Today! Album Sessions...

[c-man]

Hello,

Just back to this board after a bit of an absence. 
Many of you may already know of my mad writings, including my in-depth analysis of
the "Today!" album, but for those who don't...here is my website:

www.beachboysarchives.com

I invite everyone here to check out the PDF file there on the "Today!" sessions, and post
comments/suggestions here.  Would especially love to hear from Mr. Boyd and Mr. Linett,
on what they think.  Like how I need to get a life, for instance (chuckle).  I acutally have
a life, which prevents me from getting more of these kind of essays done regularly.  But
feel free to have at it...

Regards,
Craig Slowinski

[andy]

That is really cool stuff, Craig.

[Joshilyn Hoisington]

I promote your site just about every chance I get, Craig. 

[Rocker]

Love that site....

[Reverend Joshua Sloane]

Just re-read your essays for the billionth time.

One question though that you may not be able to answer:

How in the world could Guess I'm Dumb not have been a huge hit?

[Andreas]

One question though that you may not be able to answer:

How in the world could Guess I'm Dumb not have been a huge hit?

Not a real answer, but I always found the single mix to be a bit disappointing. The power of the horns is completely lost. Compare that with the mix of, say, the Drifters' On Broadway, and you see what I mean with respect to horn sound.

[Reverend Joshua Sloane]

Not a real answer, but I always found the single mix to be a bit disappointing. The power of the horns is completely lost. Compare that with the mix of, say, the Drifters' On Broadway, and you see what I mean with respect to horn sound.

I think the horns work well in Guess I'm Dumb as a subtle background instrument much like the background vocals that pop up all over the track. Most of Brian's productions sort of blend everything together into one big wave of sound, whereas on that Drifters track, when the horns do burst in, they are the main attraction for those few seconds along with the guitar and all.

Lots of similarities within the rythm of this song and Brian's Guess I'm Dumb, eh?

[Andreas]

I think the horns work well in Guess I'm Dumb as a subtle background instrument much like the background vocals that pop up all over the track. Most of Brian's productions sort of blend everything together into one big wave of sound, whereas on that Drifters track, when the horns do burst in, they are the main attraction for those few seconds along with the guitar and all.

Lots of similarities within the rythm of this song and Brian's Guess I'm Dumb, eh?

Yes, On Broadway was the apparent inspiration for this track. Not a bad model.

The relative weakness of the single mix is noticeable when you compare it to the sessions on SOT bootleg. It's not only the volume, they are also flat and one-dimensional in some way.

[Reverend Joshua Sloane]

The relative weakness of the single mix is noticeable when you compare it to the sessions on SOT bootleg. It's not only the volume, they are also flat and one-dimensional in some way.

I've not had the fortune of hearing that particular bootleg yet so I can't say. Aren't those sessions in stereo though? Like on the review this man wrote it says Left: Gtrs, Drums   Middle: Bass, Piano   Right: Horns, Strings. That would also be reason for them sounding rather flat and such on the single mix after it was mixed mono.

[Joshilyn Hoisington]

Except mono is supposed to make things more powerful.

I think the horns were just mixed a little too low.

[Reverend Joshua Sloane]

Except mono is supposed to make things more powerful.

I think the horns were just mixed a little too low.

It does but extreme stereo panning gives sort of a false sense of power.

[Andreas]

It does but extreme stereo panning gives sort of a false sense of power.

That's not what I meant. It's not about mono and stereo. It has to do with the volume and tonality.

[Cam Mott]

Craig,

When will you publish your Good Vibrations essay?

[c-man]

Well, let's see Cam...this WOULD be a good year to do it, wouldn't it? 
Say maybe this fall, maybe around October 10?

[Joshilyn Hoisington]

Craig, how much "raw material" do you have as far as information goes?  Is it just a matter of writing your information in the format you've chosen to present the info, as opposed to needing more contracts and anecdotal evidence to verify "musicians present"?  Even though I've done a lot of listening to the sessions, and know pretty much who did what until record keeping went out the window...but I love reading your commentaries of the songs.  You really picked a great way to present the info, imo. 

[c-man]

Josh,

Thanks man.  I have a relatively short overview of the "Good Vibes" sessions that I posted
on the AOL Beach Boys board some years back.  I also have maybe 60% of a much longer
piece done, similar to what I've done for the "Today!" LP.  Ditto with "Pet Sounds", and lots of other BBs/BW records ..problem is, with my AADD, it's hard for me to stay focused on one thing for very long, at least when it comes to my hobbies!

What I do is pull things together from lots of sources, and from listening over and over to whatever tapes are in circulation.  Anyone with the same resources could do the same thing.
As I am a trained historian, I approach my work from that angle.  And like Jon Stebbins, one
of my primary missions in life is to get the "truth" out about who did what on the records we
all love.   Most of us die-hard know what's what, but the average listener may need to be educated!  Most of all, I do this 'cause the whole recording process, as well as the whole Beach Boys universe,  facinates me to no end.  I pretty much got hooked at the tender age of 13, and now 30 years later, it is just ingrained in me!  Yowza!

C-Man

[Cam Mott]

Well, let's see Cam...this WOULD be a good year to do it, wouldn't it? 
Say maybe this fall, maybe around October 10?

Oh you clever boy.  Can't wait but I will.