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Author Topic: 1968 Copyright Extension Release Thread  (Read 66507 times)
c-man
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« Reply #525 on: January 08, 2019, 05:12:18 PM »

Having heard all of these 66-68 concert recordings, it’s surprising to me that all that time, they never got played the complete version of “Wouldn’t It Be Nice”.  It was always a slightly abbreviated version, cutting the line “You know it seems the more we talk about it, it only makes it worse to live without it”.  I guess they didn’t start including that until the seventies.

There's a concert recording from early '71 (I forget which show, probably Carnegie Hall in February) where they announce that for the past few years, they'd been touring the world playing 3/4 of that song, but now they would do the whole thing - which they did then, and at every point since then.
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« Reply #526 on: January 09, 2019, 07:56:10 AM »

My question is, what happens to all the existing material from bands that have missed the deadline for each year? Do they legally still have a claim to the master tapes and material on said tapes? If a band or artist misses a deadline, but still wants to release some kind of collection of material from a specific year anyway, can they? If you can't tell already, I know next to nothing about the legal angle of things such as these.  LOL

Yes, the band, if they had a claim to the master tapes before (more often the label has the claim to the master tapes, but can't release them without the band's approval), still have a claim after 50 years.  And yes, if they miss a deadline they can still release a collection from a previous year, but then it's dicey whether or not someone else could rerelease those and not pay royalties or get permission from the band.  But if someone gets a copy of those master tapes and they are more than 50 years old, they can release them as they are now public domain.  By releasing them before the 50 years the copyright is renewed with the new release is my understanding.
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Terry Trolley
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« Reply #527 on: January 15, 2019, 12:53:44 PM »

New Rolling Stone interview with Alan Boyd and Mark Linett

https://www.rollingstone.com/music/music-features/how-the-beach-boys-lost-late-sixties-gems-got-a-second-life-779012/
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CenturyDeprived
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« Reply #528 on: January 15, 2019, 12:59:47 PM »


Rad, thanks for sharing that!
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SMiLE Brian
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« Reply #529 on: January 15, 2019, 01:00:26 PM »

Great article!
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And production aside, I’d so much rather hear a 14 year old David Marks shred some guitar on Chug-a-lug than hear a 51 year old Mike Love sing about bangin some chick in a swimming pool.-rab2591
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« Reply #530 on: January 15, 2019, 01:05:23 PM »

lol I think I must have 2 profiles here because I've definitely posted way more than once!
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rab2591
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« Reply #531 on: January 15, 2019, 01:20:29 PM »


Thanks Terry!

Quote
And the track “Oh Yeah” — what’s that about?
Linett: My understanding is that the Beach Boys were on tour — I think they just played the Fillmore East in New York — and because there was this sort of mad scramble to finish up the new album, they’d taken their tapes with them and were working on them every chance they got. I guess they did some work at Capitol Studios in New York, and one of the band members happened upon this kid on the street who was doing this kind of rap thing, and they thought, “Oh, man, this is great, we should get him on tape.” They brought him into the studio, gathered the guys around the mic, and had him lay it down. All it says on the tape box is “Oh Yeah.” No indication as to who he is.

That is such a cool story. Imagine being this kid throwing out some words on the street and next you're in a recording studio with one of America's most well loved bands. Would love to know if this kid is still around and if he remembers this.

Also, no live recordings from 1969 in the vaults. Pretty interesting. Really grateful for Alan and Mark's work, and that this set is getting some press. Looking forward to next year's release.
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The Beach Boys legacy is still being mortared to this day...it has a solid and unbreakable foundation of incredible songs that tower above most bands, yet some bricks are more brittle and ugly than others (even some bricks put down more recently)...thus is the nature of any entity that continues to exist. You are not defined solely by your good achievements in life, you're also defined by those unpleasant moments too. This law of life, thankfully, helps keep us all in check.
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« Reply #532 on: January 15, 2019, 01:49:54 PM »


Thanks Terry!

Quote
And the track “Oh Yeah” — what’s that about?
Linett: My understanding is that the Beach Boys were on tour — I think they just played the Fillmore East in New York — and because there was this sort of mad scramble to finish up the new album, they’d taken their tapes with them and were working on them every chance they got. I guess they did some work at Capitol Studios in New York, and one of the band members happened upon this kid on the street who was doing this kind of rap thing, and they thought, “Oh, man, this is great, we should get him on tape.” They brought him into the studio, gathered the guys around the mic, and had him lay it down. All it says on the tape box is “Oh Yeah.” No indication as to who he is.

That is such a cool story. Imagine being this kid throwing out some words on the street and next you're in a recording studio with one of America's most well loved bands. Would love to know if this kid is still around and if he remembers this.

Also, no live recordings from 1969 in the vaults. Pretty interesting. Really grateful for Alan and Mark's work, and that this set is getting some press. Looking forward to next year's release.

That is indeed truly fascinating. Especially since it is somewhat of a proto rap/spoken word type of thing. I'm trying to think of a parallel in rock history for such a famous band.

I wonder if any sort of search has ever been conducted to find this kid. This could/should be a scene in a movie or something. I feel like if this ever happened with say, The Beatles, there'd be entire TV special programs dedicated to finding the kid and getting his recollections.
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rab2591
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« Reply #533 on: January 15, 2019, 01:59:52 PM »


Thanks Terry!

Quote
And the track “Oh Yeah” — what’s that about?
Linett: My understanding is that the Beach Boys were on tour — I think they just played the Fillmore East in New York — and because there was this sort of mad scramble to finish up the new album, they’d taken their tapes with them and were working on them every chance they got. I guess they did some work at Capitol Studios in New York, and one of the band members happened upon this kid on the street who was doing this kind of rap thing, and they thought, “Oh, man, this is great, we should get him on tape.” They brought him into the studio, gathered the guys around the mic, and had him lay it down. All it says on the tape box is “Oh Yeah.” No indication as to who he is.

That is such a cool story. Imagine being this kid throwing out some words on the street and next you're in a recording studio with one of America's most well loved bands. Would love to know if this kid is still around and if he remembers this.

Also, no live recordings from 1969 in the vaults. Pretty interesting. Really grateful for Alan and Mark's work, and that this set is getting some press. Looking forward to next year's release.

That is indeed truly fascinating. Especially since it is somewhat of a proto rap/spoken word type of thing. I'm trying to think of a parallel in rock history for such a famous band.

I wonder if any sort of search has ever been conducted to find this kid. This could/should be a scene in a movie or something. I feel like if this ever happened with say, The Beatles, there'd be entire TV special programs dedicated to finding the kid and getting his recollections.

Makes me wonder what stuff other bands did like this that never left the vaults.

I would love to have seen this on their 20/20 album, as some sort of hidden track at the tail end of the album.
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The Beach Boys legacy is still being mortared to this day...it has a solid and unbreakable foundation of incredible songs that tower above most bands, yet some bricks are more brittle and ugly than others (even some bricks put down more recently)...thus is the nature of any entity that continues to exist. You are not defined solely by your good achievements in life, you're also defined by those unpleasant moments too. This law of life, thankfully, helps keep us all in check.
CenturyDeprived
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« Reply #534 on: January 15, 2019, 02:16:39 PM »


Thanks Terry!

Quote
And the track “Oh Yeah” — what’s that about?
Linett: My understanding is that the Beach Boys were on tour — I think they just played the Fillmore East in New York — and because there was this sort of mad scramble to finish up the new album, they’d taken their tapes with them and were working on them every chance they got. I guess they did some work at Capitol Studios in New York, and one of the band members happened upon this kid on the street who was doing this kind of rap thing, and they thought, “Oh, man, this is great, we should get him on tape.” They brought him into the studio, gathered the guys around the mic, and had him lay it down. All it says on the tape box is “Oh Yeah.” No indication as to who he is.

That is such a cool story. Imagine being this kid throwing out some words on the street and next you're in a recording studio with one of America's most well loved bands. Would love to know if this kid is still around and if he remembers this.

Also, no live recordings from 1969 in the vaults. Pretty interesting. Really grateful for Alan and Mark's work, and that this set is getting some press. Looking forward to next year's release.

That is indeed truly fascinating. Especially since it is somewhat of a proto rap/spoken word type of thing. I'm trying to think of a parallel in rock history for such a famous band.

I wonder if any sort of search has ever been conducted to find this kid. This could/should be a scene in a movie or something. I feel like if this ever happened with say, The Beatles, there'd be entire TV special programs dedicated to finding the kid and getting his recollections.

Makes me wonder what stuff other bands did like this that never left the vaults.

I would love to have seen this on their 20/20 album, as some sort of hidden track at the tail end of the album.

Had that happened, The BBs would probably be legendary for breaking new ground in terms of genre. I'm still not quite sure how to classify the genre of “Oh Yeah”, but it's definitely doing something new for 1969, methinks.

I'd like to think that someone, somewhere, is gonna accidentally access this track in their iTunes when they are intending to select the song by the band Yello (made famous from Ferris Beuller's Day Off)  LOL

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« Last Edit: January 15, 2019, 02:18:23 PM by CenturyDeprived » Logged
HeyJude
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« Reply #535 on: January 16, 2019, 06:38:28 AM »

Interesting that there aren't any 1969 shows in the vaults, especially after the flurry of '68 shows caught on tape. But I guess the '68 shows surviving might be considered more the anomaly than the other way around.

So I guess that Paris show at the Olympia released on the French website is the only full-length pro-shot/soundboard item around from the '69 tour. I recall some other bits and pieces and a few audience recordings might be around.
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« Reply #536 on: January 16, 2019, 07:03:09 AM »

What makes you say that they don't have any 1969 shows in the vault? Was that confirmed somewhere? I've seen it claimed that the group has recordings from every year(which makes me curious about the possibility of a 1997 soundboard recording, but that's another topic I guess).
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« Reply #537 on: January 16, 2019, 10:00:09 AM »

What makes you say that they don't have any 1969 shows in the vault? Was that confirmed somewhere? I've seen it claimed that the group has recordings from every year(which makes me curious about the possibility of a 1997 soundboard recording, but that's another topic I guess).

Mark and Alan specifically mention that in the Rolling Stone interview.
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« Reply #538 on: January 17, 2019, 08:44:27 AM »


Great article and interview! Now THAT is how to get the word out about releases like this. I'm so glad to see RS run this piece so people outside the BB's fan bubble can know it's available. I think sometimes this fanbase exists too much inside its own bubble unless something gets picked up and distributed to outlets like RS.

Re: The article, this section:

>>>>What was Brian’s level of involvement with these sessions originally?
Boyd: Brian was very much involved in Friends — he was still basically running the show. He even finished the album after the boys had left to go on tour. At that point, the Beach Boys were sooo far behind on their contract with Capitol because of that long period of time between Pet Sounds and the eventual release of Smiley Smile. They were still playing catch-up. By the spring of ’68 , an album had to be turned in. Same thing with 20/20 — there was a major flurry of activity to finish that one in time to get it to Capitol before they launched a major tour of Europe. But Brian was very much involved in Friends. He pretty much produced it.

Linett: Even [songs] we’d probably say were co-produced, like Dennis’ “Little Bird,” were still more Brian producing. Not a whole lot different than earlier group recordings. The exception here is there are a lot of session players on the basic tracks, as opposed to Wild Honey and Smiley Smile.<<<<


A very big thank you to Mark and Alan for truly setting the record straight on this specific issue, and doing so in a major music publication. I hope this can be one of the definitive statements of fact on this issue of Brian's involvement in the music, and a validation of sorts for those who had to argue this very fact over the past 15 years or so in various online jousting matches over how involved Brian was in the music from 67-68. Thank you.
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CenturyDeprived
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« Reply #539 on: January 17, 2019, 10:13:34 AM »



>>>>What was Brian’s level of involvement with these sessions originally?
Boyd: Brian was very much involved in Friends — he was still basically running the show. He even finished the album after the boys had left to go on tour.

I wonder if this would account for the reason Brian sings all the parts on Transcendental Meditation; there HAS to be some logical reason for that.

Was that song recorded last for the album, once The Boys had left for touring?
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« Reply #540 on: January 17, 2019, 10:38:45 AM »



>>>>What was Brian’s level of involvement with these sessions originally?
Boyd: Brian was very much involved in Friends — he was still basically running the show. He even finished the album after the boys had left to go on tour.

I wonder if this would account for the reason Brian sings all the parts on Transcendental Meditation; there HAS to be some logical reason for that.

Was that song recorded last for the album, once The Boys had left for touring?

Yes, exactly - that was the next-to-last track to be recorded for the album, and it was cut on April 4th (the day MLK was gunned down). The following day, the Boys were scheduled to open their tour in Nashville (the gig was cancelled due to MLK's assassination in nearby Memphis). We don't know for sure when the vocals were added to the track, but it was likely when the Boys were out of town. Likewise, Brian finished "Busy Doin' Nothin'" and recorded "Diamond Head" while the Boys were away.
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« Reply #541 on: January 17, 2019, 10:39:50 AM »



>>>>What was Brian’s level of involvement with these sessions originally?
Boyd: Brian was very much involved in Friends — he was still basically running the show. He even finished the album after the boys had left to go on tour.

I wonder if this would account for the reason Brian sings all the parts on Transcendental Meditation; there HAS to be some logical reason for that.

Was that song recorded last for the album, once The Boys had left for touring?

Yes, exactly - that was the next-to-last track to be recorded for the album, and it was cut on April 4th (the day MLK was gunned down). The following day, the Boys were scheduled to open their tour in Nashville (the gig was cancelled due to MLK's assassination in nearby Memphis). We don't know for sure when the vocals were added to the track, but it was likely when the Boys were out of town. Likewise, Brian finished "Busy Doin' Nothin'" and recorded "Diamond Head" while the Boys were away.

Utterly fascinating. Thanks, c-man!

Off the top of my head, other than Transcendental Meditation I cannot think of another "BBs" track that has all Brian harmonies, other than the unreleased Don't Talk intro. (I'm excluding tracks like Caroline, No, since it's just a lead vocal with no harmonies).

Is there another example I'm missing?
« Last Edit: January 17, 2019, 10:41:52 AM by CenturyDeprived » Logged
B.E.
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« Reply #542 on: January 17, 2019, 10:56:00 AM »


Off the top of my head, other than Transcendental Meditation I cannot think of another "BBs" track that has all Brian harmonies, other than the unreleased Don't Talk intro. (I'm excluding tracks like Caroline, No, since it's just a lead vocal with no harmonies).

Is there another example I'm missing?

The first one that pops in my head is "The Surfer Moon".
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CenturyDeprived
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« Reply #543 on: January 17, 2019, 10:58:52 AM »


Off the top of my head, other than Transcendental Meditation I cannot think of another "BBs" track that has all Brian harmonies, other than the unreleased Don't Talk intro. (I'm excluding tracks like Caroline, No, since it's just a lead vocal with no harmonies).

Is there another example I'm missing?

The first one that pops in my head is "The Surfer Moon".

I did not realize that was a Wall of Brians, very cool, I'll have to relisten!
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B.E.
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« Reply #544 on: January 17, 2019, 11:06:06 AM »


Off the top of my head, other than Transcendental Meditation I cannot think of another "BBs" track that has all Brian harmonies, other than the unreleased Don't Talk intro. (I'm excluding tracks like Caroline, No, since it's just a lead vocal with no harmonies).

Is there another example I'm missing?

The first one that pops in my head is "The Surfer Moon".

I did not realize that was a Wall of Brians, very cool, I'll have to relisten!

Not a 'wall' per se, but he does sing harmony (unlike "Caroline, No"). Beautifully sung!

Edit: "I Just Wasn't Made For These Times" is, what, like 90% Brian? Maybe more.
« Last Edit: January 17, 2019, 11:28:17 AM by B.E. » Logged
c-man
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« Reply #545 on: January 17, 2019, 03:41:25 PM »


Off the top of my head, other than Transcendental Meditation I cannot think of another "BBs" track that has all Brian harmonies, other than the unreleased Don't Talk intro. (I'm excluding tracks like Caroline, No, since it's just a lead vocal with no harmonies).

Is there another example I'm missing?

The first one that pops in my head is "The Surfer Moon".

I did not realize that was a Wall of Brians, very cool, I'll have to relisten!

Not a 'wall' per se, but he does sing harmony (unlike "Caroline, No"). Beautifully sung!

Edit: "I Just Wasn't Made For These Times" is, what, like 90% Brian? Maybe more.

Yeah...and another one that's close to that is "I'm Waiting For The Day". I used to think that was all Brian, but the track sheets indicate that Mike is singing the bass voice (doubled, I think, by Brian). And of course Mike sang the alternate verse lead that wasn't used on the album.

Another one might be "Wipeout" (although, technically, it does have other vocalists - meaning, The Fat Boys).
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« Reply #546 on: January 17, 2019, 04:05:39 PM »


Off the top of my head, other than Transcendental Meditation I cannot think of another "BBs" track that has all Brian harmonies, other than the unreleased Don't Talk intro. (I'm excluding tracks like Caroline, No, since it's just a lead vocal with no harmonies).

Is there another example I'm missing?

The first one that pops in my head is "The Surfer Moon".

I did not realize that was a Wall of Brians, very cool, I'll have to relisten!

Not a 'wall' per se, but he does sing harmony (unlike "Caroline, No"). Beautifully sung!

Edit: "I Just Wasn't Made For These Times" is, what, like 90% Brian? Maybe more.

Yeah...and another one that's close to that is "I'm Waiting For The Day". I used to think that was all Brian, but the track sheets indicate that Mike is singing the bass voice (doubled, I think, by Brian). And of course Mike sang the alternate verse lead that wasn't used on the album.
Carl too, singing the lower part of the "ahh-be-doo-be-doo" with Brian.
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wjcrerar
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« Reply #547 on: January 17, 2019, 04:09:05 PM »

Could the Vega-Tables ballad insert count? I know it's just a section, but that's a big stack-o-Brian.
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c-man
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« Reply #548 on: January 17, 2019, 04:12:35 PM »


Off the top of my head, other than Transcendental Meditation I cannot think of another "BBs" track that has all Brian harmonies, other than the unreleased Don't Talk intro. (I'm excluding tracks like Caroline, No, since it's just a lead vocal with no harmonies).

Is there another example I'm missing?

The first one that pops in my head is "The Surfer Moon".

I did not realize that was a Wall of Brians, very cool, I'll have to relisten!

Not a 'wall' per se, but he does sing harmony (unlike "Caroline, No"). Beautifully sung!

Edit: "I Just Wasn't Made For These Times" is, what, like 90% Brian? Maybe more.

Yeah...and another one that's close to that is "I'm Waiting For The Day". I used to think that was all Brian, but the track sheets indicate that Mike is singing the bass voice (doubled, I think, by Brian). And of course Mike sang the alternate verse lead that wasn't used on the album.
Carl too, singing the lower part of the "ahh-be-doo-be-doo" with Brian.

Not sure about that...the track sheet is labeled with only Brian's and Mike's names, so I'm thinking there's no Carl on that one.
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wjcrerar
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« Reply #549 on: January 17, 2019, 04:16:36 PM »


Off the top of my head, other than Transcendental Meditation I cannot think of another "BBs" track that has all Brian harmonies, other than the unreleased Don't Talk intro. (I'm excluding tracks like Caroline, No, since it's just a lead vocal with no harmonies).

Is there another example I'm missing?

The first one that pops in my head is "The Surfer Moon".

I did not realize that was a Wall of Brians, very cool, I'll have to relisten!

Not a 'wall' per se, but he does sing harmony (unlike "Caroline, No"). Beautifully sung!

Edit: "I Just Wasn't Made For These Times" is, what, like 90% Brian? Maybe more.

Yeah...and another one that's close to that is "I'm Waiting For The Day". I used to think that was all Brian, but the track sheets indicate that Mike is singing the bass voice (doubled, I think, by Brian). And of course Mike sang the alternate verse lead that wasn't used on the album.
Carl too, singing the lower part of the "ahh-be-doo-be-doo" with Brian.

Not sure about that...the track sheet is labeled with only Brian's and Mike's names, so I'm thinking there's no Carl on that one.
You can hear him at the end of the take in the stack-o-vocals mix though, just by himself for a second. They're singing into the same mic and that's definitely not Mike. Could those vocals have been done at another session?
« Last Edit: January 17, 2019, 04:17:03 PM by wjcrerar » Logged
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