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Author Topic: The Big Beat 1963  (Read 109254 times)
Jim Murphy
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« Reply #225 on: December 18, 2013, 07:39:38 AM »

LEE

Excellent post regarding Lou Adler as the West Coast representative of Aldon Music, owned by Al Nevins and Don Kirshner.  And thanks for sharing that information about your RABBIT'S FOOT acetate. Cool stuff.

Adler, of course, was also managing Jan & Dean, and it is likely Adler's introduction to Brian came through Jan.  Adler was interested in signing Brian to Aldon's already impressive stable of songwriters, most of them on the East Coast in the famed Brill Building on Broadway -- Neil Sedaka and Howard Greenfield; Barry Mann and Cynthia Weil, and, of course, Gerry Goffin and Carole King, whose THE LOCOMOTION inspired Brian and Usher to write THE REVO-LUTION in summer 1962. So Adler, on behalf of his boss, Kirshner, was looking for songwriting talent on the West Coast to build their publishing catalog and really wanted to sign Brian as a contract songwriter.

In 1958, Kirshner was a twenty-four-year-old struggling songwriter in New York when he formed Aldon after his first taste of success helping Bobby Darin place SPLISH  SPLASH with Ahmet Ertegun's Atlantic Records, a #3 hit in June 1958.  Kirshner partnered with Nevins, who was forty-three years old at the time, because of Nevins' experience and contacts in the NY music world.  Nevins had scored a Top 20 hit in 1949 with TWILIGHT TIME as part of a trio called The Three Suns, which the Platters later took to #1 in April 1958. It was all business between Kirshner and Nevins, and Al was not as hungry as Don.  Kirshner realized the money was in the publishing.  He also formed Dimension Records in summer 1962 expressly for his own artists such as Carole King. The aggressive record guys saw the financial benefits of owning every piece of the music pie -- songwriting, publishing, producing, recording studio, record company, pressing plant, and distribution.

It seems likely Brian met with Adler and Jan, probably Dean, as well, sometime during the SURFIN' USA album sessions, roughly mid-January to mid-February 1963. This may have been the meeting at which SURF CITY traded hands. It is unclear when Adler was aware of Kirshner's negotiations with Screen Gems-Columbia Pictures for the sale of Aldon Music for $2 million. News of the impending sale was in Billboard on newsstands March 16, 1963 (issue dated March 23, 1963), which, allowing for printing and mailing deadlines, means the article was written by March 13, 1963.  Brian saw an opportunity to place some of his compositions with an extremely influential East Coast music publisher and the company that published and recorded one of his early influences, Carole King. But Brian wisely did not sign on as a contract songwriter with Aldon. When Screen Gems-Columbia Pictures bought Aldon, the stable of songwriters were part of the sale. Although he stopped short of signing as a contract tuneslinger, Brian did give Adler a number of songs to publish, including some surprising titles -- THE SUMMER MOON (later, the Beach Boys' THE SURFER MOON), RABBIT'S FOOT (which, as everyone knows, evolved into OUR CAR CLUB),  YOUR SUMMER DREAM, HIDE GO SEEK, KEEP AN EYE ON SUMMER, and SHE RIDES WITH ME.  All of these songs are currently published by Screen Gems-EMI Music, Inc., the successor to Screen Gems-Columbia Pictures, which, in turn, was the successor to Aldon. With song detective work you always trace the publisher through a myriad of name changes and sales to typically larger publishing companies.

Of course, what is interesting about all this is that Brian had written these tunes, at least as sketches, as early as March 1963, and probably earlier.  SHE RIDES WITH ME, later gifted to Paul Petersen, was co-written by Roger Christian who, interestingly, retained his fifty-percent share of the music publishing (now owned by Universal Music Careers).

On the subject of acetates, I forgot to mention that, although I do not generally collect acetates, thank God for some remaining sanity  Grin, I do have one that I bought a few years back . . . YOUR SUMMER DREAM on a one-sided seven-inch with a large 45 rpm hole.  What is interesting is that it was manufactured at MBS Recording Studios at 228 South Wabash in Chicago.  At the 6:00 o'clock position, the label reads, in two lines of type, "YOUR SUMMER DREAM" / By: The Beach Boys.  The song was reportedly recorded July 16, 1963, so I'm theorizing the acetate may have been made a day or two later when the guys flew into Chicago to start their second, lengthier Mid-West tour on July 19, 1963.  Of course, SURFER GIRL b/w LITTLE DEUCE COUPE was released as a single just days later (July 22, 1963), so perhaps Brian was considering releasing YOUR SUMMER DREAM as their next single or its B side, or he simply wanted to hear a test pressing of the song.  Assuming Brian was the motivating force behind the manufacturing of the acetate, it would also reinforce that Brian did indeed start the tour, although he apparently returned to LA by August 4, was replaced by Al, and then returned to the tour before the fateful drive from Chicago to Brooklyn.  
« Last Edit: December 18, 2013, 03:32:59 PM by Jim Murphy » Logged
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« Reply #226 on: December 18, 2013, 08:15:30 AM »

Has it already been established that the version of Surfer Moon on this download is inferior to the version on Youtube?  Sounds like a lot more acetate surface noise on the download. Or maybe it's my source? All of the rest of the tracks are OK.
Mikie,

The cassette tape that Victoria used to post her YouTube clip actually was made over 20 years ago.  She played the acetate a bunch of times after that -- basically wearing it out.  I suppose Mark could have used the cassette as the source, but a 20 year-old cassette would have had its own issues.

The acetate has two sides, with different vocal takes on each side.  Mark literally arranged for a Victoria to carry the acetate to a transfer house on Thursday, and the master was due by end of day Friday.  I think with a little more time he may have been able to stitch a version together using both sides -- unless the other side is in worse shape.


Lee

"Summer Moon" is what I meant. Yeah, that makes sense. I guess Mark thought the acetate sounded better than the cassette or he was unfamiliar with the cassette source. But I think I'll replace the "released" version in this set with the 20 year old version on Youtube. Hope nobody minds.....
« Last Edit: December 18, 2013, 08:59:24 AM by Mikie » Logged

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« Reply #227 on: December 18, 2013, 08:35:46 AM »

MIKIE

I agree with you about THE SUMMER MOON.  To my ears, the youtube version, which Lee advises is from the cassette tape, sounds better.  If Alan and Mark only had a bit more time to work on this project.

Since the "foot apparel makers" are already hard at work with the Beatles collection released yesterday, it may be wise for Capitol/EMI to release a physical CD if, for no other reason, than to undercut the black market profiteers

As an addendum to my above post re: Aldon Music.  Murry takes a fair amount of abuse, some of it warranted I reckon, but he was spot on in that 1965 letter. If Brian had signed with Aldon, his contract would have been sold to Screen Gems-Columbia Pictures just a month or two later. And the music publishing for songs written within the terms of that contract would have been owned by Screen Gems.  Of course, that does not come close to making up for what Murry did with Sea of Tunes just four years after that letter.  As for Murry's actions, was it shortsightedness (The Good), greed (The Bad), or passive-aggressive retribution (The Ugly)?
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« Reply #228 on: December 18, 2013, 08:47:51 AM »


In 1958, Kirshner was a twenty-four-year-old struggling songwriter in New York when he formed Aldon after his first taste of success helping Bobby Darin place SPLISH  SPLASH with Ahmet Ertegun's Atlantic Records, a #3 hit in June 1958.  Kirshner partnered with Nevins, who was forty-three years old at the time, because of Nevins' experience and contacts in the NY music world.  Nevins had scored a Top 20 hit in 1949 with TWILIGHT TIME as part of a trio called The Three Suns, which the Platters later took to #1 in April 1958. It was all business between Kirshner and Nevins, and Al was not as hungry as Don.  Kirshner realized the money was in the publishing.  He also formed Dimension Records in summer 1962 expressly for his own artists such as Carole King. The aggressive record guys saw the financial benefits of owning every piece of the music pie -- songwriting, publishing, producing, recording studio, record company, pressing plant, and distribution.

Excellent info all around, thank you! I just wanted to add a few quick things about Nevins and the Three Suns.

The Three Suns actually wrote "Twilight Time" as an instrumental and had a hit with it in 1944, a big hit. Like some other notable major hits in that era, White Christmas comes to mind, after the war they rerecorded it in '47 and it continued to chart and sell. It was their signature song, and they not only rerecorded it again in the next decade but they made a lot of money with it, one of the reasons Al Nevins (a guitarist by trade) had enough in the bank to do what he would eventually do with setting up businesses and whatnot.

The Platters version was another monster hit, and words had been added, but it was still a revenue stream for the group as songwriters.

Not only that, but The Three Suns were the toast of New York for a time as a live act, and had a residency at a prominent NYC club where they were so popular it was actually tough to get in to see them perform. They were paid extremely well as a live act, for that time.

So they were popular and successful, and Nevins would soon take up the behind-the-scenes roles like A&R/production and all of that, which led him to Don Kirshner. Later the Suns started getting into "Hi Fi" experimental studio stuff which is how the 90's lounge/swank/exotica revival found them, and their records were included on comps and collections like Capitol's "Ultra Lounge" discs.

So Nevins did have the clout and connections and most importantly the money on hand when Kirshner teamed up with him, but I'd also add Nevins in his 40's at that time had already "made it" in the business and wouldn't have been as proactive or aggressive as Kirshner, acting more as the bankroll and the clout than an actual hustling song salesman like Donny or Lew trying to hustle their way up.

Al Nevins died relatively young, in 1965.

Just an aside: I know the man's resume and everything, but I still carry a negative opinion of Kirshner and the way he did business, based on my status as a major fan of The Monkees and knowing their dealings with him. His methods produced results, though, and the biz is all about making money.  Smiley

 
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« Reply #229 on: December 18, 2013, 08:50:36 AM »

Lil' bit more background info: on 12/18/63, "If It Can't Be You", "Funny Boy" and "Rock & Roll Bash" (? same as "First Rock & Roll Dance" ?) were copyrighted along with three other tracks, including "Back Home" (recorded 6/14/63).
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« Reply #230 on: December 18, 2013, 10:43:46 AM »

GUITARFOOL --

Wow! Thanks for that great background information about Al Nevins. Neat stuff. I didn't realize THE THREE SUNS were such an in-demand live act in NYC in the 1940s.

I guess Kirshner, like so many of the record guys, especially from that era, are a difficult breed to categorize.  They did a lot of good, promoted and published many talented artists and good songs, but they were always looking out for themselves, often to the severe detriment of the songwriters and artists. The dark, soul-deadening side of the music business.

ANDREW

Yes, the other two, as I'm sure you know, were "Part of Me" and "No Big Thing" (the latter reportedly intended for the Honeys and for which a popular songwriters contract was completed November 8, 1963).  Since they did not appear on THE BIG BEAT, I imagine these two songs were never recorded. The same for "Hello Operator," a Brian and Mike tune for which a popular songwriters contract was also completed November 8, 1963 (probably a batch filing), with Ocean Music, Brian's then-recently formed music publishing company to handle his outside productions after he formed Brian Wilson Productions on October 28, 1963.  Brian was quite the busy guy in 1963.

I had the same thought about "First Rock and Roll Dance," although "Rock and Roll Bash" is credited to Brian, Bob Norberg, and Vickie Kocher.  Vickie recalled being with Brian and Bob in their apartment when "Bash" was composed, and making a small contribution to the song for which they kindly provided a co-writing credit. It would seem, but I would need to get this confirmed, that Vickie's contribution was lyrical since she is not a musician. Maybe "Dance" and "Bash" are indeed the same song and what was released yesterday is the instrumental track for which they never got around to recording the vocals. If that is the case, "Dance"/"Bash" probably dates to around May 1963.

I'm not sure why, but I just love this kind of stuff . . . 
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« Reply #231 on: December 18, 2013, 01:38:48 PM »


I'm not sure why, but I just love this kind of stuff . . . 

+1, Jim.

This is a great thread - One of the key reasons I come here is to read this sort of info and hardcore fan recollections.  It's my favourite way to learn a lot more about Brian and the boys and the broader recording industry in general.

Thanks all!  Bow

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« Reply #232 on: December 18, 2013, 02:24:33 PM »


I'm not sure why, but I just love this kind of stuff . . . 

+1, Jim.

This is a great thread - One of the key reasons I come here is to read this sort of info and hardcore fan recollections.  It's my favourite way to learn a lot more about Brian and the boys and the broader recording industry in general.

Thanks all!  Bow


This kind of thread is almost as enjoyable as the music being discussed itself. I wish I could contribute something utter than banal attempts at humour but I can't … this is class info and I'm very humbly appreciative.
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« Reply #233 on: December 18, 2013, 02:27:49 PM »


I'm not sure why, but I just love this kind of stuff . . . 

+1, Jim.

This is a great thread - One of the key reasons I come here is to read this sort of info and hardcore fan recollections.  It's my favourite way to learn a lot more about Brian and the boys and the broader recording industry in general.

Thanks all!  Bow


This kind of thread is almost as enjoyable as the music being discussed itself. I wish I could contribute something utter than banal attempts at humour but I can't … this is class info and I'm very humbly appreciative.

Discussions like this are why I love coming here. I can't add anything either, but it's great to read! Adding my thanks to all who have contributed!
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« Reply #234 on: December 18, 2013, 02:44:50 PM »

This... THIS is why I do what I do.  Bow
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« Reply #235 on: December 18, 2013, 02:50:12 PM »

Threads like this hooked me on SS in first place.
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« Reply #236 on: December 18, 2013, 02:59:38 PM »

Appreciate the time taken by Mr. Murphy on this thread. The #1 poster here in my book.
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« Reply #237 on: December 18, 2013, 03:11:03 PM »

Appreciate the time taken by Mr. Murphy on this thread. The #1 poster here in my book.

Yes, Jim, youre the Beast! 
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« Reply #238 on: December 18, 2013, 03:32:42 PM »

What is so neat about this Board, and something I have loved about it for a long time, although I seldom posted, is that we all visit here for really just one reason.  The music of the Beach Boys. Whether we are long-time fans, serious collectors, enthusiasts, casual fans, regardless of what country we hail from, it doesn't matter.  We are all celebrating the same thing.  A quintessential garage band that for more than fifty years now has created an unparalleled body of work and a musical legacy that will live forever. We have in common a great love and deep respect for this band of three brothers, a cousin, and a couple of pals. Do they have their human foibles?  You betcha'!  Have they dropped the ball once or twice?  Absolutely. Can they frustrate you with missed opportunities?  Oh, yeah.  But through it all, through the highs and lows, no other band has created such a satisfying musical journey, with so many twists and turns and interesting side roads. So that's what brings us together from all parts of the globe.  And that, I think, is extraordinary. Where else in the Beach Boys universe can one visit, chat a little, and be entertained and educated by knowledgeable Beach Boys' historians/collectors/scholars/authors/fans like Andrew G. Doe, Peter Reum, Ian Rusten, Jon Stebbins, David Beard, Lee Dempsey, Mikie, Don Cunningham, Craig Slowinski, Eric Aniversario, David and Carrie Marks, MetalFlakePaint, GuitarFool, John Manning, and bgas (who knows more about Beach Boys' collectibles than I thought was humanly possible. Bgas, I know, deep down in your heart, you meant that lovingly  Grin ), and the list goes on (apologies for any oversights). Each contributing a unique perspective on the band and the music we all love. Welcoming new fans and posters, answering routine questions, sharing news, and what a year or two it has been, examining and analyzing fifty-year-old demo recordings, and delving into arcane matters like forty-eight-year-old bags of potato chips. And, in the process, learning about and celebrating the music of the Beach Boys. That is pretty remarkable.

So, at this time of year, when the world slows down a bit, and we take some stock of our lives, grateful for the people and the music that bring us joy, let's remind each other just how special is this place called Smiley Smile.          
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« Reply #239 on: December 18, 2013, 03:45:35 PM »

What is so neat about this Board, and something I have loved about it for a long time, although I seldom posted, is that we all visit here for really just one reason.  The music of the Beach Boys. Whether we are long-time fans, serious collectors, enthusiasts, casual fans, regardless of what country we hail from, it doesn't matter.  We are all celebrating the same thing.  A quintessential garage band that for more than fifty years now has created an unparalleled body of work and a musical legacy that will live forever. We have in common a great love and deep respect for this band of three brothers, a cousin, and a couple of pals. Do they have their human foibles?  You betcha'!  Have they dropped the ball once or twice?  Absolutely. Can they frustrate you with missed opportunities?  Oh, yeah.  But through it all, through the highs and lows, no other band has created such a satisfying musical journey, with so many twists and turns and interesting side roads. So that's what brings us together from all parts of the globe.  And that, I think, is extraordinary. Where else in the Beach Boys universe can one visit, chat a little, and be entertained and educated by knowledgeable Beach Boys' historians/collectors/scholars/authors/fans like Andrew G. Doe, Peter Reum, Ian Rusten, Jon Stebbins, David Beard, Lee Dempsey, Mikie, Don Cunningham, Craig Slowinski, Eric Aniversario, David and Carrie Marks, MetalFlakePaint, GuitarFool, John Manning, and bgas (who knows more about Beach Boys' collectibles than I thought was humanly possible. Bgas, I know, deep down in your heart, you meant that lovingly  Grin ), and the list goes on (apologies for any oversights). Each contributing a unique perspective on the band and the music we all love. Welcoming new fans and posters, answering routine questions, sharing news, and what a year or two it has been, examining and analyzing fifty-year-old demo recordings, and delving into arcane matters like forty-eight-year-old bags of potato chips. And, in the process, learning about and celebrating the music of the Beach Boys. That is pretty remarkable.

So, at this time of year, when the world slows down a bit, and we take some stock of our lives, grateful for the people and the music that bring us joy, let's remind each other just how special is this place called Smiley Smile.          

Very nicely Expressed; have you ever thought about writing a book?
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« Reply #240 on: December 18, 2013, 04:05:56 PM »

No, never gave it a thought. What do you suggest?  What's your number one burning Beach Boys' question?
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« Reply #241 on: December 18, 2013, 04:10:05 PM »

No, never gave it a thought. What do you suggest?  What's your number one burning Beach Boys' question?

Should it burn like that after a night with Brian?
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« Reply #242 on: December 18, 2013, 05:32:38 PM »

What is so neat about this Board, and something I have loved about it for a long time, although I seldom posted, is that we all visit here for really just one reason.  The music of the Beach Boys. Whether we are long-time fans, serious collectors, enthusiasts, casual fans, regardless of what country we hail from, it doesn't matter.  We are all celebrating the same thing.  A quintessential garage band that for more than fifty years now has created an unparalleled body of work and a musical legacy that will live forever. We have in common a great love and deep respect for this band of three brothers, a cousin, and a couple of pals. Do they have their human foibles?  You betcha'!  Have they dropped the ball once or twice?  Absolutely. Can they frustrate you with missed opportunities?  Oh, yeah.  But through it all, through the highs and lows, no other band has created such a satisfying musical journey, with so many twists and turns and interesting side roads. So that's what brings us together from all parts of the globe.  And that, I think, is extraordinary. Where else in the Beach Boys universe can one visit, chat a little, and be entertained and educated by knowledgeable Beach Boys' historians/collectors/scholars/authors/fans like Andrew G. Doe, Peter Reum, Ian Rusten, Jon Stebbins, David Beard, Lee Dempsey, Mikie, Don Cunningham, Craig Slowinski, Eric Aniversario, David and Carrie Marks, MetalFlakePaint, GuitarFool, John Manning, and bgas (who knows more about Beach Boys' collectibles than I thought was humanly possible. Bgas, I know, deep down in your heart, you meant that lovingly  Grin ), and the list goes on (apologies for any oversights). Each contributing a unique perspective on the band and the music we all love. Welcoming new fans and posters, answering routine questions, sharing news, and what a year or two it has been, examining and analyzing fifty-year-old demo recordings, and delving into arcane matters like forty-eight-year-old bags of potato chips. And, in the process, learning about and celebrating the music of the Beach Boys. That is pretty remarkable.

So, at this time of year, when the world slows down a bit, and we take some stock of our lives, grateful for the people and the music that bring us joy, let's remind each other just how special is this place called Smiley Smile.          

Beautiful post!
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« Reply #243 on: December 18, 2013, 06:14:15 PM »

What is so neat about this Board, and something I have loved about it for a long time, although I seldom posted, is that we all visit here for really just one reason.  The music of the Beach Boys. Whether we are long-time fans, serious collectors, enthusiasts, casual fans, regardless of what country we hail from, it doesn't matter.  We are all celebrating the same thing.  A quintessential garage band that for more than fifty years now has created an unparalleled body of work and a musical legacy that will live forever. We have in common a great love and deep respect for this band of three brothers, a cousin, and a couple of pals. Do they have their human foibles?  You betcha'!  Have they dropped the ball once or twice?  Absolutely. Can they frustrate you with missed opportunities?  Oh, yeah.  But through it all, through the highs and lows, no other band has created such a satisfying musical journey, with so many twists and turns and interesting side roads. So that's what brings us together from all parts of the globe.  And that, I think, is extraordinary. Where else in the Beach Boys universe can one visit, chat a little, and be entertained and educated by knowledgeable Beach Boys' historians/collectors/scholars/authors/fans like Andrew G. Doe, Peter Reum, Ian Rusten, Jon Stebbins, David Beard, Lee Dempsey, Mikie, Don Cunningham, Craig Slowinski, Eric Aniversario, David and Carrie Marks, MetalFlakePaint, GuitarFool, John Manning, and bgas (who knows more about Beach Boys' collectibles than I thought was humanly possible. Bgas, I know, deep down in your heart, you meant that lovingly  Grin ), and the list goes on (apologies for any oversights). Each contributing a unique perspective on the band and the music we all love. Welcoming new fans and posters, answering routine questions, sharing news, and what a year or two it has been, examining and analyzing fifty-year-old demo recordings, and delving into arcane matters like forty-eight-year-old bags of potato chips. And, in the process, learning about and celebrating the music of the Beach Boys. That is pretty remarkable.

So, at this time of year, when the world slows down a bit, and we take some stock of our lives, grateful for the people and the music that bring us joy, let's remind each other just how special is this place called Smiley Smile.          

A truly wonderful post, Jim. Thank you for your great contributions!
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« Reply #244 on: December 18, 2013, 06:41:39 PM »

You are correct, Jim, there are some wonderful posters on this board, but your posts are so incredibly informative that you've inspired others to join the discussion to a greater extent than they may have otherwise.  Keep 'em coming, as so far this thread will go down in Smiley Smile Message Board history as one of the best on the board. 

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« Reply #245 on: December 18, 2013, 07:42:00 PM »

Lee,

Back in I think it was 2008, There was a boot that came out floating around, which contained a couple of takes of Rabbits Foot. So maybe someone some where has it. The boot was called In The Beginning/The Garage Tapes and it had really rough quality.
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« Reply #246 on: December 18, 2013, 11:50:05 PM »

Just wanted to say how thoroughly I'm enjoying this new release. And a HUGE thanks to everyone involved in making it happen!
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LeeDempsey
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« Reply #247 on: December 19, 2013, 05:15:56 AM »

Lee,

Back in I think it was 2008, There was a boot that came out floating around, which contained a couple of takes of Rabbits Foot. So maybe someone some where has it. The boot was called In The Beginning/The Garage Tapes and it had really rough quality.
I forgot about that -- I have that boot (and the fact that it, and the UNSURPASSED MASTERS boots, exist is the reason that THE BIG BEAT 1963 exists).  It's take 1 and 2 of the instrumental tracking session for "Rabbit's Foot" in mono.  Both are breakdowns, so the entire CD track runs 1 minute 17 seconds.  I believe I recall that the reason it's in mono is that those false starts came from the mono reduction tape instead of the 3-track session tape, but there's always hope!

Lee
« Last Edit: December 19, 2013, 05:17:13 AM by LeeDempsey » Logged
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« Reply #248 on: December 19, 2013, 05:35:59 AM »

Is there anything these guys don't know?HuhHuhHuh?
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« Reply #249 on: December 19, 2013, 06:38:02 AM »

Oh, shitloads... and some of what we do think we know, turns out we don't. And that's why it's all so much fun.  Grin
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