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Post by AGD on Jun 19, 2022 11:04:37 GMT -5
OK. So. I got four songs into disc one, stopped, and played a few other CDs just to check it wasn't my ears, my setup, or both. It wasn't. Either I've got a rogue CD, or someone's dialed the treble up to about 34: everything is painfully bright and brittle, and that's before considering the extraction artifacts that cause parts of Mike's lead to all but vanish on "I Get Around". I wouldn't have believed it possible, but this CD sounds appreciably worse than the Spotify stream. The rest of the disc is, essentially, no better. Hugely disappointed.
Disc 2: better, but still with that sparkling brittleness and... it's odd but it's almost as if there's some kind of volume limiting. The sounds gets to a certain level then drop sharply back, giving a most disconcerting pulsing effect that's sensed more than heard. It's rendered the sublime "This Whole World", and "All I Wanna Do" close to unlistenable. The Surf's Up tracks, on the other hand, are just fine. And here's a thing: "Pom Pom Play Girl" is presented in its original lead left/bvs right format. Go figure. The remix of "Let Us Go On..." is... chaotic, and that being polite. More realistically another word beginning with "cha". Perversely - and I've chosen that word very carefully - "The Night Was So Young" wasn't apparently remixed and sounds much, much better. "YNAMOHTSA" and "Marcella" ? Flat out unlistenable. The volume limiter is working ovetime on the latter. All the 2017 remixes are as good now as they wre back then, and this only adds to my confusion. Thus far, of the '21 remixes only "Baby Blue" emerges with any credit, and to my mind it's not hiss on Carl's vocal but something close to distortion. The track ? Just dandy. Overall, it's better than the first disc, but still, disappointing.
The final disc. Still brittle. The album version of "California Saga: California" - why ? The '21 remixes still grate on my ears.
So, overall, I'm very, very disappointed. The original and pre-'21 mixes sound fine, but there's a problem with the overall mastering: far too bright and brittle, and inconsistant sound levels. As for those new mixes, especially the extraction mixes... to these ears, they just don't work, to the point of diminishing this wonderful music. If this is really how the yout' prefer to hear their music, then I'm glad to be an old fart.
Disclaimer: all opinions based on my 66-year-old ears and a very mid-fi speaker setup. I may be entirely wrong in what I think. Let me know.
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Post by #JusticeForDonGoldberg on Jun 19, 2022 11:24:48 GMT -5
If this is really how the yout' prefer to hear their music, then I'm glad to be an old fart. Disclaimer: all opinions based on my 66-year-old ears and a very mid-fi speaker setup. I may be entirely wrong in what I think. Let me know. it’s not. The treble is unbearable.
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Post by filledeplage on Jun 19, 2022 11:40:25 GMT -5
OK. So. I got four songs into disc one, stopped, and played a few other CDs just to check it wasn't my ears, my setup, or both. It wasn't. Either I've got a rogue CD, or someone's dialed the treble up to about 34: everything is painfully bright and brittle, and that's before considering the extraction artifacts that cause parts of Mike's lead to all but vanish on "I Get Around". I wouldn't have believed it possible, but this CD sounds appreciably worse than the Spotify stream. The rest of the disc is, essentially, no better. Hugely disappointed. Disc 2: better, but still with that sparkling brittleness and... it's odd but it's almost as if there's some kind of volume limiting. The sounds gets to a certain level then drop sharply back, giving a most disconcerting pulsing effect that's sensed more than heard. It's rendered the sublime "This Whole World", and "All I Wanna Do" close to unlistenable. The Surf's Up tracks, on the other hand, are just fine. And here's a thing: "Pom Pom Play Girl" is presented in its original lead left/bvs right format. Go figure. The remix of "Let Us Go On..." is... chaotic, and that being polite. More realistically another word beginning with "cha". Perversely - and I've chosen that word very carefully - "The Night Was So Young" wasn't apparently remixed and sounds much, much better. "YNAMOHTSA" and "Marcella" ? Flat out unlistenable. The volume limiter is working ovetime on the latter. All the 2017 remixes are as good now as they wre back then, and this only adds to my confusion. Thus far, of the '21 remixes only "Baby Blue" emerges with any credit, and to my mind it's not hiss on Carl's vocal but something close to distortion. The track ? Just dandy. Overall, it's better than the first disc, but still, disappointing. The final disc. Still brittle. The album version of "California Saga: California" - why ? The '21 remixes still grate on my ears. So, overall, I'm very, very disappointed. The original and pre-'21 mixes sound fine, but there's a problem with the overall mastering: far too bright and brittle, and inconsistant sound levels. As for those new mixes, especially the extraction mixes... to these ears, they just don't work, to the point of diminishing this wonderful music. If this is really how the yout' prefer to hear their music, then I'm glad to be an old fart. Disclaimer: all opinions based on my 66-year-old ears and a very mid-fi speaker setup. I may be entirely wrong in what I think. Let me know. “Brittle” is sort of the word I was looking for. Thank you, Andrew. Baby Blue does sound great.
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Post by Rick Bartlett on Jun 19, 2022 12:13:59 GMT -5
Seen a couple videos about the set popping up on YouTube, all which pretty much back up what most people have been saying: Just the 2nd video. It is Howie in his own words, declaring his own intent. 1) he says they got screwed. Agree 100% - you are preaching to the choir in real time. We surely could have used your monastic zeal in the 70s. 2) he says that journalists don’t re-write history. But “he” is going to. Seriously? No, history is fixed. The tapes/reels are in cases/cans; blessed and sanctified, by the likes of Brian, Carl, Dennis, Mike, Al, Bruce and David, and “The Stephens.” Among others. 3) As a journalist, you get to do the sourced “investigative” journalism homework (or get some hungry interns) among the print and electronic media and find out “who, how and why” the Brian smearing-happened, and the band in general. It is not too late to find out why they were blackballed. Make those people “eat-their-words-with-a-fork-and-spoon.” Make it like Brian having his Music grade changed from an F to an A. You have that power to correct those grades. 4) Talk to people who took photos at the college concerts, that landed in college yearbooks, and get their impressions of the crowd love for the music that came to their school. They are not all dead. You get to “correct the record” for posterity sort of like an op-ed in a newspaper or online site. That is a position of enormous power, (if you use it) in case you have not noticed. Going forward, you could address, with particularity, exactly “who done it,” and did it rise to industry blackballing. No playing patty cake with them. See Fred Vail. Find out why and show them why they were wrong. It will be like solving a crime, because it was a crime for that generation of fans. “I’m gonna re-write history.” No, you’re not. Seriously. You get to tell those paid hacks that they were wrong and why and find out if they were paid-off (or who got favors or other kinds of press influence for another band) to write a hit-piece. You get the job of setting the record straight. No one is picking on you, Howie. Who says that? “I’m gonna re-write history.” The music does not need fixing for streaming posterity. For that paltry sum they get “per play?” Some of the blackballing seems to be linked to the late 60s, with all the mixed signals over Smile so they sought successful refuge in Europe. You generally had to almost apologize or not tell your friends you were a big fan.(in terms of being a “favorite” as compared to other bands once I was hooked) No, I never apologized. Music that made me (and generations) think and be contemplative. Pet Sounds. [Something similar happened to Eartha Kitt after making political comments about the Vietnam War, at the White House (no less) and she went to Europe and rode it out there, coming back after it had all passed. (Sound familiar?)] So, we know there was “an event” that caused the blackballing. It sounds also similar to what happened to Macca - which turned out to be an inside job. Now, bygones are bygones. That truth is out. The relationships were repaired because the band aid was ripped off, and there was healing. Theirs needs to be, as well, and the job of a good journalist. The archived music is fixed, both for copyright, as well as for posterity. Andrew broke down the shockingly-poor streaming revenues. Why would there be these commentaries/analyses, that are not all positive, as they have been in the past with box sets, mostly released for copyright protection; (and we are joyous to have them) it begs the question as to why the releases include both LPs and CDs as well as my lazy download, why is the strategy, to “contort” the tracks released, tailored to streaming customers? Or, am I missing something? I would not agree with some who call some tracks “unlistenable” some don’t sound as full and rich as other versions - I grew up with a suitcase phonograph with a 2” speaker. I don’t know the difference - looking at something that looks like an EKG readout. It is beyond me. That’s why I never took Statistics. But, having lived this in real-time in college, grad and post-grad, it is quite something, when any person says that they is going to re-write (unless it was poorly expressed off-the-cuff) the history that I am/we are a minuscule part of, as record purchasers and concert goers, along with many of my peers. Bad move to even indirectly, dismiss “boomers,” even younger ones. We got the right vote to 18 in 1972, (the band helped with that effort) and no one is “re-writing” that. Our band/s are performing in their 80s to thrilled audiences, and new markets such as country, as the flavor-of-the-month, adding to the classical release (now that is pure) in 2018. They are still working, moving forward, and not sitting at a beach, in lounge chairs. Hearing Howie even speak makes me sick at the moment, and his comments are truly frightening. He is the kind of person I want furtherest away from the catalogue in light of recent events and his comments.
I don't like his attitude, wanting to re-write history, bagging out Mono and Brian's mixes or the original producers/engineers of the 70's material. Howie wants to draw in the 22 year old fanatic, but as someone else said around here, the 22 year old die hard Beach Boy fan,
is more likely to source out an original Artisan press of 'Sunflower' and look for the A-class releases than spend their money on this
release that is 'dished out' to them to purchase. In case he missed the memo, people, and even young people, enjoy the 'mono' mixes as well, and want to 'hear it', as Brian heard. I'm sick of hearing him saying The Beach Boys 'weren't cool' etc etc.. Utter Rubbish! Worried that they will be remembered as 'doo-wop' group, and what the Fuck is wrong with 'doo-wop'? This whole thing of wanting to turn them into something else.. The Beach Boys are a product of their time. No! They will never be The Who, or a Rolling Stones or a Pink Floyd. The Beach Boys organization should really have a good hard look at themselves with this clown involved with their business. If they are not embarrassed, well they should be, with his bad mouthing of the group and it's history which has done quite fine
before 'he' came along. He is not a suitable ambassador, and he has rubbed just about everybody up the wrong way whoever he's had contact with.
It's insult after insult.
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sockit
Grommet
Posts: 32
Likes: 49
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Post by sockit on Jun 19, 2022 12:18:07 GMT -5
If this is really how the yout' prefer to hear their music, then I'm glad to be an old fart. Disclaimer: all opinions based on my 66-year-old ears and a very mid-fi speaker setup. I may be entirely wrong in what I think. Let me know. it’s not. The treble is unbearable. This is what worries me about these recent releases. I do not understand this trend to boost the treble to unnatural levels, and it seems to be getting worse with each archival set. I'm not in my 60s yet, but I'm only a few years away from it. My hearing is still pretty good, which is surprising considering all the loud music I have played and listened to over the years. It's natural for someone in my age range to lose some of the highs in our hearing....and some of this music still sounds tinny and brittle, and generally overwhelming in the high range. Someone might respond that perhaps my sound system is at fault. Well, first of all I have about 3 sound systems I use on a daily basis--my home theater system in the living room, my recording and playback system in my studio, and my car stereo which is pretty basic. Oh yeah, there's one more--my Bluetooth speaker in the kitchen that plays off my phone that I listen to while cooking. At least 90% of my music collection sounds consistently incredible on each of these systems. So if something sounds bad on all of these systems, you can't blame the way they're set up. Up until just recently I was saying "What a wonderful time to be a Beach Boys fan!" with all these recent archival releases, but now I'm becoming more and more underwhelmed. For those people who are enjoying this new set and think it sounds great, I'm sincerely happy that it works for you. As they say, YMMV. As for me.....I'm out....
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Post by sixtiesstereo on Jun 19, 2022 12:24:33 GMT -5
Also, as someone mentioned upthread, there is a sensational spectral stereo mix of the single version of "Be True To Your School" on this Hit Parade release from last year. Why it's in mono again on this release when a perfect stereo mix is now available is a mystery. It's track 23. Use headphones... Be True To Your School (stereo)
Also, Hit Parade just came out with two new volumes of their "Stereo Explosion" this week, and on this volume they have both "Fun, Fun Fun" and "409" in fantastic new stereo mixes. Take a listen. Stereo Explosion new volume
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Post by Mikie on Jun 19, 2022 12:37:37 GMT -5
OK. So. I got four songs into disc one, stopped, and played a few other CDs just to check it wasn't my ears, my setup, or both. It wasn't. Either I've got a rogue CD, or someone's dialed the treble up to about 34: everything is painfully bright and brittle, and that's before considering the extraction artifacts that cause parts of Mike's lead to all but vanish on "I Get Around". I wouldn't have believed it possible, but this CD sounds appreciably worse than the Spotify stream. The rest of the disc is, essentially, no better. Hugely disappointed. Disc 2: better, but still with that sparkling brittleness and... it's odd but it's almost as if there's some kind of volume limiting. The sounds gets to a certain level then drop sharply back, giving a most disconcerting pulsing effect that's sensed more than heard. It's rendered the sublime "This Whole World", and "All I Wanna Do" close to unlistenable. The Surf's Up tracks, on the other hand, are just fine. And here's a thing: "Pom Pom Play Girl" is presented in its original lead left/bvs right format. Go figure. The remix of "Let Us Go On..." is... chaotic, and that being polite. More realistically another word beginning with "cha". Perversely - and I've chosen that word very carefully - "The Night Was So Young" wasn't apparently remixed and sounds much, much better. "YNAMOHTSA" and "Marcella" ? Flat out unlistenable. The volume limiter is working ovetime on the latter. All the 2017 remixes are as good now as they wre back then, and this only adds to my confusion. Thus far, of the '21 remixes only "Baby Blue" emerges with any credit, and to my mind it's not hiss on Carl's vocal but something close to distortion. The track ? Just dandy. Overall, it's better than the first disc, but still, disappointing. The final disc. Still brittle. The album version of "California Saga: California" - why ? The '21 remixes still grate on my ears. So, overall, I'm very, very disappointed. The original and pre-'21 mixes sound fine, but there's a problem with the overall mastering: far too bright and brittle, and inconsistant sound levels. As for those new mixes, especially the extraction mixes... to these ears, they just don't work, to the point of diminishing this wonderful music. If this is really how the yout' prefer to hear their music, then I'm glad to be an old fart. Disclaimer: all opinions based on my 66-year-old ears and a very mid-fi speaker setup. I may be entirely wrong in what I think. Let me know. “Brittle” is sort of the word I was looking for. Thank you, Andrew. Baby Blue does sound great. Sorry to disagree with you, Fille, but Baby Blue does NOT sound great. It's very hissy and distorted. They shoulda left it alone.
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Post by tomtomplayboy on Jun 19, 2022 12:41:09 GMT -5
OK. So. I got four songs into disc one, stopped, and played a few other CDs just to check it wasn't my ears, my setup, or both. It wasn't. Either I've got a rogue CD, or someone's dialed the treble up to about 34: everything is painfully bright and brittle, and that's before considering the extraction artifacts that cause parts of Mike's lead to all but vanish on "I Get Around". I wouldn't have believed it possible, but this CD sounds appreciably worse than the Spotify stream. The rest of the disc is, essentially, no better. Hugely disappointed. Disc 2: better, but still with that sparkling brittleness and... it's odd but it's almost as if there's some kind of volume limiting. The sounds gets to a certain level then drop sharply back, giving a most disconcerting pulsing effect that's sensed more than heard. It's rendered the sublime "This Whole World", and "All I Wanna Do" close to unlistenable. The Surf's Up tracks, on the other hand, are just fine. And here's a thing: "Pom Pom Play Girl" is presented in its original lead left/bvs right format. Go figure. The remix of "Let Us Go On..." is... chaotic, and that being polite. More realistically another word beginning with "cha". Perversely - and I've chosen that word very carefully - "The Night Was So Young" wasn't apparently remixed and sounds much, much better. "YNAMOHTSA" and "Marcella" ? Flat out unlistenable. The volume limiter is working ovetime on the latter. All the 2017 remixes are as good now as they wre back then, and this only adds to my confusion. Thus far, of the '21 remixes only "Baby Blue" emerges with any credit, and to my mind it's not hiss on Carl's vocal but something close to distortion. The track ? Just dandy. Overall, it's better than the first disc, but still, disappointing. The final disc. Still brittle. The album version of "California Saga: California" - why ? The '21 remixes still grate on my ears. So, overall, I'm very, very disappointed. The original and pre-'21 mixes sound fine, but there's a problem with the overall mastering: far too bright and brittle, and inconsistant sound levels. As for those new mixes, especially the extraction mixes... to these ears, they just don't work, to the point of diminishing this wonderful music. If this is really how the yout' prefer to hear their music, then I'm glad to be an old fart. Disclaimer: all opinions based on my 66-year-old ears and a very mid-fi speaker setup. I may be entirely wrong in what I think. Let me know. You're not wrong. The treble is, frankly, unbearable. It's all so bright that I feel like I ought to be wearing sunglasses when listening to it. The overall sound is even worse than that of Feel Flows, which is saying something, and which is also very worrying. It suggests that, far from listening to the criticisms regarding that particular set, they're doubling down and turning the compression/treble up even further. If this is how the CATP/Holland set is going to sound then, quite frankly, I'd rather they didn't realise it at all.
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Post by filledeplage on Jun 19, 2022 12:43:53 GMT -5
“Brittle” is sort of the word I was looking for. Thank you, Andrew. Baby Blue does sound great. Sorry to disagree with you, Fille, but Baby Blue does NOT sound great. It's very hissy and distorted. They shoulda left it alone. The great thing about this forum is that we can disagree and not be at each other’s throats. I listened to this stuff a few different ways so it is not all consistent. On the ipad (a later one) I listened to Baby Blue, which sounded ok, on the ipad, so maybe I should try the over the ear headphones? Then I tried the car, where my kids are always changing my warm bass to their cold treble! And the TV through its LG speakers (not a sound bar on that one) which are not too bad, on youtube. So 3 or 4 ways of listening... Are they inconsistent according to the way you listen? Honestly, Mikie, I’m more upset with this attempt at revisionist history. If this is a test-run for what follows, let that be resolved (in the board room) before anything else that is major, is released. Mark and Alan have a lengthy history of having done stellar work.
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Post by Mikie on Jun 19, 2022 12:56:01 GMT -5
Also, as someone mentioned upthread, there is a sensational spectral stereo mix of the single version of "Be True To Your School" on this Hit Parade release from last year. Why it's in mono again on this release when a perfect stereo mix is now available is a mystery. It's track 23. Use headphones... Also, Hit Parade just came out with two new volumes of their "Stereo Explosion" this week, and on this volume they have both "Fun, Fun Fun" and "409" in fantastic new stereo mixes. Take a listen. Hi, Sixtiesstereo! Would you please introduce yourself to the forum members here? Thanks! endlessharmony.boards.net/board/26/new-member-introductions
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Post by Bruce’s Shorts on Jun 19, 2022 13:03:00 GMT -5
My ears tend to be f*%cked to the point of not usually being bothered with mastering issues. A little extra treble usually soothes the missing top end, but it’s the remixes that can offend those with even a small amount of their hearing left. In fact, using the term “remix” is dishonest. This isn’t some Steve Wilson job where he tries to add some new life into the original intention. No, these are reimaginings/renovations and should be advertised as such.
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Post by Mikie on Jun 19, 2022 13:04:44 GMT -5
Sorry to disagree with you, Fille, but Baby Blue does NOT sound great. It's very hissy and distorted. They shoulda left it alone. The great thing about this forum is that we can disagree and not be at each other’s throats. I listened to this stuff a few different ways so it is not all consistent. On the ipad (a later one) I listened to Baby Blue, which sounded ok, on the ipad, so maybe I should try the over the ear headphones? Then I tried the car, where my kids are always changing my warm bass to their cold treble! And the TV through its LG speakers (not a sound bar on that one) which are not too bad, on youtube. So 3 or 4 ways of listening... Are they inconsistent according to the way you listen? 5.1 Surround system set to both "Surround" mode and "2-channel Stereo" mode. Car stereo - 4 speakers + tweets, PC with 2 amplified stereo speakers, Dell laptop with two internal speakers. Slight differences between all of those but anomalies/irregularities heard on all of 'em. Haven't heard the tracks on the iPad or iPhone.
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Post by drbeachboy (Dirk) on Jun 19, 2022 13:06:34 GMT -5
My ears tend to be f*%cked to the point of not usually being bothered with mastering issues. A little extra treble usually soothes the missing top end, but it’s the remixes that can offend those with even a small amount of their hearing left. In fact, using the term “remix” is dishonest. This isn’t some Steve Wilson job where he tries to add some new life into the original intention. No, these are reimaginings/renovations and should be advertised as such. “Iconic Reimagines The Beach Boys- Sounds of Howie” 😉
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Post by Bruce’s Shorts on Jun 19, 2022 13:12:25 GMT -5
On a positive note, and since they’re a lot louder now: just how great is Ricky’s drumming on YNAMOHTSA? Those pick-ups are pure genius.
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Post by AGD on Jun 19, 2022 13:31:37 GMT -5
People, I understand how passionately we all feel about this sort of thing, but do we need to descend to personal invective to convey it ?
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Post by AGD on Jun 19, 2022 13:45:06 GMT -5
Two further observations: whoever said watch out for the packaging (was it here ?) is right. The first time I took disc one out, which took a bit of pulling, there was a glob of glue on it about the size of a matchead. I shudder to think what would have happened had I just bunged it in my player like that. And the liners: I realise that, right now this may be a minority view but I like them, the way they strike a balance between the emotional and the informative, with contributions from the band members highlighting this point or that. But then, I'm a liners guy.
Returning to the tracks themselves... I'll sleep on it and listen again tomorrow. Who knows, something miraculous may happen overnight.
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Post by John Manning on Jun 19, 2022 13:46:08 GMT -5
On a positive note, and since they’re a lot louder now: just how great is Ricky’s drumming on YNAMOHTSA? Those pick-ups are pure genius. I’m probably going to get piled on, but Ricky is the best drummer the band had. Listen to Here She Comes, and share the ecstasy. I hope that drum track gets an individual airing on the forthcoming set.
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Post by jay on Jun 19, 2022 13:50:28 GMT -5
I keep hearing a lot of high end clipping and drop outs. There is also distortion on the vocals of a few tracks. I will refrain from pointing blame at anybody because I don't know who is to blame.
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Post by Bruce’s Shorts on Jun 19, 2022 13:57:58 GMT -5
On a positive note, and since they’re a lot louder now: just how great is Ricky’s drumming on YNAMOHTSA? Those pick-ups are pure genius. I’m probably going to get piled on, but Ricky is the best drummer the band had. Listen to Here She Comes, and share the ecstasy. I hope that drum track gets an individual airing on the forthcoming set. And I 100% agree. Just listen to SOS. Less flashy but what groove and feel.
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Post by Mikie on Jun 19, 2022 14:03:48 GMT -5
On a positive note, and since they’re a lot louder now: just how great is Ricky’s drumming on YNAMOHTSA? Those pick-ups are pure genius. One of the best tracks on the set - I don't think it's the best mix on the set by a long shot, but different than the released version and pretty good. Took many years before I finally read the lyrics to this one and then it made sense. But on this mix you can hear Carl sing most of the words (especially if you're your reading the lyrics while listening) in comparison to the original Moffitt mix of the song. "All This Is That" sounds great and I just hope they'd consider going back and tweaking Marcella and give us a great Carl & The Passions mix revisit in the Fall. P.S. Check out the track/background vocals on Mess Of Help on the Feel Flows set. It's fantastic! P.S.S. Absolutely no doubt that Ricky was/is a great drummer! Carl and Al obviously thought so too!
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Post by drbeachboy (Dirk) on Jun 19, 2022 14:21:04 GMT -5
People, I understand how passionately we all feel about this sort of thing, but do we need to descend to personal invective to convey it ? Doesn’t that mean Vitriol? Didn’t we visit that word last week?
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Post by AGD on Jun 19, 2022 14:24:20 GMT -5
Vitriol: bitter criticism or malice. Invective: insulting, abusive, or highly critical language. Eh, judgement call.
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Departed
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Post by Deleted on Jun 19, 2022 14:25:15 GMT -5
I posted yesterday and implied something like just enjoy it but I really do appreciate all the detailed analysis. I have hearing aids and they have a setting for HiFi in which the trebble of everything is Amplified and I had to make sure I'm listening at the normal setting without the extra Hi-Fi amplification of treble. So I'm in a situation where by Nature I can't hear sounds without the hearing aids at a certain range. Maybe I didn't have hearing aids, the hiss and added treble that everyone has trouble with would be much more of a problem for me. Couple things sound more thrill but in general I'm hearing new parts I never heard before and tons more bass and bass drum and Tom Tom's, which are features I don't associate with a lot of Beach Boys songs. And as I said above the Dave and Carl Rhythm Jam which I never heard so clearly before on the early cuts
I'm enjoying all of it and enjoying hearing everybody talked about it and everybody is cool and we're all good. Greetings from San Clemente Pier unfortunately not mentioned in any Beach Boys songs I don't think.
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Post by Mikie on Jun 19, 2022 16:13:41 GMT -5
I'm enjoying all of it and enjoying hearing everybody talked about it and everybody is cool and we're all good. Greetings from San Clemente Pier unfortunately not mentioned in any Beach Boys songs I don't think. Didn't they mention it in 'California Feelin'? I was walking down the beach at San Clemente It was such a beautiful day Like most days The wind was blowin' through my hair Sunlight chased my cares away And the sun dances in the morning sky....
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Post by filledeplage on Jun 19, 2022 17:09:21 GMT -5
I'm enjoying all of it and enjoying hearing everybody talked about it and everybody is cool and we're all good. Greetings from San Clemente Pier unfortunately not mentioned in any Beach Boys songs I don't think. Didn't they mention it in 'California Feelin'? I was walking down the beach at San Clemente It was such a beautiful day Like most days The wind was blowin' through my hair Sunlight chased my cares away And the sun dances in the morning sky.... Mikie - that just prompted me to the put on the Sony’s for another listen. I think that the vocals are perfect. And Carl, OMG, every unreleased track is so precious. If there are any flaws, I don’t care, just to hear that BB authenticity, that is Carl. That goes for Seasons in The Sun. Just his voice. Was there a back-story as to why it was not released when it was recorded? Al had it on his Postcard.
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