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Post by Deleted on Dec 24, 2018 3:00:47 GMT -5
Well, we need a place to discuss these fabulous sets, don't we?
I might well be posting my own (albeit fanboy-ish) review on the Friends/20-20 sets in the near future when I have time, by the way.
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Post by Deleted on Dec 24, 2018 4:20:43 GMT -5
The left-over friends outtake tracks like 'Away', 'Be Here in The Morning Daring", "Our New Home", "Cool as Can Be", ect are all amazing. Can't believe brian AND dennis cranked out these tiny little masterpieces that were just sitting in the vaults for years. These friends left-overs have a very similar vibe, the slide guitars and bells, the very bouncy harmonies melodies and riffs. It's all very cohesive and I wonder why they didnt make the cut.
the 2020 set was also great, the sitar version of 'All I Wanna Do' blew my mind. amazing sets!! dennis really is the highlight of both these sets sometimes, he was growing as a songwriter really fast.
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Post by John Manning on Dec 24, 2018 4:35:38 GMT -5
Looking forward to chiming in with some of my own thoughts on the Friends/20/20 sets, which (in short) are outstanding.
Also eagerly awaiting the U.K. and (elsewhere) release of the Tour set. I understand Mark Linett is looking into making this happen on our behalf.
I’m hesitant to bring up the subject on a squeaky clean, pristine, virginally pure board, but can we here avoid any discussion of illegal acquisition of material that is legally available?
My motivation in making this plea is entirely selfish: if the record companies get the idea that people are obtaining this stuff illegally, they’ll pull the plug. I do not want to see this fabulous copyright extension programme be scuppered because someone thought it was okay to circumvent the process by which artists get paid royalties, record companies get some income for projects that probably cost more to pull together than they make, and all the rest.
I have Alan Boyd’s permission to quote the following, which he posted at another board after the subject raised its unfortunate head:
“It is becoming so incredibly difficult to get the corporate support that enables these highly specialized niche oriented projects to happen at all … there is no promotion for this year's stack of tracks. We're hoping and praying that people who appreciate the hard work that goes into these projects will support that work by buying copies/downloads and proving to Universal Music that there is a market for this kind of Beach Boys archival collection.
“The attention and feedback you all have given over the years has been inspiring … we need all the help we can get out here.”
I might be guilty of a degree of hypocrisy here: I have a mountain of bootlegs of studio and live stuff dating from before the CopEx programme began, as well as numerous downloads of live gigs. In mitigation, none of it was available at the time of acquisition
A few folk have (very kindly) offered me free illicit downloads and I’ve got to admit that I was briefly tempted. But in the end I’ve bought the studio sets and my cash awaits the tour set.
Now that the record companies have been convinced that there is a market for it, we – the hard core fans – really ought to be supporting it whenever we can.
Buy the stuff if you’re able; otherwise keep mum and, if you like what you hear and appreciate how fortunate we are to have legitimate access to the material at all, voice your support - not your undermining – of the project on this wonderful new board.
Here endeth today’s sermon.
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Post by craigslowinski on Dec 24, 2018 5:51:22 GMT -5
The left-over friends outtake tracks like 'Away', 'Be Here in The Morning Daring", "Our New Home", "Cool as Can Be", ect are all amazing. Can't believe brian AND dennis cranked out these tiny little masterpieces that were just sitting in the vaults for years. These friends left-overs have a very similar vibe, the slide guitars and bells, the very bouncy harmonies melodies and riffs. It's all very cohesive and I wonder why they didnt make the cut. the 2020 set was also great, the sitar version of 'All I Wanna Do' blew my mind. amazing sets!! dennis really is the highlight of both these sets sometimes, he was growing as a songwriter really fast. Well, "Away" was intended for Dino, Desi & Billy, so it would not have been on Friends anyway. As for the other outtakes, my assumption is that for whatever reason Brian didn't have melodies, lyrics, or vocal arrangements plotted out, as none were recorded. Two instrumentals were probably deemed enough for the album, and at least "Passing By" had a melody (sang wordlessly and played on organ). |
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Post by E on Dec 24, 2018 7:40:33 GMT -5
Looking forward to chiming in with some of my own thoughts on the Friends/20/20 sets, which (in short) are outstanding. Also eagerly awaiting the U.K. and (elsewhere) release of the Tour set. I understand Mark Linett is looking into making this happen on our behalf. I’m hesitant to bring up the subject on a squeaky clean, pristine, virginally pure board, but can we here avoid any discussion of illegal acquisition of material that is legally available? My motivation in making this plea is entirely selfish: if the record companies get the idea that people are obtaining this stuff illegally, they’ll pull the plug. I do not want to see this fabulous copyright extension programme be scuppered because someone thought it was okay to circumvent the process by which artists get paid royalties, record companies get some income for projects that probably cost more to pull together than they make, and all the rest. I have Alan Boyd’s permission to quote the following, which he posted at another board after the subject raised its unfortunate head: “It is becoming so incredibly difficult to get the corporate support that enables these highly specialized niche oriented projects to happen at all … there is no promotion for this year's stack of tracks. We're hoping and praying that people who appreciate the hard work that goes into these projects will support that work by buying copies/downloads and proving to Universal Music that there is a market for this kind of Beach Boys archival collection. “The attention and feedback you all have given over the years has been inspiring … we need all the help we can get out here.” I might be guilty of a degree of hypocrisy here: I have a mountain of bootlegs of studio and live stuff dating from before the CopEx programme began, as well as numerous downloads of live gigs. In mitigation, none of it was available at the time of acquisition A few folk have (very kindly) offered me free illicit downloads and I’ve got to admit that I was briefly tempted. But in the end I’ve bought the studio sets and my cash awaits the tour set. Now that the record companies have been convinced that there is a market for it, we – the hard core fans – really ought to be supporting it whenever we can. Buy the stuff if you’re able; otherwise keep mum and, if you like what you hear and appreciate how fortunate we are to have legitimate access to the material at all, voice your support - not your undermining – of the project on this wonderful new board. Here endeth today’s sermon. As the owner of several bootlegs I pay for all official releases and still wouldn't hesitate to fork out again if these great sets were ever released on CD. I think we should all be very grateful for the releases over the past few years - in fact, dating back to the original twofers with bonus tracks. That was a hell of an elnightened release programme followed up by the wonderful Good Vibes box. |
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Post by Vale on Dec 24, 2018 7:47:36 GMT -5
As the owner of several bootlegs I pay for all official releases and still wouldn't hesitate to fork out again if these great sets were ever released on CD. I think we should all be very grateful for the releases over the past few years - in fact, dating back to the original twofers with bonus tracks. That was a hell of an elnightened release programme followed up by the wonderful Good Vibes box. Yeah me too, if you put together all the bonus tracks on the twofers you can't even fill a CD. Thanks to copyright extension for releasing this huge amount of material (which is still the tip of the iceberg). |
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Post by catbirdman on Dec 24, 2018 9:55:39 GMT -5
Well, "Away" was intended for Dino, Desi & Billy, so it would not have been on Friends anyway. As for the other outtakes, my assumption is that for whatever reason Brian didn't have melodies, lyrics, or vocal arrangements plotted out, as none were recorded. Two instrumentals were probably deemed enough for the album, and at least "Passing By" had a melody (sang wordlessly and played on organ). Maybe not lyrics (maybe why they didn't make the cut) but Brian surely would've had melodies planned out? He always tended to know that when he cut a backing track in the studio. Our New Home has some really sparse parts that are clearly meant to support some kind of non-recorded melody and you can fit parts of Lonely Days over Cool as Can Be. "Our New Home" is tantalizing, and I also would suspect Brian at least had some vocal arrangements in his head, if not actual lyrics. As many have pointed out, the verses nicely support the melody later used for "Our Sweet Love." But the choruses are different, and they end on a very sparse, repetitive chord. Usually when Brian records like that he has something grand in mind vocally to place over top of it. We're all just speculating of course. I was surprised at the quality of the unfinished Friends tracks. I had expected much less, more along the lines of "Honey Get Home" or "Hide Go Seek" from last year's release. Those were pretty rudimentary, basic chord progressions, and barely developed recordings. But "I'm Confessin'", "You're As Cool As Can Be", "Our New Home", and "Be Here In The Mornin' Darling" (quite different from its eventual namesake) are all solid tracks, and realized recordings. They could easily support strong vocal melodies and arrangements and become whimsical gems like the rest of the Friends tracks. Not to mention the early, more interesting directions he was going with "Transcendental Meditation." I would love to hear someone take a stab at writing melodies and lyrics for some of these. |
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Post by E on Dec 24, 2018 10:23:43 GMT -5
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Post by mikedonn on Dec 24, 2018 10:30:20 GMT -5
Maybe not lyrics (maybe why they didn't make the cut) but Brian surely would've had melodies planned out? He always tended to know that when he cut a backing track in the studio. Our New Home has some really sparse parts that are clearly meant to support some kind of non-recorded melody and you can fit parts of Lonely Days over Cool as Can Be. "Our New Home" is tantalizing, and I also would suspect Brian at least had some vocal arrangements in his head, if not actual lyrics. As many have pointed out, the verses nicely support the melody later used for "Our Sweet Love." But the choruses are different, and they end on a very sparse, repetitive chord. Usually when Brian records like that he has something grand in mind vocally to place over top of it. We're all just speculating of course. I was surprised at the quality of the unfinished Friends tracks. I had expected much less, more along the lines of "Honey Get Home" or "Hide Go Seek" from last year's release. Those were pretty rudimentary, basic chord progressions, and barely developed recordings. But "I'm Confessin'", "You're As Cool As Can Be", "Our New Home", and "Be Here In The Mornin' Darling" (quite different from its eventual namesake) are all solid tracks, and realized recordings. They could easily support strong vocal melodies and arrangements and become whimsical gems like the rest of the Friends tracks. Not to mention the early, more interesting directions he was going with "Transcendental Meditation." I would love to hear someone take a stab at writing melodies and lyrics for some of these. Maybe Brian D Wilson could do it! |
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Post by catbirdman on Dec 24, 2018 10:37:37 GMT -5
Maybe Brian D Wilson could do it! Well, that's the dream scenario, isn't it? I just doubt he'd take the interest. But how cool would that be if someone could ask him about the tracks and even get as much as a half-remembered melody line or two? |
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Post by John Manning on Dec 24, 2018 17:24:09 GMT -5
My skull CD player keeps coming back to Old Man River - both vocal versions and the instrumental version.
This is one of my favourite BBs moments of all time. The vocal version of OMR (ie, the one without Old Folks at Home) in particular is utterly exquisite.
To my mind these are both in the Smile vein, a continuation at least of that style of recording and that, well, that “feel”. It’s Americana, it fits right in with that American folk drift west.
And now I’ve listed to the instrumental version of of OFaH/OMR, I find myself singing “dit dit dit, heroes and villains …” over what would be the “he don’t plant ‘tatoes…” – coincidence? (Probably!).
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Post by Deleted on Dec 24, 2018 21:22:06 GMT -5
Here are the tracklist for the "Wake the World" set originally shared by Alan Boyd, and I hope he wouldn't mind me posting here (sorry if it's not okay, and if so please let me know and I'll remove it.)
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THE BEACH BOYS 1968 - WAKE THE WORLD
(THE FRIENDS SESSIONS)
1. Meant For You (alternate version with session intro) (2:17)
(B. Wilson-M. Love)
Lead vocal: Mike & Brian
Recorded April 1, 1968
2. Friends (backing track) (2:38)
(B. Wilson-C. Wilson-D.Wilson-Jardine)
Recorded March 13, 1968
3. Friends (a Cappella) (2:20)
(B. Wilson-C. Wilson-D.Wilson-Jardine)
Lead vocal: Carl (with Brian)
Recorded March, 1968
4. Wake The World (alternate version) (2:12)
(B. Wilson-Jardine)
Lead vocal: Group
Recorded March 28 & 30, April 1, 1968
5. Be Here In The Morning (backing track) (2:20)
(B. Wilson-C. Wilson-D. Wilson-Love-Jardine)
Recorded March 29, 1968
6. When A Man Needs A Woman (early take basic track) (0:50)
(B. Wilson-D. Wilson-Jardine-Korthof-Parks)
Recorded March 18, 1968
7. When A Man Needs A Woman (alternate version) (2:08)
(B. Wilson-D. Wilson-Jardine-Korthof-Parks)
Lead vocal: Brian
Basic track recorded March 18, 1968; vocals recorded March, 1968
8. Passing By (alternate version) (1:44)
(B. Wilson)
Lead vocal: Brian
Recorded March 22, 1968
9. Anna Lee The Healer (session excerpt) (1:22)
(B. Wilson-Love)
Recorded April 2, 1968
10. Anna Lee The Healer (a Cappella) (1:54)
(B. Wilson-Love)
Lead Vocal: Group
Recorded April 2, 1968
11. Little Bird (backing track) (2:00)
(D.Wilson-Kalinich)
Recorded February 29, 1968
12. Little Bird (a Cappella) (2:04)
(D.Wilson-Kalinich)
Lead vocal: Dennis & Carl
Vocals recorded February 29 - March, 1968
13. Be Still (alternate take with session excerpt) (2:09)
(D.Wilson-Kalinich)
Lead vocal: Dennis
Recorded April 3,1968
14. Even Steven (early version of “Busy Doin’ Nothin’) (2:52)
(B. Wilson)
Lead vocal: Brian
Recorded March 26, 1968
15. Diamond Head (alternate version with session excerpt) (4:33)
(Vescovo-Ritz-Ackley-B. Wilson)
Recorded April 12, 1968
16. New Song (Transcendental Meditation) (backing track with partial vocals) (1:51)
(B. Wilson)*
Recorded March, 1968
17. Transcendental Meditation (backing track with session excerpt) (2:22)
(B. Wilson-Love-Jardine)
Recorded April 4, 1968
18. Transcendental Meditation (a Cappella) (1:52)
(B. Wilson-Love-Jardine)
All vocals: Brian
Recorded April 4, 1968
19. My Little Red Book (2:45)
(Bacharach-David)
Lead vocal: Brian
Recorded April, 1968
20. Away (track) (0:57)
(D. Wilson-Hinsche)
Recorded circa January 1968
21. I’m Confessin’ (demo) (2:17)
(B. Wilson)
Recorded February or March, 1968
22. I’m Confessin’ / You’re As Cool As Can Be 1 (track) (1:38)
(B. Wilson)
Recorded February or March, 1968
23. You’re As Cool As Can Be 2 (track) (1:14)
(B. Wilson)
Recorded February or March, 1968
24. Be Here In The Morning Darling (track) (3:29)
(B. Wilson)
Recorded March 6, 1968
25. Our New Home (track) (2:02)
(B. Wilson)
Recorded March 20, 1968
26. New Song (track) (1:26)
(B. Wilson)
Recorded March, 1968
27. Be Still (alternate track) (1:03)
(D. Wilson-Kalinich)
Recorded March, 1968
28. Rock and Roll Woman (track) (2:19)
(Stills)
Recorded March, 1968
29. Time To Get Alone (alternate version demo) (2:04)
(B. Wilson)
Recorded March, 1968
30. Untitled 1/25/68 (track) (1:07)
(D. Wilson)
Recorded January 25, 1968
31. Passing By (demo with new lyrics c1971) (2:34)
(B. Wilson-Shapiro-Almer)
Lead vocal: Brian (with Stan Shapiro & Tandyn Almer)
Demo recorded circa 1971
32. Child Is Father Of The Man (original 1966 track mix) (3:36)
(B. Wilson)
Recorded, mixed & edited late 1966
THE BEACH BOYS 1968:
Brian Wilson, Carl Wilson, Dennis Wilson, Mike Love, Al Jardine & Bruce Johnston
Compilation and New Mixes Produced by Mark Linett & Alan Boyd
Edited, Mixed and Mastered by Mark Linett at Your Place Or Mine
Executive Producers: Matt D’Amico & Peter Fletcher
Art Direction: Susan Lavoie
Original Recordings Produced by The Beach Boys
Engineers: Stephen Desper & Jim Lockert
Brother Records, Inc: Jerry Schilling, President
Session Research: Craig Slowinski
Special Thanks: Howie Edelson; Elliot Kendall; Ross Schwartz; Mark Kaplan; Pacific Title
Archives; Al Gomes, Connie Watrous & The Rhode Island BB Posse; Stanley Shapiro; Billy
Hinsche; Stephen Kalinich; Brad Rosenberger; Lee Dempsey; Andrew G. Doe; Margaret
Gwynne; Betty Collignon Wright; Lori Lightfoot; Steve Latshaw; Panayiotis Bogdanos;
Les Chan; Monty & Bailey Linett, David Beard & Endless Summer Quarterly
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Post by Deleted on Dec 24, 2018 21:27:31 GMT -5
And here's the one for I Can Hear Music set:
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THE BEACH BOYS 1968 - I CAN HEAR MUSIC
(THE 20/20 SESSIONS)
1. Do It Again (alternate stereo mix) (2:46)
(Brian Wilson-Mike Love)
Lead vocal: Mike (with Carl)
Recorded May 26, June 6 & 12, 1968
2. Do It Again (a Cappella) (2:30)
(Brian Wilson-Mike Love)
Lead Vocal: Mike (with Carl)
Recorded May 26, June 6 & 12, 1968
3. I Can Hear Music (demo) (1:00)
(Barry-Greenwich-Spector)
Lead vocal: Carl
Recorded circa September, 1968
4. I Can Hear Music (track and backing vocals) (2:42)
(Barry-Greenwich-Spector)
Lead vocal: Carl
Recorded October 1, 1968 (track), October, 1968 (vocals)
5. Bluebirds Over The Mountain (alternate mix) (2:56)
(Hickey)
Lead vocal: Mike
Recorded September 29, 1967, October 15, 16, 28 & 29, 1968
6. Be With Me (demo) (2:45)
(D. Wilson)
Lead vocal: Dennis
Recorded August 29, 1968
7. Be With Me (2018 track mix) (3:17)
(D. Wilson)
Recorded October 2 & 16, 1968
8. All I Want To Do (Dennis Wilson lead vocal take 2) (2:13)
(D. Wilson)
Lead vocal: Dennis
Recorded November 9, 14, 16, 20 & 21, 1968
9. The Nearest Faraway Place (alternate take) (2:13)
(Johnston)
Recorded June 20, 1968
10. Cotton Fields (track and backing vocals) (2:25)
(Ledbetter)
Recorded November 18 & 19, 1968
11. I Went To Sleep (a Cappella 2018 mix) (1:35)
(B. Wilson-C. Wilson)
Lead vocal: Group
Recorded June 1968
12. Time To Get Alone (a Cappella) (3:36)
(B. Wilson)
Lead vocal: Carl (with Brian and Al)
Recorded October 2 & 4, 1968
13. Never Learn Not To Love (track and backing vocals) (2:25)
(D. Wilson)
Recorded September 11, 16, 17 & 18 1968
14. Never Learn Not To Love (a Cappella) (2:23)
(D. Wilson)
Lead vocal: Dennis
Recorded September 17 & 18, 1968
15. Walk On By (2018 mix) (1:55)
(Bacharach-David)
Lead vocal: Brian
Recorded May 29, 1968
16. Rendezvous (Do It Again early version) (2018 mix) (2:36)
(Brian Wilson-Mike Love)
Lead vocal: Mike (with Brian)
Recorded May 26, 1968
17. We’re Together Again (a Cappella) (2:01)
(B. Wilson-R. Wilson)
Lead vocal: Brian (with Dennis & Carl)
Recorded May 22 - 29, 1968
18. I Can Hear Music (alternate lead vocal) (2:11)
(Barry-Greenwich-Spector)
Lead vocal: Carl
Recorded October 1, 1968
19. All I Wanna Do (early version track) (2:24)
(Brian Wilson-Mike Love)
Recorded May 24 & June 8, 1968
20. Sail Plane Song (2018 mix) (2:19)
(B. Wilson-C. Wilson)
Lead vocal: Brian
recorded June 8, 1968
21. Old Man River (a Capella 2018 mix) (1:18)
(Kern-Hammerstein)
Lead vocal: Group
Recorded June 5, 1968
22. Medley: Old Folks At Home/Old Man River (alternate version) (2:57)
(Foster/Kern-Hammerstein)
Lead vocal: Group
Recorded June 10, 1968
23. Medley: Old Folks At Home/Old Man River (alternate version track) (2:59)
(Foster/Kern-Hammerstein)
Recorded June 10, 1968
24. Walkin’ (2:48)
(B. Wilson-Jardine)
Lead vocal: Brian
Track recorded June 18 & 19, 1968; vocal recorded circa October, 1969
25. Been Way Too Long (sections) (7:56)
(B. Wilson)
Lead vocal: Brian (and the group)
Recorded Fall 1967, July 24, 25, 26 & 30, 1968
26. Well You Know I Knew (1:42)
(D. Wilson)
Lead vocal: Dennis
Recorded June 3, 1968
27. Love Affair (demo) (2:00)
(D. Wilson)
Lead vocal: Dennis
Recorded August 29, 1968
28. Peaches (demo) (2:26)
(D. Wilson)
Lead vocal: Dennis
Recorded August 29, 1968
29. The Gong (session highlights) (5:29)
(D. Wilson)
Lead vocal: Dennis
Recorded November 16, 1968
30. A Time To Live In Dreams (2018 mix) (1:54)
(D. Wilson-Kalinich)
Lead vocal: Dennis
Recorded November 1, 1968
31. All I Want To Do (early version) (1:12)
(D. Wilson)
Lead vocal: Dennis
Recorded October 16, 1968
32. All I Want To Do (Dennis Wilson lead vocal take 1) (2:10)
(D. Wilson)
Lead vocal: Dennis
Recorded November 9, 14, 16, 20 & 21, 1968
33. Bluebirds Over The Mountain (basic track) (1:48)
(Hickey)
Recorded September 29, 1967
34. Bluebirds Over The Mountain (mono single mix) (2:51)
(Hickey)
Lead vocal: Mike
Recorded September 29, 1967, October 15, 16, 28 & 29, 1968
35. Mona Kana (demo) (1:16)
(D. Wilson-Kalinich)
Recorded July 25, 1968
36. Mona Kana (2018 mix) (3:03)
(D. Wilson-Kalinich)
Recorded November 15, 1968
37. We’re Together Again (remake track with backing vocals) (1:58)
(B. Wilson-R. Wilson)
Recorded September 3, 6 & 9, 1968
38. Time To Get Alone (remake track) (2:46)
(B. Wilson)
Recorded November 21, 1968
39. Oh Yeah (0:54)
unknown
Lead vocal: unknown
Recorded October 14, 1968
40. Is It True What They Say About Dixie (Audree Wilson) (1:47)
(Caesar-Lerner-Gerald)
Lead vocal: Audree Wilson
Recorded 1968
Produced by Brian Wilson
THE BEACH BOYS 1968:
Brian Wilson, Carl Wilson, Dennis Wilson, Mike Love, Al Jardine & Bruce Johnston
Compilation and New Mixes Produced by Mark Linett & Alan Boyd
Edited, Mixed and Mastered by Mark Linett at Your Place Or Mine
Executive Producers: Matt D’Amico & Peter Fletcher
Art Direction: Susan Lavoie
Original Recordings Produced by The Beach Boys
Engineer: Stephen Desper
Brother Records, Inc: Jerry Schilling, President
Session Research: Craig Slowinski
Special Thanks: Howie Edelson; Elliot Kendall; Ross Schwartz; Mark Kaplan; Pacific Title
Archives; Stephen Kalinich; Al Gomes, Connie Watrous & The Rhode Island BB Posse;
Brad Rosenberger; Les Prebilsky; Lee Dempsey; Andrew G. Doe; Margaret Gwynne; Betty
Collignon Wright; Lori Lightfoot; Steve Latshaw; Panayiotis Bogdanos; Les Chan; Monty
& Bailey Linett; David Beard & Endless Summer Quarterly
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Post by bryand on Dec 24, 2018 23:03:43 GMT -5
I really enjoy the alternate take of the Nearest Faraway Place. I like the approach much better.
As far as recordings from the Brother Years....will Capital be involved or can BRI shop the material to other labels? Maybe Omnivore?
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Post by jasonaustin on Dec 25, 2018 1:40:41 GMT -5
I pointed this out on another forum, but thanks to these fantastic new sets, you can really get a feel for what "20/20 ver. 1.0" might have sounded like, prior to Brian going into the hospital. I cobbled together my own album and the results are pretty cool, and obviously a lot more Brian-centric than the finished 20/20.
Do It Again
Sail Plane Song
We're Together Again/ v1
Walkin'
All I Wanna Do [instrumental]
Well You Know I Knew (Dennis)
Ol' Man River
I Went to Sleep
Bacharach Medley: Walk on By/ Little Red Book
Nearest Faraway Place/ v1 (Bruce)
Been Way Too Long
There's still enough songs left over for a second album if you include Cabinessence and Prayer.
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Post by John Manning on Dec 25, 2018 3:03:05 GMT -5
Here are the tracklist for the "Wake the World" set originally shared by Alan Boyd, and I hope he wouldn't mind me posting here (sorry if it's not okay, and if so please let me know and I'll remove it.) --------------------------------------------------------------------------------------- THE BEACH BOYS 1968 - WAKE THE WORLD (THE FRIENDS SESSIONS) 1. Meant For You (alternate version with session intro) (2:17) (B. Wilson-M. Love) Lead vocal: Mike & Brian Recorded April 1, 1968 2. Friends (backing track) (2:38) (B. Wilson-C. Wilson-D.Wilson-Jardine) Recorded March 13, 1968 3. Friends (a Cappella) (2:20) (B. Wilson-C. Wilson-D.Wilson-Jardine) Lead vocal: Carl (with Brian) Recorded March, 1968 4. Wake The World (alternate version) (2:12) (B. Wilson-Jardine) Lead vocal: Group Recorded March 28 & 30, April 1, 1968 5. Be Here In The Morning (backing track) (2:20) (B. Wilson-C. Wilson-D. Wilson-Love-Jardine) Recorded March 29, 1968 6. When A Man Needs A Woman (early take basic track) (0:50) (B. Wilson-D. Wilson-Jardine-Korthof-Parks) Recorded March 18, 1968 7. When A Man Needs A Woman (alternate version) (2:08) (B. Wilson-D. Wilson-Jardine-Korthof-Parks) Lead vocal: Brian Basic track recorded March 18, 1968; vocals recorded March, 1968 8. Passing By (alternate version) (1:44) (B. Wilson) Lead vocal: Brian Recorded March 22, 1968 9. Anna Lee The Healer (session excerpt) (1:22) (B. Wilson-Love) Recorded April 2, 1968 10. Anna Lee The Healer (a Cappella) (1:54) (B. Wilson-Love) Lead Vocal: Group Recorded April 2, 1968 11. Little Bird (backing track) (2:00) (D.Wilson-Kalinich) Recorded February 29, 1968 12. Little Bird (a Cappella) (2:04) (D.Wilson-Kalinich) Lead vocal: Dennis & Carl Vocals recorded February 29 - March, 1968 13. Be Still (alternate take with session excerpt) (2:09) (D.Wilson-Kalinich) Lead vocal: Dennis Recorded April 3,1968 14. Even Steven (early version of “Busy Doin’ Nothin’) (2:52) (B. Wilson) Lead vocal: Brian Recorded March 26, 1968 15. Diamond Head (alternate version with session excerpt) (4:33) (Vescovo-Ritz-Ackley-B. Wilson) Recorded April 12, 1968 16. New Song (Transcendental Meditation) (backing track with partial vocals) (1:51) (B. Wilson)* Recorded March, 1968 17. Transcendental Meditation (backing track with session excerpt) (2:22) (B. Wilson-Love-Jardine) Recorded April 4, 1968 18. Transcendental Meditation (a Cappella) (1:52) (B. Wilson-Love-Jardine) All vocals: Brian Recorded April 4, 1968 19. My Little Red Book (2:45) (Bacharach-David) Lead vocal: Brian Recorded April, 1968 20. Away (track) (0:57) (D. Wilson-Hinsche) Recorded circa January 1968 21. I’m Confessin’ (demo) (2:17) (B. Wilson) Recorded February or March, 1968 22. I’m Confessin’ / You’re As Cool As Can Be 1 (track) (1:38) (B. Wilson) Recorded February or March, 1968 23. You’re As Cool As Can Be 2 (track) (1:14) (B. Wilson) Recorded February or March, 1968 24. Be Here In The Morning Darling (track) (3:29) (B. Wilson) Recorded March 6, 1968 25. Our New Home (track) (2:02) (B. Wilson) Recorded March 20, 1968 26. New Song (track) (1:26) (B. Wilson) Recorded March, 1968 27. Be Still (alternate track) (1:03) (D. Wilson-Kalinich) Recorded March, 1968 28. Rock and Roll Woman (track) (2:19) (Stills) Recorded March, 1968 29. Time To Get Alone (alternate version demo) (2:04) (B. Wilson) Recorded March, 1968 30. Untitled 1/25/68 (track) (1:07) (D. Wilson) Recorded January 25, 1968 31. Passing By (demo with new lyrics c1971) (2:34) (B. Wilson-Shapiro-Almer) Lead vocal: Brian (with Stan Shapiro & Tandyn Almer) Demo recorded circa 1971 32. Child Is Father Of The Man (original 1966 track mix) (3:36) (B. Wilson) Recorded, mixed & edited late 1966 THE BEACH BOYS 1968: Brian Wilson, Carl Wilson, Dennis Wilson, Mike Love, Al Jardine & Bruce Johnston Compilation and New Mixes Produced by Mark Linett & Alan Boyd Edited, Mixed and Mastered by Mark Linett at Your Place Or Mine Executive Producers: Matt D’Amico & Peter Fletcher Art Direction: Susan Lavoie Original Recordings Produced by The Beach Boys Engineers: Stephen Desper & Jim Lockert Brother Records, Inc: Jerry Schilling, President Session Research: Craig Slowinski Special Thanks: Howie Edelson; Elliot Kendall; Ross Schwartz; Mark Kaplan; Pacific Title Archives; Al Gomes, Connie Watrous & The Rhode Island BB Posse; Stanley Shapiro; Billy Hinsche; Stephen Kalinich; Brad Rosenberger; Lee Dempsey; Andrew G. Doe; Margaret Gwynne; Betty Collignon Wright; Lori Lightfoot; Steve Latshaw; Panayiotis Bogdanos; Les Chan; Monty & Bailey Linett, David Beard & Endless Summer Quarterly Many thanks for posting this and the other list of credits Wata. I fancy creating myself a wee booklet for the CDs I’ll be burning from the purchased downloads; these credits will be the centrepiece. Great to see members of this very board among those credited, great also to see that the credits aren’t restricted to those with only two legs. |
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Post by Deleted on Dec 25, 2018 11:57:23 GMT -5
Is Meant for You the same mix as on MiC, only with the brief session chatter at the beginning?
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Post by Deleted on Dec 25, 2018 11:59:34 GMT -5
Is Meant for You the same mix as on MiC, only with the brief session chatter at the beginning? Yep. |
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Post by craigslowinski on Dec 26, 2018 11:49:41 GMT -5
Here's what I have - it's pretty easy to tell which parts are from '67 and which are from '68, based on the instrumentation...the section that sounds like it comes from the Wild Honey sessions clearly does, whereas the more elaborately-produced sections clearly come from '68.
October 28, 1967, 3:00pm-6:00pm at Wally Heider's - track with master # 58587 (the titles I WAS MADE TO LOVE HER and LONELY DAYS also appear on the same AFM sheet)
All six Beach Boys plus Diane (contractor)
November 1, 1967, 7:00pm-10:00pm at Wally Heider's - vocals
All six Beach Boys
July 25, 1968, 3:00pm-6:30pm at Beach Boys Studio - track with no master #
Frank Guerrero - percussion & Latin percussion
Norm Jeffries - drums
Bruce Johnston - keyboard?
Lyle Ritz - standup bass & Fender bass
July 25, 1968, 7:00pm-2:30am at Beach Boys Studio - sweetening
Max Bennett - standup bass & electric bass
Frank Guerrero - percussion
Norm Jeffries - drums
Bruce Johnston - keyboard?
plus Diane (contractor)
July 26, 1968, 11:00pm-2:30am at Beach Boys Studio - sweetening
Brian Wilson and 8 string players:
Norman Botnick - viola
David Burk - viola
Alexander Neiman - viola
Darrel Terwilliger - viola
John DeVoogdt - violin
Bonnie Douglas - violin
Jerome Reiser - violin
Paul Shure - violin
I don't have any documentation for the July 30 session.
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Post by craigslowinski on Dec 26, 2018 12:35:51 GMT -5
OK, I've added the string players to my original post.
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Post by Deleted on Dec 26, 2018 13:42:35 GMT -5
Slowly getting through the live set. Something struck me about the Band Instrumental. I appreciate it as a piece of music out of context, and absolutely think these musicians deserved to be showcased. But in the context of the concerts, the particular song they play feels really out of place and even a bit lame. I think I if I had been a fan in the audience at one of those shows, I would have been all “WTF?”. I tend to find it hard to imagine the fans at the time being lukewarm to the BBs output during that period because hearing it with my 21st century ears, it sounds so great to me. But these live recordings really do put it into perspective.
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Post by dustybooks on Dec 27, 2018 10:38:32 GMT -5
I queued up the live set on my commute this morning. In general, so far I'm finding it stronger and tighter than the '67 collection -- and I can't say how happy I am that we get to hear both. "Friends" sounds so good live. All the then-new songs do, actually. I found myself thinking how crazy it was that "Help Me Rhonda" was just three years old at this point. The Beach Boys seem to get flack for still being the Beach Boys in 1968 but there's something really absurd about that -- why wouldn't they be playing their hits on-stage? By today's standards they were still practically brand new! (One of my favorite bands, for instance, hasn't put an album out since 2013 -- that's a Surfer Girl to Friends sized distance!)
That said, I still really hate the medley format they use to represent a bunch of their earlier singles. Says a lot that they couldn't fit all their popular songs in a normal-sized setlist though.
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Post by Jason (The Real Beach Boy) on Dec 31, 2018 9:29:33 GMT -5
Who were the backing musicians on the summer 1968 tour besides Ernie Small? Ed Carter and Mike Kowalski hadn't yet joined up by this point, right?
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Post by ian on Dec 31, 2018 9:33:23 GMT -5
They did join in the summer-only debate is whether they were on the July tour or just the August tour. I tried to interview kowalski for my book but he politely declined and I never did get in touch with carter.
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Post by ian on Dec 31, 2018 9:42:10 GMT -5
If you have my book you’ll see that Darryl dragon missed some tours in 1968 and his brother Doug filled in. I interviewed both of them and Doug was hilarious. He was on the August 1968 tour.
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