Discussion in 'Music Corner' started by pool_of_tears, Jul 2, 2017.
It’s out there
The sentiment of your post (if not the words as written) needs to be bronzed and displayed above the entrance into the inner-sanctum of Beach Boy fandom.
Their oddness, uncomfortable-ness, dorkiness, and often stupidness -- is fully offset and rounded out by their brilliance, coolness, chillness and heart-breaking beauty. You shan't have one without the other. An important part of a balanced breakfast. Ridiculous humility and blinding genius.
At least four songs from 20/20 are have (Beach Boys initial recording) roots in 1967 or earlier - Our Prayer, Cabinessence, Bluebirds Over the Mountain, and Time to Get Alone.
This has always been my least favorite of the post-Smile output, due to the fact it's such a mish-mash. On a song-by-song basis, I just don't like the material as much either, compared to the others. I was always under the impression 20/20 was a contractual obligation album to Capitol.
I like the material, but, I agree it's a mish-mash. However, I think that merely better sequencing could have easily improved it.
All their albums were, ultimately, contractual obligations. Starting with 20/20, they just recorded songs as a group of songwriter/producers and when the record company demanded an album, Carl would put one together from the dozens of songs they had laying around. It's a wonder that albums like Sunflower and Surf's Up have any kind of gestalt whatsoever. Logically, they should have the the cohesion of 20/20 or Carl and the Passions: So Tough, i.e., not much cohesion at all. Yet they do have it..
I reckon that Desper had a lot to do with that.
It's the same as the LP but there is some sticky splice stuff going on on Little Bid and Be Still.
I was hoping that TM wouldn't have that sloppy tape edit during the sax solo that resembles a skip.
Are there noises on some songs on the Friends Pastmasters CD which are absent from other releases? I don't think I noticed, but that doesn't mean anything.
Were Ricky Fataar's contributions from older backing tracks or did he come back and do more sessions with them later? That's an interesting thought.
4 Brian backing tracks? What were the other 3?
Sorry to be off topic, but this stuff is fascinating to me
Thanks for this. I'll keep looking. I know that on YouTube there used to be a long version (I can't remember if it was twenty minutes) but I'm pretty sure it didn't have what's on the LP. I can't find it on YouTube anymore though - just countless uploads of the LP edit...mono and stereo!
Nope. Any artifacts that you hear on the Pastemasters disc, you'll hear them on the 1990 and 2001 2-fer discs, save for the removal of some tape hiss on the 1990 2-fer.
Yeah, Brian cut 4 songs at Western in July 1979. All he wanted to do was oldies and those sessions ended in just 2 days. To keep brian interested, they called in Chuck Britz and even an old valve mixing board was brought in. The 4 songs were:
Stranded In The Jungle
The contractual album owed to Capitol after the Beach Boys signed with Warner Reprise was to be called "Reverberation" and consisted of the following (the master tape labelled 'Last Capitol Album")"
Cottonfields (Mono Mix)
Loop de Loop (Flip Flop Flyin' in an Aeroplane)
All I Wanna Do
Got to Know the Woman (Mono Mix)
When Girls Get Together (Instrumental Track)
Celebrate the News
The Lord's Prayer (Duophonic Mix)
But the Beach Boys decided against submitting it to Capitol, instead using several of the tracks for the Add Some Music/Sunflower album and giving Capitol "Live in London" instead. So Live in London is really the final contractual Capitol album.
Very cool, I never knew that. This album fills a nice gap -- gathering up a lot of the band's "experiments" that had no home. Of course a big chunk did end up on Sunflower. But I think one could find a few replacements.
Yes...and then Capitol didn't even release it in the U.S.A.! (until 1976, when the Beach Boys were - briefly - "hot" again).
And, to further peak Brian's interest, they brought in an old 4-track machine to record these songs on!
Thinking of Keepin’ The Summer Alive, there’s a better album lurking...between the outtakes and what actually made the cut.
Ricky came back (as a session player) and recorded several songs with them, including "Keeping The Summer Alive", "Little Girl" (a new 24-track version, which formed the basis for "Sunshine" on the released album), and "Endless Harmony", although the drums on the latter song were redone by Scott Matthews.
Oh, yeah...that's why the basic instrumental track of "School Days" on the album is in mono...it was transferred to 24-track, and other instruments were added (and the vocals, of course), but the initial backing track is locked in mono.
I learned something new. Thanks, Craig!
For the most part, it seems like that became a common theme during the 1970's and early 1980's.
Craig Slowinski, you need to write a book!!
Thanks for your contributions!
Post-Sunflower, I agree!
And it would have been good if they deleted TLP(which really no one cared about) and added Dennis' "Lady" which is a terrific, underrated song. Are you talking about the "Cottonfields" single in stereo or the mono lp cut?
It don't make any sense to bring in 'lords prayer', a recording from 63!!
I know it's brilliantly structured harmonically and all that, but I don't think anybody cares about it that much.
Probably the subject matter, something they rectified by 'and your dream comes true'.
It's the Cottonfields single in mono.
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