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Author Topic: The (eventually) MIC spoilers thread  (Read 45956 times)
Cabinessenceking
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« Reply #225 on: August 26, 2013, 06:44:17 AM »

I would love to hear a full 1972 or 1973 lead from Brian to make sure

Likewise. Do we know of any that exist?
I still really wonder if the 1970 Brian vocal on Don't You Just Know It is really from 1970. The 45 came out in 1973, is there a small chance Brian overdubbed his voice on to a three year old track? Other than that, Daddy Dear from Holland (if it isn't Al) and him playing the Fairy Tale at home in 1973 (in admittedly pretty bad sound) are all that are out. He probably sang lead on a bunch of Sandler stuff like Gimme Some Lovin'. Awake and Silly Walls in high quality from 1971 would be cool too. There still is a lot not issued.


AS much as I dig most of the new stuff one does have to wonder why they gave us the underwhelming 'Don't Go Near The Water', which actually shows how well the vocals covered a surprisingly tame backing track. The 'Transcendental Meditation' instrumental is a real shot in the leg to listen to. An instant skipper and a horrible way to illustrate the band's arrangement and production capabilities.

Other pointless inclusions are the Smile vocal montage, I would argue 'Da Doo Run Run' was never a good song to begin with and a cover of it on this set was not neccessary. The same could be argued with "Goin' To The Beach", but that one at least passes as an original!

This box is good, very good. But IMO some simple steps could've made it a true all-time classic worth collecting 50 years from now (despite the shite artwork)






remember this? Hah, if only this group could push out artwork similar to this. To me this image speaks far more of California than that yellow wave they put on the MIC cover.



I feel this set leaves me asking more questions than answering the ones I had.
I want to know more about the music recorded in the mid 70'sin particular as 'My Love Lives On' and 'Barnyard Blues' came from left-field and were very nice surprise inclusions. Also this makes Hard Times, Make It Easy and We Got Love more attractive to me. There is plenty of material in the can for sure!
The live inclusions are fantastic. This proves there is much live material int he vault and that more live releases are realistic for the future. MiC ticks off many of the wanted live performances from the late 60's and early-mid 70's period. We only miss Surf's Up and Cool Cool Water live and a few more.



All round a very good collection. There was an attempt to fill in the holes of the 70's such as a real RnR Music mix, Barnyard Blues, good coverage of CalFeelin and the newest classic to the Beach Boys cannon: WIBNTLA!

« Last Edit: August 26, 2013, 06:59:27 AM by Cabinessenceking » Logged
seltaeb1012002
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« Reply #226 on: August 26, 2013, 06:50:17 AM »

I would love to hear a full 1972 or 1973 lead from Brian to make sure

Likewise. Do we know of any that exist?
I still really wonder if the 1970 Brian vocal on Don't You Just Know It is really from 1970. The 45 came out in 1973, is there a small chance Brian overdubbed his voice on to a three year old track?

Good point. Now that we have a clear idea of where BW's voice was at in '74, and of course we already know how he sounded in '69-'70 -  I wouldn't be surprised if that lead was recorded in '73.  He's got that huskiness that's apparent in the '74 recordings but wasn't there yet during the Sunflower period.
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Jim V.
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« Reply #227 on: August 26, 2013, 05:51:49 PM »

I still think that "Don't You Just Know It" might be 1970. It was probably just something tossed off pretty quickly. Although I know Jan didn't do his part 'til 1973 apparently, so maybe Brian's part is from then. Who knows? Actually is there documentation to prove that Brian did his part in 1970? Possibly c-man or AGD might know something about this?

I still really wonder if the 1970 Brian vocal on Don't You Just Know It is really from 1970. The 45 came out in 1973, is there a small chance Brian overdubbed his voice on to a three year old track? Other than that, Daddy Dear from Holland (if it isn't Al) and him playing the Fairy Tale at home in 1973 (in admittedly pretty bad sound) are all that are out. He probably sang lead on a bunch of Sandler stuff like Gimme Some Lovin'. Awake and Silly Walls in high quality from 1971 would be cool too. There still is a lot not issued.

Since you brought it up, what unissued stuff with a possible Brian lead from 1971 to 1975 is around?? Let's see....

"Won't You Tell Me": a boring song, but Brian vocally sounds pretty great
"Silly Walls": the majority of the vocals are David Sandler, but Brian's parts are pretty prominent and he sounds great in my opinion
"Awake": it's been out there, Brian sounds good, but he definitely has a much more shrill sound, definitely a precursor to something like the "She's Got Rhythm" falsetto
"Funky Fever": David Sandler told me this was his song, while AGD's site lists it as "B. Wilson/Sandler"....and who knows if there's a vocal or even a finished instrumental track
"Baby I Need Your Lovin'/Gimme Some Lovin'": apparently a really nice backing track according to David Sandler, but from what he told me it seems like there's no lead vocal
"Rooftop Harry": an instrumentnal track was attempted in 1972...not sure if they even got to the point where a vocal could be added
"Honeycomb": not sure if Brian sang the lead on this, pretty sure it was Marilyn
"Brian's Tune": "dirty" version of "Ding Dang", the falsetto sounds a bit weaker, but still sounds relatively like "classic" Brian
"Lucy Jones": supposedly mostly Steve Kalinich singing, with Brian backing....also, Brian's vocal is supposedly "shouty"
"You're Riding High On The Music": another song with Kalinich, not sure if anybody "in the know" has heard it....not much info about it
"In The Back Of My Mind" (1975 version): probably my most wanted unreleased track, as Brian supposedly sings with both his classic era "clear" voice and also his 15 Big Ones voice

If anybody has anything else they could add (or subtract) to this list, or any info about any of the tracks, feel free to post.
« Last Edit: August 26, 2013, 08:45:08 PM by sweetdudejim » Logged
seltaeb1012002
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« Reply #228 on: August 26, 2013, 06:02:09 PM »

If anybody has anything else they could add (or subtract) to this list, or any info about any of the tracks, feel free to post.

Whatever's on those Mickey Dolenz tapes!

"In The Back Of My Mind" (1975 version): probably my most wanted unreleased track, as Brian supposedly sings with both his classic era "clear" voice and also his 15 Big Ones voice

The new Holy Grail.

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« Reply #229 on: August 26, 2013, 06:58:24 PM »

"In The Back Of My Mind" (1975 version)

I'm crossing my fingers that this shows up on the Love & Mercy OST.
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« Reply #230 on: August 26, 2013, 07:53:10 PM »

Apologies for exposing my own ignorance but...


What is HDCD and how does one take advantage of it!  Embarrassed

It's technology designed to provide a High Definition (HD) presentation of tracks - As per the Great Man himself (Mark L) from the 2001 twofer liners - "The disc has been mastered using the Pacific Microsonics HDCD which encodes 24 bits onto a conventional 16 bit CD."

HDCD cooked up by Pacific Microsonics, who are no longer in biz.  The technology is now owned by Microsoft and codecs are included in Windows Media Player.

The deal is, additional signalling info is encoded onto the CD, giving you a High Def experience, as opposed to the Standard 16 bit (which is what you hear when you play it in a normal CD player).  

HDCD definition is not as high as SACD, because a CD is limited to sampling rates of 44,1khz and frequency range of 20hz - 20khz; SACDs are based on DVD tech and can handle samples up to 2.8ghz + a slightly broader frequency range.  Except for Pet Sounds, I don't know of any other BB SACD releases.

Debate rages but, IMHO, I think the HDCD tracks sound great versus standard CD.

To take advantage of it, here are 3 methods:

1) buy a HDCD compatible CD player - Oppo and a couple of other companies still crank 'em out.  That's the most convenient method if cash is not an issue.

2) If you are a windows user, and you have a 24-bit sound card in your machine you can playback via Windows Media Player.  As long as your speakers are good, you should hear the difference.

3) If you are a windows user, and you have a 24-bit sound card in your machine, and you download Foobar2000 and the HDCD plug-in, then you can rip the CD to 20-bit PCMs (ie a wav file).  That's what I do, and I think it's worth the frickin' around.  The resulting improved clarity of sound and image are worth it.  (If you happen to have digital copies of HDCD tracks, you can run 'em through Foobar - the encoding is in the file, you don't need the source CD)

I've recently done some A/B/Cing of Surfin' USA - standard CD version, Steve Hoffman remastered Gold CD, HDCD rip from the recent reissue (all Stereo mixes) - and the HDCD version blows the Hoffman mastering out of the water.

Some would have it that HDCD is a dead format, but, hear ye, I think it's great that Mark continues to use a format that doesn't require any major equipment investment to get a good result.

Or forget about all that sh*t, and buy a record player for a true HD experience.

BTW, that's all my own layman's opinion and research (by research I mean noddling around on wikipedia and goggle).  Back to MIC spoilers....
« Last Edit: August 26, 2013, 08:08:59 PM by Alan Smith » Logged

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« Reply #231 on: August 26, 2013, 08:02:50 PM »

Thanks Alan. That was exactly the response I was looking for.
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runnersdialzero
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« Reply #232 on: August 26, 2013, 08:12:32 PM »

"Don't You Just Know It" always sounded right in line with other late 60s/early 70s Brian vocals to me. What is it about that one that people always say sounds more in line with his late 70s vocals? Maybe in how it's a lot less restrained than, say, "'Til I Die"? Just askin'.
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seltaeb1012002
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« Reply #233 on: August 26, 2013, 09:15:26 PM »

"Don't You Just Know It" always sounded right in line with other late 60s/early 70s Brian vocals to me. What is it about that one that people always say sounds more in line with his late 70s vocals? Maybe in how it's a lot less restrained than, say, "'Til I Die"? Just askin'.

I wouldn't say late 70's. I agree it does have that late 60's / early 70's thing going on. Now that we know he was still capable of pulling off that sound as late as '74 as indicated by the CF demo + Rolling Up To Heaven, I'm thinking there's a better chance that it was recorded a little later than the Sunflower / Surf's Up period. To address your question, imo the falsetto isn't quite as sweet as the Sunflower stuff and he's straining all over the place. His rhythm is a little funky and generally sounds jokey / maniacal / undisciplined which makes me think it could be a '73 vocal. Or maybe a really coked up day in 1970, lol. But it wouldn't be ridiculous to think they pulled him in to record his vocals to finalize the record for release in '73.

Listen to how he does the first "heeyyyoh!" at 0:27. Or "Got me rockin when I oughta be rollin" at 0:56. I can't see the "Where Is She" Brian straining like that. But who knows.
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« Reply #234 on: August 26, 2013, 10:59:49 PM »

No box, the CDs are in TSS-like slits at the end of the LP sized hardcover book. Nice sand texture there that makes it look like the CDs are on a beach. Not everybody will like that, I find it tremendous. Many good photos, text is mostly quotes, track info is just about when and where recorded and who sings lead. IMHO really nice to have, but not essential. I don't regret buying this.

Thanks.

Regarding the text, aren't there any essays or articles? And if yes, by whom? I think I've read somewhere that the booklet has 70 pages.

Boyd, Linett and Wolfe get 1 column each, rest is quotes, mainly from band members. There's Brian's school essay printed and a letter from I think Mike's mom to Brian. Most of the space is taken by photos. MANY photos. Other than that only a reprinted article from 1966 about the Pet Sounds cover photo shoot.

Thanks. Photos are of course cool but I'm surprised there isn't more 'meat' in the booklet in the form of essays and such. That's a bit disapointing, I think. Are you and others satisfied with the packeging / content besides the content of the discs themselves?

A few more essays and more info on the unreleased tracks would indeed have been welcome.
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« Reply #235 on: August 26, 2013, 11:03:17 PM »

I would love to hear a full 1972 or 1973 lead from Brian to make sure

Likewise. Do we know of any that exist?
I still really wonder if the 1970 Brian vocal on Don't You Just Know It is really from 1970. The 45 came out in 1973, is there a small chance Brian overdubbed his voice on to a three year old track?

Good point. Now that we have a clear idea of where BW's voice was at in '74, and of course we already know how he sounded in '69-'70 -  I wouldn't be surprised if that lead was recorded in '73.  He's got that huskiness that's apparent in the '74 recordings but wasn't there yet during the Sunflower period.

Still, Brian's falsetto on the bridge of This Whole World is so raspy it makes me feel he sang it with a beard on. As if it was from the Love You period. Check it out!
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« Reply #236 on: August 26, 2013, 11:12:44 PM »

I would love to hear a full 1972 or 1973 lead from Brian to make sure

Likewise. Do we know of any that exist?
I still really wonder if the 1970 Brian vocal on Don't You Just Know It is really from 1970. The 45 came out in 1973, is there a small chance Brian overdubbed his voice on to a three year old track?

Good point. Now that we have a clear idea of where BW's voice was at in '74, and of course we already know how he sounded in '69-'70 -  I wouldn't be surprised if that lead was recorded in '73.  He's got that huskiness that's apparent in the '74 recordings but wasn't there yet during the Sunflower period.

Still, Brian's falsetto on the bridge of This Whole World is so raspy it makes me feel he sang it with a beard on. As if it was from the Love You period. Check it out!
I always thought that bridge was very nice and clean. Even vocals only.
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seltaeb1012002
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« Reply #237 on: August 26, 2013, 11:54:58 PM »

I would love to hear a full 1972 or 1973 lead from Brian to make sure

Likewise. Do we know of any that exist?
I still really wonder if the 1970 Brian vocal on Don't You Just Know It is really from 1970. The 45 came out in 1973, is there a small chance Brian overdubbed his voice on to a three year old track?

Good point. Now that we have a clear idea of where BW's voice was at in '74, and of course we already know how he sounded in '69-'70 -  I wouldn't be surprised if that lead was recorded in '73.  He's got that huskiness that's apparent in the '74 recordings but wasn't there yet during the Sunflower period.

Still, Brian's falsetto on the bridge of This Whole World is so raspy it makes me feel he sang it with a beard on. As if it was from the Love You period. Check it out!

Ehh, a little too clean. If Brian had reprised that part in '77 it would sound... kinda like Brian reprising his "go to Hawaii" line in "Kona Coast". That high frequency whine in his voice was pretty much gone by then, and the few times he did attempt it, it just didn't sound the same. You can hear Brian himself talking about struggling with the "whine" during the "Goin' On" vocal session in the 1980 KTSA documentary. He's got a frustrated look on his face going "ahh.. i gotta get that whine...".

Funny way of putting it btw haha. "So raspy it makes me feel like he sang it with a beard on!"
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« Reply #238 on: August 27, 2013, 12:14:41 AM »

I think I like the alternate take of Don't Worry Baby better than the released version, I like Brian's vocal nice and raw like that rather than with all the reverb and double tracking.  Wow, his voice was beautiful back then.
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« Reply #239 on: August 27, 2013, 12:34:01 AM »

Question:  Surfin' Safari and 409 are listed as "long versions" but they don't sound any different to any version I've ever heard.  Were there ever shorter versions?  Those songs are pretty short to begin with.
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« Reply #240 on: August 27, 2013, 01:10:06 AM »





remember this? Hah, if only this group could push out artwork similar to this. To me this image speaks far more of California than that yellow wave they put on the MIC cover.


Whoah! Who came up with this brilliant design? That would have been way better for the cover. Or almost anything else than the shoddy design on there now. I hope it looks better in real life because judging from the images online it's very dull looking and doesn't complement the sheer brillance of the music at all, I think.
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« Reply #241 on: August 27, 2013, 01:16:07 AM »

The 'Transcendental Meditation' instrumental is a real shot in the leg to listen to. An instant skipper and a horrible way to illustrate the band's arrangement and production capabilities.

If the backing tracks on Made in California don't convince a person of the band's arrangement and production capability, do you think anything that could take the place of "Transcendental Meditation" could? "Had to Phone Ya" just may be the best backing track Brian ever recorded and while some may disagree, apparently quite a few people think "Good Vibrations" and "Guess I'm Dumb" are pretty good productions too...

I'm going to hazard a guess and say that "Transcendental Meditation" has other reasons for inclusion, such a being a much needed force feeding to many out there who completely miss the intent of the track.

The decision to take this ballsy as fuck backing track and christen it "Transcendental Meditation" is like taking "Summer Means New Love" and titling it "My Father-In-Law Who Defecated Himself to Death". That and the choice to close what is arguably their most serene, laid back album with this monster of a discordant/jarring recording is a total embodiment of Brian's quirky sense of humour.

Tracks like "Transcendental Meditation" prove to me that Brian hungered for challenging the established realms of artistic normalcy. He was a total protopunk, a badass too cool to care about arbitrary rules set by the pseudo-intellectual music community. "I'm fucking Brian Wilson bitch. I'll write my slice-of-life lyrics. I'm gonna make you shake with my army of moog bass. I'll defy conformity to your pretentious expectations."

This instrumental is one of the keys to unlocking understanding of Brian Wilson and his giant middle finger to the man. It's a key which subsequently allows full appreciation of masterworks like Smiley Smile and Love You so it ain't got a chance in hell of being substituted off my Made in California!
« Last Edit: August 27, 2013, 01:29:06 AM by Quzi » Logged

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« Reply #242 on: August 27, 2013, 01:25:36 AM »

Brian was having fun during the Friends period, and that comes across to me.
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« Reply #243 on: August 27, 2013, 02:02:08 AM »

Question:  Surfin' Safari and 409 are listed as "long versions" but they don't sound any different to any version I've ever heard.  Were there ever shorter versions?  Those songs are pretty short to begin with.

They're from the demo tape sent to Capitol in '62 along with "Their Hearts Were Full Of Spring" and "Lonely Sea".  They don't have fades and are a few seconds longer than the released versions.
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« Reply #244 on: August 27, 2013, 11:58:40 PM »

Still, Brian's falsetto on the bridge of This Whole World is so raspy it makes me feel he sang it with a beard on. As if it was from the Love You period. Check it out!

Ehh, a little too clean. If Brian had reprised that part in '77 it would sound... kinda like Brian reprising his "go to Hawaii" line in "Kona Coast". That high frequency whine in his voice was pretty much gone by then, and the few times he did attempt it, it just didn't sound the same. You can hear Brian himself talking about struggling with the "whine" during the "Goin' On" vocal session in the 1980 KTSA documentary. He's got a frustrated look on his face going "ahh.. i gotta get that whine...".

Funny way of putting it btw haha. "So raspy it makes me feel like he sang it with a beard on!"

Hehe, thank you, I try to be entertaining. Smiley Of course I'm not saying the track was altered after it came out, but compare Brian's This Whole World falsetto with, say, The Warmth Of The Sun. The raspiness of the former does remind me more of the beard era falsetto you mention. Grin Or Brian's "ooohs" on Getcha Back, as another example.
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« Reply #245 on: August 28, 2013, 12:02:52 AM »

The 'Transcendental Meditation' instrumental is a real shot in the leg to listen to. An instant skipper and a horrible way to illustrate the band's arrangement and production capabilities.

If the backing tracks on Made in California don't convince a person of the band's arrangement and production capability, do you think anything that could take the place of "Transcendental Meditation" could? "Had to Phone Ya" just may be the best backing track Brian ever recorded and while some may disagree, apparently quite a few people think "Good Vibrations" and "Guess I'm Dumb" are pretty good productions too...

I'm going to hazard a guess and say that "Transcendental Meditation" has other reasons for inclusion, such a being a much needed force feeding to many out there who completely miss the intent of the track.

The decision to take this ballsy as fuck backing track and christen it "Transcendental Meditation" is like taking "Summer Means New Love" and titling it "My Father-In-Law Who Defecated Himself to Death". That and the choice to close what is arguably their most serene, laid back album with this monster of a discordant/jarring recording is a total embodiment of Brian's quirky sense of humour.

Tracks like "Transcendental Meditation" prove to me that Brian hungered for challenging the established realms of artistic normalcy. He was a total protopunk, a badass too cool to care about arbitrary rules set by the pseudo-intellectual music community. "I'm fucking Brian Wilson bitch. I'll write my slice-of-life lyrics. I'm gonna make you shake with my army of moog bass. I'll defy conformity to your pretentious expectations."

This instrumental is one of the keys to unlocking understanding of Brian Wilson and his giant middle finger to the man. It's a key which subsequently allows full appreciation of masterworks like Smiley Smile and Love You so it ain't got a chance in hell of being substituted off my Made in California!

I agree 100%, and I havn't even heard it yet!
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« Reply #246 on: August 28, 2013, 12:20:53 AM »

The 'Transcendental Meditation' instrumental is a real shot in the leg to listen to. An instant skipper and a horrible way to illustrate the band's arrangement and production capabilities.

If the backing tracks on Made in California don't convince a person of the band's arrangement and production capability, do you think anything that could take the place of "Transcendental Meditation" could? "Had to Phone Ya" just may be the best backing track Brian ever recorded and while some may disagree, apparently quite a few people think "Good Vibrations" and "Guess I'm Dumb" are pretty good productions too...


Mentioning songs like Good Vibrations isn't the best way to argue that Transcendental Meditation should have been included...
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Iron Horse-Apples
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« Reply #247 on: August 28, 2013, 12:24:27 AM »

I'll just be happy to add another one to my list of Beach Boys backing tracks.
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« Reply #248 on: August 29, 2013, 08:17:16 PM »

I think I like the alternate take of Don't Worry Baby better than the released version, I like Brian's vocal nice and raw like that rather than with all the reverb and double tracking.  Wow, his voice was beautiful back then.

I don't know if I like it better, but it's more powerful and raw as you said - he makes a very difficult vocal sound so incredibly easy.
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« Reply #249 on: August 29, 2013, 09:11:59 PM »

As for the TM backing track -- I think of it less a Brian being rebellious and more that he simply could write a cool, brassy, aggressive track that sounds nothing like most people's conception of the band.
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