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Author Topic: Post Release MIC Track Discussion  (Read 75613 times)
John Manning
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« Reply #425 on: September 03, 2013, 04:41:25 AM »

Ticking into this set nicely but I have a query right from the startÖ

Just before Mike introduces the Radio Luxembourg show on Disc 1, track 1, there's a brief section of the Good Vibes track slowed right down (we've had this before on another releaseÖ) - can anyone tell me why it's slowed down in that way? It sounds bloomin' awful!

Rest of the set (not listening in order) i blowing me away all over the place.

Track 2, Surfin: Can I assume that the inclusion of recording session take calls before the guys get going is an indicator that Capitol now has the Hite Morgan (etc) session tapes that Brad Elliot tried to release as First Wave?



http://www.surfsuprecords.com/tracklisting.html
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« Reply #426 on: September 03, 2013, 06:30:49 AM »

Am I the only one who really digs this mix of Sail Plane Song?

It's quirky, psychedelic, but it really works somehow. Nice little experiment.
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« Reply #427 on: September 03, 2013, 06:43:14 AM »

Am I the only one who really digs this mix of Sail Plane Song?

It's quirky, psychedelic, but it really works somehow. Nice little experiment.
I like the new mix, as well.
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Oh Brian
Thou Art In Hawthorne,
Harmonied Be Thy name
Your Kingdom Come,
Your Steak Well Done,
On Stage As It Is In Studio,
Give Us This Day, Our Shortenin' Bread
And Forgive Us Our Bootlegs,
As We Also Have Forgiven Our Wife And Managers,
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« Reply #428 on: September 03, 2013, 06:54:31 AM »

After listening to the live tracks on this set it is obvious that the Beach Boy's vaults contain a ton of live recordings. They havn't even begun to scratch the surface in releasing vintage live recordings.

A Beach Boys LIVE box set HAS to be next up for release. It would be nice to see a few complete concerts as well as live rarities. It would also be the perfect place for the BB50 Royal Albert Hall concert (on CD). They could easily do a six disc set with fantastic concert photos, back stage pass and whatever.

Who can we write to?  Ahhh!  3D

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Jason
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« Reply #429 on: September 03, 2013, 08:08:58 AM »

Ticking into this set nicely but I have a query right from the startÖ

Just before Mike introduces the Radio Luxembourg show on Disc 1, track 1, there's a brief section of the Good Vibes track slowed right down (we've had this before on another releaseÖ) - can anyone tell me why it's slowed down in that way? It sounds bloomin' awful!

Rest of the set (not listening in order) i blowing me away all over the place.

Track 2, Surfin: Can I assume that the inclusion of recording session take calls before the guys get going is an indicator that Capitol now has the Hite Morgan (etc) session tapes that Brad Elliot tried to release as First Wave?



http://www.surfsuprecords.com/tracklisting.html

As far as the slowed down Good Vibrations track, that's probably something to be taken up with the Radio Luxembourg folks. As far as track 2, that's lifted wholesale from the Good Vibrations box set, disc 1, track 4.
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« Reply #430 on: September 03, 2013, 10:02:23 AM »

Did anyone else notice the talking during the Slip On Through acapella mix? Around 1:46. Sounds like Brian.
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« Reply #431 on: September 03, 2013, 01:41:15 PM »

Is this version of Break Away the same as on Hawthorne, CA? I thought I noticed some minor differences but I'm really not sure.
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« Reply #432 on: September 03, 2013, 03:58:19 PM »

Am I the only one who really digs this mix of Sail Plane Song?

It's quirky, psychedelic, but it really works somehow. Nice little experiment.

I love this mix!

One of my favourite tracks on MIC
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« Reply #433 on: September 03, 2013, 08:29:27 PM »

I collected my thoughts on the contents of the box set after listening to it for a week so this got quite lengthy.

My main thought while going through most of this stuff is that i donít know of anyone else who realizes the full potential of music and elevates it to a sort of alchemy like the Beach Boys. When they are at their best, that brew of everything coming together in that highly idiosyncratic way that only they can concoct, it just sounds like actual magic. It really is on another plane. I also kept thinking, ďWhat the f*** is this band? They are aliens.Ē I don't think i will ever fully understand them or ever stop being amazed by them (on multiple levels). My favorite thing iíve read so far about the box set is from Quzi who said, ďIím unsure as to whether this set better proves that this is the best band in the world or the stupidest!Ē The answer, of course, is both.

Despite my posts in the YLTLF thread, ultimately, i am more happy with MiC than disappointed by it (redundant song selection aside). I am finding the issues on MiC easier to put aside than those on TSS (this project also just generally holds less weight than TSS). I think the sound is generally all right, though i too am in the camp who finds the EQ and mastering overly bright/harsh and will be turning down the treble knob a good amount.


As for some of the individual tracks:


This Whole World a cappella - This was the first track i went to, as iím someone who wants an entire a cappella and backing track box set of some sort more than anything else. I was expecting glory on this one and thatís just what i heard. I listened to it three times in a row before i moved on to something else because i just couldnít process what was happening to my mind, i felt so much joy and i wanted to cry. It really never ceases to astound me how different a Beach Boys song can sound when the vocals (or backing track) are isolated. The wordless section right before the outro is sublime, just out of this world. I wouldíve never known those harmonies sounded like that! Itís cool to hear Brianís lead part, but i can see why it was replaced. Would love to hear, if it exists, a whole pass at the song from him.

Slip On Through a cappella - This one blew my mind to bits, especially that second dizzying verse. That second verse is some of the craziest, most intricate backing vocals theyíve ever recorded. I have to admit that when the MiC tracklist was first announced, i thought this was a weird choice, of all songs, for an a cappella mix (though i still welcomed it), but i totally see now why it was an obvious choice. It's just so incredibly revealing. It is astounding how much information there can be in Beach Boys songs and how much of it gets buried.

Meant For You alternate version - This is why i love this band. Meditation, a pony, and a puppy dog. Who else but the Beach Boys? The perfect antidote to classic rawk. 

Where Is She - What an unexpected kind of sound, not what i had imagined this one sounding like based on the descriptions we had. This is a quiet little late night miniature bedroom masterpiece. I feel a universe more emotion and heaviness in an offbeat little song like this with kind of clunky but really heartbreaking lyrics and a ďstraightĒ subtle delivery than from any Dennis piano ballad. This is where itís at for me.

Weíre Together Again - Those strings! This song really comes together now and sounds as great as any of their top late í60s stuff. How can any band leave songs of this caliber in the vaults? Only the Beach Boys. I would kill to be able to write something half this amazing. And this was just a little throwaway song they tossed off and left in the vault for decades.

Youíve Lost That Loviní Feeliní - As it's been noted already, some of the magic of the bootleg version is gone due to the excessive echo (and how incongruous it sounds with the period), but let me tell you, this is SUCH a great arrangement, production, and performance that i honestly think it canít be ruined. So take that. This one is one for the ages. I love how fast and coked up it starts and then immediately slows down as if Brian realized this. Iíd genuinely rather listen to this than the original Righteous Brothers recording. There, i said it.

Amusement Parks USA early version - I love how absolutely bonkers this sounds. What an eccentric song and production that only Brian Wilson in the mid Ď60s could have ever come up with. This recording has so much power, it almost sounds like itís on fire. I had to check to see if there was smoke coming out of my speakers. I donít know what it is but this version and mix has more energy to it than the album version.       

Sail Plane Song - Iíve always adored this demo. I donít think what Linett and Boyd did to it sounds bad per se, but it makes me uncomfortable because itís such a significant alteration to the production of what is ultimately a demo. As others have pointed out, it already feels dated to 2013. Itís funny, i showed this song to a friend and they said something like ďWhoa, they were doing stuff like that back then? This sounds so modern!Ē So, yeah, about that... Brian Wilson and Mark Linett Present Sail Plane Song. Also, why is the organ in the third verse gone? That was a highlight for me in the EH mix.

California Feeliní - Iím generally more okay with composite revisionism than with revisionism that takes actual artistic liberties in coloring the production. To add a crazy panning delay or drench an entire mix in the wettest reverb is on a whole other level than to mix different vocal takes of the same song. My issue is with affecting the overall sound of historical recordings more so than futzing with chronology. Anyway, the band is in really great form here pretty late in the game. I love the sparsity of the arrangement and those anti-rock classic Beach Boys drums. Itís so great how understated, of all things, the chorus is. Bruce sounds like honey and the backing vocals are golden.

Sherry She Needs Me - This song and particularly this version is nuts in a really subtle way -- the lyrics, the ragged voice, the incongruity between the lead vocal and the backing track, and then the young sounding backing vocals coming in at the end, and the chord changes. It really wasnít a bad idea to put 1976 Brian over this backing track, i think his then voice gives it a great edge that adds even more to the uniqueness of the song. It might have been a little too sweet had he tracked the vocal in í65. As is, itís a true gem and iím really glad to have it here despite Sherry, baby, itís time WEE~IOUE**UGHH#% said goodbye.

Youíre Still A Mystery -  What a shockingly great song and production (not totally ideal, but consider the time). One of the biggest delights on the entire box set for me. Easily better than anything on TWGMTR, in my opinion. I like Brianís tone here, and the Auto-Tune, though totally unnecessary, actually doesnít bother me too much (of course i wish it wasnít there). I donít see how thereís any way this lead vocal could be mid Ď90s Brian. 

Soul Searchiní - So glad to have this version in good quality. Such a great, punchy backing track and really idiosyncratic backing vocals, kind of wild, especially considering the tameness of the period. Man, they still had it. In the mid Ď90s!

Why - So great to get stuff of this caliber just out of nowhere like this. I really donít think the guy ever lost ďitĒ -- i think it just visited him less and less as the years went by. This almost sounds like it was written to be an instrumental...by someone else! I agree with whoever said it almost sounds like BW pastiche. This right here is what bands like the High Llamas wish they could do, ha. 

WIBNTLA - Iíve had to force myself to listen to it more than i ordinarily would despite being mostly pretty bored by it. The legend, man, the legend. After several listens i think the song is all right, though it gets better with each listen. But i donít think (at least yet) that itís as good as 4th of July or especially any of his í68-í70 songs (excluding Be Still). But i think itís better than anything that came after it except for Steamboat, which destroys WIBNTLA. I think itís totally absurd the hype this got, but hey, we all have our opinions. I just donít find interesting Dennisí ďDennisĒ style (as opposed to his ďBeach BoysĒ style like Little Bird, Celebrate The News, Never Learn Not To Love, etc.) and WIBNTLA seems to be somewhere in between the two. Those sustained shouty notes on the chorus grate on me (to say that this was his best vocal, i think, is nuts), and i hate the drums. I find the verses to be the best part of the song, and i actually like the coda and the transition into it. Go figure. Surfís Up had songs with much more interesting arrangements and productions, i think. I canít imagine this song on the album (on CATP though, yes), so iím actually glad it ended up being left off. Hereís an unpopular opinion for you -- give me Take A Load Off Your Feet (one of my favorite BB songs), or any of Alís other Surfís Up songs, and Bruceís Disney Girls, over WIBNTLA.

California Feelin' demo - I had no idea Brian could play piano like this, so unexpected. That is actually the more interesting/revealing aspect of this demo for me than his voice. I donít really see myself listening to this one too much, but iím really glad to see that unsafe choices like this made their way on. 

Back Home Ď63 - Nice backing track, but this song doesnít really lend itself to this sort of arrangement. Brianís delivery, and even the vocal melody itself, donít quite work with this sort of WC arrangement/production. With the way Brian is singing, if you had only heard the vocals in isolation, youíd think itíd be a sparser backing track. It sounds more like heís singing over the track rather than to it or with it, if that makes sense. I can see why this was not used and tried again later with the more stripped down ďrusticĒ Sunflower type arrangement.

Back Home Ď70 - Such a great bass tone and drum sound on this one. Man, the 15BO arrangement is so half assed when you compare them to the other two.

Donít Worry Baby alternate lead - I can see why Brian decided to have another go at the lead. Glad he did, but also glad we have the opportunity to hear stuff like this. Weíre pretty lucky that stuff like this still exists.

Had to Phone Ya backing track - This is one golden nugget. Another bit of proof that BW could put together something just as great as his peak work nearly a decade after he supposedly lost it. Who makes music like this? What is this? Itís in a different universe from ďrockĒ or ďpop.Ē

Mona Kana - So great to have this in full quality. Iím an oddball because this one and Mexico, for me, are all time Dennis highlights. I think he is in top form here and it blows my mind that this was never used. This band, man. This could be opening titles of a Jerry Goldsmith score -- some of the mightiest praise in my book. 

Guess Iím Dumb backing track - One of Brianís best, sounds really great here, though the horns seem too loud for a BW production.

Donít Go Near The Water backing track - I wonder why this is missing so many overdubs. I know itís not, but it almost sounds like a different version of the backing track.

Itís interesting that Transcendental Meditation shows up as a backing track and Our Sweet Love as an a cappella mix, but neither are anywhere else on the set. Doesnít entirely gel with the arguments about how they couldnít have really replaced certain selections for ďnewĒ additions because of the issue of paying for more rights. 

Itís Over Now - Great to have it speed corrected. Some aspects of the mix improve upon the GV mix (more clarity in the horns) and other parts of the mix are really puzzling, particularly the bridge with the strings being absurdly loud and Marilynís vocals being almost comically buried  Huh. I know Marilynís voice is off-putting to a lot of people but come on...

Barnyard Blues - Was pleasantly surprised by this one too, as i wasnít expecting anything, but this is pretty cool. Nice to see something so playful from Dennis. Great tack piano.

Whatís with the backing track balance on Surfiní U.S.A.? Does it sound weird to anyone else?

Fun, Fun, Fun - It's strange and cool to hear the two drums on each channel. Also, HORNS!

When I Grow Up 2012 stereo mix - Another case of presenting the music with a bigger sound than it originally had.

In The Back of My Mind 2012 stereo mix - Nice mix, questionable reverb quality -- listen at the very end to the decay of the reverb, sounds so hokey.

Love the Party intro before Thereís No Other and that stuff like that made it on to such a big release.

Darliní in stereo sounds amazing. This is how itís done. Hello horns.

Do It Again in stereo! Sounds great, although i prefer the bridge in mono. That baritone sax on the right channel sounds so good. By the way, i am now convinced that the tone and delivery of Brianís falsetto in DIA is the exact tone and delivery that Jeff Foskett tries to emulate whenever he sings falsetto (or fosketto). 

Wild Honey in stereo sounds pretty great, so driving and open, but i wish the songís centerpiece, the Tannerin, was more upfront in the mix like in the original mono mix. Man, the backing vocals really come alive in stereo. 

Country Air in stereo - Wow, those countermelodies in the backing vocals! Obviously never noticed that little inhaling ahhh at :30. Once again though, this mix is trying to sound bigger. The Wild Honey record is pretty dry. Why pretend itís not? Also, why mix the Chamberlin so low when itís such a prominent part of the arrangement?

Rock and Roll Music - This sounds like a bulldozer trampling the 15BO mix. What a transformative mix, makes you really realize what an eccentric cover this is. I mean, who would ever cover Chuck Berry and make it sound like this? 15BO needs a good reevaluation, i think. Thereís some gold buried in places throughout that album.

Itís OK - That little Joe Meek sounding phrase at the start is one of my favorite little moments on the entire box set. Someone please tell me what synth that is. I think this alt. mix also improves on the original, though not nearly as much as R&R Music.

I wish they had used this opportunity to use the ďLandlockedĒ mix of Good Time rather than the Love You mix. Or at least a recreation of it if the master is missing.

Susie Cincinnati new mix- The single mix is still, for me, the definitive one for this song, has more energy than this one or 15BO.

Is there a phase issue on Disney Girls? I don't see why or how there would be, but it sounds phasey (more than usual).

Iím not a live music/live recordings person at all, so i am one of the very few people around here that has no interest at all in any kind of live archival release (iíve never even listened to any of their live albums), but one of the biggest surprises for me on the box set is the live in Chicago performance of Runaway. This is a great performance and, for whatever reason, it transcends my complete lack of interest in live recordings. I think it has something to do with the deliciously twangy 12 string, Alís energetic delivery (a bit of a different sound for him and the group), and maybe the fact that i keep wanting to sing Summer Wine and Cuckoo Clock over it! The instrumental section is out of sight.

Itís cool to hear Friends and Little Bird live when they were still new songs, but i canít see why i would ever want to hear them again when they're so close to the studio arrangements yet so inferior to them. My only other thoughts on the live stuff is that Youíre So Good To Me is a pretty terrible performance and i canít see why it would be included, unless it was to showcase Al covering for Brian. Donít care for the Ď70s rawkkkage. And the í90 performances make me cringe. 

Really happy to have the Leiíd in Hawaii stuff including a rehearsal (i donít consider these live). Also, i wasnít terribly interested in the BBC stuff at first but they definitely have their appeal in their rawness and peculiar lo-fi quality. Hushabye is my favorite of the three with its kind of surf treatment of the arrangement. It's a really nice spin on the studio arrangement, which is one of my favorite BB recordings. So iím glad to have this BBC stuff too.

Why Donít They Let Us Fall In Love - Hey, this one surprised me, really not bad at all. Pretty good even. Has a kind of updated 15BO vibe. I donít mind at all that they sound a little drunk. 

Da Doo Ron Ron - I had only ever heard this one time before MiC. For a reason. Horrid lead vocal and just such an uninspired idea. What...were they doing here? Iím going to listen to the Crystals version 500 times in a row to erase any trace of this from my memory.

Itís A beautiful Day - This is pretty hard to get through. I think i had actually never made it all the through before listening to it here. Goiní to the Beach sounds like fresh air coming after this atrocity. I am not one of those who think that Carlís vocals alone can redeem these kind of disastrous songs. I actually think from the mid í70s on he over sang everything and he developed this forced quality to his tone.   

Was actually expecting more embarrassing stuff in the latter era vault stuff, but i was pleasantly surprised. One last thing i want to mention (and this is not a complaint really, just an area of confusion) is that i canít make sense of the running order of disc 6. Does anyone have any insight as to why such a non-chronological or thematic order was chosen, why itís just all over the place? And why is some of the vault material (ex: Sail Plane Song) on the other discs rather than on disc 6? And why is the BBC stuff at the very end? Just wondering what the idea was here. I havenít had a chance yet to read the liner notes so maybe the answer is there.
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« Reply #434 on: September 03, 2013, 08:48:53 PM »

^ haha, fosketto.. good un monicker  Thumbs Up
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« Reply #435 on: September 03, 2013, 09:29:36 PM »

I think I prefer the falsetto in "Don't Worry Baby"'s outro to its usage in the intro of "Little St. Nick"
Absolutely beautiful.
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« Reply #436 on: September 03, 2013, 09:40:33 PM »

yeah the resemblance is striking.
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« Reply #437 on: September 03, 2013, 09:42:08 PM »

Monicker, I actually agree with you regarding your opinion that Carl developed an affected quality to his vocals starting in the mid 1970s. While his voice remained as beautiful as ever, to me he often sounds quite stilted in later years.

Not sure on why the lack of any discernible order on disc six. As for some vault material being incorporated into the chronological part of the box, I think the tracks that were incorporated are either finished recordings--e.g., "(Would It Be Nice to) Live Again--or have previously been released in some form--e.g., "Sail Plane Song."
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« Reply #438 on: September 03, 2013, 09:42:50 PM »

nm
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John Manning
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« Reply #439 on: September 04, 2013, 02:42:43 AM »

Live version of Sail On Sailor: assume the rogue handclapping is Bruce, and the bits where you can't hear the handclap is where he was adjusting his mic?
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« Reply #440 on: September 04, 2013, 06:15:01 AM »

Am I the only one who really digs this mix of Sail Plane Song?

It's quirky, psychedelic, but it really works somehow. Nice little experiment.

I hate it and I'll never play it again.
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Jason
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« Reply #441 on: September 04, 2013, 07:25:34 AM »

Well, I've had a good and thorough listen to the streaming version of the box on Rhapsody and overall I'm very impressed. It's probably not as historically important as the Good Vibrations box was, but it's a fine addition to the discography. The previously released selections are a good overview of the band's career. The fact that the unreleased stuff on the box amounts to basically a three disc box set on its own is great. This is the largest archival release we've seen since the Smile box, and second only to it in terms of the amount of material on hand.

It's great to finally have some great sounding copies of many of the tracks I've had on bootlegs for years, that's for sure. The unreleased studio selections were generally well chosen. More a cappella Sunflower mixes are fine by me. The few new stereo remixes are nice curios.

The big find on this box for me (besides the studio bits we've heard about for years) is undoubtedly the live material. Just more proof that the band should go back to these live tapes and make something happen with them. I was particularly wowed by the '68 tracks from Chicago because there is currently nothing from that period on bootlegs. Amazing stuff. Everyone wants their 1965 Chicago or 1972-73 live box sets...where's the 1968 box to go with them? The band apparently taped at least a half-dozen shows from the summer of 1968, so let's get that box set going!
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« Reply #442 on: September 04, 2013, 07:41:01 AM »

Though the "modern-day" Brian Wilson vocals made the song difficult to listen to at first, I have to say "You're Still a Mystery" is just such a great song.
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« Reply #443 on: September 04, 2013, 12:33:50 PM »

Who's the drummer on I Can Hear Music (live)? Bobby?
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Jason
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« Reply #444 on: September 04, 2013, 12:47:56 PM »

Dennis most likely, or both he and Bobby.
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« Reply #445 on: September 04, 2013, 01:01:20 PM »

Though the "modern-day" Brian Wilson vocals made the song difficult to listen to at first, I have to say "You're Still a Mystery" is just such a great song.

It is. I loved it instantly on the first listen. Early days yet, but I'm even tempted to say it's there best post-Where I Belong song. They should have salvaged this from the vaults for TWGMTR rather than Daybreak...

Seriously though, some other group could have had a very successful and respectable career simply on the back of the Beach Boys unreleased stuff alone.
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« Reply #446 on: September 05, 2013, 04:04:10 AM »

I know I've been b*tching quite a bit here about having to buy all the hits yet again, but I'll quit that now and just review this thing as it is.

Disc 1:
It's hard to argue much with this tracklisting. I probably would've ditched 'Surfers Rule' in favor of 'Ten Little Indians' (no matter of you like the song or not, it was their third single and a top 50 hit, so I think it has enough historical value) or 'Hawaii', but apart from that I'm don't see anything essential missing or anything included that shouldn't have been. Great to see that 'Lonely Sea' made the cut, easily the most underrated early BB gem. The original 'Back Home' sounds a bit listless, but it's probably still the best version of the three.

Disc 2:
There's a bit more room for discussion here. I can imagine that quite some people would've added 'You're So Good To Me', 'Girl, Don't Tell Me' and one or two more songs from 'Pet Sounds'. And I think that the absence of 'Then I Kissed Her' is just a mistake: it's certainly not one of my personal favorites, but as a British #4/Dutch #2 it should've been included. For as far as I'm concerned they could've left off 'Amusement Parks USA' (although I like it better without the hysterical laughter), 'There's No Other (Like My Baby)', the radio station jingle (those things don't need to be released more than once), and three versions of 'Heroes and Villains' is a bit much. Also, I would've prefered the 'Smile' version of 'Wonderful' over the 'Smiley Smile' version. The new 'Smiley Smile' and 'Wild Honey' mixes sound amazing, by the way!

Disc 3:
I LOVE this disc. But then again, how can you not love a cd that collects pretty much all the essential "deep cuts" from 'Wild Honey', 'Friends', '20/20', 'Sunflower' and 'Surf's Up'? So many criminally underrated gems here. And again, the new stereo mixes sound amazing! The long version of 'Meant for You', the alternate 'Sail Plain Song' and the Dennis Wilson & Rumbo single are some really great surprises. 'Bluebirds over the Mountain' and 'Tears in the Morning' were fairly big hits in some countries and probably should have been included for that reason, but on the other hand I realize that most people just don't like these songs.

Disc 4:
Five songs from 'Love You'? Isn't that a bit much? And why no 'Lady Lynda'? That song was a pretty big hit in Europe. Has Al still not gotten over his ex? The single edit of 'Here Comes the Night' probably should've been here too. Some pretty cool surprises though. '(Wouldn't It Be Nice) To Live Again' is great, hard to understand why it was never released before. 'California Feelin'' is pretty good too. 'Rock And Roll Music' sounds so much better now. Glad to see 'It's A Beautiful Day' here, that song is way too good to be out of print. 'Goin' to the Beach' kinda sounds like a Status Quo song, too bad I hate Status Quo.

Disc 5:
Just five songs from the last seven albums, really? And this thing was supposed to be "career spanning"? Anyway, with the exception of 'Soul Searchin'', the unreleased studio tracks here all kind of suck. The live tracks more than make up for that, though. 'Runaway' is easily better than any of the cover songs on 'Concert'. 'Friends' and 'Little Bird' are amazing. I think that the BB were at their peak as a live band here. They might've been technically better and more solid in the early 1970s, but they just sounded "sweeter" to me in the late 1960s. And Mike actually sounds funny here, I never knew he had it in him. 'It's About Time' and 'I Can Hear Music' sound great too, I think I ever prefer the latter over the studio version. I'm also pretty glad with the 'Smile' songs from 1993, really cool to hear those.

Disc 6:
Ah, this is what it really is all about. Lots of great surprises here. The 'Sunflower' backing tracks are definately among the highlights of this box for me. 'Guess I'm Dumb' is amazing too, although pretty subtile, those might be some of the most beautiful backing vocals the group ever recorded. 'My Love Lives On' is at least as good as '(WIBN) TLA', IMO. Not sure if the world needed the 'Smile Backing Vocals Montage' and the 1967 'Surf's Up' again though, or YET AGAIN some 'Good Vibrations' recording session highlights, just two years after the release of the 'Smile Sessions' box. And weren't there some more interesting backing tracks to be found than 'Transcendenta; Meditation' and 'Don't Go Near the Water'?

BTW, I counted 19 Dennis Wilson songs on MiC against just 5 on the GV box. Hmm, I wonder if the success of the POB re-issue would have something to do with that? Roll Eyes
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Disney Boy (1985)
Guest
« Reply #447 on: September 05, 2013, 04:09:17 AM »

I know I've been b*tching quite a bit here about having to buy all the hits yet again, but I'll quit that now and just review this thing as it is.

Disc 1:
It's hard to argue much with this tracklisting. I probably would've ditched 'Surfers Rule' in favor of 'Ten Little Indians' (no matter of you like the song or not, it was their third single and a top 50 hit, so I think it has enough historical value) or 'Hawaii', but apart from that I'm don't see anything essential missing or anything included that shouldn't have been. Great to see that 'Lonely Sea' made the cut, easily the most underrated early BB gem. The original 'Back Home' sounds a bit listless, but it's probably still the best version of the three.

Disc 2:
There's a bit more room for discussion here. I can imagine that quite some people would've added 'You're So Good To Me', 'Girl, Don't Tell Me' and one or two more songs from 'Pet Sounds'. And I think that the absence of 'Then I Kissed Her' is just a mistake: it's certainly not one of my personal favorites, but as a British #4/Dutch #2 it should've been included. For as far as I'm concerned they could've left off 'Amusement Parks USA' (although I like it better without the hysterical laughter), 'There's No Other (Like My Baby)', the radio station jingle (those things don't need to be released more than once), and three versions of 'Heroes and Villains' is a bit much. Also, I would've prefered the 'Smile' version of 'Wonderful' over the 'Smiley Smile' version. The new 'Smiley Smile' and 'Wild Honey' mixes sound amazing, by the way!

Disc 3:
I LOVE this disc. But then again, how can you not love a cd that collects pretty much all the essential "deep cuts" from 'Wild Honey', 'Friends', '20/20', 'Sunflower' and 'Surf's Up'? So many criminally underrated gems here. And again, the new stereo mixes sound amazing! The long version of 'Meant for You', the alternate 'Sail Plain Song' and the Dennis Wilson & Rumbo single are some really great surprises. 'Bluebirds over the Mountain' and 'Tears in the Morning' were fairly big hits in some countries and probably should have been included for that reason, but on the other hand I realize that most people just don't like these songs.

Disc 4:
Five songs from 'Love You'? Isn't that a bit much? And why no 'Lady Lynda'? That song was a pretty big hit in Europe. Has Al still not gotten over his ex? The single edit of 'Here Comes the Night' probably should've been here too. Some pretty cool surprises though. '(Wouldn't It Be Nice) To Live Again' is great, hard to understand why it was never released before. 'California Feelin'' is pretty good too. 'Rock And Roll Music' sounds so much better now. Glad to see 'It's A Beautiful Day' here, that song is way too good to be out of print. 'Goin' to the Beach' kinda sounds like a Status Quo song, too bad I hate Status Quo.

Disc 5:
Just five songs from the last seven albums, really? And this thing was supposed to be "career spanning"? Anyway, with the exception of 'Soul Searchin'', the unreleased studio tracks here all kind of suck. The live tracks more than make up for that, though. 'Runaway' is easily better than any of the cover songs on 'Concert'. 'Friends' and 'Little Bird' are amazing. I think that the BB were at their peak as a live band here. They might've been technically better and more solid in the early 1970s, but they just sounded "sweeter" to me in the late 1960s. And Mike actually sounds funny here, I never knew he had it in him. 'It's About Time' and 'I Can Hear Music' sound great too, I think I ever prefer the latter over the studio version. I'm also pretty glad with the 'Smile' songs from 1993, really cool to hear those.

Disc 6:
Ah, this is what it really is all about. Lots of great surprises here. The 'Sunflower' backing tracks are definately among the highlights of this box for me. 'Guess I'm Dumb' is amazing too, although pretty subtile, those might be some of the most beautiful backing vocals the group ever recorded. 'My Love Lives On' is at least as good as '(WIBN) TLA', IMO. Not sure if the world needed the 'Smile Backing Vocals Montage' and the 1967 'Surf's Up' again though, or YET AGAIN some 'Good Vibrations' recording session highlights, just two years after the release of the 'Smile Sessions' box. And weren't there some more interesting backing tracks to be found than 'Transcendenta; Meditation' and 'Don't Go Near the Water'?

BTW, I counted 19 Dennis Wilson songs on MiC against just 5 on the GV box. Hmm, I wonder if the success of the POB re-issue would have something to do with that? Roll Eyes

There aren't five songs from Love You, there's four.
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shelter
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« Reply #448 on: September 05, 2013, 06:00:55 AM »

There aren't five songs from Love You, there's four.
Of course there are. My apologies.
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Nicko1234
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« Reply #449 on: September 05, 2013, 06:35:24 AM »



There aren't five songs from Love You, there's four.

Good Time
I'll Bet He's Nice
Solar System
The Night was so Young
Let Us Go on this Way

It's a real shame that they couldn't have included some of the demos from this period or 1 or 2 Adult Child songs instead of the already released stuff.
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