promote Sunflower while getting the second album ready seems ludicrous.  It wasn't 1965  anymore.

Mr. Desper your book is fantastic!  I love the process of creativity and your time with them shows how open and responsive the band was to producing innovating sounds.  It also seems that the reel known as "Landlocked" was also presented to Warner Bros. on June 1, 1970 as the second submission of Sunflower.  I think when people bring up the album title of "Add Some Music"  it is based on a mock up cover that the Warner's art department created.  If it were a final cover, both the front and back would have been produced, not just a front cover.  Dave Dexter at Capitol used to do this.  One of his famous mock ups was for a Beatles "Live At The Hollywood Bowl" cover prepared for a 1965 release.  There was no way of knowing when and if it would be released, but was done to have ready in case the album did go into production.

Again Mr. Desper, thank you for all you have done.  Of course I could be wrong with everything.  You were there and know.  My knowledge are from books, interviews, and articles that may not be totally right.  It especially shows how Carl was the the group's light and conscience.  It's already been noted how he helped put together Stack-O-Tracks and Live In London, but his influence is what help make Sunflower and Surf's Up the cherish albums they are.  My one regret is that before adding "Cottonfields" onto the foreign release of Sunflower, EMI didn't have you remix it to sound similar to the rest of the album.  It sounds very out of place.

This is just my opinion, but of course I could be wrong.

 
« Last Edit: December 23, 2015, 12:04:54 AM by bluerincon1 » Logged
Stephen W. Desper
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« Reply #1721 on: December 23, 2015, 08:10:07 AM »

COMMENTS:

Recording artists like to record. A song may already be in-the-can, but many times, if time has passed from the first recording, the chance to start fresh and see what happens, learn from mistakes, lean on new knowledge, etc. will push the artists to want to try anew. Sometimes this makes for an improved product, sometimes not.

Live in London is my basic live mix. Carl did not remix per say, he sweetened or added to the live mix. Not the same as re-mixing since the basic mix was two-track. When transferred to a multi-track, added tracks are used to cover mistakes or thicken the sound, or make up for missed cues.

For some reason, Alan is fascinated by "Cottonfields."  He started recording it several times in studios while on tour, using various approaches. There must be six or so unfinished "Cottonfields" in the vault, if they survived. I remember working on various versions of "Cottonfields" with Alan at Red Barn Studio over the years. I use to visit Al and Maryann for weeks at a time, staying in their guest bedroom while enjoying Big Sur with my Dalmatian dog and recording, mostly into the evening hours. "Cottonfields" was one of the songs he always liked to work on -- but, typical of Al, never finished.

Funny that at this time you should post something about Cottonfields as I am currently re-mastering this song for a study-video of the songs of 20/20 to be released at some future date.

In your post, bluerincon1, you said that "recording stopped."  Believe me, it never stopped.  From what I read in your post, it make me think you did not read the Addendum to Part One. If you haven't read it yet, please do. Reels were never sent to Warner's. Records were, as presented in the Addendum. The two LP's representing album concepts were always referred to as "Sunflower."

Best to you all this holiday,
~swd
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« Reply #1722 on: December 23, 2015, 09:20:21 AM »

I want to thank Mr. desper for sharing the Spectrum 1980 performance.   Just the thing to light the fire under my waning  enthusiasm for this music...A very nice holiday gift!
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« Reply #1723 on: December 23, 2015, 09:50:19 AM »

Mr. Desper:

I just re-read the portions of the book you mentioned.  You are right as I misinterpreted or misread what you wrote.  It seems that they were just reels.

In regards to recording, I was basing my assumptions on the Keith Badham book: The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio.  So I am wondering if there AFM forms filled out while recording at Brian's home?  That could explain the gap in unknown recording dates. 

BTW: Do you know why "Fallin' In Love" or "Lady" was remixed for the Love Songs compilation and box set.  The original you use is fantastic.  I would love to eventually a full stereo spread of the song in its original form.

Also, am I correct to assume you were hired by The Beach Boys, but did you first start out as Jim Lockhart's second engineer in 1967 with the intention of becoming chief engineer and mixer when Mr. Lockhart left or returned to Wally Heider?

Again thanks for the knowledge you provide.

Also the Philadelphia concert is excellent.  The band is in top form.  Bruce really doesn't get the credit he deserves in keeping the group together in the 1979-1981 period.
« Last Edit: December 23, 2015, 09:55:21 AM by bluerincon1 » Logged
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« Reply #1724 on: December 23, 2015, 06:25:59 PM »

COMMENT:

In regards to recording, I was basing my assumptions on the Keith Badham book: The Beach Boys: The Definitive Diary of America's Greatest Band, on Stage and in the Studio.  So I am wondering if there AFM forms filled out while recording at Brian's home?  That could explain the gap in unknown recording dates. I don't like to bash other people's work, but the Badham book is so full of errors and assumptions that I would not use it as a historical foundation to the facts if I were you.  I have written about AFM form mistakes elsewhere in this forum and in my book. They do not tell the complete story in any form of imagination. Beware !!  

BTW: Do you know why "Fallin' In Love" or "Lady" was remixed for the Love Songs compilation and box set.  The original you use is fantastic.  I would love to eventually a full stereo spread of the song in its original form. (missing words) As I commented earlier, artists love to re-do stuff. Sometimes they don't know when to leave well enough alone. Development engineers are the same. Sometimes you have to shot the engineer or artist just to get product to the market.

Also, am I correct to assume you were hired by The Beach Boys, but did you first start out as Jim Lockhart's second engineer in 1967 with the intention of becoming chief engineer and mixer when Mr. Lockhart left or returned to Wally Heiders? I have NEVER been a second engineer to anyone. I was hired during that time to mix on the road. The boys liked my work, so when Lockhart's failing health eventually forced him to retire from recording, I replaced him in the studio as chief mixer and continued to be head mixer on the road.
 ~swd
« Last Edit: December 24, 2015, 08:39:10 AM by Stephen W. Desper » Logged
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