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Author Topic: The cancelled bonus disc for Made in California  (Read 3540 times)
Bicyclerider
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« on: July 02, 2018, 06:56:45 AM »

We know that there was a planned bonus disc for MIC which was to include the Brian mono instrumental mix of Child (the 3 ' version) followed by the instrumental track of Little Bird which would show how Brian recycled the chorus into that track.  Do we know what else was to be included on the bonus disc?  Hopefully both tracks will show up on the Friends copyright 50th anniversary release!
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« Reply #1 on: July 02, 2018, 09:01:32 AM »

We know that there was a planned bonus disc for MIC which was to include the Brian mono instrumental mix of Child (the 3 ' version) followed by the instrumental track of Little Bird which would show how Brian recycled the chorus into that track.  Do we know what else was to be included on the bonus disc?  Hopefully both tracks will show up on the Friends copyright 50th anniversary release!

Yes! I forgot about reading this in a recent issue of ESQ. Is that where you heard about this as well? I am pretty bummed to see that this version "Child Is Father Of The Man" somehow didn't make either The SMiLE Sessions or Made In California, but I could see, using your logic that it would be sensible to release it alongside an instrumental "Little Bird" as they were planning to on Made In California, instead on a new set.

But yeah, about what else woulda been on this bonus disc? I would love to know! Just instrumentals and alternates? Or maybe something like the last disc on Made In California where alongside the instrumentals and whatnot, you also got stuff like "Where Is She?" and "Barnyard Blues" and others. Hopefully somebody knows...
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« Reply #2 on: July 02, 2018, 09:47:17 AM »

Yes Mark mentioned it in the Smiley Smile issue of ESQ.  What other treasures were scheduled to be on it, that we may never get?
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« Reply #3 on: July 02, 2018, 01:19:29 PM »

If the "I've Got A Friend" instrumental track was going to be on it then I'm seriously bummed.
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« Reply #4 on: July 02, 2018, 04:52:54 PM »

In the Winter 2013 edition of ESQ, Mark mentioned that the bonus disc would've included unspecified backing and accapella tracks. At the time he was hoping that it would be released at some stage.
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« Reply #5 on: July 03, 2018, 12:24:42 PM »

Good lord...most of the set is a bonus disc!
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« Reply #6 on: July 06, 2018, 07:18:16 AM »

I'd argue the majority of the set is a really long "best of" compilation, with a bunch of "bonus disc" material sprinkled through.

I do appreciate that they largely avoided duplicating previous archival releases when selecting the "bonus" material for MIC. I still think, while the Smile "Vocal Montage" is a *stunning* piece, it took up too much space and they should have stuck something else in there considering it had been released already less than two years prior.

They've really got to move to an expansive download program for both studio and live material. Literally 100+ discs worth of material they could release there, and *without* scraping the bottom of the barrel.
« Last Edit: July 06, 2018, 07:37:38 AM by HeyJude » Logged

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« Reply #7 on: July 06, 2018, 08:09:05 AM »

Good lord...most of the set is a bonus disc!

Exactly ó I thought that was the whole reason for disc 6 (and a good chunk of disc 5)!
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« Reply #8 on: July 06, 2018, 08:13:27 AM »

The MIC set is a trove of amazing material.

And while a boon to collectors/historians who don't mind buying 6 CDs to get about 2 to 2 1/2 discs of material they didn't already own, it was objectively a poorly marketed/timed set (not given a strong push by Capitol, and of course WAAAY late to piggyback on the C50 festivities), and seemingly was too "deep" for casual fans and conversely forced the more enthusiastic/hardcore fans to buy 3-4 CDs of material they already owned many times over.

To be clear, this was almost surely the *only* way they were ever going to get 60+ previously unreleased tracks released as a "mainstream" sort of release (though eventually we got a similar, more focused item with the "Sunshine Tomorrow" set). They essentially snuck in as much archival material as they could onto a release that Capitol was, I guess, marketing more as a sort of "coffee table book/holiday gift" sort of item.
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« Reply #9 on: July 06, 2018, 10:07:20 AM »

Forgive my rambling in advance, maybe this should be a separate topic post.

There was an old short film I saw about a guy wandering through a desert area dying of thirst. He found an abandoned pump connected to a water well. On top of the pump sat a bottle of water, with a note attached telling anyone who needed water to "prime the pump" by pouring the water down the well to get the pump flowing. And once that was done, the pump would put out all the life-saving water someone would need, provided they left that bottle full once they got what they needed, so the next people in dire need of water could access the well.

So the guy dying of thirst decided to drink the bottle first, instead of priming the pump with it as the note instructed, and then madly started working the pump to no avail. He died of thirst in that desert because he drank the bottle but didn't prime the pump, a simple act which would have kept the water flowing for as long as he needed it.

I guess I'm wondering two things: Hasn't the BRI vault pump been primed enough in order to somehow get the water flowing from the well in terms of full-on widespread releases of vault material? It feels like it's flowing to some degree, but it also feels like the bottle of water is being consumed instead of getting to the actual well.

And I'm wondering too what exactly it is that is holding it up. It has to be close to 15 years ago that an online Beach Boys archival website was actually on the table and in the works, for fans to download vault material. Then it just died.

Instead we do get the archival "copyright" releases, some online-only and others as actual CD product, but the vaults still contain a lot of extra takes and various sessions which I'm sure both the completists and casual fans would like to hear.

Instead it still feels like we cannot get certain releases without having to piggyback onto them another release of Fun Fun Fun or Kokomo, or whatever other hits get repackaged.

I guess I'm left wondering how much more the "pump" needs to be primed before we get the kind of comprehensive, catch-all sets AND live releases which other bands and artists have been offering now for 15 years or more.

And I still think one way to bridge the gap AND get more widespread media/press attention would be to release some sets to the public as a "The Making Of..." kind of series, where full session tapes exist for classics like California Girls or I Get Around or whatever the case...and put it out for casual and diehard fans to hear the creative process at work that went into the hits. I know I've said it before, but I think it's a money in the bank idea where fans wouldn't get edited or redacted tapes of these sessions but would be able to dive into the full deal.

If those get attention, if released the right way, the pump would be considered sufficiently primed for more.

I think having the most familiar hits given this treatment would get more attention than hearing some scratchy, half-assed demos of songs from 1973 that never went anywhere. But once the pumps are primed, that stuff can have more of a market too for the diehards.

And it's not like other bands have not proven by now that there is a market for fanbases to log onto a web repository and purchase audio of full live shows, untouched and unedited. Pearl Jam was doing this over 15 years ago. The Dead are still doing it, as are many others.

Done the right way, The Beach Boys could do it with archival material. It may be hard to separate Mike's 180+ shows per year touring activities from the original Beach Boys, but damn there has to be a market for untouched tapes of the old concerts.
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« Reply #10 on: July 06, 2018, 10:51:07 AM »

GF, I wish you were in charge of archival releases.  Grin I had a similar idea. My idea was to take a specific date(month, day, and year), and just release the entire recording session for that date, warts and all.
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« Reply #11 on: July 06, 2018, 11:56:30 AM »

I'm all for everything and anything in bulk getting released, but I'd MUCH rather see cultivated sets of archival material focusing on years/eras rather than full session tapes for familiar songs.

I'd rather see a disc full of "Brother Rarities" than a disc of every raw take of "California Girls." All of that can come too, and a vast online archival program would be a great place for unedited (more or less) session tapes.

I think the hardcore/diehard fans have waited long enough for bridging the gap between casual and hardcore fans. Make no mistake, I'm not blind to the economics of what sells and what doesn't. Unreleased Beach Boys material doesn't top the charts, no question.

But there is a hardcore fan base that is large enough to move enough "digital units" of archival programs that we don't have to keep taking stuff that is intended for hardcore fans and try to target casual fans.

I think it's time for numerous discs of mid-late 70s tracks. Releasing "Carry Me Home" will be much more of a game-changer and "cred" enhancer for indie/new fans and all of that than releasing more early-mid 60s session tapes.

Obviously, there can be *many* tiers to all of this stuff. Hits comps for the casual fans. Compiled boxed sets (whether digital-only or not) to give an overview of an era (e.g. a Brian-focused "Bedroom Tapes" sort of box, a group-focused 70s/80s box, a "Live" box), and then an online archive can delve into raw session tapes.

But the thing that's going to garner the most attention and be a true "game changer" for the band's reputation isn't going to be a release of the unedited "California Girls" or "Fun Fun Fun" session tapes. It's going to be the 87 Dennis and Brian (and Carl, and the other guys) tracks nobody has ever heard. It'll be the "'Til I Die" demo, the unedited take of "This Whole World", "Carry Me Home", all that stuff that hasn't come out that was on that "Proposed Brother Bonus Tracks" set of discs that guy found.

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« Reply #12 on: July 06, 2018, 12:13:01 PM »

HeyJude, I agree with you completely. I'd personally rather--by far rather--have first-time issuing of still unreleased songs than sessions. (I'm fine with more sessions, too: they're interesting. But I don't listen to them for fun or repeatedly.)

Considering the virtual lack of cost associated with digital-only releases, it's absurd they haven't at least done that. The big box sets are great, but they don't have to go that route. The pure profit they could make off of online sales ... it's crazy they haven't taken advantage, even if they might only move a few thousand copies.
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« Reply #13 on: July 06, 2018, 12:49:47 PM »

I'm in complete agreement with HeyJude on this. Prioritising the release of sessions for popular songs, or indeed any songs by the Beach Boys over 'Til I Die (Demo), Carry Me Home, the unreleased tracks to which HeyJude was referring etc. Boys would be injudicious, I feel. An online archive, much like Massive Attack's one, for example, is a great idea.

An extended 1968-75 compilation album, or archival material focusing on each year/era separately would do justice to the Beach Boys. I personally would like to see another "Made in California" box set, but classier (more 'mature' album cover and title') and without the unnecessary material, i.e. what's already released.
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« Reply #14 on: July 06, 2018, 01:44:32 PM »

I'll agree to disagree but you guys just didn't seem to get what I was saying.

No doubt there are things in those vaults for the hardcore fans.

But I ask this in all seriousness...Where is the market right now in terms of projected hard sales numbers and potential buyers for material dating from the period of albums which are at this point mostly unknown even though they've been reissued on CD a few times over? So Tough, Holland, Surf's Up...in the US these albums outside the kind of people that read these boards are not exactly sales powerhouses, and I don't say that as a commentary on the albums or the reasons why, but it's feeling like the hard truth at this point.

So a marketing pitch to release *demos* from an era where there is all but an ignorance of the albums that were released, as some seem to want, and demos that sound scratchy and low fi and full of wow and flutter at that...how is that a game changer for the band?

People want what's familiar.

I'm saying if you bank on the familiar to *prime the pump* for more to come, you stand a better chance of generating interest with that over releasing "The Bedroom Tapes" or whatever misnomer was applied to that non-existent collection.

That "Brother Rarities" material? Yes, some is stunningly terrific. Some is crap that only completists would want. Should it come out? I say a resounding yes. But I'd also say more of it needs to be trimmed off those original lists because it simply isn't that good.

But there are things in the vaults that ARE that good.

But you cannot expect fans who either don't own, don't like, or don't know "Carl And The Passions" to buy demos and outtakes from that or various alt mixes from 15 Big Ones if they don't even have a familiarity or a fondness for with the actual released material.

The best way to introduce this stuff is to start with the familiar music - almost to a fault.

Would people listen to the California Girls complete sessions? I think a lot would buy it to hear them once...and isn't that the idea? As long as they buy it.

Then see how many people would buy demos from 71-76 and beyond in comparison.

Live shows from that 70's era? Completely different situation all around. Different marketing too. A much easier sell.

And yes...the plans for an online "shop" of vault material was on the books around the early to mid 2000's, in fact if I recall they had a domain purchased for it. It still hasn't happened.

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« Reply #15 on: July 06, 2018, 01:56:44 PM »

Did the Pet Sounds Sessions and Smile Sessions box sets sell enough to be considered successful?

Absolutely.

And those are comprised of mostly raw session tapes with the musicians running through takes, albeit edited and streamlined a bit.

I'd like to see as up to date as possible sales numbers in the US market of the following, if they even exist or if anyone has them:

GV box set from '93
Hawthorne CA 2-disc set
Pet Sounds Sessions
Smile Sessions
Made In California
Sunshine Tomorrow

If those sales number are anything resembling the notion that they sold well enough to be justified, then I'd say the pump has been primed enough times to start pumping out more material.

We can argue all day what kind of material that should be, whether it be another Loop De Loop demo or some sh*t that was left off Keepin The Summer Alive or a "hot mix" of Rock And Roll Music...but I think there is no doubt there is a market for something to exist.

A better-selected "Brother Rarities" would be a great one eventually, but imagine the industry buzz alone if people who have no clue what the "Sea Of Tunes" label is or was would have access to raw tapes of Brian producing some of the most legendary tracks of the past 50+ years presented in full, sequential order and in superb quality. Other artists have done similar, but not quite on the same scale. Yet all of those projects have gotten positive reviews as far as I know, especially among the hardcore fans of those groups.

Headquarters Sessions, anyone? It inspired Rhino to go even further and make deluxe editions of more Monkees material which also was pretty successful.

Consider how much "Headquarters Sessions" type material is in the Beach Boys vaults from the most well-known Capitol years which has not seen the light of day in terms of official releases.
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« Reply #16 on: July 06, 2018, 02:22:27 PM »

I'll agree to disagree but you guys just didn't seem to get what I was saying.

No doubt there are things in those vaults for the hardcore fans.

But I ask this in all seriousness...Where is the market right now in terms of projected hard sales numbers and potential buyers for material dating from the period of albums which are at this point mostly unknown even though they've been reissued on CD a few times over? So Tough, Holland, Surf's Up...in the US these albums outside the kind of people that read these boards are not exactly sales powerhouses, and I don't say that as a commentary on the albums or the reasons why, but it's feeling like the hard truth at this point.

So a marketing pitch to release *demos* from an era where there is all but an ignorance of the albums that were released, as some seem to want, and demos that sound scratchy and low fi and full of wow and flutter at that...how is that a game changer for the band?

People want what's familiar.

I'm saying if you bank on the familiar to *prime the pump* for more to come, you stand a better chance of generating interest with that over releasing "The Bedroom Tapes" or whatever misnomer was applied to that non-existent collection.

That "Brother Rarities" material? Yes, some is stunningly terrific. Some is crap that only completists would want. Should it come out? I say a resounding yes. But I'd also say more of it needs to be trimmed off those original lists because it simply isn't that good.

But there are things in the vaults that ARE that good.

But you cannot expect fans who either don't own, don't like, or don't know "Carl And The Passions" to buy demos and outtakes from that or various alt mixes from 15 Big Ones if they don't even have a familiarity or a fondness for with the actual released material.

The best way to introduce this stuff is to start with the familiar music - almost to a fault.

Would people listen to the California Girls complete sessions? I think a lot would buy it to hear them once...and isn't that the idea? As long as they buy it.

Then see how many people would buy demos from 71-76 and beyond in comparison.

Live shows from that 70's era? Completely different situation all around. Different marketing too. A much easier sell.

And yes...the plans for an online "shop" of vault material was on the books around the early to mid 2000's, in fact if I recall they had a domain purchased for it. It still hasn't happened.



Speaking only for myself, I was in agreement with HeyJude not because of any real business plan, but based on what I want to hear most. (And I was just pointing out that it could be released for nothing, which is a bonus.) I wasn't saying that was the best plan for the band's success. Most of what you're talking about has to do with what you think would be the best for the band, for its reputation, for its popularity.

So, no, I "cannot expect fans who either don't own, don't like, or don't know "Carl And The Passions" to buy demos and outtakes from that or various alt mixes from 15 Big Ones if they don't even have a familiarity or a fondness for with the actual released material." But my response, anyway, has nothing to do with them. It was coming from a proper, luthercentric universe.
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« Reply #17 on: July 06, 2018, 03:06:05 PM »

I'll agree to disagree but you guys just didn't seem to get what I was saying.

No doubt there are things in those vaults for the hardcore fans.

But I ask this in all seriousness...Where is the market right now in terms of projected hard sales numbers and potential buyers for material dating from the period of albums which are at this point mostly unknown even though they've been reissued on CD a few times over? So Tough, Holland, Surf's Up...in the US these albums outside the kind of people that read these boards are not exactly sales powerhouses, and I don't say that as a commentary on the albums or the reasons why, but it's feeling like the hard truth at this point.

So a marketing pitch to release *demos* from an era where there is all but an ignorance of the albums that were released, as some seem to want, and demos that sound scratchy and low fi and full of wow and flutter at that...how is that a game changer for the band?

People want what's familiar.

I'm saying if you bank on the familiar to *prime the pump* for more to come, you stand a better chance of generating interest with that over releasing "The Bedroom Tapes" or whatever misnomer was applied to that non-existent collection.

That "Brother Rarities" material? Yes, some is stunningly terrific. Some is crap that only completists would want. Should it come out? I say a resounding yes. But I'd also say more of it needs to be trimmed off those original lists because it simply isn't that good.

But there are things in the vaults that ARE that good.

But you cannot expect fans who either don't own, don't like, or don't know "Carl And The Passions" to buy demos and outtakes from that or various alt mixes from 15 Big Ones if they don't even have a familiarity or a fondness for with the actual released material.

The best way to introduce this stuff is to start with the familiar music - almost to a fault.

Would people listen to the California Girls complete sessions? I think a lot would buy it to hear them once...and isn't that the idea? As long as they buy it.

Then see how many people would buy demos from 71-76 and beyond in comparison.

Live shows from that 70's era? Completely different situation all around. Different marketing too. A much easier sell.

And yes...the plans for an online "shop" of vault material was on the books around the early to mid 2000's, in fact if I recall they had a domain purchased for it. It still hasn't happened.



Speaking only for myself, I was in agreement with HeyJude not because of any real business plan, but based on what I want to hear most. (And I was just pointing out that it could be released for nothing, which is a bonus.) I wasn't saying that was the best plan for the band's success. Most of what you're talking about has to do with what you think would be the best for the band, for its reputation, for its popularity.

So, no, I "cannot expect fans who either don't own, don't like, or don't know "Carl And The Passions" to buy demos and outtakes from that or various alt mixes from 15 Big Ones if they don't even have a familiarity or a fondness for with the actual released material." But my response, anyway, has nothing to do with them. It was coming from a proper, luthercentric universe.

Cap'n...I was replying to this specifically:

I think it's time for numerous discs of mid-late 70s tracks. Releasing "Carry Me Home" will be much more of a game-changer and "cred" enhancer for indie/new fans and all of that than releasing more early-mid 60s session tapes.

Obviously, there can be *many* tiers to all of this stuff. Hits comps for the casual fans. Compiled boxed sets (whether digital-only or not) to give an overview of an era (e.g. a Brian-focused "Bedroom Tapes" sort of box, a group-focused 70s/80s box, a "Live" box), and then an online archive can delve into raw session tapes.

But the thing that's going to garner the most attention and be a true "game changer" for the band's reputation isn't going to be a release of the unedited "California Girls" or "Fun Fun Fun" session tapes. It's going to be the 87 Dennis and Brian (and Carl, and the other guys) tracks nobody has ever heard. It'll be the "'Til I Die" demo, the unedited take of "This Whole World", "Carry Me Home", all that stuff that hasn't come out that was on that "Proposed Brother Bonus Tracks" set of discs that guy found.


I fail to see how a longer take of "This Whole World" is going to be any more of a game-changer or reputation booster for the band than the song as officially released itself. Have the numerous releases and re-releases of "This Whole World" or anything similar in the released and remastered forms as the band intended done anything in terms of being a game-changer or boosting the band's legacy? I'd say no. If people hadn't been as familiar with it and happened to hear it on a reissue, and liked it, that han't translated into anything beyond that in terms of building or changing the legacy.

I'll go back to hard truths, at least as I see them: The early 70's material is and has been readily available. If people in numbers beyond where it would be a niche market had gravitated toward it or latched onto it to where we'd be able to see such a shift in popularity or recognition, we would see it as of 2018. It's all out there in multiple forms and formats, and if people haven't been noticeably embracing it since those first CD reissues, where is the logic that demos and rough mixes of that same material would change any games?

That's niche material, for better or worse. At some point in terms of marketing and projecting and sales and all that stuff, you can't force or hector people into buying something they're not into. Diehard fans will line up for it, but in terms of getting things on the legacy-boosting level?

Go for the material from this band that already created that legacy, go for the unheard and arcane surrounding that material, and prime that pump for the lesser known eras.

But I cannot see any market outside the diehard completists for anything this band recorded after 1976. The only interest might be what Brian was doing on his own and the Love You untouched demos (curiosity would drive interest in those perhaps because it was Brian), but seriously where is there a market for MIU or KTSA or BB85 outtakes or unreleased tunes when the albums themselves stiffed and are generally ignored by most outside the hardcore fans?

It may sound cynical, but if there are suggestions that unreleased material from the 70's and beyond is the golden goose just waiting to lay those golden eggs, I don't see it in reality because the material is more often than non sub-par and the released versions of said material simply do not sell or generate interest.

If people get a chance to hear a song they know and which millions love in a new way, or hear the process behind that classic, that element is what helps sell a pitch to release this kind of material. Not the chance to hear an alternate take from the MIU album or something.
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« Reply #18 on: July 06, 2018, 03:09:00 PM »

It's a question of structuring releases to address (perceived) marketing strategies. If GF is right, then an approach that leads off with a disk with variants and session materials from more familiar songs, and follows with a series of outright rarities arranged by whatever theme the BRI folks/consultants come up with would be the way to go.

How well did Alan Boyd's late-90s compilations sell? That was the template for what I'm calling the "second disk" in a new "2-fer" series.

Of course an on-line resource with access to the Sea of Tunes materials would be extremely intriguing, fitting in well with how music is being delivered at this point in time, and creating it shouldn't require a great deal of expenditure, so (as others have noted) even a modest amount of sales should make the effort worthwhile (read: profitable).
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« Reply #19 on: July 06, 2018, 03:11:22 PM »

And applying some deliberately simple-minded logic to ask a question:

If it were as inexpensive and as easy to open the vaults for fans to buy and access via an online download "shop" as is being suggested, wouldn't it have been done already?

Maybe the questions should be why hasn't it been done already even after it was proposed and planned roughly 15 years ago? What all is preventing it from actually happening?
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ďSome people think you have to knock somebody down in order to build yourself up, I donít look at it that way. To the mentality that likes to disparage other people, I say perhaps you should get a life. Itís just wrong thinking in my opinion and I donít mind saying that.Ē - Mike Love

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« Reply #20 on: July 06, 2018, 03:16:59 PM »

It's a question of structuring releases to address (perceived) marketing strategies. If GF is right, then an approach that leads off with a disk with variants and session materials from more familiar songs, and follows with a series of outright rarities arranged by whatever theme the BRI folks/consultants come up with would be the way to go.

How well did Alan Boyd's late-90s compilations sell? That was the template for what I'm calling the "second disk" in a new "2-fer" series.

Of course an on-line resource with access to the Sea of Tunes materials would be extremely intriguing, fitting in well with how music is being delivered at this point in time, and creating it shouldn't require a great deal of expenditure, so (as others have noted) even a modest amount of sales should make the effort worthwhile (read: profitable).

Consider that everything that was on Sea Of Tunes (and more) exists and can be released with even more care given to the mixing and balancing of the tracks as well as more complete run-downs of the different albums' sessions (done chronologically for example), adding even more that has been found or acquired since the original SOT run...It would be an amazing, truly game-changing project to get it out officially.

And it would be familiar musical material that has a 50+ year track record of being popular and selling consistently versus unheard versions of less popular music that didn't sell.

Sounds like a no-brainer to me!  Grin

I think you have to get material with wide appeal to "sell" anything like this. In this case there is plenty of that to pull from, and it can be done well (if done correctly).
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ďSome people think you have to knock somebody down in order to build yourself up, I donít look at it that way. To the mentality that likes to disparage other people, I say perhaps you should get a life. Itís just wrong thinking in my opinion and I donít mind saying that.Ē - Mike Love

"Every single person who criticized Brian for having She & Him, Kacey Musgraves, Sebu and Nate Ruess guesting on his solo album can now officially go heartily f*** themselves." - Wirestone
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« Reply #21 on: July 06, 2018, 03:42:38 PM »

And applying some deliberately simple-minded logic to ask a question:

If it were as inexpensive and as easy to open the vaults for fans to buy and access via an online download "shop" as is being suggested, wouldn't it have been done already?

Maybe the questions should be why hasn't it been done already even after it was proposed and planned roughly 15 years ago? What all is preventing it from actually happening?

Feel free to tell us.
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« Reply #22 on: July 06, 2018, 04:06:51 PM »

And applying some deliberately simple-minded logic to ask a question:

If it were as inexpensive and as easy to open the vaults for fans to buy and access via an online download "shop" as is being suggested, wouldn't it have been done already?

Maybe the questions should be why hasn't it been done already even after it was proposed and planned roughly 15 years ago? What all is preventing it from actually happening?

Feel free to tell us.

Only if you reveal the recipe for your famous Bouillabaisse.
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ďSome people think you have to knock somebody down in order to build yourself up, I donít look at it that way. To the mentality that likes to disparage other people, I say perhaps you should get a life. Itís just wrong thinking in my opinion and I donít mind saying that.Ē - Mike Love

"Every single person who criticized Brian for having She & Him, Kacey Musgraves, Sebu and Nate Ruess guesting on his solo album can now officially go heartily f*** themselves." - Wirestone
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« Reply #23 on: July 06, 2018, 04:20:15 PM »

I  just want to hear this unreleased stuff! I don't care if others hear it and either love it or hate it...I just want to hear all of it, every last second, every drum, every guitar, every fart, doesn't matter.
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« Reply #24 on: July 06, 2018, 04:29:22 PM »

I  just want to hear this unreleased stuff! I don't care if others hear it and either love it or hate it...I just want to hear all of it, every last second, every drum, every guitar, every fart, doesn't matter.

Ditto. Minus maybe some of the farts.
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Demon-Fighting Genius; Patronizing Twaddler; Argumentative, Sanctimonious Prick; Sensationalist Dullard; and Douche who (occasionally to rarely) puts songs here.

No interest in your assorted grudges and nonsense.
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