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Author Topic: Lei'd In Hawaii Reels..what we have  (Read 7071 times)
punkinhead
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« on: May 15, 2006, 03:43:48 PM »

from compilations, we have only one live performance which is a very smiley Heroes and Villains...
we have 'rehearsal' recordings of Their Hearts were Full of Spring (which wasn't performed for the concerts), Good Vibrations, and Surfer Girl.
From the Wally Heider sessions, we get the Letter and God Only Knows.
From documentries, we got a small clip of God Only Knows (audio) from the concerts and the full concert with an obvious edit of Live in London tapes overdubbed.   and from American Band, there's about 5 sec of brian playing bass on stage, which seems to me is Sloop John B, or so I've heard that was the only tune he played that on.
There's also some footage of rehearsals and riding motorcylces/playing the fields/jumping off cliffs...

is the whole concert filmed? will we ever get anymore? that's one concert I'd love to see.
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« Reply #1 on: May 15, 2006, 03:48:14 PM »

The Lei'd In Hawaii concerts were supposedly filmed, but according to Alan Boyd, only pieces of footage survive. The audio of both the shows on the 25th and 26th of August 1967 were professionally documented. The Heider sessions are out, in a somewhat edited form, on bootlegs. The actual live rehearsals so far are all that's out there.
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punkinhead
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« Reply #2 on: May 15, 2006, 04:55:49 PM »

what a person would hear on the boot of the shows would be the show itself and not an overdub of the Wally Heider sessions, right?
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-Mikie

"in this online beach boy community, I've found that you're either correct or corrected. Which in my mind is all in good fun to show ones knowledge of their favorite band."- punkinhead
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« Reply #3 on: May 15, 2006, 04:59:15 PM »

They should've done 'Little Pad". Clearly the best mixed, edited, performed, produced, arranged, song on Smiley. The melodies in the song are the best that Brian has ever made. By the sea that's where I'll build a pad in Hawaii. is just amazing. The mono mix, the shovel digging effect, beautifull mixed, every part plays through to perfection. Brian's subtle, single tracked vocal with that touch of slight vibratio is just fantastic.

I love that song more than I could ever say. What a great piece of music.
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« Reply #4 on: May 15, 2006, 05:06:55 PM »

The recordings of the actual shows were never overdubbed unto to my knowledge and thus whatever bootleg you have of them would simply be the show itself as you say.

The Heider recordings were also not overdubs, but entirely from scratch, in-studio performances that would have replaced what the Beach Boys apparently felt were not very good performances from the Hawaii concerts.
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« Reply #5 on: May 15, 2006, 05:14:09 PM »

ever thought of the digging/building section on little pag was like the tool section on I wanna be around/Friday Night?
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~post of the century~
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« Reply #6 on: May 15, 2006, 05:31:43 PM »

As it turns out, the Hawaii shows were not professionally filmed - someone had a silent 16mm camera and was taking "home movies" that weekend.  The stage lights were so dark that the only way that the fellow filming it could get any kind of an image on there was to seriously "undercrank" the camera, in order to allow for a longer shutter speed for each frame.  But running the camera so slowly made portions of the original film move so quickly it's like watching an early silent Keystone Cops comedy.

There aren't any complete songs on these old Kodachrome rolls - just chunks and snippets here and there, maybe several minutes worth of each show.  They also took some footage of the rehearsals, as well as filming that stuff of the guys jumping off the cliffs into the pools, and the motorcycle footage.

I think the guy who shot this was an assistant sound tech using Dennis' camera, but I'm not posiitive on that.

Syncing those bits of concert footage to the actual audio from the show for Endless Harmony required a lot of lip reading and futzing with the speed of those shots.  Ouch.

Phileas - I totally agree with you on "Little Pad."  Talk about creating a mood!

Alan

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« Reply #7 on: May 16, 2006, 12:39:18 AM »

They should've done 'Little Pad". Clearly the best mixed, edited, performed, produced, arranged, song on Smiley. The melodies in the song are the best that Brian has ever made. By the sea that's where I'll build a pad in Hawaii. is just amazing. The mono mix, the shovel digging effect, beautifull mixed, every part plays through to perfection. Brian's subtle, single tracked vocal with that touch of slight vibratio is just fantastic.

I love that song more than I could ever say. What a great piece of music.

"Little Pad"- the only Smiley rocording that I really, really love.
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« Reply #8 on: May 16, 2006, 02:06:11 AM »

http://wallyheider.com/wordpress/archives/dale-manquen/16/

Quote
Recording the Beach Boys in Hawaii
Thursday March 31st 2005, 22:24:03
Filed under : Dale Manquen
Submitted by : Dale Manquen

By about 10:30 p.m. it was obvious that things were totally out of control. This time my offer was accepted, and I was put to work on the meter panel. The three of us feverishly worked through the night. About dawn I had to start getting ready to go to the airport for a mid-morning flight. As I climbed into the shower at Frank’s house, Frank was just trying to send signals through the console for the first time. When I finished dressing, I found the ‘tested’ console almost ready to go. A number of the input channels had big strips of masking tape marked “NFG”. There wasn’t any more time to troubleshoot the remaining problems. I headed for the airport, and the console did get loaded onto the pallet in time.

The flight to Hawaii was my first experience of flying First Class. At least the Beach Boys knew how to treat a guy right! I had so many Mai Tais that I think I was still cruising at 35,000 feet when the plane was coming down on approach to Honolulu. We stayed at the Kahala Hilton hotel on the other side of Diamondhead, the hotel for Hollywood celebrities.

The hotel is quite a ways from Waikiki, but the hotel offered a shuttle for those wishing to visit Waikiki. One night I took the shuttle, but it was so late that I decided to stay later than the last return shuttle. I figured I would just walk home. If I kept the ocean on my right, I couldn’t miss the hotel. As I was walking back in the dark, I could hear the surf, so I knew I was headed in the right direction. Since there was a nice rock wall along the roadway on the ocean side, I decided to walk on top of the wall to avoid the auto traffic. It wasn’t until the next day that I discovered that the edge of the wall was a sheer drop to the surf below. The road had been carved rather precariously around the edge of Diamondhead, and the drop to the beach was 100 feet or more. If I had gone over that edge, nobody would have known where I was or what happened.

We checked out the equipment and did some testing when the Beach Boys rehearsed. I remember one particular a capella song that they sang just for fun. What beautiful harmony (when they weren’t stoned!)

The warm-up acts were different for the two nights. One night was Paul Revere and the Raiders, and the other night was Dino, Desi and Billy. I don’t remember who was on which night. At almost the last minute, Bill Halverson cut a deal with that night’s warm-up act to also record their performance. They came on stage and we fired up both 8-track in record. Then we noticed that one of the channels on one of the machines wasn’t recording! During our alignments everything had been fine.

I swapped a bunch of cables from channel to channel, and it appeared to be something related to the record head, maybe missing bias or some other symptom. I tore into the machine, frantically pulling off trim plate to gain access to the head connectors. Parts were strewn all over the place. After much poking around, the channel came back to life. I replaced all the covers and got the machine back on line just as the warm-up act left the stage. The machine ran fine for the rest of the gig.

Bill Halverson later said to me “When I saw all those parts scattered around, I was sure that we were down to just one machine for the rest of the trip. I don’t care if you don’t do a single thing more while we are here. You have already earned your way on this trip!”

It wasn’t until maybe a year or more later that I found the real problem with the record circuitry. One of the pins on the cable to the record head had been improperly crimped, with the crimp on the insulation of the wire rather than the stripped conductor. My prodding had caused the uncrimped wire end to make physical contact with the pin, restoring operation. Eventually the problem returned, but this time I was able to complete a leisurely diagnosis in Wally’s shop.

The Beach Boys had rented a fleet of Honda or Yamaha motorcycles for scooting around the island. One of the group had ridden his motorcycle to the HIC, but after the show he didn’t want to ride it back to the hotel. Being an avid motorcycle rider, I volunteered to take the bike back to the hotel. I hopped on the bike and rode along that same road around Diamondhead with the rock wall, shaking my head at my own stupidity. It was a typical balmy tropical night and the ride was wonderful. When I was almost at the hotel, I realized that I really didn’t need to immediately return the bike.

I pulled a U-turn in the hotel driveway and decided to ride around part of the Island. Oahu couldn’t be that big, and if I kept the ocean on my right again, I couldn’t get lost! So off I went, riding along in the warm breeze. Before long I had left Honolulu behind me and I was riding along the coast. Although things got pretty desolate, I kept going. I figured I would soon be around to the backside, and I knew there was a highway across the waist of the island that we had used on one of our sightseeing trips.

Then the engine sputtered and I ran out of gas. I was able to find the gas shutoff valve and turn it to the ‘Reserve Tank’ position. I had no idea how far the motorcycle would go on reserve, or how far I was from a gas station. Well the answer to the second question was “What gas station?” On the backside of the island everything was dark. The road was empty and there just weren’t any gas stations to be found. I had underestimated my progress around the island, too. I still had quite a ways to go before I finally found the road that cuts across the mountains to Honolulu. I did make it back to Honolulu, but then I had a hard time finding a gas station that was open. I must have been running on fumes when I finally pulled into the station. I had gone on reserve about 35 miles back. I bought some gas and rode back to the hotel, parking the bike in the designated area with the other bikes.

While we were in Honolulu, an acquaintance of Wally’s named Herbert Ono, took us out to dinner. Herb owned Sounds of Hawaii, a small recording studio in Honolulu. Needless to say, he was awestruck by a full 8-track setup with two machines. We went to probably the best Chinese restaurant in Honolulu. The restaurant’s owner played in a band with Herb, and the service and food was excellent. If we liked something, they just kept bringing it until we couldn’t eat any more. This was actually my first time to eat Chinese food, and I couldn’t have asked for a better introduction.

Not long after I got back to Camarillo, things took a strange turn. Our salesman, Scotty Lyall, who worked out of 3M headquarters in St. Paul, had come out to Camarillo while I was gone. Jack Mullin was also on vacation, and Scotty was a bit miffed that he couldn’t talk to anyone. When he found out where I was, he raised a big stink about me moonlighting with Wally, and that other customers were complaining that 3M was showing favoritism to Wally. The truth was that Wally’s machines had an excellent reputation for reliability, and sometimes a group would insist upon renting one of Wally’s machines rather than using the host studio’s own 3M machine.

Scotty spoke to the plant manager, who spoke to Jack Mullin, who spoke to me. The word was that I must stop moonlighting for Wally. Jack didn’t really agree with the decision, but he was the designated messenger. I was really offended; to say nothing of the extra income and fun trips I would miss.

I replied that our relationship with Wally was very beneficial to 3M. My work had led to several innovations that came from ideas related to the use of the machines by Wally and his customers. Furthermore, the excellent reputation of Wally’s machines set all the 3M products a cut above our competitors’ products. (Our 3M products were very popular in Hollywood, much more so than in New York City or Nashville.) My remote gigs with Wally were opportunities to demonstrate our products to the local recording folks, much like my contact with Herb Ono in Honolulu. And lastly, if anyone else wanted to pay me to maintain their machines, I was available.

All of this was shoved back up the line, and after due consideration, Scotty was told to put a lid on it, noting that he should be thankful for all the benefits to 3M. I continued to moonlight for Wally even after I left 3M in 1969 to go to graduate school. I was even able to borrow a 3M M79 from Wally for comparative testing when I was working for Ampex in 1972, but that is another story….

Epilog:
The Beach Boys were so stoned during their performances that I don’t think any of the tracks we recorded were ever released. Frank’s console was gutted and completely rebuilt. I stayed in touch with Herb, and several years later he invited me to return to Honolulu as his guest – as long as I gave his 3M M56 16-track recorder a thorough checkup. The machine had a bunch of PC cards and other components that I recognized as being some of the hand-built prototype cards that I had helped build. Turned out Herb had bought the machine from Glen Phoenix, and Glen had apparently built the machine himself out of bootlegged parts!
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Alex11
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« Reply #9 on: May 16, 2006, 03:14:16 AM »

Hi all...

some time ago I tried to sum up what is around audiowise from the Hawaiian disaster. Here's my list, feel free to make corrections or additions....I bet we'll see the Hawaiian Live Box before the Smile Sessions Box Set.... Grin

-both shows complete from boot aug. 25th and 26th 1967

-fake live versions, rehersal-takes  from wally heider , sept. 11th 1967, from various boots:
you're so good to me/rhonda/surfer girl/california girls/surfin'/god only knows/good vibes/heroes (with a spoken Mike passage....really from those sessions?)

Oficially: God only knows from the EH soundtrack, from the heider sessions, edited or overdubbed
Oficially: The Letter from the aug. 25th concert, edited or w. overdubbs, on the 1983 Rarities
Oficially: Heroes live from the 25th on the Concert-twofer
Oficially: Surfer Girl from the 25th, soundcheck, on the 30 Years Box Set
Oficially: Their hearts were full of spring  from the 25th, soundcheck, on the Smiley Twofer.
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« Reply #10 on: May 16, 2006, 05:17:35 AM »

They also took some footage of the rehearsals, as well as filming that stuff of the guys jumping off the cliffs into the pools, and the motorcycle footage.

I think the guy who shot this was an assistant sound tech using Dennis' camera, but I'm not posiitive on that.


According to credits in the David Leaf book, a lot of those Hawaiian photos were taken by Ed Roach, so possibly he was the guy with the movie camera aswell ?
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« Reply #11 on: May 16, 2006, 06:07:04 AM »

hey alex,

I was pretty sure that the version of Good Vibrations on Hawthorne CA was a Lei'd rehearsal as well
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~post of the century~
"Well, you reached out to me too, David, and I'd be more than happy to fill Bgas's shoes. You don't need him anyway - some of us have the same items in our collections as he does and we're also much better writers. Spoiled brat....."
-Mikie

"in this online beach boy community, I've found that you're either correct or corrected. Which in my mind is all in good fun to show ones knowledge of their favorite band."- punkinhead
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« Reply #12 on: May 16, 2006, 07:27:27 AM »

So what are we missing?  We have rehearsal (actual in Hawaii rehearsal) releases of Good Vibrations, Surfer Girl, and Their Hearts were full of Spring.  Apparently a rehearsal was recorded each night, so that's two rehearsals taped, and only three songs released and none I know of on boot.  Since it seems the rehearsal versions were actually better than the stage performances, I'd love to hear the rest of the rehearsals.
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« Reply #13 on: May 16, 2006, 09:02:25 AM »

They also took some footage of the rehearsals, as well as filming that stuff of the guys jumping off the cliffs into the pools, and the motorcycle footage.

I think the guy who shot this was an assistant sound tech using Dennis' camera, but I'm not posiitive on that.


According to credits in the David Leaf book, a lot of those Hawaiian photos were taken by Ed Roach, so possibly he was the guy with the movie camera aswell ?

Ed Roach didn't meet the Beach Boys until fall '68, more than a year after the Hawaii concerts. He does have some of the raw Hawaii footage in his possesion courtesy of Dennis, maybe Leaf drew a conclusion from that.
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« Reply #14 on: May 16, 2006, 06:55:06 PM »

Brad Elliott, (remember him) once , back in 2002 , I believe, sorted out the whole Lei'd In Hawaii situation on the Imagination mailing list, explaining what songs came from where, what songs were rehearsals, what were live, etc etc. The most revealing thing he mentioned as far as I was concerned was that there were four concerts, afternoon and evening shows, plus rehearsals each day. Throw in the Heider sessions and you have seven sources of Lei'd In Hawaii material.

Curt
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« Reply #15 on: May 17, 2006, 04:40:01 AM »

Was there a studio version of the Letter cut or is the version in the post-concert 'rehearsals' the nearest we'll come?  And why did Bruce join them for the post-concert stuff but not for the shows themselves?
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« Reply #16 on: May 17, 2006, 05:00:36 AM »

IIRC, further work was done on the 'The Letter' in the 6 weeks after they cut the basics at Heider's. So there's the raw take we've heard booted, and the slight polish-up that came out on the Capitol 'Rarities' LP. The latter is presumably what would have been released on 'Wild Honey', had that initially projected lineup survived.

That's yer studio version.
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Smilin Ed H
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« Reply #17 on: May 17, 2006, 07:38:00 AM »

Thanks.
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« Reply #18 on: May 17, 2006, 10:35:27 AM »

I don't want to hijack this thread as I love the Lei'd material but i just want to add that I've been listening to the Fall 67 shows out on the Vocal Element boot and I'm really enjoying them (perhaps my favourite 60s live recordings) because of how much the arrangements and sound flow on from what Brian had the band doing at the Lei'd rehersals, live and at Heider's - throw in the R&B funk of Wild Honey, Darlin and How She Boogalooed It and they are really enjoyable recordings. The Fall 67 shows are an extension of the Lei'd sessions and worth checking out if you are a Lei'd fan.
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« Reply #19 on: May 17, 2006, 06:26:09 PM »

Was there a studio version of the Letter cut or is the version in the post-concert 'rehearsals' the nearest we'll come?  And why did Bruce join them for the post-concert stuff but not for the shows themselves?

The version of "The Letter" found on Beach Boys Rarities is not from the Wally Heider sessions.  It was recorded at Brian's home studio on Oct. 25, 1967.

Bruce wasn't at the '67 Hawaii shows because he was on a fishing trip to Mexico.
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« Reply #20 on: May 18, 2006, 06:57:25 PM »

Did anyone else notice how half the songs from the concert are only like one verse? Did they plan to medley them together post-production or something?
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« Reply #21 on: May 18, 2006, 09:14:26 PM »

i was thinking about that the other day...I was thinking that they only did it on Hawaii, just as kind of a reprise of where they're at...but then i noticed others just having few verses
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"Well, you reached out to me too, David, and I'd be more than happy to fill Bgas's shoes. You don't need him anyway - some of us have the same items in our collections as he does and we're also much better writers. Spoiled brat....."
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"in this online beach boy community, I've found that you're either correct or corrected. Which in my mind is all in good fun to show ones knowledge of their favorite band."- punkinhead
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« Reply #22 on: May 19, 2006, 12:12:45 PM »

This may be a totally wild thought but could the Beach Boys have been missing parts of songs due to their "Cut and Paste" recording methods?

They would record one verse, one chorus and edit them together. The same parts could be put wherever, probably tried through with different structures. Now is it possible that the group made mistakes while playing live due to that? Hearing Al/Carl play bum notes to a harmonically simple song like Gettin' Hungry is just odd.
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« Reply #23 on: May 20, 2006, 01:25:44 PM »

Here is what Brad Elliott had to say about The Letter in 2002 on the Imagination list. I know the list is private but I don't think the owners will mind if I post this for accuracys sake.

"Okay, let's try again.  In my earlier answer, I was addressing ony the
studio recordings of "The Letter" and didn't even touch on the actual live
recording(s) from Hawaii.  But I guess that wasn't quite as clear as it
should have been.  So, here follows a complete (?) guide to BB recordings of
"The Letter."

(1) Actual honest-to-God concert recordings from Hawaii:  The Beach Boys
played four shows in Hawaii on Aug. 25 and 26, 1967.  "The Letter" was
played at most, if not all, of them.  To date, though, only one of the four
concerts (apparently the 2nd of the 8/25 shows) is in circulation among fans
and collectors.  The 13-song concert starts with a performance of "The
Letter," includes that weird version of "Surfin'" as well as "Gettin'
Hungry," and ends with "Barbara Ann."  That recording of "The Letter" is
a real concert recording.

(2) The Wally Heider "live in the studio" re-creation:  On September 11,
1967, the BBs went into Wally Heider's Studio to record a set of replacement
tracks for the projected LEI'D IN HAWAII album.  This was because the actual
concert recordings from Aug. 25 & 26 did not meet their expectations.  About
a dozen songs were recorded.  A pseudo-album of 8 tracks was assembled, but
never released.  This has circulated on tape and bootleg, most commonly as
the LEI'D IN HAWAII REHEARSAL bootleg from Vigotone (VIGO 133).  This set of
songs starts with "God Only Knows," includes "Help Me Rhonda" sung as "help
YOU Rhonda" and the version of "Heroes & Villains" where Mike makes fun of
the song, and ends with "Their Hearts Were Full Of Spring."  Outtakes from
this session were included on the third disc of the 3-CD LIVE BOX that
appeared on the Sea of Tunes label.  All of these performances are actually
live-in-the-studio recordings, not concert recordings.  The version of "The
Letter" on RARITIES is one of these.  It is identical (except for slight mix
differences) to the version of "The Letter" that's heard on the Vigotone
REHEARSAL boot.

(3) The proper studio recording:  According to Capitol's files, The Beach
Boys also recorded "The Letter" during the sessions for the WILD HONEY
album.  The track reportedly was recorded at Brian's home studio on Oct. 25,
1967.  This recording has never turned up and doesn't seem to be in The
Beach Boys' tape archive.

Finally, it should be noted that "The Letter" was listed in the early track
lineup for the WILD HONEY album.  However, the brief liner notes that were
to accompany that lineup indicate that the track was a live recording, not
a studio recording.  But based on the fact that the BBs rejected the actual
live recordings from Hawaii and that the tape delivered to Capitol was the
Heider re-creation, I think it's obvious that what would have appeared on
WILD HONEY was, in fact, the 9/11/67 Heider recording, being passed off as a
"live" recording (which, of course, was the entire reason for that day's
recordings)."

Any questions?  :-)

Surf's up!
Brad
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« Reply #24 on: May 20, 2006, 02:04:25 PM »

Am I understanding Brad that an album of the Lei'd concerts was assembled and delivered to Capitol?
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