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Author Topic: Love and Mercy Soundtrack  (Read 56002 times)
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« Reply #50 on: June 15, 2015, 01:05:14 PM »

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."

It's funny you mention that.  It wasn't until 2007, after Neil Aspinall was replaced (or whatever you want to call it) by Jeff Jones that the Beatles catalog finally got the overhaul it deserved.  And look at the tantalizing things that fanbase has gotten in the wake of that.  Every 6 months or a year something comes out.  

It is a miracle that we ever got THE SMILE SESSIONS and I'm grateful for it.  There have been other really cool releases but it all feels (sometimes) very haphazard.  When I first heard PET SOUNDS (1996, after seeing IJWMFTT) I got obsessed with it.  I happened to be working in a record store at the time and would read Billboard weekly.  I remember a full page ad that went something like 'Wouldn't It Be Nice to be a fly on the wall during the making of PET SOUNDS, well now you can' – it was an advertisement for THE PET SOUNDS SESSIONS.  Then a whole year went by before it finally came out.  I learned early on that Beach Boys stuff walks to the beat of its own drummer.  I guess patience is a virtue.

Back on topic...  if anyone from Capitol is reading this please give us a puff of smoke about a LOVE & MERCY soundtrack or score.  Pretty please, with sugar on top.
« Last Edit: June 15, 2015, 01:08:41 PM by JCM » Logged

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« Reply #51 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.

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« Reply #52 on: June 15, 2015, 02:19:38 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.



Damn.
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« Reply #53 on: June 15, 2015, 10:42:38 PM »

http://www.hitfix.com/immaculate-noise/atticus-ross-success-is-a-bad-business-model-on-love-mercy-trent-reznor

Newly posted interview (I think) with Atticus Ross.  Some nice little tidbits.  Interview isn't completely focused on LOVE & MERCY.

Quote
HitFix: Did you find yourself struggling between being a fan and kind a composer tasking yourself with pulling through all the stems?

Atticus Ross: That was my idea. That was what I picked to do for the score. My immediate response to Bill about writing a score for is “Absolutely no f*cking way.” Because what’s it going to be? [Brian] is what he is, he is one of the greatest musical minds ever -- certainly in the last 100 years. And so what’s it gonna be, some “Good Vibrations,” followed by some bit of score? That’s just going to be lame, in my opinion.

I know all Beach Boys stuff because I grew up with it. My dad used to have a ham radio station in England, and then he did a nightclub out here. So a lot of the Beach Boys music, I knew all their songs, because they were kind of ingrained in my consciousness in being a kid. But I wasn’t one of those people who was like, “I’ve got this mic because it was used on Pet Sounds.”

So before I wrote the film off, I was urged to just read the script. And I read the script and I thought the script was brilliant. Bill Pohlad undeniably is a man of great taste, from the films that he’s been involved with. Having read the script and knowing the story and knowing what they’re going for and knowing that it’s really a very original approach to the story and the points in time that they’ve picked to juxtapose… it felt like if we interweave Brian into the music, then it wouldn’t be like this jarring thing. Like, here’s the film and here’s this itty bitty score. We treated it more like the subject matter, tried to have the music reflect that.

There’s that part in the movie where Brian puts the headphones on and it’s just all this screaming chaos. That ended up being my wife singing -- my wife is Brian's darkest moment. But towards the end of that, it builds in this cacophony and I deliberately lead to that awful “Sun, Sun, Sun” track, which becomes more and more unfiltered and then we’re using horns and stuff from his own music to build up into that moment of him sitting outside, totally out of it.

For actors, it can be difficult to portray somebody who is on a drug trip, or drunk, or somebody who is mentally ill, because it can come off looking fake. For you is there a similar struggle for composing music and arranging music, like when Brian's tripping or having an episode, or other psychedelic scenes?

It was just really the hours that were put in. I think for everybody involved it became a labor of love. Something like dinner utensils scene, it’s only a minute long that scene but I probably spent at least seven to ten days just working on that one minute of music. Because -- like you say -- it could be so awful, that moment of the knives and forks are coming alive, to do it in a way that felt alive and threatening and not overdone. There are some warped vocals from “God Only Knows” come in. But they’ve been re-tuned and messed with, just to try and get that sense of always being in his head.

We had the [session] tapes, and then I had all this stuff where they would just leave the tape rolling. I’d just have the stereo tracks where [Wilson’s] rehearsing with [studio band] the Wrecking Crew. And some of those sessions would go on for 40 minutes, and you can hear Brian talking back on the tapes.

You may think of Brian Wilson being spaced-out or whatever, but what you may not realize -- and what comes across in the film -- is just how focused he was during those years. And this isn’t space-out, or a guy who doesn’t know what he wants. He’s totally in control. He’s totally in charge of the sessions. He’s on it.
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« Reply #54 on: July 06, 2015, 08:01:58 AM »

Probably a dumb question but...does anyone know if, in order to be nominated for an Oscar for Best Original Score if a score has to actually be released?
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« Reply #55 on: July 06, 2015, 08:06:59 AM »

Probably a dumb question but...does anyone know if, in order to be nominated for an Oscar for Best Original Score if a score has to actually be released?

I'm not sure on that (my guess without checking the rules would be no; it's being recognized for its place in the film, not as an album release; not releasing a score in any format whatsoever undoubtedly does not *help* its chances, though). But I think some discussion of the score has mentioned that, because some of it is derived from older compositions/recordings, it would not be eligible for an Academy Award as an "original" score.

That isn't to take away from the work Atticus Ross did on this at all. It NEEDS to be released. And, if anything, again as others have discussed, some sort of alternate award category ("Best Adapted Score", etc.) perhaps should be created for scenarios like this.
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« Reply #56 on: July 06, 2015, 11:24:27 PM »

Thanks HJ.  Good point about the "original" part of it since the bulk of the score was sourced.  A unique category for "Best Adapted Score or Soundtrack" would remedy that nicely.  The score of this movie is such a delight.  After you've heard the material 1,000 times and committed it to memory, hearing a different spin on it is very refreshing.

I just saw this while perusing Twitter, I don't claim to know what this means...I'm sure Atticus Ross has a lot of "cool unreleased material" but I sure hope it is what I hope it is.   Brow

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« Reply #57 on: July 27, 2015, 12:44:59 PM »

Sweet God in heaven...let this be true:

http://www.amazon.com/Love-Mercy-Soundtrack/dp/B0123VJ88I/ref=sr_1_13?ie=UTF8&qid=1438025645&sr=8-13&keywords=love+and+mercy+soundtrack

Audio CD (September 18, 2015)
Label: Capitol
ASIN: B0123VJ88I


...

Also posted this in the Love & Mercy News thread.  Felt like spreading the news.

I happened to be looking at other Roadside Attractions films (MAGGIE & MR. HOLMES) and notices that their soundtracks were/will be released some time following the initial theatrical push.  MAGGIE came out on May 8th and the soundtrack just got released on Varese Sarabande, coincidentally the DVD/Blu-ray just came out on that title.  And MR. HOLMES was just released theatrically in the last two weeks.  The soundtrack for that is listed as being released August 28th, via Lakeshore Records. 

It doesn't make a ton of sense to me, but maybe that's what RA likes to do with soundtracks, release them closer to the home video push.

¯\_(ツ)_/¯
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« Reply #58 on: July 27, 2015, 12:47:02 PM »

Great news if it pans out. I am very much looking forward to this.
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« Reply #59 on: July 27, 2015, 01:22:36 PM »

That's an odd release date; that's a Friday. Usually it's Tuesday.
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« Reply #60 on: July 27, 2015, 01:25:38 PM »

Interestingly, September 18th was set to be the fist date on the aborted UK tour. Maybe the release of this, and promotion of same constitute the commitments cited for cancelling the dates. We'll see...
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« Reply #61 on: July 27, 2015, 01:27:00 PM »

I thought the same. But it's the same week the BD/DVD comes out (September 15th).

FWIW...the MAGGIE soundtrack (also from Roadside Attractions) came out on July 24th, last Friday. Two weeks removed from the BD/DVD of that title.

Maybe Friday is the new Tuesday, in their world.  LOL
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« Reply #62 on: July 27, 2015, 01:36:15 PM »

That's an odd release date; that's a Friday. Usually it's Tuesday.

http://www.billboard.com/articles/business/6487289/friday-global-record-release-day-ifpi
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« Reply #63 on: July 27, 2015, 01:38:08 PM »


Nice. I had no idea it was "official" now.
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« Reply #64 on: July 27, 2015, 01:40:42 PM »

YES!!!!!!!!!!!!!!!! Cool
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« Reply #65 on: July 27, 2015, 01:51:19 PM »

Also listed on amazon's uk and Jp sites…
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« Reply #66 on: July 27, 2015, 02:03:46 PM »

I think the filmmakers made a mistake in not featuring more of Brian's 80's music. Seems like the only 80's song anyone will remember is Love and Mercy. Would've been cool to have a few scenes of Brian/Cusak demoing Melt Away, Water Builds Up, Rio Grande. Inclusions like those would have helped create an interesting and different soundtrack album. As it is, I see little use for a soundtrack cd.
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« Reply #67 on: July 27, 2015, 02:10:07 PM »

That score, man!  That's the reason for this soundtrack.

“Black Hole" composed by Atticus Ross contains portions of:

    Don’t Worry Baby
    California Girls
    Good To My Baby
    Help Me, Rhonda
    Wendy
    Dance, Dance, Dance
    Denny’s Drums
    Fun, Fun, Fun

“End Date” composed by Atticus Ross contains portions of:

    Don’t Talk (Put Your Head on My Shoulder)

“Believe” composed by Atticus Ross contains portions of:

    You Still Believe In Me
    Don’t Talk (Put Your Head on My Shoulder)
    Pet Sounds

“Silhouette” composed by Atticus Ross contains portions of:

    God Only Knows
    Let’s Go Away For Awhile
    Don’t Talk (Put Your Head on My Shoulder)
    Sloop John B

“Headphones” composed by Atticus Ross contains portions of:

    I Live For the Sun — The Sunrays
    I Know THere’s An Answer
    Sloop John B
    Pet Sounds
    Dance, Dance, Dance
    Don’t Talk (Put Your Head on My Shoulder)
    Help Me, Rhonda
    Here Today

“Knives and Forks” composed by Atticus Ross contains portions of:

    God Only Knows

“Deep End” composed by Atticus Ross contains portions of:

    Heroes and Villains
    Barnyard
    I Love to Say Da Da
    Wind Chimes
    Don’t Worry Baby
    Our Prayer

“B&M Studio” composed by Atticus Ross contains portions of:

    Don’t Talk (Put Your Head on My Shoulder)

“Baby No Morph” composed by Atticus Ross contains portions of:

    I Love to Say Da Da
    Here Today
    Don’t Talk (Put Your Head on My Shoulder)

“Bed Montage” composed by Atticus Ross contains portions of:

    Don’t Worry Baby
    California Girls

“Into Mercy” composed by Atticus Ross contains portions of:

    God Only Knows
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« Reply #68 on: July 27, 2015, 02:12:48 PM »

I think the filmmakers made a mistake in not featuring more of Brian's 80's music. Seems like the only 80's song anyone will remember is Love and Mercy. Would've been cool to have a few scenes of Brian/Cusak demoing Melt Away, Water Builds Up, Rio Grande. Inclusions like those would have helped create an interesting and different soundtrack album. As it is, I see little use for a soundtrack cd.

Nah, I can't see those fitting very well. They did a brilliant job on the soundtrack, if you think otherwise... Where would you stick Rio Grande in the film? I don't think new scenes documenting BW88 would've served the story they were trying to tell.

Great news on the soundtrack, tho! Fantastic.
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« Reply #69 on: July 27, 2015, 02:20:00 PM »

I think the filmmakers made a mistake in not featuring more of Brian's 80's music. Seems like the only 80's song anyone will remember is Love and Mercy. Would've been cool to have a few scenes of Brian/Cusak demoing Melt Away, Water Builds Up, Rio Grande. Inclusions like those would have helped create an interesting and different soundtrack album. As it is, I see little use for a soundtrack cd.

Though I love those songs, I think leaving Love and Mercy as the only '88 track was a perfect decision by the filmmakers. You get to see Brian demo it kinda, then at the end he sings it the audience himself - giving it closure. Having him demo Melt Away and Rio Grande would've left the filmmakers no choice but to add in a scene where BW '88 is released (you need to kinda give it closure), and that would've detracted a bit from the whole plot of the movie.
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« Reply #70 on: July 27, 2015, 02:34:52 PM »

.
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« Reply #71 on: July 27, 2015, 02:47:12 PM »

Though I love those songs, I think leaving Love and Mercy as the only '88 track was a perfect decision by the filmmakers. You get to see Brian demo it kinda, then at the end he sings it the audience himself - giving it closure.

Even that I don't consider being a track from the '88 album, given that the concert version much more closely resembles the '94 version...
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« Reply #72 on: July 27, 2015, 03:03:10 PM »

Though I love those songs, I think leaving Love and Mercy as the only '88 track was a perfect decision by the filmmakers. You get to see Brian demo it kinda, then at the end he sings it the audience himself - giving it closure.

Even that I don't consider being a track from the '88 album, given that the concert version much more closely resembles the '94 version...

Yeah, that's true.
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Bill Tobelman's SMiLE site

God must’ve smiled the day Brian Wilson was born!

"ragegasm" - /rāj • ga-zəm/ : a logical mental response produced when your favorite band becomes remotely associated with the bro-country genre.

Ever want to hear some Beach Boys songs mashed up together like The Beatles' 'LOVE' album? Check out my mix!
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« Reply #73 on: July 27, 2015, 11:49:11 PM »

So all that horsecrap certain members were posting the other day about Mike Love sabotaging the release of the soundtrack was exactly that - horsecrap.
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« Reply #74 on: July 27, 2015, 11:59:43 PM »

I'll be damned if I can figure out the legalities of these things. Itunes has this....

https://itunes.apple.com/us/album/love-mercy-soundtrack-2015/id1015922439

Product quoting the movie, Brian, with Beach Boys songs sung by soundalikes. How do they do it?
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