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Author Topic: 1998/1999 unreleased Al Jardine album  (Read 2416 times)
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« on: August 17, 2019, 09:21:45 PM »

Ended up on a Saturday night Wayback Machine bender and came across this press release from 1998 about Al teaming up with Matt and Adam to record an environmentally-themed album. Thought I’d pass it along in case anyone else isn’t familiar with this and finds it interesting. Obviously the project never came to fruition, but it sounds like they were getting relatively deep into the recording and planning of it. I think I’ve heard “Islands in the Sun” brought up here before, so apologies if I’m rehashing any old topics (or common fan knowledge).

http://web.archive.org/web/19990420040050/http://www.mindspring.com/%7Ebdpr/bbjardinesons.html

Beach Boy Al Jardine Teams
With Sons, Matt And Adam On First Solo Effort

Environmental Theme Includes
Benefit for the Manatee Foundation


Big Sur, CA (June 8, 1998) Al Jardine, of the legendary Beach Boys, is collaborating with his two oldest sons Matt, 31 and Adam, 27 to record an album that will encourage listeners to live in better harmony with their natural surroundings. The project, co-produced by the Jardine's and executive producer Michael Utley (who produced more than nine albums for Jimmy Buffett), has yet to be named. Although Matt has toured with The Beach Boys since 1988, singing Brian Wilson's falsetto parts and now the late Carl Wilson's vocals, this is the first time Al has formally recorded a solo project and also a first with his sons.

Looking to a Spring '99 release, 'The Jardines' album will include uniquely personal songs written and performed by all three men. The synergistic glue lies within their agreement on a harmonic focal point, which is punctuated with each of their unique musical influences. Al's love for folksy, classic rock ën roll mixed with Matt's adult contemporary light rock bent and youngest collaborator Adam's edgy angst-tinged writing flavor blend into a smoothly appealing artistic endeavor. All three will contribute their own penned songs and provide vocals. Several members of The Beach Boys band (Mike Kowalski, Mike Meros, Ed Carter, Billy Hinsche) are on stand by to begin recording late June or early July. Three members of the Buffett's Coral Reefer Band, Greg 'Fingers' Taylor, Robert Grinwich and Michael Utley will sweeten some of the tracks with their unique Caribbean flavored character sound.

Al was inspired to put the project together when last in Florida he saw a public service announcement on which Jimmy Buffett was speaking of the endangered Floridian manatee. During a visit in Key West with his family, the trio put down a few vocal tracks in Buffett's studio. The song, penned by The Jardines, is a 'Kokomo' flavored up-tempo ballad titled 'Islands in the Sun.' Matt's lead vocals not remind us of a romantic getaway to the Caribbean, but remind us that we need to 'live in harmony with the fishes in the deep blue sea.' The Jardine's have been discussing a possible benefit with Key West City officials and are looking to produce a concert for the Manatee Foundation, for which Jimmy Buffet serves as spokesperson.

Recording is currently underway at the Jardine's Big Sur ranch studio and some cuts will be produced in Buffet's Florida studio. The Jardine album will include a remake of Jimmy Buffet's 'Pirate Looks at 40,' which reminisces of a man's first encounter with the ocean. A new version of Al's 'California Saga' (The Beach Boys ëHolland,' 1970), which he originally wrote as an ode to author John Steinbeck whose classic stories took place in Jardine's native northern California, will also be recorded. 'Wish' is a cut that Larry D'Voskin and Al wrote together (D'Voskin's penning of 'Stop,' recorded by Meredith Brooks, is currently the #1 requested song on Top 40 radio). The ballad was inspired by Jardine's wish to fulfill the band's relationship with Brian when he decided to cease touring with the band in 1966.

Both Jardine sons have not only grown up around the business, but have been musically creative in their own rights. Matt claims that his younger brother is an undiscovered talent. 'He's just beginning to step into his own style of creativity. We made music in different ways. He stayed home and wrote songs; I was on the road and interacting with other musicians. He' s got incredible songwriting ideas. He has the potential to really be a force in the future of music. We both do.' Adam's original contemporary songs include 'Tell Me,' 'Shooting Star' and 'Beauty Day.' Each are up-tempo ballads, which his dad explains are 'written with a mix of teenage angst and tortured lyrics that make you remember all you went through in high school.'

Aside from touring with The Beach Boys, Matt has an ongoing collaboration with Beach Boys sax player Ritchie Canata. The duo have been recording what Matt describes as some 'pretty edgy stuff,' although they have never put it together into an album. 'One of songs from those sessions, 'Middle of Nowhere' is a persona favorite of mine,' says Al, 'it could be a real hit recorded as a Jardine-family project.' Matt is an accomplished percussionist who says that his memories of being a five-year old banging a tambourine on the stage with his dad is what gave him the performance bug. 'My mother told me that when I got on the stage to sing 'Barbara Ann' with the guys, I would purposely ignore her frantic gesturing stage-side to come back. There's something about the energy I really loved. It was just magical. '

Al Jardine met Brian Wilson at Hawthorne High School in Southern California in 1961, when together with brothers Carl, Dennis and cousin Mike Love, they formed The Beach Boys. One of the world's most loved and popular rock ën roll bands in history, the band has toured consistently for 36 years, through the passing of drummer Dennis and recently his brother Carl. Today, the Beach Boys songs receive more airplay than even The Beatles. Coincidentally, Paul McCartney claimed that The Beach Boys' 'Pet Sounds' album inspired them to record 'Sgt. Peppers Lonely Hearts Club Band.' Al Jardine has communicated his concern for the environment throughout his career through his song writing and alignment with organizations that include GreenPeace, the Environmental Protection Agency (EPA), the Pfeiffer Beach Defense Fund, the Natural Resource Defense Fund and Robert Redford's 'Save the Redwoods.' Both Adam and Matt are graduates of Carmel High School the classes of '89 and '85, respectively.
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« Reply #1 on: August 18, 2019, 08:05:28 AM »

I should have checked Bellagio, this is already discussed on http://www.bellagio10452.com/unreleased.html. Hard for me to keep track of all of Al’s unreleased stuff…
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« Reply #2 on: August 18, 2019, 07:27:03 PM »

Middle of Nowhere, Waves of Love and Jenny Clover are available on Larry's Soundcloud page:

https://soundcloud.com/user-418742223

Does anyone know how to download something from soundcloud?
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« Reply #3 on: August 18, 2019, 10:23:19 PM »

Middle of Nowhere, Waves of Love and Jenny Clover are available on Larry's Soundcloud page:

https://soundcloud.com/user-418742223

Does anyone know how to download something from soundcloud?

Well that's a huge freaking find Matt H!!! Wow. Props for finding this stuff. I like "Jenny Clover" for sure.

Yet another mix of "Waves of Love," this one a variation on the saxophone version found on my Postcard CD. I like it. I generally just dig the song, but regardless the saxophone version is much better than the other version, with the strained lead vocal and more naked sounding Carl vocal on the chorus.

"Middle of Nowhere" I'm not in love with, but it's still listenable.

All in all, despite what I may have thought, I think there probably is enough material for another Al Jardine album. I think he should put another one out. This material easily outclasses Mike Love's new stuff.
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« Reply #4 on: August 19, 2019, 12:20:06 AM »

Thanks for letting us know about the songs. I can't believe we haven't noticed these uploads for three months.
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« Reply #5 on: August 19, 2019, 02:10:24 AM »

Nice! Any info on "Jenny Clover"? I don't find it mentioned in the article or on AGD's site or did I just miss it?
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« Reply #6 on: August 19, 2019, 03:17:06 AM »

Nice! Any info on "Jenny Clover"? I don't find it mentioned in the article or on AGD's site or did I just miss it?

AGD’s site has a listing for Jennifer Clover:

Jennifer Clover (Alan Jardine - Dvoskin - Mary Ann Jardine) - May/June 1994
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« Reply #7 on: August 19, 2019, 04:19:34 AM »

Wow! How did we not know about these GREAT FINDS! Get these out to the public, they're fantastic! Love Jennifer Clover, has a 60's feel to it, a little like Groovy Kin Of Love.....perfection! And Middle of Nowhere, rocks!!! Great Job Jardines!!!
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« Reply #8 on: August 19, 2019, 05:42:52 AM »

Nice! Any info on "Jenny Clover"? I don't find it mentioned in the article or on AGD's site or did I just miss it?

AGD’s site has a listing for Jennifer Clover:

Jennifer Clover (Alan Jardine - Dvoskin - Mary Ann Jardine) - May/June 1994


Thanks!
I got to say these songs do sound good. Always nice to hear the other Boys doing something that's not just a nostalgic rehash. But the "dit dit dit"'s on "Waves of love" have to go.
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To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

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« Reply #9 on: August 19, 2019, 08:05:11 AM »

I was able to snag 320 kbps MP3 files of all three Jardine tunes using SoundCloudMP3.cc. If you are on Dvoskin's SoundCloud page playing the song(s) you need a copy of, click the share button under said song. Copy and paste the share link onto SoundCloudMP3.cc and you will be in business.
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« Reply #10 on: August 19, 2019, 08:17:25 AM »

I'll have to A/B this version of "Waves of Love" to the previous version. It sounds pretty similar. It's definitely the "saxophone/soundcheck" version found on the first pressing of the 2012 CD (the one with the buried Carl vocal), with possibly some mix variations.

The other two are cool to hear. "Jenny Clover" is another Al piano ballad in the mold of "And I Always Will." Al's voice sounds great; the song is okay. I have to give it more listens.

"Middle of Nowhere" very much *screams* NINETIES!!!!! This reminds me of what "Summer in Paradise" could have sounded like with better production. But yeah, it's very early-mid 90s. The closest comparison in the BB world I could think of is that it sounds a bit production-wise and style-wise like the 1997 "The Wilsons" album. Nice Matt lead and backing from Al. Very much sounds like an attempt at a "The Jardines" album.

I don't think either of these songs are as good as the best stuff on "Postcards", but they're nice to listen to and more indicators that Al probably has like 50 more tracks buried that we've never heard.
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« Reply #11 on: August 19, 2019, 08:22:23 AM »

Back to that “press release” concerning a “Jardines” album in 1998, I remember that publicity back then. Take a look at the date of the release. That should tell you a lot about it. June 1998, literally *right after* Al was exiled from the touring Beach Boys. Like, literally weeks after his last gig.

It very much reads like a “getting on with my life” sort of thing, a sort of proof of concept of doing something now that he knew the Beach Boys thing was over for the time being.

That he put this out and gave indicators he wasn’t planning on going right back out with a big touring band to do BB material and instead was doing a family-themed album of new material might help to explain the alleged/supposed bit I’ve heard from some folks years ago that implied Mike was surprised that Al did the “Family & Friends” band at the end of 1998 and into 1999, shifting to basically doing his version of a Beach Boys show with the Wilson sisters and his sons. 
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« Reply #12 on: August 19, 2019, 09:11:04 AM »

Thanks for the context, HeyJude. Very interesting. Are there any books that have good coverage of this time period? I’m not super knowledgeable about this era beyond simply that there was a lot of drama. (Although, I suppose that could be said for any era of the BBs history.)
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« Reply #13 on: August 19, 2019, 09:12:12 AM »

Middle of Nowhere, Waves of Love and Jenny Clover are available on Larry's Soundcloud page:

https://soundcloud.com/user-418742223

Anyone know if the “Middle Of Nowhere” is the same version that was released on an ESQ freebie CD of yesteryear?
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« Reply #14 on: August 19, 2019, 09:30:17 AM »

Quote
Al Jardine met Brian Wilson at Hawthorne High School in Southern California in 1961, when together with brothers Carl, Dennis and cousin Mike Love, they formed The Beach Boys.

Details, details. Didn't Al and Brian graduate Hawthorne High in 1960?  They reportedly met around 1958.

Of course, maybe this was a punctuation/editing issue. Al Jardine met Brian Wilson at Hawthorne High School in Southern California. In 1961, together with brothers Carl, Dennis and cousin Mike Love, they formed The Beach Boys.



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« Reply #15 on: August 19, 2019, 12:06:42 PM »

Middle of Nowhere, Waves of Love and Jenny Clover are available on Larry's Soundcloud page:

https://soundcloud.com/user-418742223

Anyone know if the “Middle Of Nowhere” is the same version that was released on an ESQ freebie CD of yesteryear?

Without having it to listen to at this moment, I would say it almost certainly has to be the same song. There is a Matt Jardine track, “Middle of Nowhere”, on one of those ESQ CDs. I honestly rarely gave a lot of listens to the non-Beach Boy tracks on those CDs, even the tracks done by BB offspring, so I had completely forgotten this song had already made it out all the way back in 2008. I’ll have to listen to that 2008 mix/version and see if there are any differences.
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« Reply #16 on: August 19, 2019, 04:56:03 PM »

I'll have to A/B this version of "Waves of Love" to the previous version. It sounds pretty similar. It's definitely the "saxophone/soundcheck" version found on the first pressing of the 2012 CD (the one with the buried Carl vocal), with possibly some mix variations.

The other two are cool to hear. "Jenny Clover" is another Al piano ballad in the mold of "And I Always Will." Al's voice sounds great; the song is okay. I have to give it more listens.

"Middle of Nowhere" very much *screams* NINETIES!!!!! This reminds me of what "Summer in Paradise" could have sounded like with better production. But yeah, it's very early-mid 90s. The closest comparison in the BB world I could think of is that it sounds a bit production-wise and style-wise like the 1997 "The Wilsons" album. Nice Matt lead and backing from Al. Very much sounds like an attempt at a "The Jardines" album.

I don't think either of these songs are as good as the best stuff on "Postcards", but they're nice to listen to and more indicators that Al probably has like 50 more tracks buried that we've never heard.

I just listened to both, and I think there are some subtle differences.  This is version 4.
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« Reply #17 on: August 19, 2019, 07:22:39 PM »

I'll have to A/B this version of "Waves of Love" to the previous version. It sounds pretty similar. It's definitely the "saxophone/soundcheck" version found on the first pressing of the 2012 CD (the one with the buried Carl vocal), with possibly some mix variations.

The other two are cool to hear. "Jenny Clover" is another Al piano ballad in the mold of "And I Always Will." Al's voice sounds great; the song is okay. I have to give it more listens.

"Middle of Nowhere" very much *screams* NINETIES!!!!! This reminds me of what "Summer in Paradise" could have sounded like with better production. But yeah, it's very early-mid 90s. The closest comparison in the BB world I could think of is that it sounds a bit production-wise and style-wise like the 1997 "The Wilsons" album. Nice Matt lead and backing from Al. Very much sounds like an attempt at a "The Jardines" album.

I don't think either of these songs are as good as the best stuff on "Postcards", but they're nice to listen to and more indicators that Al probably has like 50 more tracks buried that we've never heard.

With all due respect, I just cannot see how you think what we are calling the saxophone version of "Waves of Love" the soundcheck recording. The entire thing seems much cleaner and more thought through than the other version. It has Carl's vocal couched in harmonies (improving it greatly) instead of standing alone, it has Al singing in a much more reasonable key, and just overall has a much more "considered" arrangement in my opinion.  It just sounds more 2010s than the other one. The other just kinda rides along with it's "Help Me Rhonda" type organ part and and sounds like something that woulda...for lack of a better phrase....something that woulda been recorded at a soundcheck.

Now perhaps I'm wrong, but I think that despite what I feel many on this board may think, it may have been backwards.
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« Reply #18 on: August 20, 2019, 04:48:27 AM »

I have the Esq discs and will check it to see if middle of nowhere is on it. I think there were two or three Esq discs and I have them all. As far as the sax version of ways of love I consider the more prominent one with Carl's vocal a better version. Personal preference.
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« Reply #19 on: August 20, 2019, 06:31:09 AM »

I'll have to A/B this version of "Waves of Love" to the previous version. It sounds pretty similar. It's definitely the "saxophone/soundcheck" version found on the first pressing of the 2012 CD (the one with the buried Carl vocal), with possibly some mix variations.

The other two are cool to hear. "Jenny Clover" is another Al piano ballad in the mold of "And I Always Will." Al's voice sounds great; the song is okay. I have to give it more listens.

"Middle of Nowhere" very much *screams* NINETIES!!!!! This reminds me of what "Summer in Paradise" could have sounded like with better production. But yeah, it's very early-mid 90s. The closest comparison in the BB world I could think of is that it sounds a bit production-wise and style-wise like the 1997 "The Wilsons" album. Nice Matt lead and backing from Al. Very much sounds like an attempt at a "The Jardines" album.

I don't think either of these songs are as good as the best stuff on "Postcards", but they're nice to listen to and more indicators that Al probably has like 50 more tracks buried that we've never heard.

With all due respect, I just cannot see how you think what we are calling the saxophone version of "Waves of Love" the soundcheck recording. The entire thing seems much cleaner and more thought through than the other version. It has Carl's vocal couched in harmonies (improving it greatly) instead of standing alone, it has Al singing in a much more reasonable key, and just overall has a much more "considered" arrangement in my opinion.  It just sounds more 2010s than the other one. The other just kinda rides along with it's "Help Me Rhonda" type organ part and and sounds like something that woulda...for lack of a better phrase....something that woulda been recorded at a soundcheck.

Now perhaps I'm wrong, but I think that despite what I feel many on this board may think, it may have been backwards.

This back and forth seemed strangely familiar, and sure enough we had this same debate back in 2012 regarding the variations of this song. Which is totally fine and all in good fun.

To be clear, I don’t think any version of the song is purely a raw soundcheck performance. Every version has been sweetened/overdubbed, etc.

What I recall hearing back years ago was that “Waves of Love” began as something Al laid down during a soundcheck; this is presumably where Carl was present and added his vocal contribution. From there, varying amounts of additional overdubs were added to the different versions.

What I’m saying is that the “saxophone version”, meaning the version in the lower key and with Carl’s vocals buried in a stack of voices (the version included on the first US copies of the 2012 CD, and a variation of which is now on Dvoskin’s Soundcloud), sounds MUCH closer in *ambience* to what a soundcheck recording would sound like. Meaning, everything is wetter in the mix (more echo/reverb). The basic track elements of this version are the only thing in any version that sound plausibly like they could have been tracked during on on-stage soundcheck sort of setting. Even on this version, clearly more vocals have been overdubbed, with some stacked Al vocals being most obvious.

The second version (the version issued on the download version of the album back in 2012, and an alternate mix of which was also included on the Japanese SHM CD in 2012) sounds essentially *completely* re-recorded in a studio setting, with only Carl’s vocal from the other version flown in (and done so in a rather odd fashion, more on that in a moment). The key is different, and everything is dryer and punchier. The key is higher, so Al’s voice, while still sounding quite good, does sound a bit strained in places. Al’s vocal also sounds newer (meaning he sounds older), also suggesting the first “saxophone” version likely includes a 90s Al lead vocal while this second version includes an Al vocal cut probably in the late 2000s. It also sounds like what they did on this version is to extract Carl’s vocal from the vocal stack of the “first” version, and then isolate it and fit it into the higher key of the “second” version. This is why, to me, Carl’s more isolated vocal on this version has always sounded a bit odd.

Now, further complicating things is that I don’t think even Al or Dvoskin have been consistent on which version is *THE* version of the song they want to establish. When confusion first reigned back in 2012 when both versions were simultaneously released via CD and download respectively, I believe Al mentioned in an interview that it was the saxophone/CD version that was the “error” so to speak. That was the version they didn’t want to release, and it was in fact the second, higher key version issued as a download that was the “finished” version. Supporting that this was the case back in 2012 was that it was that second version that was issued later in 2012 on the Japanese SHM CD, along with an alternate mix of that same version. Also supporting this was that they kept this second version up as the download version of the song, and of course a digital download is something that can much more easily be fixed/replaced if something is in error, as opposed to CD pressings which are out there and obviously much harder to recall or replace.

Everything (other than the screw-up of releasing two vastly different versions happening in the first place) up to this point made sense to me. Regardless of which version one likes more (I like both, truly), that second, higher-key version certainly sounded like a more dense version with more going on, and sounded much more like a modern in-studio recording, and it was clearly attempting to more prominently feature Carl’s vocal contribution. And Al was seeming to establish *that* version as the go-to version. So it made sense that *that* version was the “final” or “finished” version that they were trying to establish.

The new alternate mix on Dvoskin’s Soundcloud is a variation of that “first” version, however. Now, we don’t know for sure which version Dvoskin and Al were very recently shown on Facebook “finishing up”, but I have a suspicion they have now gone back to that first saxophone “soundcheck” sounding version and are working with that one again. Which makes perfect sense only in that everything these guys seem to do with this song tends to make NO sense.

Ironically, I’d wager it’s quite possible whatever version Al and Dvoskin issue in the future is going to be yet *another* mix of one version or the other, which will mean we’ll likely be up to FIVE different mixes of this song.
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« Reply #20 on: August 20, 2019, 06:36:44 AM »

I have the Esq discs and will check it to see if middle of nowhere is on it. I think there were two or three Esq discs and I have them all. As far as the sax version of ways of love I consider the more prominent one with Carl's vocal a better version. Personal preference.

I think "Middle of Nowhere" was on the 2008 (loosely) Dennis-themed ESQ CD.
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« Reply #21 on: August 20, 2019, 07:06:21 AM »

To further confuse things concerning the "Postcards" album, when it was recently put back up on Spotify and other streaming services, the version of the album included is the later 2012 version of the album, but *without* the stuff listed as "bonus tracks" on that 2012 version. So it includes "California Dreamin'", which wasn't on the 2010 version of the album but was included within the "album" portion of the 2012 version. But it doesn't include any of the other additional tracks (so no version of "Waves of Love", nor the Pirate version of "Sloop" or the Japan-exclusive "Eternal Ballad.") I would guess this is the track lineup on the recent vinyl reissue as well.

That the album now exists sans "Waves of Love" in any form would also tend to support that the "Waves" track Dvoskin posted about "finishing" with Al very recently is almost certainly yet another rejiggered version of "Waves of Love."
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« Reply #22 on: August 20, 2019, 10:41:08 AM »

Confirmed regarding Middle Of Nowhere...it's on the Dennis Wilson Its About Time tribute put out by ESQ.
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« Reply #23 on: August 20, 2019, 11:08:50 AM »

To further confuse things concerning the "Postcards" album, when it was recently put back up on Spotify and other streaming services, the version of the album included is the later 2012 version of the album, but *without* the stuff listed as "bonus tracks" on that 2012 version. So it includes "California Dreamin'", which wasn't on the 2010 version of the album but was included within the "album" portion of the 2012 version. But it doesn't include any of the other additional tracks (so no version of "Waves of Love", nor the Pirate version of "Sloop" or the Japan-exclusive "Eternal Ballad.") I would guess this is the track lineup on the recent vinyl reissue as well.

That the album now exists sans "Waves of Love" in any form would also tend to support that the "Waves" track Dvoskin posted about "finishing" with Al very recently is almost certainly yet another rejiggered version of "Waves of Love."

What is it with Al Jardine-produced content and the complete lack of properly cataloging final mixes/tracklistings? This almost reminds of me of the MIU 1990 CD release kerfuffle with *multiple* wrong mixes used.

Or is Al subtly trying to create his own underground SMiLE-esque legend where fans will for years be trying to "roll their own" mixes based out of many alternate versions?  LOL
« Last Edit: August 20, 2019, 11:09:28 AM by CenturyDeprived » Logged
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« Reply #24 on: August 20, 2019, 11:48:13 AM »

To further confuse things concerning the "Postcards" album, when it was recently put back up on Spotify and other streaming services, the version of the album included is the later 2012 version of the album, but *without* the stuff listed as "bonus tracks" on that 2012 version. So it includes "California Dreamin'", which wasn't on the 2010 version of the album but was included within the "album" portion of the 2012 version. But it doesn't include any of the other additional tracks (so no version of "Waves of Love", nor the Pirate version of "Sloop" or the Japan-exclusive "Eternal Ballad.") I would guess this is the track lineup on the recent vinyl reissue as well.

That the album now exists sans "Waves of Love" in any form would also tend to support that the "Waves" track Dvoskin posted about "finishing" with Al very recently is almost certainly yet another rejiggered version of "Waves of Love."

What is it with Al Jardine-produced content and the complete lack of properly cataloging final mixes/tracklistings? This almost reminds of me of the MIU 1990 CD release kerfuffle with *multiple* wrong mixes used.

Or is Al subtly trying to create his own underground SMiLE-esque legend where fans will for years be trying to "roll their own" mixes based out of many alternate versions?  LOL

The “MIU” CD kerfuffle ended up benefitting fans in that we got a few rare mixes, including a *very* different “Come Go With Me”, a subtle but arguably slightly better alternate mix of “Winds of Change”, and I honestly can’t remember the differences on “Peggy Sue.” But that was all out of Al’s hands; I think the band had little to do with any of the 1990 CDs, in terms of hands-on input. Brian obviously was involved to some degree in the 60s twofers, at least to participating in written intros. But I think those Caribou CDs of the 70s and 80s stuff were kind of just rattled off pretty quickly. I recall someone mentioning years ago that Steve Desper was involved in those, but I’m not sure.

As for Al overly-fixating on stuff, that’s just his jam apparently. What’s even more perplexing is that he takes eons to finish certain things, but then once it gets put out, we get like 27 versions of it. “Loop De Loop” went unreleased for 30 years, then Al finished it in 1998 for the EH Soundtrack. So then we immediately got two variations of it, with “Sail Plane Song” being the template for it. Then we got *another* variation later in 1998 when “Santa’s Got an Airplane” was issued on “Ultimate Christmas.” Then, in 2000, I think “Sail Plane Song” was slightly edited or remixed for the 2000 reissue of the EH Soundtrack CD (I could be mistaken on that one; it’s been a long time). “Sail Plane Song” also got another remix in 2012 for the MIC set. Granted, only two of these happened at the hands of Al specifically.

At least when Al issued “PT Cruiser” as a CD single, he just stuck all five mixes of it on one CD in one go.

Back in 2001, Al issued “California Energy Blues” as a bonus track on his live album, and then a few years later rejiggered that one as “California Recall Blues” and put it out as a free download online.

And of course, a number of his songs on actual BB or solo albums came from earlier attempts/versions. “And I Always Will” supposedly dates back to at least the BB ’85 sessions. “Don’t Fight the Sea” was started in 1978, had a bunch of recording done in 1989, and then finished off in the 2000s. There are of course other examples.

Let us also not forget that some time in the last several years, Al talked about re-re-recording “Runaway”, which of course he previously tried (and partially failed) to get going as a Beach Boys single as a live version in 1982.

As for “Waves of Love”, I think we’re seeing a convergence of two guys in Al and Larry Dvoskin that for whatever reason seem fixated on going back to the well for the same material over and over. I don’t know how many songs Dvoskin has actually written with Al (he appears to involved at least on the recording/production side of some other stuff like “Jenny Clover”), but he clearly feels “Waves of Love” is strong. He mentioned in an interview back around 2012 that, *his words*, Mike Love “c-ck-blocked” the song from being included on TWGMTR. Certainly, the song’s inclusion would have been a nice little infusion of royalties for Dvoskin that would outstrip sales of Al’s solo CD. But I think Dvoskin feels the song is strong. And I don’t disagree! It’s a good one, a nice solid song that works well as an Al song and certainly would have been just fine as a Beach Boys song. But I think the song is just about tapped out. As I said before, if Dvoskin is working an angle to like get the song in a movie trailer or a movie or TV show or something and needs to rejigger it, that would make sense. But if they’re doing all this work *in 2019* on the song *again*, and it’s just going to be plopped out there for release, and *especially* if they try to market it as a NEW single and ignore the 39 mixes we’ve already heard, then I think that would be a little excessive.

But I again reiterate that Al probably has DOZENS of songs, even outside of the BRI vaults, that we’ve never heard and are certainly worthy of hearing and releasing. Let’s see those. “Jenny Clover” isn’t bad; more of that would be nice.
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