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| Re: A question about when Brian filled in for Mike [Smiley Smile Message Board] Posted: 08 Jul 2008 06:54 AM CDT I don't think these photos are from the Mike-less tour. A couple of these pictures are included on page 132 of David Leaf's book. The caption reads "Jamming with The Flame at a L.A. club, 1970". | ||
| Re: POB Bambu on Vinyl! [Smiley Smile Message Board] Posted: 08 Jul 2008 06:09 AM CDT Holy Man is on my copy on the second LP. I presume it's on all copies...? On CD it comes after Bambu, on vinyl it comes after the four POB bonus tracks. | ||
| Re: POB Bambu on Vinyl! [Smiley Smile Message Board] Posted: 08 Jul 2008 05:17 AM CDT Holy Man is on my copy on the second LP. | ||
| Re: POB Bambu on Vinyl! [Smiley Smile Message Board] Posted: 08 Jul 2008 04:29 AM CDT Got this, beautiful package, lots of stuff packed in. The song "Time" is scratched for me but maybe i just need a better vinyl player. Its a pity the taylor hawkins Holy man is not on it, guess they ran out of space. Fantastic to have this, was beginning to think id never see the day  | ||
| Re: A question about when Brian filled in for Mike [Smiley Smile Message Board] Posted: 08 Jul 2008 03:27 AM CDT Now I looked close myself maybe that isn't Dennis?? | ||
| Re: A question about when Brian filled in for Mike [Smiley Smile Message Board] Posted: 08 Jul 2008 03:16 AM CDT Nice pics - who are the other folks on stage? Recognise the two ladies in Brian's life of course, but who's drumming? And who's the tall guy (think how tall Brian is!) with the Mick Jagger lips? The drummer is John Guerin and the tall guy is Tandyn Almer. | ||
| Re: A question about when Brian filled in for Mike [Smiley Smile Message Board] Posted: 08 Jul 2008 03:15 AM CDT Danny Hutten may be the guy, could be one of the Raiders? Dennis is the drummer look close. The fan base that was with them then were the real fans like us I would think. | ||
| Re: A question about when Brian filled in for Mike [Smiley Smile Message Board] Posted: 08 Jul 2008 02:18 AM CDT Nice pics - who are the other folks on stage? Recognise the two ladies in Brian's life of course, but who's drumming? And who's the tall guy (think how tall Brian is!) with the Mick Jagger lips? | ||
| Re: A question about when Brian filled in for Mike [Smiley Smile Message Board] Posted: 08 Jul 2008 02:02 AM CDT The Beach Boys played small venues during that period. Did that mean their popularity was waning, or was their fanbase becoming more selective?  | ||
| Re: A question about when Brian filled in for Mike [Smiley Smile Message Board] Posted: 08 Jul 2008 01:43 AM CDT He sings his old parts on that tape from what I can tell. Most Whiskey pictures he is seated but there are a few where you see him shaking hands with people out front. The Beach Boys played small venues during that period. | ||
| Re: A question about when Brian filled in for Mike [Smiley Smile Message Board] Posted: 08 Jul 2008 01:10 AM CDT Thanks a lot for posting that file. I've seen a few of those before. Was that at an actual Beach Boys concert? It looks like a very small place. I always assumed those pictures came from an informal party or something. Brian does seem pretty much like his old self there. It's odd to see him center stage. I always thought he would have sat at a piano or keyboard. That is what he did in the one picture I've seen from the Whiskey shows. On the Seattle recording that circulates, Brian seems to be pretty much in the background. it's hard to tell by the poor sound quality though. | ||
| Re: A question about when Brian filled in for Mike [Smiley Smile Message Board] Posted: 08 Jul 2008 12:44 AM CDT I have a bunch of the 1970 shots. www.yousendit.com/download/TTdFTkZpSWU4Q1RIRGc9PQ Notice how normal and animated Brian seems. Compare these to 90 percent of his stage shots since the '76 comeback. Never saw any 71 or 73 shots but Brian also seems together in the Whiskey photos later that year. I bet in the 71 at least he seemed ok. The 73 he may have been starting to change. | ||
| A question about when Brian filled in for Mike [Smiley Smile Message Board] Posted: 07 Jul 2008 11:58 PM CDT Are there any pictures that exist with Brian on stage with the group when he "replaced" Mike for a few shows in 1970? What about when Brian joined the group at the Long Beach show in 1971? | ||
| Re: Where are you from? [Smiley Smile Message Board] Posted: 07 Jul 2008 11:26 PM CDT Born and raised in San Francisco, CA, then Monterey, CA for 10 years, back in SF (five miles south of SF actually). | ||
| BRIAN WILSON Landylocked RARE CD Beach Boys SMILE ["brian wilson"] Posted: 07 Jul 2008 10:03 PM CDT | ||
| Re: The *official* Brian/BB picture thread [Smiley Smile Message Board] Posted: 07 Jul 2008 09:43 PM CDT Thanks for posting these I haven't seen them in a while. | ||
| 2 Awesome Up Close Center Brian Wilson Tickets 7/13 ["brian wilson"] Posted: 07 Jul 2008 08:49 PM CDT
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| Re: \ [Smiley Smile Message Board] Posted: 07 Jul 2008 08:49 PM CDT Late 1970s (should remember the exact year, but don't) some friends and I were hanging around McCarthur Court in Eugene, Oregon talking Beach Boys after the concert. We were the last ones there when Brian and Stan Love came walking through the scene of Stan's collegiate stardom. Brian had just about nothing to say, but Stan was pleasant enough. I was struck that Brian was wearing that same leather jacket with the fur collar seen on the picture sleeve for the original US 45 release of California Girls from more than 10 years earlier. (I had run thru all my film during the concert, so no photos. Should get those Kodachromse scanned! In those days, they allowed fans to shoot photos and allowed such things as heavy metal cameras into concerts. But those days were nearly over.) | ||
| Re: The Stephen Desper Thread [Smiley Smile Message Board] Posted: 07 Jul 2008 08:15 PM CDT I was very disturbed to learn of this most recent development in Beach Boy history (comment follows): FROM THE LOS ANGELES TIMES Capitol says recording quality at its Hollywood building is at risk By Bob Pool April 23, 2008 No! No-o-o-o! No-o-o-o-o-o! That plea from Hollywood is reverberating through Los Angeles City Hall as officials try to decide whether a 16-story tower should be built next to the landmark Capitol Records building. A Marina del Rey developer hopes to construct 93 condominiums, 13,442 square feet of commercial and office space and a 242-space underground parking lot next to the landmark, 13-floor, record-shaped building. But Capitol executives are trying to stop the multimillion-dollar project because of fears that pile-driving and excavation for the three-level underground garage will damage one-of-a-kind, below-ground echo chambers that are used for high-end recordings. The developer has denied that the project would harm the reverberation equipment and has pledged to try to limit noise and vibration during construction. The famed echo chambers were designed by guitarist Les Paul and have been used by recording artists ranging from Frank Sinatra and Dean Martin to Chris Botti, Natalie Cole – who just finished an album there – and Brian Wilson, who used them last week. EMI Music North America, which operates Capitol Records, has appealed the city's preliminary approval of the high-rise, which is proposed for the southwest corner of Yucca Street and Argyle Avenue. Until 2005 that was the site of the KFWB-AM (980) radio station. "As a major employer in the Hollywood area, Capitol Records is extremely concerned about the viability of us being able to continue to run Capitol Studios in the face of the admittedly significant adverse impacts that will be caused by construction," said Maureen B. Schultz, a senior vice president at the recording company. In a letter to City Council members, Schultz explained that the echo chambers are on the east side of the record company headquarters at the corner of Vine and Yucca streets. They are buried 18 feet from the proposed excavation site. "We are not anti-development, and understand and support that Hollywood is changing and new development is part of that change," she said in the letter. But "the sound in the studios is one that cannot be replicated anywhere else in the world. The echo chambers are as much a part of the Hollywood history as the Capitol Tower and the Hollywood sign." The eight concrete chambers, built 30 feet underground, vary in shape to give different sounds. A speaker pipes music into one end of each chamber and a microphone picks up the reverberation at the other end. Capitol employees say their three recording studios are booked by artists who know the Vine Street echo effect is something that cannot be duplicated electronically or at any other studio. Although it is not part of EMI's appeal, record company workers and others in Hollywood also oppose the 16-floor tower because it would overshadow Capitol's iconic building by three stories and block views of the landmark from the nearby Hollywood Freeway. The Capitol tower was designed by architect Welton Becket and finished in 1956. It was the world's first circular office building. Music fans immediately embraced its look, which resembled a stack of vinyl 45s on a record turntable. Its spire is said to blink out the name "Hollywood" in Morse code at night. EMI's appeal of the project is one of two that have been filed. A separate objection has been lodged by Hollywood resident Jim McQuiston, who has lived for 48 years across the street from the tower site. He objects to it on seismic grounds. "It would affect me when it falls over on me," McQuiston, a Caltech-trained engineer, said Tuesday. In papers filed with the city, he asserted that "the so-called Yucca strand of the Hollywood Fault poses an extreme hazard" to the condominium tower. Developer David Jordan could not be reached for comment Tuesday. However, a lawyer representing the project dismissed McQuiston's concerns. "That seems, quite frankly, like an implausible scenario," Dale Goldsmith said of the tower toppling in an earthquake. "His apartment building would collapse before this one would. It would be built in accordance of latest earthquake standards." As far as Capitol Records' echo chambers are concerned, Goldsmith pledged that they will be safe during construction. "We're confident there won't be any long-term damage," he said. "We're prepared to indemnify them. They have a right to be concerned, but their concerns are exaggerated." Steps will be taken to limit vibration and noise, he said. "There are a series of mitigation measures to be taken during construction. Muffling devices, dewatering techniques, taking noise-generating equipment as far away as possible from Capitol," Goldsmith said. An acoustical study done for Jordan by an Oakland firm acknowledged that "without the mitigation … ground-borne noise from construction activities may temporarily impact operation of the echo chambers." But it suggested that "digital signal processing and other digital audio recording techniques can simulate almost every echo chamber effect." Capitol officials plan to refute that when the City Council's Planning and Land Use Management Committee reviews their appeal May 13. The entire council is expected to take up the issue May 27, committee Chairman Ed Reyes said Tuesday. Digital reverberation can't compare with a real echo chamber, Capitol recording experts say. That's a claim they've shot down over and over and over again. END The sound of Capitol's chambers (especially #3) are all over most Beach Boy recordings. Even if the song was mixed at Brian's House Studio, we would pre-record important reverberation on two tracks of the multi-track by going to Capitol and using their chambers for a reverb session. THEY ARE THAT GOOD! Electronic simulation can't come close. If you live in this area and vote, you should call, write, or email the Los Angeles City Council and demand that the council recognise the significance of these historic rooms. Not much time -- vote scheduled July 8, Tuesday, 2008. LATEST NEWS: Famous studio fears next-door noise BY SOLVEJ SCHOU • ASSOCIATED PRESS • July 6, 2008 Post a CommentRecommend Print this page E-mail this article Share this article: Del.icio.us Facebook Digg Reddit Newsvine What's this? LOS ANGELES -- Standing in the photo-lined hallway, you can almost hear the history. One picture shows Frank Sinatra crooning into a sleek, silver microphone, his fedora tipped back. In another, Nat King Cole sits in front of a music stand in a crisp, white V-neck sweater. Both were taken only a few feet away, a half-century ago, in the wood and glass studios of Capitol Records' famed cylindrical tower in Hollywood -- familiar to tourists from around the globe as resembling a giant stack of vinyl records. In this age of mp3s, digital home recording and compressed and condensed tunes, Capitol Studios remain a rare gem -- a legendary yet working homage to high-quality sound, from Sinatra to the Beach Boys to Tim McGraw. "It's not a historical monument to itself, it's a contemporary studio," said engineer Jim Scott, who recently recorded Dido with a 30-piece orchestra at Capitol. But the large, three-room facility and its fabled subterranean echo chambers -- whose sound, experts say, cannot be re-created -- may soon be picking up some bad vibrations from an adjacent 16-story condominium and office project, part of downtown Hollywood's ambitious revitalization effort. Sound engineers fear that noise from the construction site, as well as from traffic that would eventually use the project's underground parking garage, will ruin the delicate aural qualities of the echo chambers. A Los Angeles City Council committee recently denied an appeal by Capitol parent EMI Music North America and recommended approval of the project, contingent on a series of additional measures -- including construction walls and a foam barrier -- to mitigate potential sound issues. Capitol had worked out the measures with developer Second Street Ventures as a backup plan, though it still opposes the project. "Capitol Records' executives are reluctant to keep open the recording studios and echo chambers if they run the risk of lawsuits from recording artists and their record labels," EMI's attorney John Whitaker said at the hearing. David Jordon, co-owner of Second Street Ventures, said he felt confident that the measures would protect Capitol Studios' signature sound. "We have no desire to create any negativity toward Capitol Records," he said. "Our design is to enhance and protect this iconic building and the area around it. From a personal standpoint, we wouldn't want that kind of liability." Jordon maintains that his company is only looking to do loud excavation and demolition from 7 to 10 a.m. He also says there would be an emphasis on "open and constant communication" with Capitol, including an onsite attendant every day. Discussions continue regarding compensation to Capitol if recording sessions are affected, he said. The full council is set to vote on the proposal Tuesday in a session that could attract the many music industry insiders who oppose the project -- from engineers to the Recording Academy. "Those echo chambers at Capitol should not ever be lost. That sound cannot be reproduced," said engineer Geoff Emerick, who recorded the Beatles' "Sgt. Pepper's Lonely Hearts Club Band" and "Revolver." Musician and producer Jon Brion, who has recorded Kanye West and Fiona Apple, said he was upset over the issue. "There are very few specially built studios left, and the chambers are the thing that make it special," he said. Sinatra recorded his seminal 1958 album "Only the Lonely" in the studios, using the echo chambers' reverb to enhance his voice. Other famed musicians who have recorded there since the tower's 1956 opening include Dean Martin, Natalie Cole, Ringo Starr, Paul McCartney, Diana Krall and James Taylor. Green Day recorded most of its Grammy-winning 2004 album "American Idiot" there. The Oscar, Emmy and Grammy orchestras also use the studios, which can hold up to 75 musicians, as do the television shows "American Idol" and "Lost." Today, about 90% of the artists who record there rent the facilities independently and are not connected with Capitol/EMI. "To steal a quote from (Paul McCartney engineer) Phil Ramone, 'People just play better here,' " said Greg Parkin, Capitol Studios and Mastering's senior director of operations. Buried more than 25 feet below the Capitol tower's parking lot, the studios' trapezoidal-shaped echo chambers, built out of 10-inch thick concrete walls, were codesigned by famed sound innovator Les Paul, who pioneered the electric guitar and helped develop multitrack recording. Artists sing or play into microphones in the studios and the sound is piped through wires in the walls down through a corridor and into the chambers. Speakers in the chambers bounce the sound to microphones on the other side, which pick up the music in stereo and then funnel it back to a mixing console in the studios. This provides a smooth delay of sound, or reverb, which can last up to five seconds. Underground isolation is necessary to establish purity of the sound. "Loud noises are our enemy, that's just the nature of the business," Parkin said. "When you're doing a very delicate string date, any interference can be a problem." He added that the chambers have never been replicated digitally -- and that's why artists still travel to Capitol from around the world. "The Capitol Studios are part of Hollywood's history, part of the Beach Boys' history and part of my own history," Brian Wilson said in a letter to the Los Angeles City Council. "I can't emphasize enough how important it is that you do everything in your power to protect that history for generations of recording artists to come." HERE ARE ADDITIONAL ARTICLES: ~swd Capital Records Echo chamber >>> [ http://news.google.com/news?hl=en&q=Capital+Records+Echo+chamber&um=1&ie=UTF-8&sa=X&oi=news_result&resnum=4&ct=title ] | ||
| Re: Picking apart the bonus tracks on the POB reissue [Smiley Smile Message Board] Posted: 07 Jul 2008 07:33 PM CDT I never thought one of Dennis's songs could get to me like "Moonshine" and "Thoughts Of You". And along comes "Love Remember Me". There's something special about that song; I hear a little bit of Donovan's "Atlantis" in there. "Way down below the ocean...." I have to agree with that assesment, when the fade comes on my knees buckle, I have to sit down. So powerful. Gorgeous flute part. I like Dennis's "Only With You" and "Love Surrounds Me" - a lot. But I have to give credit where credit is due. The Beach Boys' versions might get my nod - slightly - because of those little arrangements that aren't present in Dennis's takes. So, credit to Carl and Bruce, but, maybe Dennis might've gotten around to tweaking "Love Surrounds Me" if it would've been released solo. I agree with you on "Only With You," but as for "Love Surrounds Me," I much prefer this version for several reasons. While I miss the backing vocals, I think this version is mixed much, much better; Bruce's production on a few LA tracks was very dissapointing to me; also this version brings out Christine McVie's part beautifully, I love her part. I really dig "Time For Bed" in a trippy way, and "Tug of Love" sounds like it should've been a BB track. I put it after "Thoughts of You" in my mixes. | ||
| Re: Did Brian ever use a Mellotron? [Smiley Smile Message Board] Posted: 07 Jul 2008 07:30 PM CDT I was reading a discussion about Mellotrons recently, and had a complete mental block as to whether BW (or the BBs generally) had ever used one. Can't remember seeing a reference. Given that the Beatles were using it on Strawberry Fields, November 1966, Brian's creative peak era, I'm surprised if not. Maybe it's a UK vs US thing? The operative word here is "use." I know that the BB are familiar with the Mellotron and played one while at Abby Road Studios in London. Brian was back in the USA at the time. He could well have played one in the course of things. So if you mean, did any of the Beach Boys ever play a Mellotron, the answer is yes. But if you mean, did they ever record tracks using a Mellotron, to the best of my knowledge, no. If my memory serves me, you could rent one in Hollywood from Studio Instrument Rentals, but the Mellotron was never very reliable and thus could not be counted on to be a source of sound for a session. The US made Chamberlin used the same operating principle, but was better built and usually worked when you wanted it to. As you may know, The Beach Boys bought two units and used a modified one for some preliminary sessions of Cool Cool Water. However, the final sounds of water drops used in that recording were made on a MOOG synthesizer, played by Paul Beaver. ~swd | ||
| Re: \ [Smiley Smile Message Board] Posted: 07 Jul 2008 07:14 PM CDT Southbay, you're a lucky man.... | ||
| 2 BRIAN WILSON Tickets HAMMERSTEIN NEW YORK CITY NYC ["brian wilson"] Posted: 07 Jul 2008 01:03 PM CDT
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| 2 BRIAN WILSON Tickets HAMMERSTEIN NEW YORK CITY NYC ["brian wilson"] Posted: 07 Jul 2008 01:03 PM CDT
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