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Author Topic: The cancelled bonus disc for Made in California  (Read 3324 times)
♩♬☮ Billy C ♯♫♩☮
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« Reply #25 on: July 06, 2018, 04:31:44 PM »

Even if it is a farty synth!
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« Reply #26 on: July 06, 2018, 04:36:32 PM »

Mini moog farts! Grin
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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 #27 on: July 06, 2018, 05:08:59 PM »

So if the moog was off would it be “silent but deadly “?
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« Reply #28 on: July 06, 2018, 08:03:24 PM »

I just wish that they are going to release studio stuff from the vaults constantly until 2062. And as for live stuff, we can even go further!
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« Reply #29 on: July 06, 2018, 08:50:55 PM »

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.

Can I be in charge of any remixing/mastering? Apparently somebody liked my work as a few of mine somehow found their way to MiC.... LOL
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« Reply #30 on: July 07, 2018, 05:28:28 AM »

GF and Billy were not made in California! Grin
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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 #31 on: July 09, 2018, 01:49:04 PM »

In a discussion last year that initially centered around "Sunshine Tomorrow", Howie Edelson said this:

I don't want to besmirch any other band, but as someone who's quite aware of what's in several other group's vaults, of the "majors" (and I'm not exaggerating), The Beach Boys are the ONLY one where if its unreleased material was finally released, the entire narrative changes and history gets a revamp. The BB's are the only band who can get a 10th life from what they left on the cutting room floor. The Grateful Dead definitely do not have five more "Sugar Magnolia's" tucked away in the vault -- The BB's have 15.

I don't want to speak for Howie, but I sense he was talking more about "Carry Me Home" and more Dennis material, and "Bedroom Tapes" type of material more than alternate session breakdowns and takes for "California Girls" and "Surfin' Safari" and "Fun Fun Fun."

Remember, especially when it comes to the 70s and 80s, there is TONS of stuff we've *never* even heard or maybe even heard *of.*
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« Reply #32 on: July 09, 2018, 01:57:31 PM »

I’d trust and believe Howie on this... he definitely knows the score
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« Reply #33 on: July 10, 2018, 07:46:50 PM »

In a discussion last year that initially centered around "Sunshine Tomorrow", Howie Edelson said this:

I don't want to besmirch any other band, but as someone who's quite aware of what's in several other group's vaults, of the "majors" (and I'm not exaggerating), The Beach Boys are the ONLY one where if its unreleased material was finally released, the entire narrative changes and history gets a revamp. The BB's are the only band who can get a 10th life from what they left on the cutting room floor. The Grateful Dead definitely do not have five more "Sugar Magnolia's" tucked away in the vault -- The BB's have 15.

I don't want to speak for Howie, but I sense he was talking more about "Carry Me Home" and more Dennis material, and "Bedroom Tapes" type of material more than alternate session breakdowns and takes for "California Girls" and "Surfin' Safari" and "Fun Fun Fun."

Remember, especially when it comes to the 70s and 80s, there is TONS of stuff we've *never* even heard or maybe even heard *of.*

Missed this 1st time around. Certainly some fine early Dennis stuff, as Alan Boyd has said. Tantalizing.
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« Reply #34 on: July 11, 2018, 07:34:00 AM »

In a discussion last year that initially centered around "Sunshine Tomorrow", Howie Edelson said this:

I don't want to besmirch any other band, but as someone who's quite aware of what's in several other group's vaults, of the "majors" (and I'm not exaggerating), The Beach Boys are the ONLY one where if its unreleased material was finally released, the entire narrative changes and history gets a revamp. The BB's are the only band who can get a 10th life from what they left on the cutting room floor. The Grateful Dead definitely do not have five more "Sugar Magnolia's" tucked away in the vault -- The BB's have 15.

I don't want to speak for Howie, but I sense he was talking more about "Carry Me Home" and more Dennis material, and "Bedroom Tapes" type of material more than alternate session breakdowns and takes for "California Girls" and "Surfin' Safari" and "Fun Fun Fun."

Remember, especially when it comes to the 70s and 80s, there is TONS of stuff we've *never* even heard or maybe even heard *of.*

Maybe I'm just not understanding or getting what is meant by the term "game changer" or changing the narrative. Is it changing the game in terms of the general public opinion, or among hardcore fans of the band?

A few things come to mind. First, would "Made In California" as released with all the previously unheard tracks be considered a game-changer? Did the wealth of outtakes and unheard tracks cause opinions or perceptions to noticeably shift after people heard the set? Or if not, what archival/vault releases without the names "Pet Sounds" or "Smile" had such a game-changing impact outside the diehard fanbase?

(I'd say that '93 box set was indeed a game changer, but I also think the bulk of the reasons why centered around the Smile material)

And I cannot understand where there is appeal to anyone but the most obsessive completists and collector/diehards to hear ANYTHING languishing in the vaults from the late 70's or 80's. The released albums were ignored when they were released, and are still mostly ignored to this day. And I think a lot of it has to do with the songs themselves, and the sounds used in terms of the way they were making records at that time. I don't get the appeal.

And I surely don't see where KTSA or MIU or BB85 outtakes are going to cause a seismic game-changing shift in public opinion. But that's just my take.

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« Reply #35 on: July 11, 2018, 08:32:49 AM »

In a discussion last year that initially centered around "Sunshine Tomorrow", Howie Edelson said this:

I don't want to besmirch any other band, but as someone who's quite aware of what's in several other group's vaults, of the "majors" (and I'm not exaggerating), The Beach Boys are the ONLY one where if its unreleased material was finally released, the entire narrative changes and history gets a revamp. The BB's are the only band who can get a 10th life from what they left on the cutting room floor. The Grateful Dead definitely do not have five more "Sugar Magnolia's" tucked away in the vault -- The BB's have 15.

I don't want to speak for Howie, but I sense he was talking more about "Carry Me Home" and more Dennis material, and "Bedroom Tapes" type of material more than alternate session breakdowns and takes for "California Girls" and "Surfin' Safari" and "Fun Fun Fun."

Remember, especially when it comes to the 70s and 80s, there is TONS of stuff we've *never* even heard or maybe even heard *of.*

Maybe I'm just not understanding or getting what is meant by the term "game changer" or changing the narrative. Is it changing the game in terms of the general public opinion, or among hardcore fans of the band?

A few things come to mind. First, would "Made In California" as released with all the previously unheard tracks be considered a game-changer? Did the wealth of outtakes and unheard tracks cause opinions or perceptions to noticeably shift after people heard the set? Or if not, what archival/vault releases without the names "Pet Sounds" or "Smile" had such a game-changing impact outside the diehard fanbase?

(I'd say that '93 box set was indeed a game changer, but I also think the bulk of the reasons why centered around the Smile material)

And I cannot understand where there is appeal to anyone but the most obsessive completists and collector/diehards to hear ANYTHING languishing in the vaults from the late 70's or 80's. The released albums were ignored when they were released, and are still mostly ignored to this day. And I think a lot of it has to do with the songs themselves, and the sounds used in terms of the way they were making records at that time. I don't get the appeal.

And I surely don't see where KTSA or MIU or BB85 outtakes are going to cause a seismic game-changing shift in public opinion. But that's just my take.



You know GF, as much as I sometimes see things differently than you, I do totally agree with you that the term "game changer" for the remaining unreleased material is a bit too much. While I agree with those posters who have said that they think the truly unreleased material would have more effect than raw sessions of "California Girls" or whatever, I still don't think the truly unreleased, unheard titles will be setting even the Pitchfork/Stereogum/NPR type communities ablaze, much less the larger public narrative.

The best case scenario is likely the kind of reception that something like Made In California or Sunshine Tomorrow probably got around a few non-hardcore fans who heard a few things that weren't what they expected from The Beach Boys and it turned them into fans. I think that is possible. But not on a large scale. I personally think reissuing albums like Sunflower, Surf's Up, Holland and even ones like (yes) 15 Big Ones and (yep) L.A. (Light Album) with a decent amount of bonus material would be the smartest way to go. Highlight the actual albums, and the great material that actually made it onto those albums and then supplement it with some unreleased stuff. But no, as great as the unreleased stuff is, I don't think there is anything in the vault that is gonna make releasing Sunflower or Surf's Up or Holland as they are look like a bad idea. But stuff like "Carry Me Home", all of those unreleased 15 Big Ones-era covers and L.A. (Light Album) and Keepin' The Summer Alive outtakes will help complete the picture of what this band is. But I don't think any of it will change the basic picture in the first place like some people think. Maybe I'm wrong and there are more "Please Let Me Wonder" quality things and more even Wild Honey quality albums in the vault. But I suspect it's more like oddities like "Loop de Loop" and the 1970 version of "Back Home" and whatnot. And that's fine with me.

I will say though, as far as Dennis Wilson solo material, there may well be something closer to the so-called "game changers." I think there is a lot of "there" there that we may not know of. And maybe it's that's what these people are speaking of, then maybe I'm with them.
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« Reply #36 on: July 11, 2018, 08:58:37 AM »

People, “game changer” (or whatever equivalent term) means getting the appropriate media attention focused specifically on the wealth of  *unheard* songs/material. To even just start to change perceptions.

It’s not going to hit #1 on the Billboard album charts. But it’s going to get the type of media attention that helps to change the narrative of the BAND.

And what that *doesn’t* necessarily specifically entail is more early-mid 60s session tapes. We already have approximately 10 discs (give or take, but I’m talking about the PS Sessions Box, the “Smile Sessions” box, “Keep an Eye on Summer”, etc.) worth of Brian helming 60s sessions in his prime. As I’ve said, I’m all for dumping *all* of the vaults out there for fans and scholars. But the story/narrative of Brian being in charge and doing his amazing work on those 60s sessions has been told sufficiently *compared* to the gaping hole in the narrative for the 70s and 80s (and we can stretch that back to the later 60s if we want, and even into the 90s with the Paley material, etc.), where, despite *great* material being doled out on MIC, EH Soundtrack, etc. is where DOZENS of discs worth of unheard material awaits release.

What achieves all of this is THEMED, TARGETED releases focusing on particular eras/types of material. However inaccurate a “Bedroom Tapes” moniker might be for a boxed set of late 60s to mid-late 70s Brian-centric tracks, a “Bedroom Tapes” multi-disc (digital or physical or both, whatever) set following up quickly on that article (and on the heels of those “Proposed Brother Bonus Tracks” being stumbled upon and creating some interest) would have gotten a lot of eyes and attention.

Same with Dennis material.

There should be a multi-disc set for Brian’s 70s and 80s material (demos, studio tracks, etc.), a multi-disc set for Dennis’s late 60s-early 80s (mostly late 70s) material, and another to capture the DOZENS of tracks the *other* guys did that are noteworthy. There are Al Jardine tracks we’ve never even heard about. Same with Carl.

And then also a “Live” boxed set to kick off a live show download program.

More “4th of July” and “Carry Me Home” and even “Stevie” and all of that; *that’s* where the narrative can shift and not only create more buzz, but just as if not more importantly, FINALLY cater to the hardcore fans the way the Elvis “FTD” series has or the huge Grateful Dead or Dylan series of archival material. Those Grateful Dead sets don’t burn up the Billboard charts either.

On the selfish side of things, I don’t care as much how much the industry or the masses change their view of the BBs and I just want to see NEW unreleased material (which means not so much 60s material, though there is still some there too). But putting out a Dennis set centered on “Carry Me Home” would achieve both; it would be the best of both words. And even if it doesn't set the indie rock press world on fire, it's what fans and scholars want and need. Much more so than aborted backing track takes of "All Summer Long", etc.

To sum up, while “California Girls” is a better song than Al’s 1978 version of “Looking Down the Coast” or even an alternate mix of “My Diane”, what I’d rather see is discs full of that 70s and 80s material. There can still be some vetting, some curation involved. They don’t *have* to put out “Battle Hymn of the Republic” (though that one would probably be innocuous). They probably should avoid putting out “Lazy Lizzie” for a myriad of reasons. But there’s just SO MUCH 70s and 80s material. I truly think we don’t even know about all of it. But even on those three “Proposed Brother Bonus Tracks” discs, there’s a good two discs worth of key, mind-blowing material. The long version of “This Whole World”, the “’Til I Die” demo, Fairy Tale EP demos, the alternate version of “4th of July”, the (relatively) complete version of “We Gotta Groove”, and even the kind of secondary material like Al singing “Love Is a Woman”, and the list goes on and on. And that’s not even getting into vocals-only and instrumental versions of familiar songs. The long version of “This Whole World” needs to be heard, but so does a full instrumental track.

Seriously, if even 25% of the known-of-but-never-heard unreleased tracks from the 70s and 80s were solid, there would be tons to release right there. Carl’s “Down by the Pier.” Maybe it stinks, but maybe it’s really good. I have a suspicion there’s a TON of Carl stuff we haven’t heard, probably tons of demos held by the estate rather than BRI.
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« Reply #37 on: July 11, 2018, 09:52:43 AM »

People, “game changer” (or whatever equivalent term) means getting the appropriate media attention focused specifically on the wealth of  *unheard* songs/material. To even just start to change perceptions.

Eh, maybe that's your definition. But there have been those saying that this is more important than the members doing more work together or indeed ever touring together again. And it also has a tinge of wanting The Beach Boys to be something different than they are, like these people want the so-called "cool people" to like The Beach Boys instead of just enjoying the music and the story and understanding that Brian, Mike, Carl, Al and even Dennis aren't David Bowie or Bob Dylan or whatever. But to be honest, I'm a guy in my mid-30s and to me it seems that to people around my age and in their 20s and whatnot, The Beach Boys are about equal with so called "cooler" groups from back in the day like The Who or Zep or what have you.

So yeah, while I don't think the vault of unreleased material is the main thing, I do think that promoting the already released catalog is very important, pushing the importance of not only the wonderful '62 to '65 material and Pet Sounds and SMiLE, but also the '67 to '74 era and I think in time even the '75 to '79 or even '85 era, as appreciation for these eras grow as I suspect they will. The vault will help tell the story and keep people interested though.
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« Reply #38 on: July 11, 2018, 02:03:28 PM »

Well again, what the "hardcore fans want" and what is good for furthering the cause so to speak to the masses are two different things that *can* overlap.

Concerning the band working together again and/or touring again, check out my past posts since 2012 on the subject. *Nobody* has been a bigger proponent of C50 and nobody has lamented the demise of that reunion more than me. I’m in fact notorious to some for belaboring the point that Mike quitting the band in September of 2012 was one of the worst moves ever for the band, and certainly the worst move of the last 20-30 years.  

I'm not 100% certain another quick "reunion" tour in, say, 2019 is more desirable/needed/important than a WIDE opening of the archives (though ideally we would/could get both), but the reality is that while “anything is possible”, the likelihood of the band reuniting again is not particularly high, and frankly even if they did it would be a pretty big open question as to what the quality would be of a resulting album and tour given what’s happened since 2012.

As for the rest:

Promoting the already-released catalog? Does anybody think there’s a lack of that going on now, or ever in recent years/decades? Huge hunks of the catalog (sans any notable bonus tracks) were reissued both in 2012 and then again a few years later on hybrid SACD (and there are countless vinyl reissues as well). Capitol/UMe continues to repackage the hits, and we of course have the recent orchestral overdub album. "Sounds of Summer" is back in the album charts across numerous summers.

Regarding the unreleased material from the 70s and 80s, there’s not much more “in time” left. A lot of Beach Boys fans are getting VERY old and dying off. Meanwhile, it’s the 70s material that is going to “open the eyes” of the younger indie/hipster crowd.

I’m loathe to get into hyper-analysis concerning what younger (or older) demographics or crowds find the Beach Boys whatever level of “cool” or “uncool.” I think, to be blunt and honest, few folks and few hardcore BB fans are qualified and well-versed enough on the current media/pop culture/music industry landscape in that regard to say what might speak to a new/younger crowd and what might give the BBs a “new life” and revamp large hunks of the story/perception.

But I trust Howie Edelson on this (he’s immersed in the aforementioned media/pop culture/music industry in a way the typical hardcore BB fan *typically* isn’t), and I also trust my own gut. The crowds at Bonnaroo during C50 cheering more for “Heroes and Villains” than “Fun Fun Fun” or “Barbara Ann” are more likely to build the appreciation of the band off of the 70s unreleased material. Again, what we’re talking about here is a scaled, measured reaction from the “masses.” “Carry Me Home” isn’t going to get Dennis and the band on the cover of “Entertainment Weekly” or the top of the iTunes or Billboard single (or albums) chart. It’s not that sort of thing. What that stuff *will* do that a “California Girls Sessions” boxed set *won’t*, is the game-changing shift you saw during C50, of indeed the band’s rep and stature in the industry going from Frankie Valli/Lou Christie to Mick Jagger/Rolling Stones. In part, it’s about NEW songs. Stuff people haven’t heard before.

And again, circling back to what fans and scholars want and need, while there is obviously no single consensus on this, my own feeling and my sense for what the majority of truly hardcore fans/students of the band want is more “Brother” era stuff rather than early-mid 60s material. More specifically, truly *new* songs and new material. As I’ve said, the 60s have been mined pretty deeply in this regard, though there are still some things outside of raw session tapes from the 60s that are very much needed as well.

But I also think, while we should always take a measured approach to how much of a “game changer” anything could be for the BBs at this stage, let’s remember how Dennis and “Pacific Ocean Blue” were largely forgotten prior to Stebbins’s book and the eventual POB reissue. TONS of people were simply learning such an album and career existed. The Stebbins book and the POB reissue were absolutely game changers.
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« Reply #39 on: July 11, 2018, 03:00:43 PM »

Well again, what the "hardcore fans want" and what is good for furthering the cause so to speak to the masses are two different things that *can* overlap.

Concerning the band working together again and/or touring again, check out my past posts since 2012 on the subject. *Nobody* has been a bigger proponent of C50 and nobody has lamented the demise of that reunion more than me. I’m in fact notorious to some for belaboring the point that Mike quitting the band in September of 2012 was one of the worst moves ever for the band, and certainly the worst move of the last 20-30 years. 

I'm not 100% certain another quick "reunion" tour in, say, 2019 is more desirable/needed/important than a WIDE opening of the archives (though ideally we would/could get both), but the reality is that while “anything is possible”, the likelihood of the band reuniting again is not particularly high, and frankly even if they did it would be a pretty big open question as to what the quality would be of a resulting album and tour given what’s happened since 2012.

As for the rest:

Promoting the already-released catalog? Does anybody think there’s a lack of that going on now, or ever in recent years/decades? Huge hunks of the catalog (sans any notable bonus tracks) were reissued both in 2012 and then again a few years later on hybrid SACD (and there are countless vinyl reissues as well). Capitol/UMe continues to repackage the hits, and we of course have the recent orchestral overdub album. "Sounds of Summer" is back in the album charts across numerous summers.

Regarding the unreleased material from the 70s and 80s, there’s not much more “in time” left. A lot of Beach Boys fans are getting VERY old and dying off. Meanwhile, it’s the 70s material that is going to “open the eyes” of the younger indie/hipster crowd.

I’m loathe to get into hyper-analysis concerning what younger (or older) demographics or crowds find the Beach Boys whatever level of “cool” or “uncool.” I think, to be blunt and honest, few folks and few hardcore BB fans are qualified and well-versed enough on the current media/pop culture/music industry landscape in that regard to say what might speak to a new/younger crowd and what might give the BBs a “new life” and revamp large hunks of the story/perception.

But I trust Howie Edelson on this (he’s immersed in the aforementioned media/pop culture/music industry in a way the typical hardcore BB fan *typically* isn’t), and I also trust my own gut. The crowds at Bonnaroo during C50 cheering more for “Heroes and Villains” than “Fun Fun Fun” or “Barbara Ann” are more likely to build the appreciation of the band off of the 70s unreleased material. Again, what we’re talking about here is a scaled, measured reaction from the “masses.” “Carry Me Home” isn’t going to get Dennis and the band on the cover of “Entertainment Weekly” or the top of the iTunes or Billboard single (or albums) chart. It’s not that sort of thing. What that stuff *will* do that a “California Girls Sessions” boxed set *won’t*, is the game-changing shift you saw during C50, of indeed the band’s rep and stature in the industry going from Frankie Valli/Lou Christie to Mick Jagger/Rolling Stones. In part, it’s about NEW songs. Stuff people haven’t heard before.

And again, circling back to what fans and scholars want and need, while there is obviously no single consensus on this, my own feeling and my sense for what the majority of truly hardcore fans/students of the band want is more “Brother” era stuff rather than early-mid 60s material. More specifically, truly *new* songs and new material. As I’ve said, the 60s have been mined pretty deeply in this regard, though there are still some things outside of raw session tapes from the 60s that are very much needed as well.

But I also think, while we should always take a measured approach to how much of a “game changer” anything could be for the BBs at this stage, let’s remember how Dennis and “Pacific Ocean Blue” were largely forgotten prior to Stebbins’s book and the eventual POB reissue. TONS of people were simply learning such an album and career existed. The Stebbins book and the POB reissue were absolutely game changers.


Very well stated
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« Reply #40 on: July 11, 2018, 04:12:54 PM »

The most exciting thing about possible archival releases from the '70's and '80's is the fact that the Beach Boys are well-known amongst knowledgeable fans for frequently leaving good-to-great material in the vaults, releasing inferior product instead.  I'm confident that their is a ton of stuff that is better than, say, Sumahama...
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« Reply #41 on: July 11, 2018, 04:13:19 PM »

Honestly, I feel as though the Beach Boys have run their course. During my fandom, there were roughly three-four instances where their profile was raised again.

93-96 -- Boxed set into Brian's return into the Pet Sounds anniversary.
04 -- BWPS completion and performance.
08-10 -- That Lucky Old Sun into Gershwin album (smaller, BW centric)
11-12 -- Smile box into 50th reunion.

I don't know what's really left. Everyone is in their mid-70s. The vaults have been mined, admittedly while leaving choice gems behind. The tours have been toured, and one doubts that we'll see the shows get notably better than they were six or seven years ago.

The most devoted fans, even those who came along relatively late, are now into their late 30s and 40s. The core fans who actually experienced it live are in their 50s-70s.

I was listening to the end of TWGMTR the other night, and it struck me, hearing Brian sing the last words of that song

-- We laugh, we cry.
We live then die.
And dream about our yesterday.


-- That this is, most likely, it. Maybe we'll get a couple of Leonard Cohen style late BW albums. Maybe there will be one more show with everyone. But the time is running out. The music has been made, the demand sated. Everyone seems a little tired.

Maybe I'm projecting. Maybe this will all stay vibrant for decades to come. I hope so. But I fear not.
« Last Edit: July 11, 2018, 04:14:37 PM by Wirestone » Logged
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« Reply #42 on: July 11, 2018, 04:36:32 PM »

I'm afraid the most likely answer as to "what's really left" is the morbid one. The profile will be raised again when someone, and especially Brian, dies. That's when another trove will be released, the major outlets will celebrate the legacy, etc.
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« Reply #43 on: July 11, 2018, 07:22:29 PM »

Shall we raise the stakes, sweeten the pot?

Would the idea of a studio sessions or outtakes type of product be less objectionable if it were focused on the Sunflower sessions? Because that could easily be cobbled together, either in a more sequential run where possible or edited as in the PS or Smile Sessions releases.

Two quick points:

First: These "new" fans, let's say in their 20's and 30's who are currently getting the bug we all got and diving into the more obscure material, were not around when the initial Sea Of Tunes sets hit the underground market and trading circuits. That audience, right there, might just welcome more session-studio outtake material since for a lot of those ears, it would be fresh listening material.

And they may have the same reaction we did when we got our hands on them.

Somewhat knowing their tastes, the material from the late 70's and 80's that is in the vaults currently would most likely not appeal to their sensibilities and listening habits, and it may just have a negative reaction.

Second: I REALLY like Jim's ideas for the Brother material.

Do it up similar to the two-fers, but this time give each album a freshening up from the previous re-releases, and also add a second disc full of demos, outtakes, and other rarities. NOT live cuts on these, but show the better material in the vaults that exists for each of the Brother era albums.

There is plenty of live material from this amazing era for the live band to do individual releases.

Boom - Money in the proverbial bank, right there.

Good call, Jim.

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« Reply #44 on: July 11, 2018, 07:26:43 PM »

Works for me
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« Reply #45 on: July 12, 2018, 09:45:22 PM »

I'm afraid the most likely answer as to "what's really left" is the morbid one. The profile will be raised again when someone, and especially Brian, dies. That's when another trove will be released, the major outlets will celebrate the legacy, etc.

We may even get something as "exciting" as the first posthumous Tom Petty box set out in a month or two...
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« Reply #46 on: July 12, 2018, 10:05:48 PM »

Speaking of this, what “holy grail” remains for you guys that is left in the vaults? CF 74 was mine for many years and when I heard it on mic it was almost cathartic . I personally want to hear more Brian stuff from the early to mid 70s
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« Reply #47 on: July 13, 2018, 04:52:16 AM »

Speaking of this, what “holy grail” remains for you guys that is left in the vaults? CF 74 was mine for many years and when I heard it on mic it was almost cathartic . I personally want to hear more Brian stuff from the early to mid 70s
[/quote

CF74 for many years!? Really?!
What else have you heard/have in your collection? I have been a fan / collector since 1980 and I never got a sniff of CF74.
Heard We Gotta Groove with a lead vocal recently though.
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« Reply #48 on: July 13, 2018, 06:21:36 AM »

Speaking of this, what “holy grail” remains for you guys that is left in the vaults? CF 74 was mine for many years and when I heard it on mic it was almost cathartic . I personally want to hear more Brian stuff from the early to mid 70s

I always found that one of the most interesting things about the '74 CF recording is that, while we didn't know it at the time, Al Jardine's 2010 version of the song was referencing that '74 recording. It sure sounds like Al had heard that recording, perhaps recently as of 2010 (or the preceding few years when some of the "Postcards" stuff was cut), and that helped to influence his take on his solo album.

Beyond the obvious things (e.g. Brian's '74 voice which literally was a combo of his 1970 and 1976 voices), one of the first things I thought when I finally heard the '74 recording was "This sounds like Al's solo version in places!"
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« Reply #49 on: July 13, 2018, 06:26:36 AM »

My off the top of my head Holy Grails are:

A far better mix of Sound of Free, and a proper release of It's a New Day and Lookin' Down The Coast. Three exceptional songs I think...

And if Come To The Sunshine showed up then we'd truly have world peace... Smokin
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