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Author Topic: Sunflower outtakes?  (Read 9109 times)
Zander
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« Reply #25 on: February 18, 2011, 04:52:46 AM »

Soulful Old Man Sunshine is my fave beach boys not-track and the fact that they could make that whole thing and just not bother releasing it, despite it being such a ridiculously great song just proves that the beach boys had the greatest conflict between being sheer geniuses, and being total reatrds ever. That they would put out Take a Load Off Your Feet and NOT Soulful Old Man Sunchine just shows they weren't operating ever on anything normal humans can judge.

They didn't 'make the whole thing' - after a couple of vocal sessions, they walked away from it in 1969. The version we have is the product of a finished track tape, a couple of bv sessions, a scratch lead from Carl and some expert compiling by Mark in 1992 or thereabouts (or so I was given to understand at the time). So... couldn't release it in 1969-1991 as it only existed in pieces.
So is the version of SOMS on Landlocked boots the "version" from back in the Sunflower era or the one from EH?

The one on the Landlocked boot, I'm assuming you mean the Dumb Angel release is apparently just a different mix which would suggest it possibly came from the the EH project? I can't see what's different in the mix myself, it's just the tape speed is slightly faster. What were the other songs Rick Henn and Brian co-wrote during this time? Was there a plan for them to co-write an album?
« Last Edit: February 18, 2011, 05:15:52 AM by Zander » Logged

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« Reply #26 on: February 18, 2011, 01:20:58 PM »

The version we have is the product of a finished track tape, a couple of bv sessions, a scratch lead from Carl and some expert compiling by Mark in 1992 or thereabouts (or so I was given to understand at the time).

I don't think Mark had anything to do with the assembly of "Soulful Old Man Sunshine" for Endless Harmony. Unless I'm badly mistaken, it was Dennis Dragon who spliced and assembled the final tape, under the direction of Rick Henn. I seem to recall an interview with Henn in (I think) ESQ about what was done.
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« Reply #27 on: February 18, 2011, 02:41:20 PM »

The version we have is the product of a finished track tape, a couple of bv sessions, a scratch lead from Carl and some expert compiling by Mark in 1992 or thereabouts (or so I was given to understand at the time).

I don't think Mark had anything to do with the assembly of "Soulful Old Man Sunshine" for Endless Harmony. Unless I'm badly mistaken, it was Dennis Dragon who spliced and assembled the final tape, under the direction of Rick Henn. I seem to recall an interview with Henn in (I think) ESQ about what was done.

DD assembled the track from various takes (with a razor blade & splicing tape !) back in 1969. Mark assembled the version we hear for inclusion on the 1993 box, only for Carl to exercise his veto, for reasons we're all familiar with. Come Endless Harmony, Carl wasn't here to say 'no' again.
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« Reply #28 on: February 18, 2011, 02:42:25 PM »

Soulful Old Man Sunshine is my fave beach boys not-track and the fact that they could make that whole thing and just not bother releasing it, despite it being such a ridiculously great song just proves that the beach boys had the greatest conflict between being sheer geniuses, and being total reatrds ever. That they would put out Take a Load Off Your Feet and NOT Soulful Old Man Sunchine just shows they weren't operating ever on anything normal humans can judge.

Yeah, the quality gap between the best unreleased material and the worst released material continues to amaze me.  Look at the Beatles' stuff - with them, there arguably is no gap at all.

Having said that, I think Soulful Old Man Sunshine is much closer to ridiculous than ridiculously great.  I like the basic tune enough, but it was so overproduced as to be almost a parody of itself.  There's an Endless Harmony reviewer--I searched for it so I could credit the author and quote him accurately--who says SOMS "has an arrangement which has you visualising dancing girls coming on stage left doing high kicks ...."  It's a funny line, but I think it characterizes the song well.  (Reviewer is Tim Kennedy, at http://www.westnet.com/consumable/1998/09.11/revbeach.html.)
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« Reply #29 on: February 18, 2011, 02:47:42 PM »

The best comment I ever heard about "SOMS" was that it sounded like a shampoo advert.  Grin
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« Reply #30 on: February 19, 2011, 07:41:37 AM »

I, for one, would definitely buy that shampoo.
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« Reply #31 on: February 19, 2011, 08:38:34 AM »

It's a great song, nonetheless.  There's so much energy in that one!  I like that over-the-top production.  I think it would have fit in with what was on the radio....Bobby Sherman, Carpenters, and anything Motown had out at the time.
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« Reply #32 on: February 19, 2011, 09:43:33 AM »

It's a great song, nonetheless.  There's so much energy in that one!  I like that over-the-top production.  I think it would have fit in with what was on the radio....Bobby Sherman, Carpenters, and anything Motown had out at the time.

If it had been released contemporaneously, I'm sure it would have been a mega out-of-the-blue hit.   Floored me the first time I heard it.
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« Reply #33 on: February 19, 2011, 10:57:32 AM »

It's a great song, nonetheless.  There's so much energy in that one!  I like that over-the-top production.  I think it would have fit in with what was on the radio....Bobby Sherman, Carpenters, and anything Motown had out at the time.

If it had been released contemporaneously, I'm sure it would have been a mega out-of-the-blue hit.   Floored me the first time I heard it.

Had Breakaway been unreleased, I think we might have said the same about that as well. Undecided
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« Reply #34 on: February 19, 2011, 03:17:46 PM »

.
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« Reply #35 on: February 19, 2011, 04:04:20 PM »

so wait, why did carl veto?  cause it was a scratch vocal?



It's a great song, nonetheless.  There's so much energy in that one!  I like that over-the-top production.  I think it would have fit in with what was on the radio....Bobby Sherman, Carpenters, and anything Motown had out at the time.

If it had been released contemporaneously, I'm sure it would have been a mega out-of-the-blue hit.   Floored me the first time I heard it.

Had Breakaway been unreleased, I think we might have said the same about that as well. Undecided

i disagree.  just cause i don't think so highly about breakaway.
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« Reply #36 on: February 19, 2011, 04:35:54 PM »

Had Breakaway been unreleased, I think we might have said the same about that as well. Undecided

Good point. In a more logical world, that would've been their big comeback hit.
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« Reply #37 on: February 19, 2011, 04:55:28 PM »

i prefer the demo of break away cause i find the "break break break away do do do do do do" backing to be pretty cheesy and a weak point of the single. 
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« Reply #38 on: February 19, 2011, 05:14:34 PM »

I think I read somewhere (maybe here) that Carl vetoed SOMS because of that one flubbed line.....

"Old Man Shunshine....."
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« Reply #39 on: February 19, 2011, 10:32:14 PM »

Yep, on a guide vocal no less.
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« Reply #40 on: February 19, 2011, 10:57:57 PM »

I think I read somewhere (maybe here) that Carl vetoed SOMS because of that one flubbed line.....

"Old Man Shunshine....."
I've never understood why they couldn't have just spliced in the word from earlier in the song. Sure, it'a technically tinkering with a recording, but nobody except somebody like Andrew Doe would have known.  Grin
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« Reply #41 on: February 20, 2011, 01:58:23 AM »

I think I read somewhere (maybe here) that Carl vetoed SOMS because of that one flubbed line.....

"Old Man Shunshine....."
I've never understood why they couldn't have just spliced in the word from earlier in the song. Sure, it'a technically tinkering with a recording, but nobody except somebody like Andrew Doe would have known.  Grin

Would have stuck out like a sore thumb, as the tempo of that section differs from the rest of the song (not to mention the phrasing of the word).  I'll be honest, I didn't notice until it was pointed out to me (unlike the "Strawberry Fields" edit, which everyone raved about as being so seamless, but I noticed when I first heard it, aged 12).
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« Reply #42 on: February 20, 2011, 02:40:53 AM »

The opening harmony burst on Soulful Old Man Sunshine is, for me, one of the high points of the entire Beach Boys catalogue.
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« Reply #43 on: February 20, 2011, 08:52:48 AM »

The opening harmony burst on Soulful Old Man Sunshine is, for me, one of the high points of the entire Beach Boys catalogue.

I think the whole song is, even in it's stitched-together state.  Love every second of it.
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« Reply #44 on: February 20, 2011, 09:23:06 AM »

I, for one, would definitely buy that shampoo.

Me too!  I've heard similar comparisons when it comes to a lot of other great West Coast "sunshine pop" artists like Roger Nichols, Curt Boettcher, the Free Design, etc. 
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« Reply #45 on: February 21, 2011, 03:24:10 AM »

It's a great song, nonetheless.  There's so much energy in that one!  I like that over-the-top production.  I think it would have fit in with what was on the radio....Bobby Sherman, Carpenters, and anything Motown had out at the time.

If it had been released contemporaneously, I'm sure it would have been a mega out-of-the-blue hit.   Floored me the first time I heard it.

Had Breakaway been unreleased, I think we might have said the same about that as well. Undecided
Hmm.. Breakaway's a great tune – a fave – but despite its great vox it's not as over-the-top upbeat as SOMS.  B's lyrics are also very personal, whereas SOMS is about that most commercial of subjects, "boy/girl love thang".  And sunshine. It just radiates BBs' commerciality.
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« Reply #46 on: February 27, 2011, 01:29:42 AM »

SOMS is an absolutely beautiful thing. Brian's vocal demo snippet of it before the track itself on EH is priceless too. All hail Alan Boyd (again) for getting so many great unreleased tracks onto that soundtrack by including them in the documentary. A breakthrough achievement! Shocked
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« Reply #47 on: February 27, 2011, 11:09:08 AM »

SOMS is an absolutely beautiful thing. Brian's vocal demo snippet of it before the track itself on EH is priceless too. All hail Alan Boyd (again) for getting so many great unreleased tracks onto that soundtrack by including them in the documentary. A breakthrough achievement! Shocked

In the Beach Boys' story, Alan Boyd is consistently on the side of the angels and deserves a ton of credit for all he's done and dealt with.  Of course, I'm biased because he's one of my favorite human beings on the planet.
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