gfxgfx
 
Welcome, Guest. Please login or register.

Login with username, password and session length
logo
 
gfx gfx
gfx
677859 Posts in 27371 Topics by 4046 Members - Latest Member: reecemorgan December 09, 2022, 07:00:35 PM
*
gfx*HomeHelpSearchCalendarLoginRegistergfx
  Show Posts
Pages: 1 2 3 [4] 5 6 7 8 9 ... 31
76  Smiley Smile Stuff / General On Topic Discussions / Re: Missing 45 master tapes. on: September 09, 2015, 01:02:54 PM
Why would they use the mono LP versions? Reminds me of the Beatles CD single collection where they took the Please Please Me LP master and took Please Please Me, Love Me Do, Ask Me Why and PS I Love You from there rather than going to the original single masters. The difference is that when these tracks were copied for the LP master, they tacked on alot of echo and compression. So using the mono LP masters it is not ok when advertising the singles as from the original mixes. How many times did we have the mono Shut Down Vol. 2 version of Fun Fun Fun before they finally started pulling out the original mono single mix.
77  Smiley Smile Stuff / General On Topic Discussions / Re: Missing 45 master tapes. on: September 09, 2015, 09:53:08 AM
The tapes that were discovered in 2009 were multitrack tapes. Not 45 single master tapes, I think.

You are correct.  A different story altogether about the multitracks.

From my understanding, Capitol had two methods of storing 45 masters: First, the 45 masters could be on their own reel/hub, in their own box.  You can imagine with as many 45's as Capitol released, how many boxes/reels that would be from a storage standpoint.  Second, Capitol would take the masters for all of the singles from all artists released during a specific time period (i.e. a month), and splice them end-to-end on a single large reel to conserve space.  This is known as a "phono reel."  The masters for a number of Beach Boys singles that couldn't be found on their own reel were eventually found on their respective phono reel.  That's how the unreleased alternate single mix of "Little Honda" on KEEP AN EYE ON SUMMER 1965 was found -- it was spliced into a phono reel, even though the 45 release was cancelled.

So I believe Domenic's statement was written well before all of the vault research was done by Alan Boyd and Mark Linett -- which included the research into Capitol's massive set of phono reels.

Lee


Thanks Lee, I was wondering about that. Bruce Spizer has written extensively about the Beatles Capitol releases and even has notes about what was done to each tape and how it was stored etc. He mentions the phono reel setup. So I was wondering if that could have been the case with the boys. We need a book like his on the Beach Boys releases. It's interesting stuff.
78  Smiley Smile Stuff / General On Topic Discussions / Missing 45 master tapes. on: September 08, 2015, 11:26:37 PM
In his old old old (hee hee) book LLVS, Dom talks about a Heroes and Villains Part Two being a reality. As part of the discussion, he mentions the following:

The 45 master tapes for "Heroes & Villains Pt. 1," "Heroes & Villains Pt. 2," "I Get Around," "Fun, Fun, Fun," "Be True To Your School," "The Warmth of the Sun," "Don't Worry Baby"  (and probably five more of the early hits) are all missing from both The Beach Boys' and Capitol's tape library. Engineer Mark Linett did manage to find other sources for these tunes.

Along with this WIBN was also lost. We know that was pulled from the NYC Copy Tape of Pet Sounds. Does anyone (Bgas) know what sources were used for the others? Just wondering.

As a personal aside, I always thought it was stupid that back in 1986 Capitol used that really bad rough mix of WIBN for Made In USA and countless other comps done at that time. Guess Larry Walsh was lazy (he really disliked the Beach Boys and their music). But, if he could only find that rough mix, why didn't he pull the Sunshine Dream master from 1982 and use the single version off of that. Another generation down sure, but at least its the right mix.

Bob
79  Smiley Smile Stuff / General On Topic Discussions / Re: Rarities on: September 08, 2015, 11:18:43 PM
Yes, thank you! Would the anonymous Beach Boy who thought Rarities was pretty cool be Bruce?

I think so. Or Alan.
80  Smiley Smile Stuff / General On Topic Discussions / Re: Rarities on: September 07, 2015, 07:44:35 PM
Ok, you guys are going to make me do this (only kidding). I interviewed Brad about putting this set together for my old website called PetSite back in the 1990's. Here is that interview. Enjoy.


Bringing It All Back Home
Rarities 1983 - Capitol USA

Randall Davis was 27 years old and director of merchandising and advertising for Capitol USA. He had told Trouser Press magazine in June of 1980 that due to his naïveté and strong beliefs as far as what historic compilations should be, The Beatles' Rarities LP was given over to him with a "if you think the proposed package is inferior, then you do it…fast!" order from his superiors. He didn't disappoint.

Randall then turned his attention to a compilation for The Beach Boys entitled Sunshine Dream. Capitol USA had just reacquired the post Party LPs and it was time for a gathering together of all of the tracks from those various projects. Remember, within the terms of the agreement Capitol has with the group after their departure, Capitol could not release cuts from LPs which included such hits as Wouldn't It Be Nice, Heroes And Villains, Do It Again and of course, Good Vibrations.

Sunshine Dream corrected that situation. In hopes of pleasing fans and collectors alike, the collection included hits as well as lesser know cuts such as Vegetables, Be Here In The Morning and Aren't You Glad. To collectors great relief, mono tracks were left mono and not "processed for stereo phonographs". Even the Warner re-issues of this material in the '70s were duophonic.

It was during the pre-production phase that Randall got in touch with Brad Elliott. Brad had just released his comprehensive discography on The Beach Boys and Randall was looking for an expert. Brad assisted Randall not only on Sunshine Dream, but, Be True To Your School, which complied the tracks left off of the re-released Capitol LPs in the '70s, as well as 45 mixes of songs (like the title track). Brad also was the catalyst for the re-release of The Beach Boys Party! LP which had been missing in action since the late '60s.

Randall then proposed to Capitol an LP of true rarities which the execs green lighted for 1983. Randall however had departed from Capitol before the assembly stage. Capitol then turned to Randall's partner in crime on the other re-issues, Brad Elliott. Which brings us to this interview.

I conducted the following interview with Brad Elliott in May of 1999. I want to thank Brad for his time and energy in answering all of these questions in such detail. I couldn't ask for a more willing subject.

PS: Tell us, how did you come to be involved with the Rarities project? I know you worked on the Be True To Your School and Sunshine Dream projects before this.

BE: As you said, the year before I'd consulted on the Sunshine Dream and Be True To Your School compilations. That had come about as a result of my book. A Capitol staffer named Randall Davis had seen it and, when putting together Sunshine Dream, had called and solicited my recommendations for the album (conceived as a companion set to Endless Summer and Spirit Of America, oriented largely around the late 1960s albums, the rights to which had just reverted to Capitol). During the course of our discussions, I suggested the idea for what became the Be True To Your School compilation, as well as prompted the re-release of Beach Boys Party (they hadn't even realized they had an entire Beach Boys album that hadn't yet been put back in print).

When the following summer rolled around, Capitol wanted to release another Beach Boys package of some sort. However, Randall had left Capitol by then, so they turned to me. I have to admit that the idea of the Rarities package wasn't mine; it's something that Randall had been pushing for since he'd done the Beatles Rarities package a couple of years before. Unfortunately for him, the package didn't get the go-ahead until after he was gone. But it was fortunate for me.

PS: When you first started out, what were the parameters given to you by Capitol? Also, how much time did you have?

BE: The parameters given to me were pretty open -- simply find enough material to assemble a package of rare Beach Boys' tracks. They could be unreleased songs or alternate versions or non-LP B-sides, basically whatever turned up.

As for time, Capitol flew me out to Hollywood on a Sunday, so I could start work on Monday, and I had to have the album assembled by the end of the week. It was pretty much a non-stop rush job from beginning to end.

PS: I know that you had, or thought you had, knowledge about where to find some SMiLE outtakes. Care to elaborate?

BE: I had been told, second hand, that Michael Ross (who assembled Endless Summer back in 1974) had found tapes of some SMiLE tracks while working on that album. I had been told enough about where they were supposed to be stored (in amongst tapes of a certain format) that I thought I could find them.

Unfortunately, they weren't there -- or anywhere, for that matter. I don't know whether that means I was the recipient of bad information and they never were there, or possibly that they had been removed from storage during the intervening decade.

PS: It seemed to me given the restrictions you had to work with, source wise, that you were able to compile as good of a set as you did. I know that the only multitracks you had to work with were Surfin' Safari (recorded at Capitol) and Live In London. That puts up a roadblock from the beginning. Tell us a little bit about the search itself, the locations and vaults that you were given access to.

BE: For the most part, the only places I could search for tapes were within Capitol. There was the tape library itself on the first floor of the Capitol Tower, a room on an upper floor at the Tower where certain "special projects" tapes were stored, the basement of the Pantages Theater down the street (where Capitol had leased space to store the overflow of tapes from the library), and Capitol's Los Angeles warehouse, where older rarely-accessed multi-track tapes were stored. Because I wasn't satisfied that Capitol's tape inventory listings were accurate, I basically spent the better part of a day in each location looking through shelves and shelves of tapes literally tape-by-tape to make sure that something didn't get missed.

That effort did pay off, as I found things that were not cataloged in just about every location. I found the Live in London multi-tracks in the upstairs "special projects" room. I found the Surfin' Safari multi-tracks at the Los Angeles warehouse. I don't think I found anything worthwhile in the Pantages Theater. Everything else came out of the tape library at the tower.

PS: How did you get the go ahead to include the alternate version of Good Vibrations, especially since Capitol didn't have a copy in their possession and one had to obtained from the Best Summers Of Our Lives radio special?

BE: In preliminary talks with Bobby Colomby (the ex-Blood Sweat & Tears drummer, then working as Capitol's Vice President of A&R Special Projects), I had mentioned the alternate Good Vibrations as an example of the kind of Capitol-era material that we might be able to find. He asked where it had aired and, in the course of answering him, I had mentioned that I had a set of the half-track reels on which the show had been distributed to radio stations. He told me to bring the tape with the alternate Good Vibrations out to L.A. with me, that there was a possibility we could actually use the tape as a source if we couldn't find a master tape for that version. My understanding is that Bobby checked with Capitol's legal staff and was told that Capitol had the right to release that version of the song -- regardless of the source -- because they had paid for the sessions back in 1966.

PS: Can you give us a quick rundown on how Pamela Jean was on then off the LP. Wasn't it on the initial LP master?

BE: Yes, Pamela Jean was planned for inclusion on the album. It would have been the second song on the second side, between the alternate Good Vibrations and Land Ahoy. The plan was to tell the full story about the song in the liner notes -- how it wasn't really the Beach Boys, even though it had been rumored for years that it was. I was going to explain that The Survivors were a different group, although they shared Brian Wilson with The Beach Boys. But Capitol's legal people nixed the idea, because Rarities was a Beach Boys album and Pamela Jean wasn't a Beach Boys track. Apparently, its inclusion would have required billing the album as a Various Artists package and they didn't want to do that.

PS: It really seemed odd to me at the time because Capitol had released the 45 originally. It had also been re-released three times since 1979 (once on 45 and two compilation LPs). I know when I first heard it might be on the Rarities LP here, I thought "It's about time!"

BE: Most of those previous releases had been predicated upon the idea that The Survivors were The Beach Boys under an assumed name. Since those earlier appearances, the full story had been learned -- actually by me in an interview I did with Dave Nowlen and Rich Alarian (two of The Survivors) for the old Add Some Music fanzine.

PS: On the subject of Pamela Jean, does the master that Capitol has in their possession start a beat late. The first part of the "Whop" is cut off on the versions released of late (World Records, '81 Rarities, etc.)

BE: That's the way the master tape is at Capitol, and there's no evidence that a piece of tape has broken off. Apparently, that's the way Brian delivered it to Capitol. It's interesting, though, that he actually delivered the tape to Capitol twice. Once in September 1963, then when the single was scheduled for January release, Brian came and got the tape (on Dec. 9) and returned a "revised" tape the next day. What changes he might have made, I really don't know. But maybe that's when the intro got clipped.

PS: Mark Linnet commented in a 1995 interview for GOLDMINE that Capitol's tape vault was like a jungle the size of two supermarkets. Did you find it this way in 1983?

BE: Even more so! I know that by the time Mark was in there in the early 1990s, some work had been done to try to better organize the chaos. Today, it's better than it ever has been, but it's still not an orderly place. And there's really no way it can be. When you stop and think about the sheer number of tapes that Capitol has, with the company's history going back more than 50 years, there's just too much stuff to keep it all perfectly organized -- at least not without a government-sized budget!

PS: Let's run though a couple of other tracks and where and how you found them: With A Little Help From My Friends.

BE: That was one of the tracks we found that was uncataloged. I had a list of master numbers for about 60
unreleased Beach Boys tracks. I had gotten the list from Capitol's librarian several years earlier while I was working on my book. When I first got out to Capitol, that list was my starting point. Bruce McKinney, Capitol's tape librarian at the time, looked up all 60 tracks in his tape inventory listing, but was only able to match one title -- The Letter. So we went to the tape where The Letter was supposed to be, opened up the box and found not only The Letter, but also With A Little Help From My Friends and a long version of I Was Made To Love Her.

By the way, we mastered With A Little Help From My Friends at normal tape speed, because there were no instructions with the tape to indicate that anything different should be done. Several years later, Bruce Johnston advised that the tape should have been sped up, but unfortunately we had no way of knowing that.

There's also something I want to mention in regard to I Was Made to Love Her. I know there has been some speculation that we edited the ending tag onto the track to create a long version, but the truth is that's the way it was found. The identification sheet with the master tape actually listed it as a "long version," and we simply dubbed it from that tape to our digital master.

PS: You're Welcome.

BE: There's not much to say about You're Welcome. We simply used the mono master tape that The Beach Boys had turned over to Capitol in 1967 for use as the B-side of Heroes and Villains. Capitol has kept all of the mono masters for all of the singles they've released over so many years. They're all neatly filed and cataloged, so it was easy to find You're Welcome.

PS: The Lord's Prayer.

BE: Again, there's not much to say. We used the mono master tape that had been submitted for the B-side of Little Saint Nick.

(Brad indicated that several other tracks (Celebrate The News and Pamela Jean) that had been previously released were found as master tapes in the vaults. I have edited out those responses. - Ed)

PS: Bluebirds Over The Mountain.

BE: This was interesting, because there was no mono master tape for the single. Instead, we found it filed with the masters for the stereo singles. I remember when we looked it up in the inventory list, we were directed to the stereo tapes, which I though was rather odd, since it hadn't been a stereo single. The reason I was looking for in the first place was that I wanted to find the master tape for the unique Dutch mix of the single and possibly include it on the album. Of course, what I found was a two-track master -- not really stereo -- that had the "ping pong" percussion overdub on a separate track from the rest of the recording. That overdub track was to be mixed at a lower level with the other track, producing a mono mix in which the "ping pong" percussion added an understated accent. In Holland, however, they combined the two tracks at an equal level, with the result that the percussion overdub dominated. For Rarities, we had a little fun and presented the two tracks in separated form.

PS: Land Ahoy.

BE: That was found among the three-track master tapes for the Surfin' Safari album, in storage at Capitol's L.A. warehouse. The three-track tapes for all of the album tracks were there -- except Surfin', Surfin' Safari and 409, which only exist in mono form. And that was the only Beach Boys album for which Capitol had the multi-track masters, as it was the only album that was recorded and assembled at the Tower. We mixed Land Ahoy down to stereo (a pretty simple mix, actually) for inclusion on Rarities. On the master tape, there were five takes of the group trying to put vocals on the completed track for the song. Three were blown, either at the start or part way through; the fourth went all the way through but wasn't a great performance; and the fifth was the best. We left on the countdown at the start of the take just for fun.

PS: In My Room - German Version.

BE: That was in among the mono single masters, but curiously was not in the inventory list. We had reached a point where we realized that the inventory list obviously was missing stuff that actually was there, so one afternoon during the week that I was out there, I sat down and went through all of Capitol's mono single masters from 1962 through 1970. Most of the tracks the Beach Boys had turned in to Capitol had been mono, so that seemed the most likely place to perhaps find a stray track. That's when I found the German version of In My Room. The tape box had a big red "X" marked across it, and the notation "Do Not Use" had been scrawled across it. Needless to say, we ignored the warning. This really was quite a find. Like a lot of other fans, I'd heard that The Beach Boys (like The Beatles) had recorded some tracks in a foreign language, but there'd never been any actual evidence of it. This was not only evidence, but proof!

PS: Cotton Fields - 45 mix.

BE: The tape inventory sent us to an odd reel stored separately from the mono single masters. When I pulled it out, it was a tape that had three or four different mixes of Cotton Fields -- all the single version, but all slightly different. The first mix on the tape was the one used as the single, while the other mixes included the sound of a child speaking (somewhat like the "Hi" at the beginning of The Trader). I remember there was one mix where the child's voice preceded the beginning of the actual song, and I think
there were two mixes where the child's voice was mixed into the song at different points. Since the original single version had never been released on a U.S. album at that time, I chose to go with the mix used on the single. In retrospect, I wish I'd used one of the other mixes, simply because it would have been different.

PS: Auld Lang Syne - Promo Mix.

BE: That was one of the things I really wanted to include from the outset, because I'd always thought the beauty of the Beach Boys' acappella vocals was ruined by Dennis' voice-over on the Christmas album. The track had appeared clean on a couple of Capitol promotional records back in the Sixties, but we couldn't find either a master tape for a clean version or copies of the actual promotional records at Capitol. I finally called Peter Reum, a collector whom I knew had copies of the promotional records, and arranged for us to borrow one of them. He overnighted his cleanest record out to us, and we mastered that from vinyl. I was really pleased last year when Andrew Sandoval found the three-track master tape for Auld Lang Syne and was able to mix a stereo acappella version of the song for inclusion on Ultimate Christmas. As much as I loved Dennis, that's the way that song should have been heard from the very beginning. It's absolutely breathtaking!

PS: The Letter sounds different than it does on the Wally Heider sessions. Is that just because the track has been mixed to mono with some reverb added?

BE: I think that's all there is to it, but that's a weird one in regard to trying to establish its origins. The tape that we found carried master number 58582, which (according to Capitol's sessions sheets) should have been a studio recording of the song cut Oct. 25, 1967 at Brian's house, right in the middle of the Wild Honey sessions. The fake live version of the song cut at Wally Heider's on Sept. 11 (during the session to record replacement tracks for that summer's Hawaii concert recordings) should have master number 58388. So, with no other information, we concluded what we had was the studio version of the song. Years later, when the Lei'd In Hawaii tape (actually from the Sept. 11 Heider session) leaked out, it included the same version of the song. Plus, the original liner notes for Wild Honey had turned up by then, and they indicated that a live version of the song from Hawaii (actually the Heider re-creation) was included in the album's original lineup -- which explains why Capitol had a copy of the song. All of this points to the fact that the version of The Letter included on Rarities is the Sept. 11 Heider recording. Still, I have to wonder about the fact that the tape we found carried the studio master number. Perhaps the two versions really are one and the same, except that the "studio version" had additional work done on it at Brian's home. Maybe that accounts for the difference in sound that you noted.

PS: The Rarities LP was digitally mastered. I know a lot of younger fans I converse with say "hey, DAT cassettes and U-1630 tapes weren't around then!" Please explain how it was done.

BE: Rarities was done in the infancy of digital audio. We used VHS tapes to store the digital signal. We sequenced and assembled the album directly onto VHS tape, using an outboard digital converter. Then that VHS tape went down the hall to Wally Traugott, who mastered it to vinyl and cassette master.

PS: If you knew then what you know now, do you think you would have put Three Blind Mice on the LP?

BE: Probably. When we found the tapes of that October 1965 orchestral session, I wanted to do something cool, like put the three tracks -- Stella by Starlight, How Deep Is the Ocean and Three Blind Mice -- on a bonus 45 that would come with the album. Of course, that idea got nixed, and there didn't seem any way to sequence "Stella" and "How Deep" into the album -- they just didn't fit soundwise. And in the midst of all that, Three Blind Mice was sort of forgotten. If I had known that Pamela Jean was going to get dropped from the album before release, I probably would have included Three Blind Mice instead.

By the way, the tapes of that October 1965 session were not found at Capitol. One of the "last ditch" efforts we made to find more tapes was to call United Western Studios to see what Beach Boys tapes they might have stored there. The only things they had that Capitol could lay claim to were the "Stella"/"How Deep" tape and a Brian Wilson production of Endless Sleep (which didn't even carry an artist identification; it was years before we learned the artist was Larry Denton). They had a number of tapes from the late 1970s and early 1980s, but those post-dated Capitol's contract with the Beach Boys, so we couldn't touch those (even though I really wanted to -- there were some very interesting titles from 1980 and 1982).

PS: I will be delicate with this next question. How did the Rarities LP come to be discontinued?

BE: Obviously, Rarities was done without the permission or cooperation of The Beach Boys, so they weren't real happy when the album came out and included previously unreleased material. They used the album's unauthorized nature as a bit of a bargaining point in some discussions with Capitol that commenced soon thereafter. And those discussions eventually led to the situation we have now. The Beach Boys and Capitol reached some accords a year or so later -- one of which was that Rarities went out of print, but another was the group's cooperation in a 25th anniversary package, Made In USA, for which the Beach Boys recorded several new tracks. And the groundwork was laid at that time for packaging the group's Sixties albums in the two-fer format with previously unreleased bonus tracks. So the direct impetus for the eventual release of the bonus tracks was the unreleased material on Rarities. The album sold about 80,000 copies, which showed the Beach Boys there was a market for some of the material they had stashed on a shelf somewhere.

I ought to mention that a couple of years after Rarities came out, one of The Beach Boys (who shall remain nameless) told me that I shouldn't take the album going out-of-print the wrong way. He assured me that its removal from the market was "strictly business" and that he actually thought the album was "pretty cool."

PS: Thank you again for you time, Brad. We are all looking forward to the new packages coming soon from Capitol.

BE: Thanks, Bob, for being interested in this aspect of the group's history. And, of course, I hope the new packages coming from Capitol are well received by the fans. I think they're going to be great!

As Brad stated above, the Rarities LP was allowed to go out of print in the mid '80s. There were rumors that Brian Wilson was working on a release of Pet Sounds for CD with bonus tracks included. Around the time of the release of Brian's solo CD in 1988, several interviews with Brian mentioned the release of SMiLE on CD to coincide with the issuing of Brian's new CD. All of this talk came to nought and by the end of the '80s, there was no joy in Mudville as far as Beach Boys collectors were concerned. But the dams were about to burst open.

 

 © 1999 - 2015 PetSite
81  Smiley Smile Stuff / General On Topic Discussions / Re: Carolyn Williams on: July 17, 2015, 11:05:48 AM
Wait... between those photos being taken, someone moved the radio antenna !

Well, of course, that can only mean one thing...

You're a grassy knoll kinda guy LOL!
82  Smiley Smile Stuff / General On Topic Discussions / Re: Brian's falsetto in the 70's. on: July 17, 2015, 10:55:13 AM
Briian sings the opening on Getcha Back. It's multitracked like crazy. But it is Brian. Steve Levine has said so.
83  Smiley Smile Stuff / General On Topic Discussions / Re: The 1980s photo of Brian Wilson on Made in the USA on: July 17, 2015, 10:49:36 AM
It's Washington DC 1985.
84  Smiley Smile Stuff / General On Topic Discussions / Re: Anyone heard from Peter Reum recently? on: July 07, 2015, 05:02:37 AM
Always good to see you sir!!
85  Smiley Smile Stuff / General On Topic Discussions / Re: What are the differences in 'rough mix' of WIBN on Made In USA and on PS? on: July 03, 2015, 12:39:12 PM
I don't know where they got that version of WIBN for Sunshine Dream. Maybe its the last time the single master was seen. Bad thing about that rough version of WIBN, it got used on everything for awhile after Made In Usa. It was on the Reader's Digest comp (great comp btw, it had tracks on CD that weren't available yet). What was funny is that after the remasters in 1990, they put together a sampler CD for the remasters. They used that rough version instead of the one Mark used. And on the Absolute Best CD set, they used that rough mix as well.
86  Smiley Smile Stuff / General On Topic Discussions / Re: What are the differences in 'rough mix' of WIBN on Made In USA and on PS? on: July 01, 2015, 05:58:47 AM
It's an early take of the song. Capitol used it when the master for the song went missing. It's still missing. Mark used the copy of Pet Sounds sent to the New York City offices of Capitol to pull WIBN off of. The master in LA had WIBN cut off and replaced with a duophonic copy. Back in the day, if a single was released off an LP after an LP came out, Capitol would pull up the LP master, cut out the track they wanted, replace it with a copy of that track, and store the tune on what they called their phono reels. Stupid if you ask me. Alot of tracks are missing because of this.

I always wondered at the time they compiled Made In USA and couldn't find WIBN, why they pull the master for Sunshine Dream and use that as the mono single was on there. I have heard that the mastering engineer at Capitol at that time (Larry Walsh), did not like the Beach Boys and put as little effort as possible into their releases. For the CD of Made In USA, he just did straight copies of the tracks with no real mastering. Its great for us nerds cuz its a flat transfer of the songs. But hardly the way they should have treated the group.
87  Smiley Smile Stuff / General On Topic Discussions / Re: Article about Darian Sahanaja on Rolling Stone website on: June 30, 2015, 12:03:05 PM
Darian Sahanaja is flat out, one of the most talented and sweetest guys around. Bob Hanes could never say enough about him and and Probyn Gregory. Darian and Probyn,  are my heroes! He and Probyn are absolutely the guys who need to be carrying on this musical legacy. Just knowing those guys has been a joy!
88  Smiley Smile Stuff / General On Topic Discussions / Re: So why is MIU/Light Album out of print?? on: June 28, 2015, 08:45:04 PM
I know. When I found this out about 4 months ago, I purchased extra copies of 15BO/Love You and KTSA/BB85 from Amazon. And the only copies of KTSA/BB85 Amazon had were UK pressings. They had no MIU/LA copies. I already had extras of Sunflower/SU , CATPST/Holland and Concert.
89  Smiley Smile Stuff / General On Topic Discussions / Re: The Letter - Wild Honey version? on: June 28, 2015, 08:23:43 PM
The best sounding versions of both The Letter and With A Little Help is on the Covered By The Beach Boys CD. Searchlight ebay. Lots of copies there.
90  Smiley Smile Stuff / General On Topic Discussions / Re: How often do you think about The Beach Boys? on: June 17, 2015, 11:49:17 AM
Always. After 42 years, its kind of ingrained. OMG, Landy must have brainwashed me................................
91  Smiley Smile Stuff / General On Topic Discussions / Re: My take on Mike vs Brian on: June 17, 2015, 11:48:15 AM
All, anyone that reads the history of The Beach Boys, or has lived through it like some of us have, know that is a band (and I love them so much) that has let the opportunity train pull out of the station time and time again while they wait on the platform hoping for a better one to come along. And then have then boarded what looked like a better train, only to find out its all polish and no engine.

The problems are numerous. With all the stuff that happened to them, its a wonder that good things have happened at all. In the latter stages of their career, it has been others who have made those things happen. The ball really started rolling again for them after the Good Vibrations boxset. And that would never of happened without David and Mark pushing like crazy to make it as good as it was. The two-fers also helped in that area. It got people thinking about the music again.

But as we know the blunders continued. Pushing aside Don Was for Sean O'Hagan? REALLY? Bruce, what the hell were you thinking? There were also rumblings at the time, as it was told to me, that the group just did not like Andy Paley. I don't know that back story, but I heard it enough that it started to make sense to me why other decisions around that time were being made.

And yes, there were people, including some in Brian's own family, who were calling Melinda "Mel-Landy". Ginger Blake even said the life that Brian was living with Melinda was "the surrendered Brian Wilson" that had grown complacent.  Mike Love told Don Was, which Was repeated, that if Brian was off his meds, the would write better songs. So everyone has an angle. Its so sad, but that is how business runs. Look at the history of CCR and you will see brother against brother. It happens.
92  Smiley Smile Stuff / General On Topic Discussions / Re: My take on Mike vs Brian on: June 16, 2015, 05:24:18 PM
"Magical," he says. Love, sitting next to me on a leather couch, has another reaction, which he demonstrates by putting his fingers into the shape of a gun, placing it under his chin and shooting himself in the head. "It's brilliant, beautiful, but I didn't write it, so it doesn't have that silver cloud on the cumulus nimbus," he says. "It's more cumulus than I probably would do."


I have friends that do this to me all the time. And I to them. But if an outsider did it (and has), I would say "What is your issue??". But people I know, I just laugh or ask "you don't like it?" So Mike gets a pass from me on that. And also, let me say this. I don't know Mike Love. Not many do. BUT, as a 56 year old person with extensive dealings with all types of people, those who want all positivity and no negatives in their art, what ever that may be, usually have enough negatives in their lives to want a release from that.  Mike is DRIVEN. Always trying to please......someone. Reminds me a friend whom I watched twist into knots when his mother was visiting him and she said "Have you seen your brother's new house. Its so nice. Why can't you have a big house like that?" He tripped over himself trying to explain that he was working on it. Sad.
93  Smiley Smile Stuff / General On Topic Discussions / Re: My take on Mike vs Brian on: June 16, 2015, 02:54:45 PM
AGD - damn I love being a Beach Boys fan! Has anything changed in the last 30+ years? Weren't we having the same Mike/Brian squabbles back then (meaning US = fans, not you and I). Nothing ever changes.

Now imagine this happening on the C50 tour. Phone rings in Mike's room. "Mike, this is Brian. I have an idea for a song and there is a piano downstairs in the conference room. Wanna meet up?"

That is all that would have to happen. It used to happen, now it doesn't. It isn't age, it's Brian just saying been there, done that. Nothing against Mike except Brian finds it easier to work with someone who doesn't always want to work the words surfing/beach/honey into every song. Good Lord Mike, you wrote Warmth Of The Sun, Good vibrations, Big Sur and yes one of my personal faves, Goin' On. Write those type of lyrics and Brian would call in a heartbeat.

 
94  Smiley Smile Stuff / General On Topic Discussions / Re: The Fendertones raise the bar with \ on: June 15, 2015, 01:43:36 PM
Truly wonderful. Just watched it again. Talked with some of the people involved last night and gave them a hats off. So wonderful. As I said yesterday, I think Carl would be proud of this presentation. He loved this song so much, which is why he pressured Brian to put it out. Thank goodness he did. Can you imagine if it hadn't. The Fendertones - sheesh, lets get these guys in that Pitch perfect franchise. They would kill all others involved. And since Elizabeth Banks is a producer and director of it, we have an "in". Just saying LOL!!!
95  Smiley Smile Stuff / General On Topic Discussions / Re: Love and Mercy Soundtrack on: June 15, 2015, 01:37:21 PM
I know this is slightly off topic, but this gets to the heart of what we are talking about. Don't let the Brad Elliott by line throw you. It really is good reading. I asked for this back in 2009 and of course the guys on the board came through!

Here is the article in question, Bob. Makes for interesting reading!



Sifting Sands: Ten Years Of Harmony

Brad Elliott

For most Beach Boys fans the recent CBS compilation, Ten Years Of Harmony, was a welcome addition to their collection. The handsomely packaged set included not only several single mixes and edits previously unavailable in album format, but also a previously unreleased single mix ("School Days"), and two tracks which had never seen the light of day in any form ("San Miguel" and "Sea Cruise").

The assembling of Ten Years Of Harmony however, proved to be no easy task. CBS executives spent more than a year working to release the package.  In the course of that year the album underwent several major revisions and countless minor changes.  To some of those involved, the final package was a severe disappointment.

The idea of a compilation album was first proposed in the fall of 1980.  As originally planned, Ten Years’ Harmony, an original title, would have been only one disc.  The target release date was January, 1981.  Early on, CBS pegged "Come Go With Me" as the album's first single.  Also scheduled for inclusion were "San Miguel", the vetoed mix of "School Days" and, at Bruce Johnston's insistence, "The Lord's Prayer". ("That's gonna go in the compilation album",  Bruce said last February.  "We're gonna lease that from Capitol. Lease it back and put it on, because it's never been on an album").

Before a track lineup could be formed, however, the album's release was postponed to May and then to September.

Among the group members, Bruce at least was thinking about the track lineup.  "The compilation album, if we get it out, will be, on the fan level, the best album they've ever had.  Because it's gonna cover all the period from, say, ‘68, ‘69 on.  It's gonna get the best of everything, like "Til I Die," "Disney Girls," "Sail On Sailor," "San Miguel".

Bruce’s most ambitious thoughts concerned the Smile tapes.  "We're gonna collage the Smile album in this compilation.  We're gonna go through the Smile album and just take little, sections of the tunes we have and put it out as a kind of sampler of the Smile album.  We're just going to skim the Smile tapes and make a beautiful six minute collage".  He was quick to add, "Brian doesn't know this".

CBS kept the compilation album on its list of projected September releases, and in July received from Caribou records a master for the record:

Side One: "The Trader", "Deidre", "Long Promised Road", "The Night Was So Young", "Sail On Sailor", "Come Go With Me".

Side Two: "Marcella", "Surf's Up", "Cool Cool Water", "Don't Go Near The Water", "Talk To Me", "Til I Die".

CBS executives were dumbfounded.  This was not the record they had expected.

Within a few short weeks, CBS' questions were answered. A CBS promotion man mentioned the tape to Bruce Johnston, who expressed complete surprise at the existence of a track lineup.  The Beach Boys, Bruce insisted, had made no such thing. It quickly became evident that Caribou president James William Guercio had thrown the tape together, reportedly because the Beach Boys had seemed in no hurry to assemble a lineup.

In a subsequent conference telephone call, Bruce, Mike Love, Alan Jardine, and CBS’ two in-house Beach Boy fans brainstormed a rough lineup for a two-record set.  Agreed upon were:

"Add Some Music", "Roller Skating Child", "Disney Girls", "It's A Beautiful Day", "California Saga: California", "Marcella", "Rock And Roll Music", "Goin' On", "It's OK", "Cool Cool Water", "San Miguel", "Good Timin’", "Sail On Sailor", either "Wouldn't It Be Nice"(live) or "Darlin’" (live), "Lady Lynda", "The Trader", "Come Go With Me", "Deidre", "Mona", "Don't Go Near The Water", "Surf's Up", "She's Got Rhythm", "Honkin’ Down The Highway", "’Til I Die", "Long Promised Road", and either "River Song", or "You And I" (both from Dennis' Pacific Ocean Blue).

Suggested by the CBS executives, but vetoed by the three Beach Boys, were the studio version of "We Got Love", "Child Of Winter", and the unreleased single mix of "School Days".

However, the Beach Boys suggested several ‘bonus’ tracks which they would be interested in including.  If the tapes could be found, they suggested including a song from the encore (with Elton John) of the group's June 3, 1972 London concert, and "Jumpin’ Jack Flash" from the Washington, D.C. show of the 1975 Beachago tour.  There was also talk of the group making a quick trip into the studio to cut "Back In The USSR".

By late September the contents were firming up.  The tentative lineup at that time was:

Side One: "Add Some Music To Your Day", "Roller Skating Child", "Disney Girls", "It's A Beautiful Day", "California Saga: California" (preferably the single version, if the master tape could be found), "Marcella".

Side Two: "Rock And Roll Music", "Goin’ On", "It's OK", "Cool Cool Water" (the single edit, hopefully), "San Miguel", "Good Timin’", "Sail On Sailor".

Side Three: "Darlin’" (live), "Lady Lynda", "Sea Cruise", "The Trader", "Mona", "Don't Go Near The Water" (or possibly "Feel Flows"), "Surf's Up".

Side Four: "Come Go With Me", "Deidre" (or maybe "This Whole World"), "She's Got Rhythm", "River Song", "Long Promised Road", "Honkin’ Down The Highway", "Til I Die".

As the cover art was worked up and liner notes drafted, David Leaf, author of The Beach Boys And The California Myth was asked for his advice.  He submitted another track proposal:

Side One: "Surf's Up", "Cool Cool Water" (45 edit), "This Whole World", "Add Some Music To Your Day", "Disney Girls", "Feel Flows", "’Til I Die".

Side Two: "Long Promised Road", "San Miguel", "Marcella", "Sail On Sailor", "The Trader", "California Saga: California" -(45 mix).

Side Three: "Good Timin’", "Goin’ On", "Sweet Sunday Kind Of Love", "Matchpoint Of Our Love", "The Night Was So Young", "Baby Blue", "Lady Lynda".

Side Four: "Come Go With Me", "It's OK", "Rock And Roll Music", "It's A Beautiful Day", "Sea Cruise", "She's Got Rhythm", "Roller Skating Child".

Although Leaf's grouping of tracks somewhat chronologically and by tempo was not adopted, his efforts were directly responsible for the inclusion, on the next CBS lineup, of "This Whole World" and "Feel Flows" instead of "Mona" and "Honkin' Down The Highway".  Also added, at the insistence of CBS, was the single mix of "School Days".

Approximately a month before the album's release, Carl Wilson went into the group's tape library to find the master tapes for the twenty eight songs.  Luck was with him and all the masters were located, including those for the "California Saga" and "Cool Cool Water" singles.  Also, it was at that time that the compilation's last track, "Wontcha Come Out Tonight" was added, bringing the number of included songs to twenty nine, and finalizing the track lineup.

One last problem remained: the inner gatefold.  The photo of the group, taken backstage at the 1977 Central Park concert, already had been selected.  At issue was a proposal to “doctor” Bruce into it.  Carl put his foot down. Bruce was not a Beach Boy on a par with the others, and should not be included in the main photo.  If Bruce wanted his photo on the album, Carl stated, he could have a small 'mug' shot. Bruce decided that if he wasn't wanted in the main photo, he didn't want to be pictured on the album.  He is not.

Carl also insisted that individual production credits be given, prompting a few minor squabbles in places (most notably whether Brian would be credited for tracks from the MIU album: he is on only "Wontcha Come Out Tonight," which he wrote and sang.  At about the same time, the planned liner notes were shelved and replaced by the song lyrics.  That decision was probably CBS’.  The record was due for release immediately, and another squabble, which the liner notes likely would have generated, might have caused further delay.

Despite the many problems in assembling and releasing Ten Years Of Harmony, CBS is pleased with the package, and already is considering a one-record Ten Years Of Harmony, Vol. 2. for release next fall.

96  Smiley Smile Stuff / General On Topic Discussions / Re: Love and Mercy Soundtrack on: June 15, 2015, 12:34:20 PM
This is really at the heart of what being a fan of this music is all about. Having loved this music since 1973, the amount of "here comes a fantastic package of unreleased music....oh crap, never mind...here is another hits package for you. Just buy it." has been at the heart of the issues we have seen with this band. THEY don't really care (except monetarily) about releasing their unreleased tracks. It took JWG submitting an AWFUL tape to CBS in 1981 to get the group to pull together and get the TYOH discs compiled. Tho they have shown more interest lately (Mike helping on MIC), the group as a whole seems uninterested. Alan Jardine has been the only one who has consistently fought for such projects. I mean, how MANY SMiLE projects were promised before we finally got one? And lets be honest, as great as it was, it was WAY WAY TOO LATE! Not to get morbid, but the base for that kind of project is shrinking as we speak. The fact that two members of the group had already passed is testament to that. If these copyright releases like Keep An Eye On Summer are going to wait for the 50 year marks before being released, they might as well just hang it up.

It is going to take someone with not only the business savvy, but an actual love for this music to get it all out. I think we already have such players. But I also think they have been beaten down from the NO's they have gotten. Let's face it, why hire an Alan Boyd to be a custodian and a Mark Linnett as an archivist, if after a complete and exhaustive inventory of your audio and video holdings, you just say "Ok that's good. No we are not going to do anything with it. Thanks. Ship it all to Iron Mountain."

Hell, I am between jobs as a systems engineer. Call me LOL.
97  Smiley Smile Stuff / General On Topic Discussions / Re: Question about That same song.. on: June 15, 2015, 12:03:01 AM
So nice in fact that Brian recycled part of That Same Song into Rio Grande for his solo LP.
98  Smiley Smile Stuff / General On Topic Discussions / Re: Dr. Landy/Love & Mercy on: June 15, 2015, 12:01:02 AM
I have read more than one interview with Brian and Bill P. that they felt more at ease pursing this movie BECAUSE Landy had passed away. Several people said if he were still around and healthy, lord knows what he might have done.
99  Smiley Smile Stuff / General On Topic Discussions / Re: The Fendertones raise the bar with \ on: June 14, 2015, 11:58:18 PM
I watched this early in the day, and I just watched it again. It's SO good.

And on a totally unrelated note (not really), boy I am missing Carl today. He would have loved this.
100  Smiley Smile Stuff / General On Topic Discussions / Re: The Fendertones raise the bar with \ on: June 14, 2015, 10:25:27 PM
The Mike version of the Beach Boys did doing Surf's Up on their recent tour of the UK.

Pages: 1 2 3 [4] 5 6 7 8 9 ... 31
gfx
Powered by SMF 1.1.21 | SMF © 2015, Simple Machines Page created in 0.477 seconds with 21 queries.
Helios Multi design by Bloc
gfx
Powered by MySQL Powered by PHP Valid XHTML 1.0! Valid CSS!