beach boys song chords are a well-known tonic for what ails 'ya.  that's a given (for fans)

copyright of a composition vs. copyright of the recording, an interesting distinction

brings to mind Brians I'M WAITING FOR THE DAY which had a copyright in 1964 but not recorded (for Pet Sounds) until 1966 (with the usual Mike Love tampering with the lyrics).  what was submitted for copyright back in 1964, a title and a written lyric?  probably.  a chord sheet or note chart?  probably not

actually I think it's neither, since recording sessions for a song can span years (cabinessence certainly wasn't entirely 1968)

copyright, or more accurately publishing date are the official base

technically the 20/20 sessions digital release last year jumped the 50 year copyright extension gun, since while Friends LP was 1968 (for Wake The World sessions), 20/20 originally was 1969

so now that we're over a month into 2019 what (other) 1969 material still needs such extended copyright protection?  BreakAway

that would seem to be it.  with a stretch one could include the UK 45 single version of Cottonfields which's of course a 1970 release there (recorded in 1969).  the US 45 also is a 1970 release but it's the 20/20 version which's already been covered on the sessions.  over a year went by for them to release it as a single from the album (probably a capitol move, although that doesn't exactly explain why Al went ahead with his revised recording)

so mssrs boyd & linnet could take a breather and give us nothing more until 2020, for the copyright extension release of Sunflower material.  And there's certainly a ton there

With that overload my conjecture is some of it (sunflower)--that which's known to have earlier recording dates--could jump the gun and come out at the end of this year.  while the other half of material would be a 2020 copyright extension release.  that fragments sunflower so maybe they'll scotch my idea.  a quandary with no singularly good answer

p.s.:  it seems confusion could be had between the calendar year 2020, vs. the title of the beach boys album

yes in May '84 I saw their show where Carl sang Heaven (it was in Monterey I think)

.

land ahoy.......cherry cherry coupe

can't put my finger on it precisely but I've long thought there's some of be true to your school in I get around

and I know I hear strains of don't worry baby in please let me wonder

"The password for the video is “smile”"

who'd've thunk?

"....the band's massive post-Holland artistic decay...."

I like it when a phrase turns up every now and then that really hits the nail on the head

I've told people, even those only half-interested, that there's no greater consecutive (studio) album release difference in approach, style, and performance to be found anywhere than Beach Boys HOLLAND vs.  15 BIG ONES

WTF's echoing for an eternity

"When the claims of a participant contradict things that are established, proven, on the record, it is our responsibility as music historians to ask why. That is all."

I've never heard a phrase of such pompous, self righteous wind-bag blather like that ever before.  That is all?  That is enough!

perhaps this needs a new thread topic instead but i'll start here

Brian Wilson plays the entire Christmas album (plus favorites)

with special guests Al Jardine and Blondie Chaplin

my local concert date is Nov. 30 at Chicago Theatre.  radio advertisements for it began yesterday

Brain Wilson is termed in the announcement 'co-founder of the Beach Boys', but since Al Jardine's also present then they have all the real group founders IMO, no need to quantify it further

now they don't say WHICH Christmas album, and by my count there are 3.  perhaps they want to keep it vague (and in the general public eye, as opposed to hardcore fans, it doesn't matter which), side-stepping the point for the time being that Mike won't be there to sing Little Saint Nick, if it's played at all.

I just hope he performs CHILD OF WINTER, which of course isn't from any album per se.  He does that one and the hardcore fans will be satisfied in one fell swoop (besides it's been my favorite since it first was heard on Chicago radio just 2 days before the holiday itself back then).  On that one it may not matter at all that Mike originally had (most of) the lead.

you can hear in the radio spot Brian singing we wish you a merry Christmas, but strangely his voice is kept low in the mix throughout and that's about all one can be sure of

brian & tandyn @ whiskey-a-go-go supposedly 1970:

https://www.google.com/search?q=images+brian+wilson+tandyn+almer&tbm=isch&source=iu&ictx=1&fir=2bhvIKirL8Yw9M%253A%252C2dMvGsJOK2ge7M%252C_&usg=AI4_-kRLaY8C_KpvfpWLJgZVbXGOM4raRg&sa=X&ved=2ahUKEwiyyrb7-dvdAhXm7oMKHUWoCasQ9QEwAXoECAYQBA#imgrc=2bhvIKirL8Yw9M:

we've of course read that when news of Murry's impending SOT publishing sale got out at the time, the band tried to put the funds together to make a counter-offer to keep it in the family.  but it did not happen because either they fell $hort or technically too late to scuttle the Almo deal

Murry viewed the beach boys song catalog as a passing fad that'd lost its value.  the dismal performance of recent Breakaway no doubt convinced him of that.  but I wonder if he was enticed, because everyone in the business knew who he was and what he owned

I think he had become enormously disappointed and yes, something of an axe to grind with Brian.  I wonder if he had held on to the catalog instead, would he have been able to get along with the likes of Nick Grillo and especially Jack Reilly, who in a few years turned their fortunes around

had administering the publishing (admittedly large songlist) become too much of a daily chore that a person getting into his '60s was just not able.  I can only say for sure he acted like he had no confidence or appreciation in the lasting beauty of Brian'd composed

in '67 I bought Pet Sounds on vinyl, but soon traded it to a friends' friend (don't ask)

I bought stack-o-tracks in '68 and found it fascinating

major part of the reason I got rid of my first PS was I's getting heavily into reel-to-reel tapes, getting a concord deck from allied radio for Xmas '67, so I was on the lookout for pre-recorded reel albums of which many stores sold here

I wanted a beach boys and a beatles tape but all my selections were limited to the 7-1/2 IPS speed (early on I learned 3-3/4 tapes were too inferior).  For the beatles capitol made Revolver @ 7-1/2, and Pet Sounds for the beach boys that speed too (and only those albums, a frustrating situation which did change some years on).  I played the dickens out of both those tapes on my concord, which graduated to a Tandberg 64X before too long.  And listened almost always through headphones (I must be the only person who enjoyed duophonic stereo via headphones, shame on me)

the capitol double disc BB compilation Close-Up would be next and I so regret not getting Friends during the brief time it was a new release.  However when Sunflower came out I was the only one in my gang who bought it new, so it got borrowed out a lot

for the more tricky tape edits - was a visual aid ever resorted to in identifying the precise point at which to make the (blade or scissors) cut?

for a tape traveling @ 15 IPS, there is some latitude

the visual aid might be a magnetic fluid that's lightly wiped or sprayed onto the tape oxide - one brand I recall the name of was 'Magna-See' (but there were a couple others, maybe FerroSheen).  With judicious application it momentarily lets you see the recorded waveforms of the track, to identify peaks/valleys the engineer can tie into what is heard at the playback head (at that moment).

the Beatles SHE LOVES YOU is said to have 7 splice points, editing back and forth between several song takes.  Most people should be able to take an educated guess where one or two of them maybe giving it a critical listen - Ringo's high-hat cymbal seems to come and go arbitrarily at a probable edit point.  My long-standing belief is that's the true reason a stereo mix of that song was never released, i.e., those 7 edit points are tolerable in a dense mono mix, but when a more discrete stereo was attempted they called too much attention to themselves for public consumption

the shirt issue really spoils the event, visually, so at least we have radio to thank for (reminds me of a song title)

something more important this brings to mind is late George Harrison and how he'd describe his former Beatle years as "a shirt I used to wear but don't anymore"

1.  CAN'T WAIT TOO LONG (2-fer version)
2.  COOL, COOL WATER (alternate version)
3.  ALL THIS IS THAT
4.  BUSY DOING NOTHIN'
5.  LET'S SO AWAY FOR AWHILE
6.  MARCELLA
7.  LITTLE GIRL I ONCE KNEW
8.  ALL I WANNA DO
9.  SHE KNOWS ME TOO WELL
10. ANGEL COME HOME

"This symbol “~” has many uses. In math, if placed above the equal sign, it means approximately equal. In the dictionary it is used as a pronunciation guide. In logic notation it means a negation.  "

for 'approximately equals' expression in math I've used just the equals sign, but curve both (parallel) lines, not place a tilde above a normal equals.  simpler

Herr Desper -

why do you place a tilde before your initials instead of over?

by I've rather saturated myself with listens to all of both Sunshine Tomorrow CD's

enough so that I feel confident making this statement, that had SMiLE album been finished & released originally and been any level of success, that no Brian would not have produced an album then like Wild Honey

"They always seem to be playing “Rock and Roll Music” when I tune in, and it’s always the single version. "

,,,,,and may no one ever play any other RnRM version!


(song title appearing in another previous post "Al This Is That" - interesting mis-spelling, al things considered)

but....

would they take a request for, and play......

(we can take bets on this)

Two Step Side-Step

of the 3 hypo-theticals the monterey pop question seems to have the most viability

(if there're other online dialogues already done that tackle that very point I've not seen it)

Monterey pop was a spur of the moment decision, yes they were scheduled and for some time, then brian abruptly cancelled

If SMiLE had been released by that date then of course the beach boys would've played MP

but the SMiLE  album no show has many more reasons behind it (all of them bad) than the concert no-show IMO, yet the two are inevitably related

in summary:
as we have come to understand from a modern vantagepoint there was no way SMiLE  could've been released originally--Brian overwhelmed himself to the point he totally lost so much simple focus, and group project support went down the tubes with it

if endless summer hadn't been released?  are you kidding me?  Capitol  had already released so many BB compilations and knew nothing more than to keep on doing so ad nauseum.

but Monterey pop?  that on the other hand was a distinct and black/white possibility.  Despite naysayers saying they might not've been polished enough, well, they certainly had a great many successfull perfomances under their belts by then.  Mike Love preferred to being paid and distrusting the event promotors?  IMO they'd have done it if Brian had instead insisted. 

yeah that's undeniably weird, but I noticed something about the song selection

and that is that it's close to just one song from each BB album up through Friends

I believe there's definitely should be something--new that is--so that the Beach Boys can go out with a certified bang

and it's definitely not gleaning through every last bit of unidentified old tapes to try to pull another archival song recording rabbit out of the hat.  I say that as tantalizing as some of that old material can prove to be