Questions / details about studio songs on Sunshine Tomorrow 2

[CenturyDeprived]

Time to Get Alone (alternate version, instrumental):

- Hearing the instrumental of this alternate TTGA version reminded how much Brian was influenced by The Beatles.  I think The Beatles ’66-67 era influence has never been more strongly heard in Brian’s released work than from1:32 to 1:52 in this version of TTGA.

- Hearing the strings without any vocals over them from 2:06 to 2:18 is a revelation. Such a gorgeous, cinematic part of the song, which the amazing vocals had always obscured.

- Anyone ever noticed the similarities in the ascending, creepy violin part in this version of TTGA 2:16 to 2:18 when compared to the ascending, creepy violin part in at 0:29 in Be With Me? I could be mistaken, but there might be yet another track from this era that also has a similar-sounding part too.

- Slightly off-topic question about the similar alternate TTGA version on Hawthorne, CA… at the very end of that version, at 3:16 to 3:37 there are the most gorgeous a capella vocals I have ever heard on a BBs song. Am I imagining it, or do I recall reading that those vocals were just spliced onto the end when compiling that set, and that it was never a vintage 1967 creative decision to have the song end with those vocals? (Not a dig, I am SO glad to have them placed there).


Whistle In:

- I have always really, really loved this underappreciated and rarely-mentioned song in its abbreviated Smiley Smile form, but it’s amazing to hear the parts stripped down and added, one by one.  Not that it’s much of a “song”, but it’s just absolutely a gorgeous nugget.

- At 0:13 to 0:47, you have Mike singing “whistle in”, but who are the voices in the R/L channels singing “all day, all night…”; is it Brian singing both harmonies, or Brian and Carl? It feels like both are Brian to my hears, but maybe I’m wrong.


Getting’ Hungry:

- Spotify annoyingly has the song title listed as “Getting Hungry”

- Safe to say that the word “Hungry” was an intentional substitute for the word “Horny”? It seems like “Horny” is the actual word that the lyrics are designed to have placed there.


Here Comes the Night (A Capella):

- Brian’s lead vocals are amazing, and hearing them stripped down this way sounds like a bit of a window into his various vocal stylings over the years. In particular, there are slight moments that sound like a precursor to his “changed” voice from the mid-70s, and even from around 1988. See 1:52 (the word “lonnnng”) and 0:08 (the word “mess”), and 0:17 (the slightly slurred “s” sounds on “fussin’ and cussin’”) for examples.

- Hearing the backing group vocals is just mesmerizing. I could never discern all the harmony parts until hearing them this way, and  it blows my mind, since you can finally hear the same intricacies which were heard on the disco 1979 version. The BBs must have pulled these tapes from the vault in 1979 when recreating the vocal arrangement, right? I wonder if there was any evidence of that on the tape boxes.


Let the Wind Blow (A Capella):

- Incredible Carl vocals at 1:59 to 2:02 (“liiiiife”)

- One of my all time favorite harmonizing moments in the whole catalog at 1:19 to 1:21 (“don’t take her”)

- Starting at 2:06, the repeating sound of air being sucked in has always made me wonder two things: were The BBs’ emulating the similar sounds from The Beatles’ song “Girl”, or were they emulating the sound of smoking from a bong, or both? I can’t quite think of any other purpose for this part being here, other than an homage to one of those things. But I love it and the song would suffer without it!


I was Made to Love Her (A Capella):

- Incredible Carl vocals at 0:57 to 1:15 (especially on the words “… to love her”). At least I think it’s Carl, and not Brian, who is popping out there, but hard to say definitively. Either way, on this repeating vocal round, they sing with such a strident, aching sound that I can’t say I’ve ever quite heard sound in a similar manner to any other song in their whole catalog.

[RONDEMON]

 Whistle In is Brian on both harmonies until Carl comes in with the counterpoint

[Jay]

That deep breath inhale at the end of "Let The Wind Blow" is one of those perfect moments that make me love The Beach Boys, and music in general.   

[wjcrerar]

.

[c-man]

Here Comes the Night (A Capella):

- Brian’s lead vocals are amazing, and hearing them stripped down this way sounds like a bit of a window into his various vocal stylings over the years. In particular, there are slight moments that sound like a precursor to his “changed” voice from the mid-70s, and even from around 1988. See 1:52 (the word “lonnnng”) and 0:08 (the word “mess”), and 0:17 (the slightly slurred “s” sounds on “fussin’ and cussin’”) for examples.

- Hearing the backing group vocals is just mesmerizing. I could never discern all the harmony parts until hearing them this way, and  it blows my mind, since you can finally hear the same intricacies which were heard on the disco 1979 version. The BBs must have pulled these tapes from the vault in 1979 when recreating the vocal arrangement, right? I wonder if there was any evidence of that on the tape boxes.

Yes - Curt Becher, co-producer of the '79 disco version, said they pulled the '67 version tapes for study...and that may be where the various bootlegged mixes of that instrumental track come from: "We went back to the original tapes and just listened to the vocals by themselves, you know, separate the vocals and just listen to just elements in the track, the original track, to capture as much of the real essence of the record as we possibly could, even though it would be disco." 

[♩♬🐸 Billy C ♯♫♩🐇]

In particular, there are slight moments that sound like a precursor to his “changed” voice from the mid-70s, and even from around 1988. See 1:52 (the word “lonnnng”) and 0:08 (the word “mess”), and 0:17 (the slightly slurred “s” sounds on “fussin’ and cussin’”) for examples.

good catch...he was starting to do that as early as "You're So Good To Me"

[CenturyDeprived]

Here Comes the Night (A Capella):

- Brian’s lead vocals are amazing, and hearing them stripped down this way sounds like a bit of a window into his various vocal stylings over the years. In particular, there are slight moments that sound like a precursor to his “changed” voice from the mid-70s, and even from around 1988. See 1:52 (the word “lonnnng”) and 0:08 (the word “mess”), and 0:17 (the slightly slurred “s” sounds on “fussin’ and cussin’”) for examples.

- Hearing the backing group vocals is just mesmerizing. I could never discern all the harmony parts until hearing them this way, and  it blows my mind, since you can finally hear the same intricacies which were heard on the disco 1979 version. The BBs must have pulled these tapes from the vault in 1979 when recreating the vocal arrangement, right? I wonder if there was any evidence of that on the tape boxes.

Yes - Curt Becher, co-producer of the '79 disco version, said they pulled the '67 version tapes for study...and that may be where the various bootlegged mixes of that instrumental track come from: "We went back to the original tapes and just listened to the vocals by themselves, you know, separate the vocals and just listen to just elements in the track, the original track, to capture as much of the real essence of the record as we possibly could, even though it would be disco." 

 Interesting. You can really tell by listening to the disco version that they truly studied the harmonies very intently to nail them just right. It's absolutely incredible to hear the vocals only version from 1967, because all of those great little hidden harmonies were there all along, but impossible to notice until now.

[♩♬🐸 Billy C ♯♫♩🐇]

Here Comes the Night (A Capella):

- Brian’s lead vocals are amazing, and hearing them stripped down this way sounds like a bit of a window into his various vocal stylings over the years. In particular, there are slight moments that sound like a precursor to his “changed” voice from the mid-70s, and even from around 1988. See 1:52 (the word “lonnnng”) and 0:08 (the word “mess”), and 0:17 (the slightly slurred “s” sounds on “fussin’ and cussin’”) for examples.

- Hearing the backing group vocals is just mesmerizing. I could never discern all the harmony parts until hearing them this way, and  it blows my mind, since you can finally hear the same intricacies which were heard on the disco 1979 version. The BBs must have pulled these tapes from the vault in 1979 when recreating the vocal arrangement, right? I wonder if there was any evidence of that on the tape boxes.

Yes - Curt Becher, co-producer of the '79 disco version, said they pulled the '67 version tapes for study...and that may be where the various bootlegged mixes of that instrumental track come from: "We went back to the original tapes and just listened to the vocals by themselves, you know, separate the vocals and just listen to just elements in the track, the original track, to capture as much of the real essence of the record as we possibly could, even though it would be disco." 

 Interesting. You can really tell by listening to the disco version that they truly studied the harmonies very intently to nail them just right. It's absolutely incredible to hear the vocals only version from 1967, because all of those great little hidden harmonies were there all along, but impossible to notice until now.

No kidding. The original mono mix was very muddy, and obscured the fact HCTN is actually a harmonically vocally complex song

[CenturyDeprived]

Here Comes the Night (A Capella):

- Brian’s lead vocals are amazing, and hearing them stripped down this way sounds like a bit of a window into his various vocal stylings over the years. In particular, there are slight moments that sound like a precursor to his “changed” voice from the mid-70s, and even from around 1988. See 1:52 (the word “lonnnng”) and 0:08 (the word “mess”), and 0:17 (the slightly slurred “s” sounds on “fussin’ and cussin’”) for examples.

- Hearing the backing group vocals is just mesmerizing. I could never discern all the harmony parts until hearing them this way, and  it blows my mind, since you can finally hear the same intricacies which were heard on the disco 1979 version. The BBs must have pulled these tapes from the vault in 1979 when recreating the vocal arrangement, right? I wonder if there was any evidence of that on the tape boxes.

Yes - Curt Becher, co-producer of the '79 disco version, said they pulled the '67 version tapes for study...and that may be where the various bootlegged mixes of that instrumental track come from: "We went back to the original tapes and just listened to the vocals by themselves, you know, separate the vocals and just listen to just elements in the track, the original track, to capture as much of the real essence of the record as we possibly could, even though it would be disco." 

 Interesting. You can really tell by listening to the disco version that they truly studied the harmonies very intently to nail them just right. It's absolutely incredible to hear the vocals only version from 1967, because all of those great little hidden harmonies were there all along, but impossible to notice until now.

No kidding. The original mono mix was very muddy, and obscured the fact HCTN is actually a harmonically vocally complex song

No doubt. The funny thing is, upon hearing the vocals-only version on this set for the first time, I was struck by how fresh and new the parts sounded, but also then I realized how oddly subliminally familiar I was with those complex vocal harmonies because I had heard them before on the disco version, but only that version. So it has given me a newfound appreciation for both versions of the song, including the disco version, which I had often written off.

[Jay]

Here Comes the Night (A Capella):

- Brian’s lead vocals are amazing, and hearing them stripped down this way sounds like a bit of a window into his various vocal stylings over the years. In particular, there are slight moments that sound like a precursor to his “changed” voice from the mid-70s, and even from around 1988. See 1:52 (the word “lonnnng”) and 0:08 (the word “mess”), and 0:17 (the slightly slurred “s” sounds on “fussin’ and cussin’”) for examples.

- Hearing the backing group vocals is just mesmerizing. I could never discern all the harmony parts until hearing them this way, and  it blows my mind, since you can finally hear the same intricacies which were heard on the disco 1979 version. The BBs must have pulled these tapes from the vault in 1979 when recreating the vocal arrangement, right? I wonder if there was any evidence of that on the tape boxes.

Yes - Curt Becher, co-producer of the '79 disco version, said they pulled the '67 version tapes for study...and that may be where the various bootlegged mixes of that instrumental track come from: "We went back to the original tapes and just listened to the vocals by themselves, you know, separate the vocals and just listen to just elements in the track, the original track, to capture as much of the real essence of the record as we possibly could, even though it would be disco." 

 Interesting. You can really tell by listening to the disco version that they truly studied the harmonies very intently to nail them just right. It's absolutely incredible to hear the vocals only version from 1967, because all of those great little hidden harmonies were there all along, but impossible to notice until now.

No kidding. The original mono mix was very muddy, and obscured the fact HCTN is actually a harmonically vocally complex song

I guess I need to check this out. Is the "dit dit dit" part on the original, only buried, or is that a strictly new part for the disco version?

[CenturyDeprived]

Here Comes the Night (A Capella):

- Brian’s lead vocals are amazing, and hearing them stripped down this way sounds like a bit of a window into his various vocal stylings over the years. In particular, there are slight moments that sound like a precursor to his “changed” voice from the mid-70s, and even from around 1988. See 1:52 (the word “lonnnng”) and 0:08 (the word “mess”), and 0:17 (the slightly slurred “s” sounds on “fussin’ and cussin’”) for examples.

- Hearing the backing group vocals is just mesmerizing. I could never discern all the harmony parts until hearing them this way, and  it blows my mind, since you can finally hear the same intricacies which were heard on the disco 1979 version. The BBs must have pulled these tapes from the vault in 1979 when recreating the vocal arrangement, right? I wonder if there was any evidence of that on the tape boxes.

Yes - Curt Becher, co-producer of the '79 disco version, said they pulled the '67 version tapes for study...and that may be where the various bootlegged mixes of that instrumental track come from: "We went back to the original tapes and just listened to the vocals by themselves, you know, separate the vocals and just listen to just elements in the track, the original track, to capture as much of the real essence of the record as we possibly could, even though it would be disco." 

 Interesting. You can really tell by listening to the disco version that they truly studied the harmonies very intently to nail them just right. It's absolutely incredible to hear the vocals only version from 1967, because all of those great little hidden harmonies were there all along, but impossible to notice until now.

No kidding. The original mono mix was very muddy, and obscured the fact HCTN is actually a harmonically vocally complex song

I guess I need to check this out. Is the "dit dit dit" part on the original, only buried, or is that a strictly new part for the disco version?

To my ears, it's the chorus parts where the title lyric is repeatedly sung where the complex goodies are to be found.  But really, this entire new vocals only mix is a revelation, all of it.

[Jay]

Speaking of HCTN, I could never quite figure out who is doing the high pitched "ooo" at the end of the chorus.

[GuyO]

What can you guys tell me about “Tune L”? Did Dennis write this? I hear his voice on the track, probably playing drums. I think I also hear Carl and Brian, I think? The voice on the talk back isn’t another member of the Beach Boys. That person  mentions “Dave”, asking him to ‘cool’ his amp.

[♩♬🐸 Billy C ♯♫♩🐇]

Speaking of HCTN, I could never quite figure out who is doing the high pitched "ooo" at the end of the chorus.

Brian

[Manfred]

On Wind Chimes (2:00) I hear a female voice (na na na na na naaa). If it really IS a female voice it must be Marilyn....

[♩♬🐸 Billy C ♯♫♩🐇]

Probably is, as she was on Wonderful too

[c-man]

What can you guys tell me about “Tune L”? Did Dennis write this? I hear his voice on the track, probably playing drums. I think I also hear Carl and Brian, I think? The voice on the talk back isn’t another member of the Beach Boys. That person  mentions “Dave”, asking him to ‘cool’ his amp.

Tune #L
Produced by Dennis Wilson (for Brother Records)
Recorded 11/28/67, 8:00pm-1:00am, at Western Recorders
David Cohen - guitar
James Burton - guitar
Mike Anthony - guitar
Bill Pitman - probably 6-string bass
Gene Pello - drums
Paul Tanner - electro-Theremin
                                                     

[CenturyDeprived]

What can you guys tell me about “Tune L”? Did Dennis write this? I hear his voice on the track, probably playing drums. I think I also hear Carl and Brian, I think? The voice on the talk back isn’t another member of the Beach Boys. That person  mentions “Dave”, asking him to ‘cool’ his amp.

Tune #L
Produced by Dennis Wilson (for Brother Records)
Recorded 11/28/67, 8:00pm-1:00am, at Western Recorders
David Cohen - guitar
James Burton - guitar
Mike Anthony - guitar
Bill Pitman - probably 6-string bass
Gene Pello - drums
Paul Tanner - electro-Theremin
                                                    

Very interesting. I couldn't hear any theremin, but I haven't listened to it intently with headphones yet; where in the track is theremin heard?

Does this mean that Denny was the last BB member to use theremin on a BBs recording, as opposed to the song Wild Honey as previously thought?  I guess that also depends on what one considers Tune L to be,  as it might in fact have been an experiment at Denny doing what he was thinking would be released as a solo track. Because if we bring solo tracks into the mix, Brian used theremin many years later on songs like Make a Wish.

[mikeyj]

- Anyone ever noticed the similarities in the ascending, creepy violin part in this version of TTGA 2:16 to 2:18 when compared to the ascending, creepy violin part in at 0:29 in Be With Me? I could be mistaken, but there might be yet another track from this era that also has a similar-sounding part too.

Bluebirds Over the Mountain?

Very interesting. I couldn't hear any theremin, but I haven't listened to it intently with headphones yet; where in the track is theremin heard?

It starts at around 1:46

[CenturyDeprived]

- Anyone ever noticed the similarities in the ascending, creepy violin part in this version of TTGA 2:16 to 2:18 when compared to the ascending, creepy violin part in at 0:29 in Be With Me? I could be mistaken, but there might be yet another track from this era that also has a similar-sounding part too.

Bluebirds Over the Mountain?

Very interesting. I couldn't hear any theremin, but I haven't listened to it intently with headphones yet; where in the track is theremin heard?

It starts at around 1:46

Thanks, I must have not listened closely enough, since I somehow thought that was a different instrument initially on Tune L.
I wonder if 1917-born Paul Tanner was the earliest-born musician on a track by this band.

And yes, Bluebirds is the one I was thinking of.  That was a wonderfully creepy trend that the band kept up, I wonder if anything in particular inspired that repeated motif.