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Author Topic: 1968 Copyright Extension Release Thread  (Read 63516 times)
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« Reply #100 on: November 27, 2018, 09:35:49 AM »

I would have thought the upcoming release, which people are confident is coming out, would have been announced by now, as I doubt it's a throwaway download only album. Sunshine Tomorrow was announced about a month before its release, and it's sooner than a month before this new compilation album should come out. Anyone have any idea what's going on?

Posted today at PSF:

So...Alan Boyd popped up on the Discord last night and talked about the 1968 set. Only plans for a digital release for now, mid to late December.

"Lots of interesting tracks and fragments from the FRIENDS and 20/20 sessions. New track and a cappella mixes too, alternate versions and a batch of concert tapes from the 1968 summer tour."

It's coming, lads.


So excited
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« Reply #101 on: November 27, 2018, 01:11:46 PM »

On instagram Mike is caught humming ’We’re together again’.

FallBreaks came up with the theory that he listened to the extension release recently

//RD



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« Reply #102 on: November 27, 2018, 02:11:01 PM »

On instagram Mike is caught humming ’We’re together again’.

FallBreaks came up with the theory that he listened to the extension release recently

//RD





Link?
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« Reply #103 on: November 27, 2018, 10:56:07 PM »

No links in instagram stories. But check Ambhas stories from the last 24h

//RD
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« Reply #104 on: November 28, 2018, 02:59:39 PM »

The thing that stands out most about the new '68 material is how untouched by contemporary influences Brian is throughout. Sans a few instances where you can pick up a decidedly Bacharach vibe -- this music is pure Brian. He was going somewhere pretty unique before the "pause." On the other hand, the Dennis music -- and there is A LOT of it -- shows him blossoming in real time, feeling his way through. REALLY powerful stuff -- also devoid of any contemporary influences. Eerily, this music feels very modern. The overriding feeling I get is akin to when McCartney caught up to Lennon at Rubber Soul and Revolver. This BB period has two leaders pretty much creating a quality of work that's neck and neck with each other. It's arguably the one and only time it went down like this. I'm blown away by this stuff, probably more so than I was by the '67 stash.
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« Reply #105 on: November 28, 2018, 05:01:40 PM »

The thing that stands out most about the new '68 material is how untouched by contemporary influences Brian is throughout. Sans a few instances where you can pick up a decidedly Bacharach vibe -- this music is pure Brian. He was going somewhere pretty unique before the "pause." On the other hand, the Dennis music -- and there is A LOT of it -- shows him blossoming in real time, feeling his way through. REALLY powerful stuff -- also devoid of any contemporary influences. Eerily, this music feels very modern. The overriding feeling I get is akin to when McCartney caught up to Lennon at Rubber Soul and Revolver. This BB period has two leaders pretty much creating a quality of work that's neck and neck with each other. It's arguably the one and only time it went down like this. I'm blown away by this stuff, probably more so than I was by the '67 stash.

Rad. Cannot wait.
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« Reply #106 on: November 28, 2018, 05:12:52 PM »

The thing that stands out most about the new '68 material is how untouched by contemporary influences Brian is throughout. Sans a few instances where you can pick up a decidedly Bacharach vibe -- this music is pure Brian. He was going somewhere pretty unique before the "pause." On the other hand, the Dennis music -- and there is A LOT of it -- shows him blossoming in real time, feeling his way through. REALLY powerful stuff -- also devoid of any contemporary influences. Eerily, this music feels very modern. The overriding feeling I get is akin to when McCartney caught up to Lennon at Rubber Soul and Revolver. This BB period has two leaders pretty much creating a quality of work that's neck and neck with each other. It's arguably the one and only time it went down like this. I'm blown away by this stuff, probably more so than I was by the '67 stash.

Brother you have me extremely excited to hear what's on its way!
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« Reply #107 on: November 28, 2018, 05:38:04 PM »

It's been talked on Discord that several new session dates in 1968 were added to Bellagio(http://www.bellagio10452.com/gigs68.html). To quote SaltyMarshmallow over there:

Away
I’m Confessin
You’re as Cool as Can Be track 1
You’re as Cool as Can Be track 2
Rock & Roll Woman track
Time to Get Alone demo
All I Wanna Do (May 24 session)
Well You Know I Knew (June 3)
Can’t Wait Too Long (sessions on July 24, 25, 26 & 30)
Mona Kana demo (July 25)
Dennis demos: Love Affair/Be With Me/Peaches (Aug 29)
I Can Hear Music demo
All I Want to Do (extra sessions)
Is It True What They Say About Dixie (Audree Wilson lead vocal)

Now I'm SO hyped!
« Last Edit: November 30, 2018, 02:45:51 AM by Watamushi(Polly Poller) » Logged
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« Reply #108 on: November 28, 2018, 06:26:53 PM »

Me too!
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« Reply #109 on: November 28, 2018, 06:45:29 PM »

The thing that stands out most about the new '68 material is how untouched by contemporary influences Brian is throughout. Sans a few instances where you can pick up a decidedly Bacharach vibe -- this music is pure Brian. He was going somewhere pretty unique before the "pause."

I am firmly of the opinion that during the Friends period and the brief Old Man River period immediately after, Brian was following his muse again ala SMiLE, albeit with some musical contributions from his bandmates here and there that weren't part of the process in 1966/67.

This is not meant to be a knock on the Smiley Smile and Wild Honey albums, both of which are clearly amazing, but to me, Smiley represented a production compromise for Brian while Wild Honey was a stylistic compromise.

To write that I am beyond excited for this release would be understating it. This is almost as big for me as the SMiLE box. I just hope there will be high resolution downloads available, since there won't be a physical release.
« Last Edit: November 28, 2018, 07:11:47 PM by Mr. Tiger » Logged
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« Reply #110 on: November 28, 2018, 07:08:00 PM »

On the other hand, the Dennis music -- and there is A LOT of it -- shows him blossoming in real time, feeling his way through. REALLY powerful stuff -- also devoid of any contemporary influences. Eerily, this music feels very modern. The overriding feeling I get is akin to when McCartney caught up to Lennon at Rubber Soul and Revolver. This BB period has two leaders pretty much creating a quality of work that's neck and neck with each other. It's arguably the one and only time it went down like this. I'm blown away by this stuff, probably more so than I was by the '67 stash.

That's really interesting, because the impression I tended to get from Dennis during this period was that he was still very Brian influenced on tracks like Little Bird, and that his writing voice wouldn't really fully emerge until a little later on (20/20, which I'm assuming is part of the set too). I thought there was maybe less overlap between them, with Dennis really blossoming as a distinctive songwriter just as Brian withdrew after Old Man River. I definitely look forward to becoming better informed about his early development.
« Last Edit: November 28, 2018, 07:42:56 PM by Mr. Tiger » Logged
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« Reply #111 on: November 28, 2018, 08:27:32 PM »

It is absolutely bonkers to me that the band was simultaneously working on two songs with nearly the same title, All I Wanna Do and All I Want To Do. Wazzup with that!?  Different songwriters yes, but I'm sure they all had to be aware of this… Very bizzarre.
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« Reply #112 on: November 29, 2018, 07:11:35 PM »

The thing that stands out most about the new '68 material is how untouched by contemporary influences Brian is throughout.

Also Donovan's A Gift from a Flower to a Garden...
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« Reply #113 on: November 30, 2018, 09:58:42 AM »

I'm just reiterating what others including Howie have said in the past, which is: Is there any other band from the 60s (or any other time for that matter) with *this* much material still in the archives that's so different, new, and of high quality?

Even the *mind-blowing* Beatles sets from '67 and '68 feature stuff that's been booted (albeit now in much better quality), and then alternate takes/mixes of the songs we all know. Again, mind-blowing to see like a half dozen discs of pristine Beatles studio outtakes to see release after all these years, but the BBs have full-on songs and alternate versions and demos and stuff that's BETTER than some of the stuff put on the albums, and it's *still* in the vault.

Didn't think it was possible, but Howie's got me even MORE psyched for the '68 stuff.

And we haven't even dipped a toe in the 70s and 80s outside of scattered tracks on MIC and a few other comps.
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« Reply #114 on: November 30, 2018, 10:03:14 AM »

I'm just reiterating what others including Howie have said in the past, which is: Is there any other band from the 60s (or any other time for that matter) with *this* much material still in the archives that's so different, new, and of high quality?

Even the *mind-blowing* Beatles sets from '67 and '68 feature stuff that's been booted (albeit now in much better quality), and then alternate takes/mixes of the songs we all know. Again, mind-blowing to see like a half dozen discs of pristine Beatles studio outtakes to see release after all these years, but the BBs have full-on songs and alternate versions and demos and stuff that's BETTER than some of the stuff put on the albums, and it's *still* in the vault.

Didn't think it was possible, but Howie's got me even MORE psyched for the '68 stuff.

And we haven't even dipped a toe in the 70s and 80s outside of scattered tracks on MIC and a few other comps.

It really is crazy. I think it speaks to not only the insane amount of underrated talent in this band, but also the unbelievable mismanagement, where there was nobody to step up and say "this stuff is worth releasing" or "this stuff is clearly better than the stuff you're planning to put on an album". Sort of continually proves Jack Rieley's statement right. Possibly the most accurate, on-the-ball statement that has ever been said about this band from someone on the inside, which simply tells it like it is.

So very grateful that this is all getting released now.

Many, many (Police Academy's Commandant Lassard voice) thanks to Mark and Alan for their hard work. I'm preparing to be floored.
« Last Edit: November 30, 2018, 10:04:46 AM by CenturyDeprived » Logged
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« Reply #115 on: November 30, 2018, 11:59:16 AM »

Although Townshend and McCartney have some incredible works that still remain long unreleased, you really couldn't say they trump the contemporary released product. The sheer QUALITY of BB's material, and we're talking songs from demo to master -- all the layers -- to my knowledge (and I've done deep dives through more than a few band vaults) is unprecedented. No other band has what they have. You look at major AOR artists -- Elton, The Band, The Eagles -- there's NOTHING there. In some cases they were stretching just to get enough material to fill an LP. TONS of filler.

Personally, if I owned these masters, I would do a 15-25 disc DUMP of all of this unreleased (1968-1978) material. Redefine the market like the BOOTLEG SERIES did in '91. There wouldn't be a single music rag, blog, or website that wouldn't automatically give it ANTHOLOGY-like press. You wouldn't have to read about BB's music in expensive fan publications. Real press would EAT IT UP. Film and TV placements would follow, moving the narrative past the tents, bedroom years, and shitt ily written Christmas tour articles. With so little effort, EVERYTHING could change.

EVERYTHING.
And all because of outtakes.

PR TAGLINE: "WHAT IF THERE WAS ANOTHER BEATLES? Guess what -- There WAS."
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« Reply #116 on: November 30, 2018, 12:37:19 PM »

Although Townshend and McCartney have some incredible works that still remain long unreleased, you really couldn't say they trump the contemporary released product. The sheer QUALITY of BB's material, and we're talking songs from demo to master -- all the layers -- to my knowledge (and I've done deep dives through more than a few band vaults) is unprecedented. No other band has what they have. You look at major AOR artists -- Elton, The Band, The Eagles -- there's NOTHING there. In some cases they were stretching just to get enough material to fill an LP. TONS of filler.

Personally, if I owned these masters, I would do a 15-25 disc DUMP of all of this unreleased (1968-1978) material. Redefine the market like the BOOTLEG SERIES did in '91. There wouldn't be a single music rag, blog, or website that wouldn't automatically give it ANTHOLOGY-like press. You wouldn't have to read about BB's music in expensive fan publications. Real press would EAT IT UP. Film and TV placements would follow, moving the narrative past the tents, bedroom years, and shitt ily written Christmas tour articles. With so little effort, EVERYTHING could change.

EVERYTHING.
And all because of outtakes.

PR TAGLINE: "WHAT IF THERE WAS ANOTHER BEATLES? Guess what -- There WAS."

I was thinking as I was writing that McCartney might be a partial exception, because there is, beyond the reams of boots, a whole other layer of McCartney stuff that we don't even *know* about. He has squeaked out a few such items on his "Archive Collection" sets. While those sets seem to have been mainly programmed to collate stuff that has been booted and release in pristine quality, he has also dabbled in stuff even the scholars seemingly didn't *know* about. Like just all of a sudden producing nearly an entire studio album's worth of *studio* version of his Elvis Costello collaborations (along with pristine versions of the legendary demos). He does have more stuff like that.

The quality of some of that stuff would rival 70s and 80s BB stuff, but the difference is indeed that even the really good McCartney outtakes usually aren't miles *ahead* of what he put out officially, especially the best stuff. Conversely, the BBs released "When Girls Get Together" but left "Can't Wait Too Long" and "Carry Me Home" on the cutting room floor.

I don't know if the usual media outlets are going to think a thousand times better of McCartney's "Tug of War" if he puts more heretofore-unknown outtakes out from those sessions. But the BB archival stuff is truly *narrative-changing* as Howie has said.

And, after the 25+ discs of BB studio material, another untapped resource is tons of great live stuff. Why perhaps the most well-traveled touring band of the last 50 years doesn't have a 10-disc box of the best stuff is inexplicable. That little live taste at the end of "Made in California?" There's like easily a dozen discs of that. They could even cull interesting stuff from the 90s when the band was often on autopilot.
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« Reply #117 on: November 30, 2018, 01:58:26 PM »

Agreed....The fact that some of the terrible stuff like "Girls Get Together" or most of M.I.U's lightweight crap was put out but stuff like "My Love Lives On" and "Oh Lord" and "4th Of July" never were put on albums or not until 30+ years on MIC which only hardcore fans would ever hear is sad and agree it makes the Jack Riely quote seem very accurate.
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« Reply #118 on: November 30, 2018, 03:06:31 PM »

Hey -I actually like "When Girls Get Together"...
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« Reply #119 on: November 30, 2018, 03:17:11 PM »

Seriously, I think  a partial explanation for the fact that some of the "weak" material got released while some of the "strong" stuff was left behind is that the guys all loved recording but hated the fight that would take place when it came time to pick which songs would make it onto albums.  I recall Mike saying, many years ago, when asked how the band decided which member's songs would get released, "whoever screams the loudest!"  Thus, "Sumahama" was on our turntables, like it or not...
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« Reply #120 on: November 30, 2018, 04:47:39 PM »

It's been talked on Discord that several new session dates in 1968 were added to Bellagio(http://www.bellagio10452.com/gigs68.html). To quote SaltyMarshmallow over there:

Away
I’m Confessin
You’re as Cool as Can Be track 1
You’re as Cool as Can Be track 2
Rock & Roll Woman track
Time to Get Alone demo
All I Wanna Do (May 24 session)
Well You Know I Knew (June 3)
Can’t Wait Too Long (sessions on July 24, 25, 26 & 30)
Mona Kana demo (July 25)
Dennis demos: Love Affair/Be With Me/Peaches (Aug 29)
I Can Hear Music demo
All I Want to Do (extra sessions)
Is It True What They Say About Dixie (Audree Wilson lead vocal)

Now I'm SO hyped!

Also note that the early title of Busy' is now Even Time instead of Even Steven.
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« Reply #121 on: November 30, 2018, 05:54:09 PM »

Seriously, I think  a partial explanation for the fact that some of the "weak" material got released while some of the "strong" stuff was left behind is that the guys all loved recording but hated the fight that would take place when it came time to pick which songs would make it onto albums.  I recall Mike saying, many years ago, when asked how the band decided which member's songs would get released, "whoever screams the loudest!"  Thus, "Sumahama" was on our turntables, like it or not...

The epitome of dysfunction, so sad. As much as I adore much of the music that this band did together with each other, it only underscores how important it was that Denny went solo. Man, the egos (mainly one in particular) in this crazy band...
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« Reply #122 on: November 30, 2018, 09:22:11 PM »

Although Townshend and McCartney have some incredible works that still remain long unreleased, you really couldn't say they trump the contemporary released product. The sheer QUALITY of BB's material, and we're talking songs from demo to master -- all the layers -- to my knowledge (and I've done deep dives through more than a few band vaults) is unprecedented. No other band has what they have. You look at major AOR artists -- Elton, The Band, The Eagles -- there's NOTHING there. In some cases they were stretching just to get enough material to fill an LP. TONS of filler.

Personally, if I owned these masters, I would do a 15-25 disc DUMP of all of this unreleased (1968-1978) material. Redefine the market like the BOOTLEG SERIES did in '91. There wouldn't be a single music rag, blog, or website that wouldn't automatically give it ANTHOLOGY-like press. You wouldn't have to read about BB's music in expensive fan publications. Real press would EAT IT UP. Film and TV placements would follow, moving the narrative past the tents, bedroom years, and shitt ily written Christmas tour articles. With so little effort, EVERYTHING could change.

EVERYTHING.
And all because of outtakes.

PR TAGLINE: "WHAT IF THERE WAS ANOTHER BEATLES? Guess what -- There WAS."
I've said this before in private to somebody, but I'll say it now, publicly: I wish you, Howie Edelson, were the manager of The Beach Boys, and included among a "team" in charge of the archival material, along with Mark Linett and Alan Boyd.
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« Reply #123 on: November 30, 2018, 10:45:23 PM »

Howie if you can talk about it, what would you say is the biggest revelation out of what you’ve heard that we haven’t?
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« Reply #124 on: November 30, 2018, 11:15:55 PM »

I'm just wondering if there is something(from any period, really) still in the vaults that is as breathtaking and monumentally stunning as WIBNTLA, or the MIU outtake "Why?".
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