I think one of the downsides to GIOMH is that most of the songs on the album go on for 4+ minutes. Back in the 60s he'd make these 2-3 minute (closer to 2 minute) songs that were just the right length to keep you interested. I feel like if each song on GIOMH was chopped in half it would have a lot more appeal.

So this song, A Friend Like You, isn't a monumental sonic achievement, however it is kinda catchy - and I feel like if it clocked in at around 2 minutes it would be appreciated a lot more.

Man, this is a good point. Something that Joe Thomas picked up on, actually — both Imagination and NPP have some super short songs. The new soundtrack, too.

Let’s talk about the remix. I’m amazed they did this!

Margarita, I'd like this even more as a reason for the cancellation of the tour(s). Brian simply saying: "Guys, I am tired and this is not good for my back. Sorry."

I suspect that contractually he can't do that.

Something happened during the break.

They took a week or so off around July 4. The shows up to then had been uneven, from reports, but you could see BW working hard. His 80th birthday show, which I saw, was more than fine. You could see the cracks, but they were papered over fairly well.

That being said, from all reports things worsened after that break. You can usually expect BW to catch fire at some point during a tour — it happened in 2019, there were some good reports last year. But it didn’t happen this time. Went the other way.

It’s not just physical, though. He’s going through some stuff, and it should be clear to anyone. That’s why it feels weird to discuss.

It's my understanding that a chunk of the band doesn't want to do the music without Brian. Some do, and you can likely guess who they are by checking which members of the BW group cross-pollinate with the various quasi-official tribute bands in the LA area. I don't think there's any bad blood or ill will because of this, just different priorities.

It does make sense to me why some people will question why Brian's still touring when we see a frail old man who hardly signs during his own shows.

This is factually untrue.

For me, Brian's vocals on BWPS are actually key -- they're what makes the entire endeavor a discrete artistic entity, one deserving of its own recognition and praise. Sure, most of the material had been composed more than 30 years before. But the arrangement, a handful of new lyrics and (above all) his willingness to engage with the material made the project special. This wasn't a remake, it was a resurrection, one as much personal as it was musical.

So hearing the 60-something Brian doesn't just make sense. It deepens the artistic experience. It makes a teenage symphony to God a parallel old man's testimony of survival. The quest of the music isn't just across the United States, but is from childhood to old age and beyond. It transforms Smile from being an assemblage of mid-60s concepts into a layered metaphor of Brian's own endurance. When you hit that Hawaii section at the end, when the music transforms into a joyous bounce, you're celebrating an artistic renewal.

I suspect there’s too much being made of this. If there was some embarrassing or terrible secret to be hidden about Brian, they certainly wouldn’t have him enter and exit with a walker and a handler every show.

You can watch the entry here on Al’s Facebook page: https://www.facebook.com/100001449127373/posts/pfbid02D6KopwuEhsQ8LNgzK43oB5oCpdFS9CYXLM1MCgAqCcgKNz32ahDoqPvcPPVqeTw7l/?d=n

Brian moves fairly quickly and is using his hands to grasp the walker. He wipes his face.

My conjecture, based on photos posted by the band on Facebook, is that the curtain covers up the contraption that now attaches Brian’s chair to the piano. It’s not the prettiest looking thing but means he doesn’t have to get into position, etc., when sitting down.

Brian is on tour with Chicago (why?) And The Beach Boys are still playing County fairs.

The touring situation is a mess

No messier than it’s been for 23 of the last 24 years.

I think the deal was primarily about the payoff for the guys. That and better catalog management, licensing, etc. They have no ability to make Mike do anything he doesn’t want to do, and he’s certainly not going to do a reunion like the 50th again, for reasons that have been litigated at length. The 60th anniversary wasn’t really the point of the deal, just another potential opportunity.

My latest, from my real job. Please ignore the smattering of Kansas political content if it upsets you.

Brian Wilson’s Kansas City concert sweeps past and present together into a wistful wave of change. https://kansasreflector.com/2022/06/22/brian-wilsons-kansas-city-concert-sweeps-past-and-present-together-into-a-wistful-wave-of-change/

Just saw Brian’s set in Kansas City. A shaky start, and he’s no doubt diminished as a live performer. However, he sang God Only Knows (for perhaps the first time this tour) and gave his utmost on several other leads. Perhaps it was the good vibes from the birthday video showed before the set, but the whole performance wound up being surprisingly soul-affirming and joyous. More details later.

If you told me 20 years ago that both Andy Paley and Joe Thomas would be in a tribute video to Brian …

Has no one noticed that the Beatles are also remixing their records? Even classics like Abbey Road that are about as perfectly mixed as makes no difference? (Many Beatles fans loathe them, too.) I’m not saying it’s right or wrong. But clearly there’s some thought in the industry that remastering isn’t enough — classic bands need to have their classic tracks mixed anew and with an ear toward current tastes.

As stated repeatedly on this thread, these mixes are not replacing those on the classic albums, which are widely available and simple to find. They are clearly labeled and dated alternates. If we want this music to live, it can’t sit on a shelf. It has to live in the world of earbuds and streaming, of loudness wars and Bluetooth, of YouTube clips and Spotify playlists.

And my God I’d rather Mark and Howie and Alan do this than Mike Love and LoCash…

Folks have been unhappy with Mark’s mixing decisions since at least the 2013 big boxed set and possibly before. This is the way they’ve gone, and this is the sound they’ve chosen. If you don’t like it, fine, but none of this counts as a new development or somehow unexpected. For that matter, stereo remixes have been used as an inducement for fans to buy compilations since at least the 2009 release of Summer Love Songs. Again, you may not like it, but it’s entirely in keeping with past practices.

Anyway, I listened to all 80 tracks on a lengthy car trip today. It sounds fabulous to me. The remixes seem to fall into three groups, all with slightly different functions. The first are remixes of the early material, basically fixing the incredibly crude original stereo separation. The second are highlighting extra parts of especially complex 70s arrangements like Marcella. Finally, you have a couple of experimental takes on material like God Please Let Us Go On that hasn’t really been examined since release. Everything in the first batch sounded great to me. The second batch was largely fascinating, although as noted the hiss in Baby Blue is really something. The third batch is fun and perhaps shouldn’t be taken overly seriously.

This is art, yes, but it’s also popular entertainment. Old mono mixes, crudely separated stereo mixes and overly dense mixes make the music less appealing to the widest possible audience. This new set attempts to package the band’s best together in consistent sound and presentation. I dig it and appreciate the effort.

Yep, we’ve talked about it before. A known thing. Doesn’t seem to be a giant deal.

Carl didn't care for the Paley co-writes and scotched a proposed live Pet Sounds tour by the band because he thought Brian wouldn't be up for it. That had to sting.

I don’t think Frank Ocean ever showed up in the studio. But that sounds pretty darn good!

I joked upthread that if someone handed me a check for $11 million my response might be something other than initiating litigation against them.  And I do feel sorry for Brian, as it's even if it's "just business," the man is ~80 years old and it's no fun be a defendant in litigation at any age, especially when the subpoenas to depositions start rolling in. Believe me.

At the same, I don't judge Marilyn.  As I said, I don't live in their world.  And, of course, at a very basic level, a deal is a deal.  If she owns half of whatever Brian owns with respect to those 170 songs, then she gets half the net proceeds and would certainly be entitled to an accounting of how her distribution was calculated. The same would be true for any co-owner of any business.  And, also, it's important to keep in mind that we're talking about generational wealth here.  In this matter, Marilyn may not only be thinking of herself but also Carnie, Wendy and the half-dozen, I believe, grandchildren on that side.

That's a bit overly generous as Carnie, Wendy and the grandchildren are also Brian's.  Is there some expectation he wouldn't provide for them but Marilyn would?

Yes. Given the relations — or lack thereof — between Melinda and Marilyn’s daughters, and the fact that Melinda and Brian have five children of their own, I think concern would be prudent.

Frankly this seems like a fairly minor dispute. Marilyn’s side thinks they deserve half of Brian’s producer royalties, and Brian’s side disagrees. Marilyn is also asking for more detailed financial accounting, which seems like a no brained given the amounts involved.

https://tmsnrt.rs/3uCTnbh

He was released from prison five years ago. He’s a registered sex offender. He’s understandably, it appears, keeping a low profile otherwise.

Anyone got the vinyl yet?

Not out until the 17th.

IIRC, the Al S. mix of Gershwin was a Grammy Award play. He gave an interview about the process, and it seems like the main change he made was replacing digital reverb with actual reverb from the Capitol Tower. I don’t think he was a weak link in the process for that record. (Lyrics ghost written by Scotty’s wife, on the other hand …)

Wirestone, do you have any guesses as to why GIOMH isn’t available on streaming services? I have it in my personal collection, but it’s odd that it’s like this Summer In Paradise-type album that is unavailable to people via streaming.

I’m not sure it’s intentional. When asked a year or two ago on this board, Mark L. was surprised and said he’d look into it. I suspect there might be something hinky about the rights — it was released as part of a two-album deal with Warner’s, but Nonesuch wouldn’t take it so Rhino put it out. Two tracks appear on the best of, so I don’t think the BW folk are that embarrassed by it (not that they should be).