Keep An Eye On Summer - The Beach Boys Sessions 1964 （'14）
１はバッキング・トラック録音風景で、父マリーの指示をはさみながら、途中で終わるものが２テイク続いた後、マスター・テイクのバッキング・トラックを収録。
4. Why Do Fools Fall In Love [session highlights and
instrumental mix] 4:59 ４はバッキング・トラック録音風景で、「テイク５」のコールで始まる演奏の後、完成版には使われなかったイントロのテイク１をはさんで、
「テイク19」のコールの後にマスター・テイクのバッキング・トラックが続く。 ６はバッキング・トラック録音風景で、「テイク１」のコールの後、途中で終わる数テイクが続いた後、バック・コーラス入りのバッキング・トラックを収録。歌うのを止めるところまで聴ける。
９はバッキング・トラック録音風景で、中断する数テイクの後、バック・コーラス入りのバッキング・トラックを収録。
完成版とは別のボーカル・セッションの録音風景の後に、マスター・テイクのアカペラ・ミックスを収録。 「Little Saint Nick」 の歌詞を 「Drive-In」
のオケで歌ったもの。 スタジオでのジャムに続いて、未完成の未発表曲「Let's Live Before We
Die」のバッキング・トラックを収録。 29. She Knows Me Too Well [vocal session highlights
and track with backing vocals] 2:43 29はバック・コーラス入りのバッキング・トラック（間奏のギターは入っていない）。演奏を止めるところまで聴ける。
ボーカル・セッションの録音風景の後に、マスター・テイクのアカペラ・ミックスを収録。 『クリスマス・アルバム』（'64）セッションで録音されたが未発表だったインスト。このアルバムのオーケストレーションはフォー・フレッシュメンのアレンジャーだったディック・レイノルズが担当。 マスター・テイクのアカペラ・ミックス。 ライブ盤 『ビーチ・ボーイズ・コンサート』（'64）は1964年8月1日のカリフォルニアのサクラメントでの２回分の演奏などから編集されているが、この２曲に関してはスタジオで録音したものに歓声をダビングして収録することになり、8月31日に録音されたものの、結局すでにリリースされていたスタジオ版のオケに新たなボーカルを入れる方法に変更になった。 1990年にアルバム 『トゥデイ』 が 『サマー・デイズ』 との２イン１でCD化された際にボーナス収録された別バージョン（フルートが入る）の新ステレオ・ミックス。旧ミックスより音が左右に広がっており、フェイド・アウトが若干早い。
1990年にアルバム 『オール・サマー・ロング』 が 『リトル・デュース・クーペ』 との２イン１でCD化された際にボーナス収録された未発表曲の新ステレオ・ミックス。 39は1990年にアルバム 『トゥデイ』 が 『サマー・デイズ』 との２イン１でCD化された際にボーナス収録された別テイクの新ステレオ・ミックス。旧ミックスよりスピードが速められており、旧ミックスはボーカルがダブル・トラックだったが、新ミックスはそのうちの一方のシングル・トラックで、間奏前のマイクのシャウトが入っていない（たぶん使われなかった方のボーカル・トラックに入っている）。また、旧ミックスはフェイド・アウトで終わっていたが、新ミックスは演奏を止めるところまで聴ける。
初登場のライブ音源。イギリスのラジオ番組 『トップ・ギア』 の1964年11月19日放送分のスタジオ・ライブ音源（11月6日収録）。ブライアン、マイク、デニス、カール、アルで出演。 『ビーチ・ボーイズ・コンサート』（'64）収録のライブ版のシングル用モノラル・ミックス。「When I
Grow Up (To Be A Man)」のB面候補だったが、結局「She Knows Me Too
Wel」になった。
公式サイトに掲載された英文解説 FUN, FUN, FUN
MP3
公式サイトに掲載された英文解説
1. Fun, Fun, Fun [session highlights and instrumental
mix] 7:39
2. Fun,
Fun, Fun [a capella] 2:23
3. Fun, Fun, Fun [2013 stereo
mix] 2:14 既発音源
『ホーソーン、カリフォルニア』（'01）に収録されていたバッキング・トラックはモノラルで、間奏のオルガンとエレキ・ギターが入っていなかったが、こちらはステレオで、間奏にオルガンが入っている。
２はマスター・テイクのボーカルのみだが、イントロや間奏のエレキ・ギターは残されている。
３は６枚組 『カリフォルニアの夢』（'13）で初登場したステレオ・ミックスで、オリジナルのステレオは左右の音が離れた状態で時代を感じさせるミックスだったが、
新ミックスは自然なバランスになって音の厚みも増している。また、エンディングはフェイド・アウトが遅いモノ・シングル・バージョンとほぼ同じ長さになっている。
ドラムはデニスとハル・ブレイン両方に叩かせて左右にミックスし、ツイン・ドラムにしている。また、カールのリード・ギターは最後の歌入れの際に録音された。
Arranged: Brian Wilson with Carl Wilson / Vocals
arranged by Brian Wilson with Mike Love ／ Lead & Bass vocal:
Mike Love ／ Harmony & Backing vocals: Brian Wilson, Dennis
Wilson, Carl Wilson, Al Jardine ／ Electric lead guitar: Carl Wilson
／ Electric lead/rhythm guitars: Carl Wilson ／ Electric rhythm
guitars: Carl Wilson ／ 6-string electric bass guitar: Ray Pohlman ／
Electric bass guitar: Al Jardine ／ Upright or Grand piano: Brian
Wilson ／ Hammond B-3 organ: Brian Wilson ／ Drums: Dennis Wilson, Hal
Blaine, Dennis Wilson ／ Tambourine: Hal Blaine ／ Tenor saxophones:
Steve Douglas ／ Baritone saxophones: Jay Migliori
Basic track
& overdub recorded at Western Recorders Studio 3, Hollywood,
Wednesday January 1, 1964, 12:30pm-4:45pm (master is Take 3) ／
Vocals & additional overdubs recorded at Western Recorders
Studio 3, Hollywood, Wednesday January 8 or Thursday January 9, 1964
／ Engineer: Chuck Britz ／ Recorded on 1/2'' 3-track tape, followed
by reduction-mix transfer to second-generation 1/2'' 3-track tape
for vocals and guitar intro & solo, followed by tape-to-tape
transfer to third-generation 1/2'' 3-track tape with simultaneous
overdub
5. Why Do Fools Fall In Love [new stereo mix]
→ [2012
stereo mix] 2:09 既発音源
５は６枚組 『カリフォルニアの夢』（'13）ディスク１に収録のものと同じで、『サマー・ラヴ・ソングス』（'09）収録の初ステレオ・ミックスから冒頭のインストをカットして微妙にリミックスしたもの（公式の解説ではこのコンピレーションのための新規ステレオ・ミックスとされている）。
この曲のバージョン違いについてはこちらで。
Arranged: Brian
Wilson ／ Lead vocal: Brian Wilson ／ Intro bass vocal: Mike Love ／
Backing & Harmony vocals: Brian Wilson, Dennis Wilson, Al
Jardine, Carl Wilson, Mike Love
Intro -
Upright piano: Brian
Wilson and/or Leon Russell ／ Archtop acoustic rhythm guitar: Bill
Pitman ／ Electric rhythm guitar: Tommy Tedesco ／ Electric bass
guitar: Ray Pohlman ／ Upright bass: Jimmy Bond ／ Drums &
Tympani: Hal Blaine ／ Glockenspiel: Frank Capp
Main body
-
Archtop acoustic rhythm guitar: Bill Pitman ／ Electric rhythm
guitar: Tommy Tedesco ／ Electric bass guitar: Ray Pohlman ／ Upright
bass: Jimmy Bond ／ Tack piano: Leon Russell ／ Grand piano: Al de
Lory ／ Drums: Hal Blaine ／ Temple block & Castanet (w/stick):
Frank Capp ／ Tenor saxophones: Steve Douglas, Plas Johnson ／
Baritone saxophone: Jay Migliori ／ Finger snaps: Brian Wilson ／ Hand
claps: the Boys, Chuck Girard
Basic track, intro bass vocal &
overdub recorded at Gold Star Recorders Studio A, Hollywood, Tuesday
January 7, 1964, 8:00pm-11:00pm (master is edit of
Take 19 &
intro Take 5) ／ Vocals recorded at Gold Star Recorders Studio A,
Hollywood, Thursday January 9 or Friday January 10, 1964 ／ Engineer:
Larry Levine ／ Recorded on 1/2'' 3-track tape, followed by
reduction-mix transfer to second-generation 1/2'' 3-track tape for
vocals, followed by tape-to-tape transfer to third-generation 1/2''
3-track tape with simultaneous vocal double?
6. Don't Worry Baby [session highlights and instrumental
mix with backing vocals] 4:42
7. Don't Worry, Baby [2009
stereo mix] 2:50 既発音源
７は 『サマー・ラヴ・ソングス』（'09）や６枚組 『カリフォルニアの夢』（'13）ディスク１に収録の新ステレオ・ミックスで、リード・ボーカルが中央、コーラスが左右に配されている。
この曲のミックス違いについては 『サマー・ラヴ・ソングス』 のページで。
Arranged:
Brian Wilson ／ Lead vocal: Brian Wilson ／ Backing vocals: Brian
Wilson, Dennis Wilson, Carl Wilson, Al Jardine, Mike Love ／ Electric
lead guitar: Carl Wilson ／ Electric rhythm guitar: Carl Wilson ／
Electric bass guitar: Al Jardine ／ Upright or Grand piano: Brian
Wilson ／ Drums: Dennis Wilson
Basic track recorded at Western
Recorders Studio 3, Hollywood, Tuesday January 7, 1964, first
session of the day (master is Take 12) ／ Vocals & guitar overdub
recorded at Western Recorders Studio 3, Hollywood, Wednesday January
8 or Thursday January 9, 1964 ／ Engineer: Chuck Britz ／ Recorded on
1/2'' 3-track tape, followed by reduction-mix transfer to
second-generation 1/2'' 3-track tape for lead vocal & guitar
overdub
8. In The Parkin' Lot [session highlights and a capella
mix] 4:38
ボーカル・セッション中の会話と、間奏で失敗して終わるボーカル入りのテイクの後、完成版のアカペラ・ミックスを収録。歌うのを止めるところまで聴ける。
間奏で聴こえるカールのリード・ギターはボーカル・セッションの際に録音された。
Arranged: Brian
Wilson ／ Lead & Bass vocal: Mike Love ／ Backing and Harmony
vocals: Brian Wilson, Dennis Wilson, Al Jardine, Carl Wilson ／
Electric lead guitar: Carl Wilson ／ Electric rhythm guitars: Carl
Wilson ／ Electric bass guitars: Al Jardine ／ Upright or Grand
pianos: Brian Wilson ／ Drums: Dennis Wilson
Basic track, overdub
& vocals recorded at Western Recorders Studio 3, Hollywood,
Tuesday January 7, 1964 (master is Take 4) ／ Engineer: Chuck Britz ／
Recorded on 1/2'' 3-track tape, followed by reduction-mix transfer
to second-generation 1/2'' 3-track tape for vocal double
Chuck
slates the master take as ''Take 3'', but on the track sheet ''Take
4'' is notated as the master. The rhythm track is doubled on an
overdub; Carl added the lead guitar solo during the second set of
vocals, then redid it as a punch-in.
9. The Warmth Of The Sun [session highlights and
instrumental mix with backing vocals] 5:09
10. The Warmth Of The Sun
[2012 stereo mix] 3:03 既発音源
10は６枚組 『カリフォルニアの夢』（'13）ディスク１に収録の新ステレオ・ミックスで、アルバム 『シャット・ダウンVol.2』（'64）などに収録の旧ステレオはリード・ボーカルが左、コーラスが右の「“泣き別れ”ミックス」だったが、この新ステレオ・ミックスはリード・ボーカルが中央、コーラスが左右に配されている。
Arranged: Brian Wilson ／ Lead vocal: Brian Wilson ／ Backing
vocals: Brian Wilson, Dennis Wilson, Carl Wilson, Al Jardine, Mike
Love ／ Electric lead guitars (w/tremolo): Carl Wilson (arpeggios) ／
Electric rhythm guitar: Al Jardine ／ Electric bass guitar: Ray
Pohlman ／ Upright or Grand piano: Brian Wilson ／ Drums: Dennis
Wilson ／ Bell-tree & Clinking percussion: Hal Blaine ／ Tenor
saxophone: Steve Douglas ／ Baritone saxophone: Jay Migliori
Basic
track recorded at Western Recorders Studio 3, Hollywood, Wednesday
January 1, 1964, 12:30pm-4:45pm (master is Take 4) ／ Vocals &
overdub recorded at Western Recorders Studio 3, Hollywood, Wednesday
January 8 or Thursday January 9, 1964 ／ Engineer: Chuck Britz ／
Recorded on 1/2'' 3-track tape, followed by reduction-mix transfer
to second-generation 1/2'' 3-track tape for lead vocal, followed by
tape-to-tape transfer to third-generation 1/2'' 3-track tape with
simultaneous lead vocal double (the lead guitar was doubled on one
of the lead vocal tracks)
11. Pom Pom Play Girl [session highlights and
instrumental mix with backing vocals] 4:54
12. Pom Pom Play Girl [new
stereo mix] 1:33
11はバッキング・トラック録音風景で、「テイク１」「テイク２」とコールされる演奏の後、バック・コーラス入りのバッキング・トラックを収録。歌うのを止めるところまで聴ける。
12は新規制作の３つ目のステレオ・ミックス。６枚組 『カリフォルニアの夢』（'13）ディスク６にボーカル・トラック録音風景と２つ目のステレオ・ミックスが収録されている。
・アルバム 『シャット・ダウンVol.2』（'64）収録のオリジナル・ステレオ・ミックス … リード・ボーカルとフロア・タムと手拍子が左、コーラスとカールのリード・ギターが右、残りの演奏が中央。
・ステレオ２ … リード・ボーカルとフロア・タムと手拍子が中央、コーラスとカールのリード・ギターが中央寄りの右、残りの演奏が中央寄りの左。エンディングのブライアンのアドリブが別テイクで、フェイド・アウトせずに終わる。
・ステレオ３ … リード・ボーカルと演奏が中央、手拍子が中央寄りの右、コーラスは左右で、エンディングのブライアンのアドリブはオリジナルと同じだが、フェイド・アウトが若干遅い。
Arranged:
Brian Wilson ／ Lead vocal: Carl Wilson ／ Cameo bass vocal: Mike Love
／ Backing vocals: Brian Wilson, Dennis Wilson, Carl Wilson, Al
Jardine, Mike Love ／ Electric lead guitar: Carl Wilson ／ Electric
rhythm guitar: Carl Wilson ／ Electric bass guitar: Al Jardine ／
Upright or Grand piano: Brian Wilson ／ Drums: Dennis Wilson ／ Tenor
saxophone: Mike Love ／ Floor tom: Dennis Wilson ／ Hand claps: the
Boys
Recorded at Western Recorders Studio 3, Hollywood, Tuesday
January 7, 1964 OR circa Wednesday February 19, 1964 (master is Take
19) ／ Engineer: Chuck Britz ／ Recorded on 1/2'' 3-track tape,
followed by reduction-mix transfer to second-generation 1/2''
3-track tape for lead vocal, followed by reduction-mix transfer to
third-generation 1/2'' 3-track tape for lead vocal double w/floor
tom & handclaps ／ Backing vocals and Mike's cameo are on
one track, while the lead guitar solo and lead vocal appear on
another track, along with the floor tom and handclaps.
13. Denny's Drums [session highlights and alternate
take] 3:23
ブライアンのトーク・バック（「テイク１」と「テイク２」のコールあり）の後に別テイクを収録。
完成版はタイトル通りデニスのドラムのみだが、この別テイクにはカールのリード・ギターとアルのベースが入っており、シンバルも追加されている。完成版のイントロに当たる部分がなく、後半で少し違う展開になって終わる。
Denny's
Drums (alternate take)
Arranged: Dennis Wilson, Carl Wilson,
Al Jardine ／ Electric lead guitar (w/Leslie effect): Carl Wilson ／
Electric bass guitar: Al Jardine ／ Drums: Dennis Wilson
Basic
track & overdub recorded at Western Recorders Studio 3,
Hollywood, Tuesday January 7, 1964 (master is Take 10) ／ Engineer:
Chuck Britz ／ Recorded on 1/2'' 3-track tape ／ Dennis overdubbed a
second set of drums. Brian produces from the control booth while
Carl, Al and Dennis jam.
14. Keep An Eye On Summer [instrumental mix with backing
vocals] 2:28 モノラル
完成版のリード・ボーカル抜き。完成版でフェイド・アウトした先でブライアンがしゃべってテープが止まる。
Arranged:
Brian Wilson ／ Harmony and Backing vocals: Brian Wilson, Dennis
Wilson, Al Jardine, Carl Wilson, Mike Love ／ Electric rhythm
guitars: Carl Wilson ／ Electric bass guitar: Al Jardine ／ Upright or
Grand piano: Brian Wilson ／ Drums: Dennis Wilson
Basic track
& overdub recorded at Western Recorders Studio 3, Hollywood,
Monday January 20 and/or Sunday February 2, 1964 ／ Engineer: Chuck
Britz ／ Recorded on 1/2'' 3-track tape ／ Carl adds a second rhythm
guitar part on one of Brian’s lead vocal tracks.
15. Endless Sleep [Larry Denton vocal] （Jody Reynolds-Dolores Nance） 2:32
ジョディ・レイノルズが1958年にリリースした曲のカバー。ブライアンのプロシュースによる完全未発表音源。リード・ボーカルはブライアンの知人のラリー・デントンという人物。
ブライアンの「♪デュランデラ〜ン、デュランダ〜ン」というコーラスと一緒に右チャンネルで聴こえる弦楽器のような音はブライアンがチェンバリンで出しているもの。
チェンバリンはメロトロンの前身にあたる初期のサンプラーで、鍵盤を押すとテープが回り、テープに録音された音が再生される仕組みになっている。
Arranged:
Brian Wilson ／ Lead vocal: Larry Denton ／ Backing vocals: Brian
Wilson, Larry Denton ? ／ Archtop acoustic rhythm guitar: Bill Pitman
／ Electric rhythm guitar: Tommy Tedesco ／ Electric bass guitar: Ray
Pohlman ／ Upright bass: Jimmy Bond ／ Grand piano: Al de Lory ／ Tack
piano: Leon Russell ／ Drums & Clanking percussion: Hal Blaine ／
Tympani & Castanets: Frank Capp ／ Tenor saxophone: Steve Douglas
／ Baritone saxophone: Jay Migliori ／ Chamberlin (strings): Brian
Wilson
Basic track recorded at Gold Star Studio A, Tuesday
February 18, 1964, 2:00pm-5:00pm (master is Take 5) ／ Chamberlin and
vocals added thereafter ／ Engineer: Larry Levine ／ Recorded on 1/2''
3-track tape, followed by reduction-mix transfer to
second-generation 1/2'' 3-track tape (with simultaneous backing
vocal double) for lead vocal, followed by tape-to-tape transfer to
third-generation 1/2'' 3-track tape with simultaneous lead vocal
double ／ The guitar and piano credits are speculative, based on who
was at the session and what can be heard on the track.
16. I Get Around [session highlights and instrumental
mix with backing vocals] 5:34
17. I Get Around [a
capella] 2:16 モノラル
16はバッキング・トラック録音風景で、中断する数テイクの後、マスター・テイクのバッキング・トラックを収録。演奏を止めるところまで聴ける。
『グッド・ヴァイブレーションズ・ボックス』（'93）ディスク５にもバッキング・トラックが収録されていたが、そちらは左右のチャンネルが逆で、フェイド・アウトで終わっていた。どちらもリード・ギターとオルガンは入っていない。
17はボーカルのみで、完成版はダブル・トラックになっているが、こちらはシングル・トラック。歌うのを止めるところまで聴ける。
Arranged:
Brian Wilson ／ Lead & Bass vocal: Mike Love ／ Chorus falsetto
lead vocal: Brian Wilson ／ Harmony & Backing vocals: Brian
Wilson, Carl Wilson, Al Jardine, Dennis Wilson ／ Electric
lead/rhythm guitars: Carl Wilson ／ Electric lead guitar: Carl Wilson
／ Electric bass guitar: Al Jardine ／ 6-string electric bass guitars:
Glen Campbell, Ray Pohlman ／ Upright or Grand piano: Brian Wilson ／
Harpsichord: Brian Wilson ／ Hammond B-3 organ: Brian Wilson ／ Drums:
Dennis Wilson ／ Timbale w/brush, rim w/thin stick: Hal Blaine ／
Tenor saxophone: Steve Douglas ? ／ Baritone saxophone: Jay Migliori
? ／ Hand claps: the Boys ?
Basic track recorded at Western
Recorders Studio 3, Hollywood, Thursday April 2, 1964 (master is
Take 15) ／ Overdubs & vocals recorded at Western Recorders
Studio 3, Hollywood, Friday April 10, 1964 ／ Engineer: Chuck Britz ／
Recorded on 1/2'' 3-track tape, likely followed by reduction-mix
transfer to second-generation 1/2'' 3-track tape w/simultaneous
doubling of vocals; final instrumental overdub added either as
simultaneous overdub during reduction-mix transfer to
third-generation 1/2'' 3-track tape, or simultaneously during mono
mixdown
18. All Summer Long [session highlights / stereo
mix] 4:46
19. All
Summer Long [a capella] 2:19 モノラル
20. All Summer Long [2007 stereo
mix] 2:09 既発音源
18はバッキング・トラック録音風景で、中断する数テイク（ブライアンが木琴で失敗しまくる）の後、マスター・テイクのバッキング・トラックを収録。演奏を止めるところまで聴ける。
19はボーカルのみだが、演奏も小さく聴こえる。歌うのを止めるところまで聴ける。
『グッド・ヴァイブレーションズ・ボックス』（'93）ディスク５に、ボーカルを右、演奏を左に振ったバージョンが収録されている。
20は 『ウォームス・オブ・ザ・サン』（'07）収録の初ステレオ・ミックス。のちに
2012年リマスター盤 『オール・サマー・ロング<モノ＆ステレオ>』 や６枚組 『カリフォルニアの夢』（'13）ディスク１などにも収録。
Arranged:
Brian Wilson ／ Lead & Bass vocal: Mike Love ／ Harmony &
Backing vocals: Brian Wilson, Al Jardine, Carl Wilson, Dennis Wilson
／ Xylophones or Marimbas: Brian Wilson ／ Electric rhythm guitars:
Carl Wilson ／ Electric bass guitars: Al Jardine ／ Drums: Dennis
Wilson ／ Piccolo or Fife: Jay Migliori ／ Tenor saxophone: Steve
Douglas
Basic track & overdub recorded at Western Recorders
Studio 3, Hollywood, Wednesday May 6, 1964, 6:00pm-10:00pm (master
is Take 43) ／ Vocals recorded at Western Recorders Studio 3,
Hollywood, Thursday May 7, 1964 ／ Engineer: Chuck Britz ／ Recorded
on 1/2'' 3-track tape, followed by reduction-mix transfer to
second-generation 1/2'' 3-track tape with simultaneous vocal
double
21. Hushabye [instrumental mix with backing
vocals] 2:42
バック・コーラス入りのバッキング・トラック。
『グッド・ヴァイブレーションズ・ボックス』（'93）ディスク５に、ボーカルを右、演奏を左に振ったバージョンが収録されている。
Arranged:
Brian Wilson ／ Backing vocals: Brian Wilson, Dennis Wilson, Carl
Wilson, Mike Love, Al Jardine ／ Upright or Grand piano: Brian Wilson
／ Electric rhythm guitar: Carl Wilson ／ Electric bass guitar: Al
Jardine ／ 6-string electric bass guitar: Glen Campbell or Ray
Pohlman ? ／ Drums: Dennis Wilson
Track & vocals recorded at
Western Recorders Studio 3, Hollywood, unknown date (possibly
Wednesday April 29 or Thursday April 30, 1964) ／ Engineer: Chuck
Britz ／ Recorded on 1/2'' 3-track tape
22. Girls On The Beach [alternate vocal session
highlights and master a capella mix] 5:27
前半で聴けるボーカル・セッションでは完成したテイクは録られていない上、完成版のボーカル録音の前に行われたものか後に行われたものか確定できないとのこと。
Arranged:
Brian Wilson ／ Group vocals: Brian Wilson, Dennis Wilson, Carl
Wilson, Mike Love, Al Jardine ／ Solo lead vocal: Dennis Wilson ／
Electric rhythm guitars: Carl Wilson ／ Electric bass guitar: Al
Jardine (6-string electric bass guitar: Ray Pohlman ?) ／ Upright or
Grand piano: Brian Wilson ／ Drums w/brushes: Dennis Wilson ／
Percussion: Dennis Wilson
Basic track & overdub recorded at
Western Recorders Studio 3, Hollywood, Friday April 10, 1964,
Engineer: Chuck Britz ／ Vocals probably recorded at Western
Recorders Studio 3, Hollywood, mid-April 1964, Engineer: Chuck Britz
? ／ Alternate vocals recorded at Capitol Records Studio, Hollywood,
Tuesday May 19, 1964, Engineer: Bob (last name unknown) ／
Recorded on 1/2'' 3-track tape, followed by reduction-mix transfer
to second-generation 1/2'' 3-track tape for vocals
23. Wendy [vocal session highlights and a capella
mix] 4:40
ボーカル・セッションの録音風景の後に、マスター・テイクのアカペラ・ミックスを収録。
『グッド・ヴァイブレーションズ・ボックス』（'93）ディスク５に、ボーカルを右、演奏を左に振ったバージョンが収録されている。
Arranged:
Brian Wilson ／ Lead & Bass vocal: Mike Love ／ Chorus falsetto
lead vocal: Brian Wilson ／ Harmony & Backing vocals: Brian
Wilson, Dennis Wilson, Carl Wilson, Al Jardine ／ Electric lead
guitars: Carl Wilson ／ Electric rhythm guitar: Al Jardine
／
Electric bass guitar: Al Jardine ／ Upright or Grand piano:
Brian Wilson ／ Hammond B-3 organ: Brian Wilson ／ Drums: Dennis
Wilson
Basic track, overdub & vocals recorded at Western
Recorders Studio 3, Hollywood, late April and/or early May 1964 ／
Engineer: Chuck Britz ／ Recorded on 1/2'' 3-track tape, followed by
tape-to-tape transfer to second-generation 1/2'' 3-track tape with
simultaneous vocal double
24. Don't Back Down [alternate version session
highlights and new stereo mix] 2:04
1990年にアルバム 『オール・サマー・ロング』 が 『リトル・デュース・クーペ』 との２イン１でCD化された際にボーナス収録された別バージョン（歌詞とコーラスが異なる）の新ステレオ・ミックス。
旧ミックスは演奏が中央から右までに配置されていたが、新ミックスでは左にも広げられている。また、新ミックスは冒頭に録音中の会話とカウントが付いており、エンディングのフェイド・アウトが１コーラス分遅い。
Arranged:
Brian Wilson ／ Lead & Bass vocal: Mike Love ／ Chorus falsetto
lead vocal: Brian Wilson ／ Backing & Harmony vocals: Brian
Wilson, Dennis Wilson, Carl Wilson, Al Jardine, Mike Love, with
Marilyn Rovell, Diane Rovell, Ginger Blake (aka The Honeys) ／
Electric rhythm guitars: Carl Wilson ／ Electric bass guitars: Al
Jardine ／ 6-string electric bass guitar: Ray Pohlman ／ Upright, Tack
or Grand piano: Brian Wilson ／ Hammond B-3 organ: Brian Wilson ／
Drums: Hal Blaine, Dennis Wilson
Basic track & overdub
recorded at Western Recorders Studio 3, Hollywood, beginning
Wednesday April 29, 1964, 10:30pm-1:30am ? (master is Take 3) ／
Vocals recorded later that day or on a subsequent date ／ Engineer:
Chuck Britz ／ Recorded on 1/2'' 3-track tape, followed by
tape-to-tape transfer to second-generation 1/2'' 3-track tape with
simultaneous vocal double, followed by reduction-mix transfer to
third-generation 1/2'' 3-track tape with simultaneous vocal
triple
25. Little Saint Nick (Drive In) [vocal session
highlights and new stereo mix]
（B.Wilson） 3:21
本来、最初に録音されたのがこのバージョンだったが、オケには別の歌詞をつけて「Drive-In」として発表され、歌詞には新たに作曲されたメロディがついて現在の「Little
Saint
Nick」になった。
1963年10月20日のボーカル・セッションの録音風景に続いて、新規作成のステレオ・ミックスを収録。『クリスマス・アルバム［完全版］』（'98）に収録の旧ステレオ・ミックスは全編でボーカルがダブル・トラックになっているが、新ミックスはところどころシングル・トラックになっており、サックスやコーラスの位置も変っている。また、新ミックスは演奏を止めるところまで聴ける。
この日はロネッツがスタジオを訪れている（女性の話し声はロニー・スペクターか）。
Arranged:
Brian Wilson ／ Unison lead & solo lead vocals: Brian Wilson
& Mike Love ／ Backing vocals: Brian Wilson, Al Jardine, Carl
Wilson, Dennis Wilson, Mike Love ／
Drums: Hal Blaine ／ Tenor
saxophone: Steve Douglas ／ Baritone saxophone: Jay Migliori ／ -
Additional personnel info unavailable -
Track recorded at Radio
Recorders, Hollywood, Friday October 18, 1963 (master is Take 2) ／
Engineer: C.L. or O.L. (full name unknown) ／ Vocals recorded at
Western Recorders Studio 3, Hollywood, Sunday October 20, 1963 ／
Engineer: Chuck Britz ／ Recorded on 1/2'' 3-track tape, followed by
reduction-mix transfer to second-generation 1/2'' 3-track tape for
vocals, followed by reduction-mix transfer to third-generation 1/2''
3-track tape for backing vocals ?
26. Untitled Jam / Let's Live Before We Die [session
highlights and instrumental]
（B.Wilson） 3:24
Arranged: Brian Wilson ／ Upright or Grand
piano: Brian Wilson ／ Electric rhythm guitar: Carl Wilson ／ Electric
bass guitar: Ray Pohlman ／ Drums: Hal Blaine
Track recorded at
Western Recorders Studio 3, Hollywood, Wednesday April 29 or
Thursday April 30, 1964, 10:30pm-1:30am ? (master is Take 15 ?) ／
Engineer: Chuck Britz ／ Recorded on 1/2'' 3-track
tape
27. Little Honda [alternate version session highlights
and new stereo mix]
（D.Wilson） 2:46
28. Little Honda
[unreleased single mix] 1:52
27は1990年にアルバム 『オール・サマー・ロング』 が 『リトル・デュース・クーペ』 との２イン１で
CD化された際にボーナス収録された別バージョン（ボーカルが異なる）の新ステレオ・ミックス。
曲自体のミックスには大きな違いはないが、旧ミックスの冒頭に付いていた録音中の会話が新ミックスではより長く収録されている（ただし演奏直前のチャック・ブリッツの「Here
we go,
15A.」という声はカットされている）。
28はシングルとしてリリースするために作られ、実際にキャピトルに送られたモノラル・ミックスで、完成版にはないオルガンがオーバーダブされている。結局シングルでのリリースはなかった。
Arranged:
Brian Wilson ／ Lead vocal: Mike Love ／ Backing vocals: Brian Wilson,
Dennis Wilson, Carl Wilson, Al Jardine ／ Electric lead guitars: Carl
Wilson ／ Electric rhythm guitars: Carl Wilson and Al Jardine ／
Electric bass guitars: Al Jardine ／ 6-string electric bass guitars:
Ray Pohlman ／ Upright or Grand piano: Brian Wilson ／ Hammond B-3
organs: Brian Wilson ／ Drums: Dennis Wilson ／ Opening voice: Dennis
Wilson
Basic track, overdubs & vocals recorded at Western
Recorders Studio 3, Hollywood, beginning Friday April 10, 1964.
Alternate vocals recorded Tuesday June 23, 1964, alternate version
mixed Saturday June 27, 1964 ／ Engineer: Chuck Britz ／ Recorded on
1/2'' 3-track tape, followed by reduction-mix transfer to
second-generation 1/2'' 3-track tape for vocals, followed by
reduction-mix transfer to third-generation 1/2'' 3-track tape with
simultaneous vocal double
30. She
Knows Me Too Well [a capella] 2:46
プロデューサー、作曲家として知られるラス・タイトルマンがパーカッションで参加している。マイク・スタンドをネジ回しで叩いているとのことなので、「♪ウ〜ウ〜ウ〜ウ〜、シー・ノウズ・ミー」の部分で「キーン、キーン」と鳴っている音だと思われる。
このトラックにはノイズが多いが、元の音源にあるというより、データ変換の際に発生するもののような気がする。
30はアカペラ・ミックスで、ブライアンのリード・ボーカルはシングル・トラック（完成版はダブル・トラック）。歌うのを止めるところまで聴ける。
Arranged: Brian Wilson ／ Lead vocal:
Brian Wilson ／ Backing & Harmony vocals: Brian Wilson, Carl
Wilson, Al Jardine, Dennis Wilson, Mike Love ／ Electric lead
guitars: Carl Wilson ／ Electric rhythm guitar: Carl Wilson ／
Electric bass guitar: Al Jardine ／ Upright piano: Brian Wilson ／
Drums: Dennis Wilson ／ Microphone boom w/screwdriver: Russ
Titelman
Basic track, overdub & vocals recorded at Western
Recorders Studio 3, Hollywood, Monday June 8, 1964 (master is Take
16 of 17?) ／ Engineer: Chuck Britz ／ Recorded on 1/2'' 3-track tape,
followed by reduction-mix transfer to second-generation 1/2''
3-track tape (with simultaneous overdub) for lead vocal, followed by
tape-to-tape transfer to third-generation 1/2'' 3-track tape with
simultaneous overdub
31. Don't Hurt My Little Sister [session highlights and
a capella mix] 2:36 モノラル
Arranged:
Brian Wilson ／ Vocals arranged by Brian Wilson with Mike Love ／ Lead
vocals: Mike Love, Brian Wilson ／ Backing & Harmony vocals:
Brian Wilson, Al Jardine, Dennis Wilson, Carl Wilson, Mike Love ／
Electric lead guitars: Carl Wilson ／ Electric rhythm guitar: Tommy
Tedesco ／ Electric baritone rhythm guitar: Ray Pohlman ／ Electric
bass guitar: Al Jardine ／ Grand piano: John Gray ／ Upright piano:
Brian Wilson ／ Drums: Hal Blaine ／ Tambourine: Dennis
Wilson
Basic track, overdub & vocals recorded at Western
Recorders Studio 3, Hollywood, Monday June 22, 1964, 3:30pm-6:30pm
(master is Take 18) ／ Engineer: Chuck Britz ／ Recorded on 1/2''
3-track tape, followed by tape-to-tape transfer to second-generation
1/2'' 3-track tape with simultaneous vocal double
32. Christmas Eve [instrumental mix] （Unknown） 3:09
33. Jingle Bells
[instrumental mix] （James Lord
Pierpont） 2:33
Arranged:
Dick Reynolds ／ Mallets: Lou Singer ／ Harp: Kathryn Julye ／ Flutes
or Saxophones: Ted Nash, Justin Gordon, Ronnie Langinger ／ Oboe or
Saxophone: Gene Cipriano ／ Violins: Arnold Belnick, Marvin Limonick,
Gerald Vinci, Bernard Kundell, Victor Arno, Alfred Lustgarten,
Darrel Terwilliger, Joseph Stephansky, Stanley Plummer, Erno
Neufeld, Israel Baker, Seymour Kramer, Lenoard Malarsky ／
Cello: Harold Schneier
Plus another twenty-one musicians, likely
from among these players who attended the June 18 orchestral session
for other Christmas Album selections:
Archtop electric/acoustic
rhythm guitar: Al Viola ／ Upright bass: Cliff Hils ／ Grand piano:
Jimmy Rowles ／ Drums: Jack Sparling ／ Flute or Saxophone: Eddie Rosa
／ Bass clarinet or Baritone saxophone: Chuck Gentry ／ French horns:
William Hinshaw, Richard Perissi, Arthur Briegleb ／ Trumpets: Henry
Laubach, John Audino, Conrad Gozzo, Raymond Triscari ／ Trombones:
Harry Betts, Francis Howard, George Roberts ／ Tuba: George ''Red''
Callender ／ Cellos: Edgar Lustgarten, Jesse Ehrlich, Nathan
Gershman, Alfred Wohl, Margaret Aue ／ Orchestra master: Benjamin
Barrett ／ Orchestra conducted by: Dick Reynolds ／ Copyists: Mainerd
Baker, George Yocum
Track recorded at United Studio A, Hollywood,
Wednesday June 24, 1964, 8:00pm-11:00pm ／ Engineer: Bill
Putnam
34. When I Grow Up (To Be A Man) [a
capella] 2:11 モノラル
『グッド・ヴァイブレーションズ・ボックス』（'93）ディスク５に、ボーカルを右、演奏を左に振ったバージョンが収録されている。
When
I Grow Up (To Be A Man) (a capella)
Arranged: Brian Wilson ／
Lead vocals: Mike Love, Brian Wilson ／ Harmony & Backing vocals:
Brian Wilson, Carl Wilson, Al Jardine, Dennis Wilson, Mike
Love
Vocals recorded at Western Recorders Studio 3, Hollywood,
Monday August 10, 1964, aprx. 11:00pm ／ Engineer: Chuck Britz ／
Recorded on 1/2'' 3-track tape, followed by tape-to-tape transfer to
second generation 1/2'' 3-track tape with simultaneous vocal
double
35. Fun, Fun, Fun [“live” version] 2:17 モノラル
36. I Get Around [“live”
version] 2:16 モノラル
これら２曲の新録音はその後未発表のままになっていた。
Fun, Fun,
Fun (“live” version)
Arranged: Brian Wilson, with Carl
Wilson ／ Vocals arranged by Brian Wilson with Mike Love ／ Lead &
Bass vocal: Mike Love ／ Harmony & Backing vocals: Brian Wilson,
Carl Wilson, Al Jardine ／ Electric lead/rhythm guitar: Carl Wilson ／
Electric rhythm guitar: Al Jardine ／ Electric bass guitar: Brian
Wilson ／ Drums: Dennis Wilson
I Get Around (“live”
version)
Arranged: Brian Wilson ／ Lead & Bass vocal: Mike
Love ／ Chorus falsetto lead vocal: Brian Wilson ／ Harmony &
Backing vocals: Brian Wilson, Carl Wilson, Al Jardine ／ Electric
lead/rhythm guitar: Carl Wilson ／ Electric rhythm guitar: Al Jardine
／ Electric bass guitar: Brian Wilson ／ Drums: Dennis
Wilson
Track & vocals recorded at Western Recorders
Studio 3, Hollywood, Monday August 31, 1964 ／ Engineer: Chuck Britz
／ Recorded on 1/2'' 3-track tape
37. I'm So Young [alternate version session highlights
and new stereo mix] 4:02
冒頭にバッキング・トラック録音中の会話と途中で終わるテイクが付いている。
I'm So Young
(alternate version)
Arranged: Brian Wilson ／ Lead vocal: Brian
Wilson ／ Backing & Harmony vocals: Al JardineCarl Wilson, Dennis
Wilson, Mike Love ／ 12-string electric rhythm/lead guitar
(w/tremolo): Carl Wilson ／ Electric bass guitar: Al Jardine ／
Upright piano: Brian Wilson ／ Drums: Maurice Miller ／ Flute: Jay
Migliori
Basic track, overdub & vocals recorded at Western
Recorders Studio 3, Hollywood, Wednesday September 9, 1964,
4:00pm-6:00pm (master is Take 12) ／ Engineer: Chuck Britz ／ Recorded
on 1/2'' 3-track tape
38. All Dressed Up For School [session highlights and
new stereo mix] 3:47
左で鳴っていたエレキ・ギターが右に移動しており、フェイド・アウトが若干遅い。
冒頭にボーカル・トラック録音中の会話と途中で終わるボーカル・テイクが付いており、フェイド・アウト後にも会話が入る。
『US
シングル・コレクション』（'08）と６枚組 『カリフォルニアの夢』（'13）ディスク１に収録のモノラル・ミックスには手拍子が入っている。
Arranged:
Brian Wilson ／ Lead vocal: Carl Wilson ／ Harmony & Backing
vocals: Brian Wilson, Al Jardine, Dennis Wilson, Mike Love ／
12-string electric lead guitar: Carl Wilson ／ Electric rhythm
guitar: Carl Wilson ／ Electric bass guitar: Al Jardine ／ Upright
basses (arco in intro & outro): Melvin Pollan, Jimmy Bond, Lyle
Ritz ／ Upright or Grand piano: Brian Wilson ／ Drums: Dennis
Wilson ／ Accordion: Carl Fortina ／ Tenor saxophone: Steve Douglas ／
Hand claps: the Boys
Basic track & overdub recorded at
Western Recorders Studio 3, Hollywood, Wednesday September 16, 1964,
2:30pm-6:00pm (master is Take 14, slated as “Take 9″) ／ Vocals
recorded thereafter ／ Engineer: Chuck Britz ／ Recorded on 1/2''
3-track tape, followed by tape-to-tape transfer to second generation
1/2'' 3-track tape with simultaneous vocal double; hand claps added
simultaneously during mono mixdown
39. Dance Dance Dance [alternate version new stereo
mix] 2:05
40. Dance
Dance Dance [session highlights and instrumental
mix] 4:44
41. Dance Dance
Dance [a capella] 2:06 モノラル
40はバッキング・トラック録音風景で、アコースティック・ギターを担当したグレン・キャンベルの話し声と「テイク１」のコールに続く完奏テイク、「テイク17」のコールに続くマスター・テイクのバッキング・トラックを収録。演奏を止めるところまで聴ける。
「テイク17」のコール以降は 『グッド・ヴァイブレーションズ・ボックス』（'93）ディスク５に収録されていたものと同じだが新ステレオ・ミックスになっており、全体の音が中央に寄っている。
41はマスター・テイクのアカペラ・ミックス。歌うのを止めるところまで聴ける。
Dance
Dance Dance (alternate version)
Arranged: Brian Wilson ／
Lead & Bass vocal: Mike Love ／ Chorus falsetto vocal: Brian
Wilson ／ Backing vocals: Brian Wilson, Dennis Wilson, Al Jardine,
Carl Wilson ／ 12-string electric lead/rhythm guitars: Carl Wilson ／
Electric rhythm guitar: Al Jardine ／ 6-string electric bass guitar:
Al Jardine ? ／ Electric bass guitar: Brian Wilson ／ Grand piano:
Brian Wilson ／ Drums: Dennis Wilson ／ Tambourine: Dennis Wilson
?
Basic track, overdubs & vocals recorded Columbia Records
Studio, Nashville, TN, Tuesday September 22, 1964 (6-hour session)
(master is Take 2) ／ Engineers: Mort Thomasson, Charles Bradley ／
Recorded on 1/2'' 3-track tape, followed by reduction-mix transfer
to second-generation 1/2'' 3-track tape for overdubs, followed by
reduction-mix transfer to third-generation 1/2'' 3-track tape for
vocals and guitar solo, followed by reduction-mix transfer to
fourth-generation 1/2'' 3-track tape for vocal double
?
Dance Dance Dance
Arranged: Brian
Wilson ／ Lead & Bass vocal: Mike Love ／ Chorus falsetto vocal:
Brian Wilson ／ Backing vocals: Carl Wilson, Al Jardine, Dennis
Wilson ／ 12-string electric lead/rhythm guitar: Carl Wilson ／
Acoustic lead/rhythm guitar: Glen Campbell ／ Electric rhythm guitar:
Al Jardine ／ Electric bass guitar: Brian Wilson ／ 6-string electric
bass guitar: Ray Pohlman ／ Accordion: Carl Fortina ／ Drums: Dennis
Wilson ／ Triangle, Tambourine & Sleighbells: Hal Blaine ／
Sleighbells & Castanets: Hal Blaine ／ Tenor saxophone: Steve
Douglas ／ Baritone saxophone: Jay Migliori
Basic track &
overdub recorded at RCA-Victor Studio, Hollywood, Friday October 9,
1964, 2:00pm-5:30pm (master is Take 17) ／ Engineer: Dave Hassinger ／
Vocals recorded at Western Recorders Studio 3, Hollywood, later in
October 1964 Engineer: Chuck Britz ／ Recorded on 1/2'' 3-track tape,
followed by reduction-mix transfer to second-generation 1/2''
3-track tape (with simultaneous overdub) for overdubs & vocals,
followed by tape-to-tape transfer to third-generation 1/2'' 3-track
tape with simultaneous vocal double
42. I Get Around [live BBC 1964] 2:02 モノラル
43. The Little Old Lady
From Pasadena [live BBC 1964] 3:07 モノラル
44. Graduation Day [live
BBC 1964] 2:14 モノラル
45. Surfin' USA [live BBC 1964] 2:24 モノラル
このライブ音源は長らく現存しないと思われていたが、1967年の再放送を録音したテープが見つかり、音質は良くないものの「Wendy」「When
I Grow Up (To Be A
Man)」「Hushabye」の３曲が６枚組 『カリフォルニアの夢』（'13）ディスク６に収録されていた。
ここに収録されたのは残りの曲。
この４曲はダウンロード販売でアルバム全曲を購入するか、サブスクリプション・サービスに正式に加入しないと聴けない。
同じ11月6日にはテレビ番組 『レディ・ステディ・ゴー』 にも出演しており、こちらは過去にビデオ化されている。
I Get Around (Live BBC
1964)
Arranged: Brian Wilson ／ Lead & Bass vocal: Mike Love ／
Chorus falsetto lead vocal: Brian Wilson ／ Harmony & Backing
vocals: Brian Wilson, Carl Wilson, Al Jardine ／ 12-string electric
lead/rhythm guitar: Carl Wilson ／ Electric rhythm guitar: Al Jardine
／ Electric bass guitar: Brian Wilson ／ Drums: Dennis
Wilson
The Little Old Lady From Pasadena (Live BBC
1964)
Arranged: Brian Wilson ／ Lead & Bass vocal: Mike Love ／
Harmony & Backing vocals: Brian Wilson, Carl Wilson, Al Jardine
／ 12-string electric rhythm/lead guitar: Carl Wilson ／ Electric
rhythm guitar: Al Jardine ／ Electric bass guitar: Brian Wilson ／
Drums: Dennis Wilson
Graduation Day (Live
BBC 1964)
Arranged: Brian Wilson ／ Group vocals: Brian Wilson, Al
Jardine, Carl Wilson, Mike Love ／ Bridge solo vocal: Mike Love ／
Electric rhythm/lead guitar: Carl Wilson ／ Electric bass guitar:
Brian Wilson ／ Drums: Dennis Wilson
Surfin' USA (Live BBC 1964)
Arranged: Brian Wilson ／
Vocals arranged by Brian Wilson and Mike Love ／ Lead & Bass
vocal: Mike Love ／ Backing & Harmony vocals: Brian Wilson, Carl
Wilson, Al Jardine ／ 12-string electric lead guitar: Carl Wilson ／
Electric rhythm guitar: Al Jardine ／ Electric bass guitar: Brian
Wilson ／ Drums: Dennis Wilson
Recorded live (plus vocal
double) at the BBC Playhouse Theatre, London, England, Friday
November 6, 1964 ／
Recorded on 1/4'' mono tape
46. Johnny B Goode [live single mix] 1:52 モノラル
Arranged: Brian Wilson with Carl Wilson ／ Unison
lead vocals: Brian Wilson & Mike Love ／ Harmony vocals: Carl
Wilson, Al Jardine ／ Electric lead/rhythm guitar: Carl Wilson ／
Electric rhythm guitar: Al Jardine ／ Electric bass guitar: Brian
Wilson ／ Drums: Dennis Wilson
Recorded live in concert at
Sacramento Memorial Auditorium, Sacramento, Saturday December 21,
1963 ／ Recorded on 1/2'' 3-track tape ／ Mixed to mono at Western
Recorders, Hollywood, circa Monday August 10, 1964 ／ Mixdown
engineer: Chuck Britz
KEEP AN EYE ON
SUMMER
THE BEACH BOYS 1964
Produced by Mark Linett & Alan Boyd
Mixed and
mastered by Mark Linett at Your Place Or Mine
Recording
Original recordings produced by Brian
Wilson
Sessionography and research by Craig
Slowinski
Special Thanks: Betty Collignon, Margaret Gwynne
& Jihae Simmons
Production Assistant: Diva
Ward
Brother Records Photo Archives: Trisha
Campo
Associate Producer: Monty (Wooley) Linett
For
Brother Records: Elliott Lott
THE
BEACH BOYS 1964
KEEP AN EYE ON SUMMER
1963 had been
an incredible year for The Beach Boys and for Brian Wilson, as
the group enjoyed success after success on the road and on the
charts. That year they had an amazing string of hit
singles and albums, from Surfin' USA to Surfer Girl and Little
Deuce Coupe, and Brian Wilson suddenly found himself at the
center of the pop music industry in Los Angeles. With Al
Jardine taking his place on the road for several Beach Boys
tours that year, Brian was able to stay home in LA and immerse
himself in music, mastering the techniques of studio
recording, taking over the production of the Beach Boys'
records from Nik Venet, the Capitol staff producer who had
overseen their first two albums for the label, and he was also
branching out as a writer, producer and arranger for several
other artists, even co-writing a number one hit, “Surf City,”
for friends Jan Berry and Dean Torrence. There seemed to
be no stopping Brian.
In many ways, 1964 would prove to
be a pinnacle for Brian and the Beach Boys. For while
Brian's musical ambitions outside of the group were dashed
somewhat by David Marks' departure from the band in late 1963
after a dispute with the Wilsons' father (and then group
manager) Murry Wilson -- effectively forcing Brian back on the
road for any and all Beach Boys gigs that year and limiting
his ability to focus on outside productions -- the Beach Boys
themselves soared higher and higher, maintaining and
strengthening their position as the top pop music brand in the
US even in the wake of the frenzy of Beatlemania that hit the
world early in the year. In 1964 alone, the Beach Boys
came up with many of their biggest, most lasting hits,
creating records like “Fun Fun Fun,” Don't Worry, Baby,” “I
Get Around,” “Dance Dance Dance,” “All Summer Long,” “Wendy,”
and other classics that have long since become part of our
cultural DNA. Just try to find someone who hasn't lived
in a cave for the last 50 years who can't sing the chorus hook
of “I Get Around.”
One of the more remarkable things
about the Beach Boys' astounding string of hit singles and
albums in 1964 is that, for the most part, the Beach Boys
truly were a self-contained musical powerhouse. For many
years a myth has grown up about the group in that era, to the
effect that the Beach Boys only sang on their records while
the backing tracks were played by the highly skilled studio
musicians, often referred to collectively as “The Wrecking
Crew,” who were then laying down the backing tracks for so
many of the hit records by Phil Spector, Jan and Dean and
others in the LA music scene. While it's true that Brian
worked extensively with these talented players starting in
1963, for the most part those 1963 sessions (and a few in
early 1964) on which he used the Wrecking Crew players were
for artists other than the Beach Boys, most notably the
Honeys, friend Bob Norberg, and Sharon Marie. When it
came to the Beach Boys, however, in those first few years of
the group's career it was the group members themselves playing
the bulk of the instrumental tracks on their own records,
albeit often augmented by members of the Wrecking Crew.
While Brian followed his idol Phil Spector's lead and was
recording many of his extracurricular productions at the same
studio that Phil favored, Gold Star, by early 1963 the Beach
Boys had found their own home base at Western Recorders in
Hollywood (Jan Berry's favorite facility), working with
engineer Chuck Britz in the cozy confines of Studio 3 under
the watchful eye of Dad/Manager Murry Wilson, a professional
relationship apparently loaded with personal baggage that
would not survive long into the new year.
In many
ways,1964 may have been the Beach Boys' sunniest year.
Brian, Mike, Carl, Dennis and Al toured the world, released
four best selling albums, and even managed their first number
one hit, “I Get Around,” at a time when Beatlemania was ruling
the charts and the airwaves. The Brian Wilson-Mike Love
songwriting partnership was at its peak, and it seemed the
Beach Boys could do no wrong. Despite the intense
pressures of stardom and success, the drama, heartbreak and
internal strife that was to plague the group in later years
had yet to fully engulf them, and it wasn't until the very end
of 1964 that Brian finally cracked under the strain, suffering
a breakdown while the group was on a short Christmas
tour.
This new collection, made possible by the fact
that the Beach Boys, starting in 1964, made a point of holding
onto their work reels (and greatly enhanced by the recent
recovery of some long lost tapes from the Shut Down Vol. 2
album sessions) shows the Beach Boys at their zenith, offering
glimpses of the camaraderie, optimism and high spirits behind
the creation of these timeless records, and highlighting the
incredible vocal arrangements, compositional skills, and
rapidly evolving production techniques that placed the Beach
Boys and Brian Wilson at the forefront of pop music in 1964
and for all time. Back in 1964 when these records were
first burning up the charts, the Powers That Be in the record
business -- and possibly the Beach Boys themselves -- regarded
them as disposable “product,” likely as durable as so many
candy bars. 50 years later, these songs are still being
sold, performed, celebrated, analyzed, dissected, and played
over and over again.
Alan Boyd
November
2014
Documentary filmmaker and archivist Alan Boyd has
directed and edited several films for The Beach Boys,
including Nashville Sounds, Brian Wilson 1999 (a short film
that opened Brian's first solo tour) and the Grammy-nominated
Endless Harmony documentary. With Mark Linett, Alan has
also produced several archival CD releases for The Beach Boys
and Capitol Records, and won a Grammy for his work on the 2011
release “The Smile Sessions.”
1964 was a truly
amazing year for the Beach Boys, with a number one hit “I Get
Around” coming smack in the midst of Beatlemania. I
was twelve when I bought that 45, heck, I bought all their
45's and played them right alongside all those British
invasion records that kept spilling out of my AM
radio.
On this set we've presented highlights from many
of the group's sessions during 1964, mostly previously
unreleased (even on those “unofficial” discs often found at
record shows). As someone who has been listening
to, archiving and mixing the group's recordings for nearly
thirty years, it was exciting for me to hear these newly
discovered sessions for the first time. They fully
demonstrate that the Beach Boys were great musicians as well
as singers and that, contrary to popular opinion, they played
on most of their records, with the occasional addition of
members of the “wrecking crew.”
As with previous
collections, I hope these tracks shed some light on how the
records were made, and what the technical limits of the
recording studio in 1964 were. Remember, the basic tracks were
recorded live to mono using just 12 microphones on average,
and everyone had to play their part without making any
mistakes or the entire track would have to be redone. In
a similar fashion, the background vocals were recorded with
everyone singing together, and sometimes Carl would even be
adding an additional guitar solo or rhythm part at the same
time.
To put it simply, there was no hiding behind the
sort of technology we have today that allows every aspect of a
recording to be analyzed, tuned, re-timed and replaced.
While this makes it easy to make “perfect” recordings, in my
opinion it also tends to remove the excitement.
I hope
you'll enjoy this collection, and that we can present more of
this sort of material in the future.
Mark
Linett
Glendale, CA, 2014
Grammy-award-winning
engineer and producer Mark Linett has for over twenty five
years produced and engineered the Beach Boys catalog,
including the landmark Made In California, Smile Sessions, Pet
Sound Sessions and Good Vibrations box sets. He has also
engineered albums for a wide range of artists including Randy
Newman, Laura Nyro, Rickie Lee Jones, Eric Clapton, Red Hot
Chili Peppers, Jane's Addiction and Los Lobos. His most recent
Grammy award was for “The Beach Boys Smile
Sessions”
THE BEACH BOYS 1964
KEEP
AN EYE ON SUMMER
Track by Track Notes
by Alan
Boyd & Mark Linett
1. Fun Fun Fun (Session
Highlights and Stereo Mix) (7:39)
(Brian
Wilson-Mike Love)
The Beach Boys wasted no time in 1964,
going into the studio on New Years Day to cut the track for
what would become one of their most iconic songs and biggest
hits, “Fun Fun Fun.” Deceptively simple sounding, this
song turned out to be one of the most elaborate Beach Boys
productions to date, with Brian calling on a few of the best
of the Wrecking Crew personnel to bolster the group's sound
for what was to be their first single release of the year,
something he had done previously when he produced the single
version of “Be True To Your School” a couple of months
earlier. Dad/manager Murry Wilson is on hand at the start of
the basic tracking, offering a hint of the familial tension
that would ultimately see him banished from the studio later
in the year. Note that both Dennis and Hal Blaine are
playing drums on the first take. Perhaps Brian wanted to
emulate the productions of his friend Jan Berry, who always
used two drummers playing in unison on Jan & Dean
records? In any event, Hal points out that the track
will “sound like mud” if they both play drums and suggests
that they overdub the 2nd drum part. So on the first
track of the master take it's Dennis playing drums and Hal on
tambourine. Two overdub tracks were added to the master
take, with Hal presumably playing the tom fills. Note
also how Brian has the horns playing large block chords that
are almost invisible in the released mono mix but which still
lend a lot of weight to the track.
2. Fun Fun
Fun (A Capella) (2:23)
The vocals for “Fun Fun
Fun” were re-recorded several times before the lyrics were
finalized, earlier takes having the “now that daddy took the
t-bird away” lyric much earlier in the song. By the way,
Carl's double of the opening solo, as well as the middle one
were recorded as the final vocals were being
tracked.
3. Fun, Fun, Fun (2013 Stereo
Mix) (2:14)
This new mix, with the multilayered
backing track in true stereo as well as the vocals, first
appeared on 2013's Made In California box
set.
4. Why Do Fools Fall In Love (Session
Highlights and Stereo Mix) (4:59)
(Frankie
Lymon-Morris Levy)
Brian was in awe of producer Phil
Spector, especially after the August 1963 release of the
Ronettes' “Be My Baby,” and after that Brian frequently
recorded at Goldstar, Phil's favorite studio, when he wanted
to use the Wrecking Crew to get the same sort of “Wall of
Sound” that his musical idol achieved. In January 1964
Brian attempted his own approximation of the “Wall of Sound”
production style on this elaborate cover of the Frankie Lymon
hit from 1956. The early take of “Fools” is even more
Spectoresque than the master track which has added
overdubs. The unused intro section was unheard and
unknown until the original session reel was unearthed just
prior to the release of the 2009 compilation Summer Love
Songs. Session chatter reveals that Brian intended to
have vocals on the intro, but they were never
recorded.
5. Why Do Fools Fall In Love (New
Stereo Mix) (2:09)
This true stereo mix of “Why Do
Fools Fall In Love,” incorporating elements from the first,
second and third generation 3 track masters, was newly
prepared for this release.
6. Don't Worry Baby
(Session Highlights and Instrumental Mix with Backing
Vocals) (4:42)
(Brian Wilson-Roger
Christian)
Despite what many rock historians and writers
have suggested over the years, the instrumental track for this
enduring classic features just the Beach Boys themselves:
Brian on piano, Al on bass, Carl on guitar and Dennis on
drums. Like many songs from this period, the background vocals
were recorded and doubled first before Brian sang the lead,
and here we present a new stereo mix featuring the master
instrumental take plus the two background vocal
tracks.
7. Don't Worry, Baby (2009 Stereo
Mix) (2:50)
As was the case with a number of
recordings from this era, notably “Keep An Eye On Summer,”
“Warmth of the Sun,” and “Hushabye,” the final three track
master of “Don't Worry Baby” had the instrumental track on one
channel, doubled lead vocals on another channel, and doubled
backing vocals on the remaining one. Back in those days
there was no panning function available during mixdowns, and
the three tracks were designated as “Left-Center-Right” on the
surviving original studio documentation. This could
result in some awkward vintage stereo mixes, with the lead and
backing vocals split hard left and right. This recent
true stereo mix of “Don't Worry Baby,” combining elements from
the first, second and third generation session tapes, first
appeared on the 2009 compilation Summer Love
Songs.
8. In The Parkin' Lot (Session Highlight
and A Capella Mix) (4:38)
(Brian Wilson-Roger
Christian)
A great, albeit lesser known track from the Shut
Down Vol. 2 LP, “In The Parkin' Lot” features some incredible
group vocals throughout, and showcases a structural
compositional technique -- a slower, seemingly unrelated
“intro” section leading into a more upbeat main section --
that Brian would later utilize to great effect in “California
Girls,” “The Little Girl I Once Knew,” and “Wouldn't It Be
Nice” (and which he apparently had in mind for “Why Do Fools
Fall In Love” above). Notice how the first take breaks
down when Carl makes a mistake in his solo, which he was
playing live while the vocals were being
recorded.
9. Warmth of the Sun (Session
Highlights and Instrumental Mix with Backing Vocals)
(5:09)
(Brian Wilson-Mike Love)
One of the Beach Boys'
most heartfelt and enduring classics, “The Warmth of the Sun”
features Hal Blaine on percussion, and this session marks the
last time we hear from Murry Wilson on the group's 1964
tapes. Brian had completely taken over as the Beach
Boys' producer by this point, and its not clear if Murry even
stayed for the entire session. A new stereo mix of the
master instrumental track and doubled background vocals round
out this cut.
10. Warmth of the Sun (2012
Stereo Mix) (3:03)
This true stereo mix, again
incorporating elements from first, second and third generation
three track masters, first appeared on the Made in California
box set.
11. Pom Pom Play Girl (Session
Highlights and Instrumental Mix with Backing Vocals)
(4:54)
(Brian Wilson-Gary Usher)
Here's a track that
absolutely refutes the notion that the Beach Boys didn't or
couldn't play on their records. This complex track is
played entirely by Brian, Carl, Dennis and Al, with Mike
blowing a mean sax. The song itself, a collaboration with DJ
(and hot rod enthusiast) Roger Christian offers a nifty,
albeit snarky, little commentary on the high school social
scene. Note that the background vocal parts seem to
feature a refrain along the lines of “kid you not,” but with a
somewhat more colloquial bent.
12. Pom Pom Play
Girl (New Stereo Mix) (1:33)
This stereo mix was
newly prepared for this compilation.
13.
Denny's Drums (Session Highlight and Alternate Take)
(3:23)
(Dennis Wilson)
This recently recovered session
tape excerpt boasts an alternate take of “Denny's Drums” with
Carl and Al adding guitar and bass. This idea seems to
have been abandoned quickly as it's the only take they play
on. Listening to Brian on the talkback, it's apparent that
this was at the end of a very, very long day in the studio for
the group as they labored to finish their new album and get it
delivered to Capitol in time for a concert
tour.
14. Keep An Eye On Summer (Instrumental
Mix with Backing Vocals) (2:28)
(Brian Wilson-Bob
Norman-Mike Love)
This lesser-known ballad, penned by
Brian, his friend Bob Norberg and Mike Love, is featured here
in a new mono mix from the final three track master, featuring
just the instrumental track and background
vocals.
15. Endless Sleep (Larry Denton
Vocal) (2:32)
(Jody Reynolds-Dolores
Nance)
Back at Goldstar on February 8, 1964, Brian and the
Wrecking Crew recorded this cover of a rather dark 1958
rockabilly hit by Jody Reynolds. This arrangement,
strikingly modern, and with an organ part that sounds eerily
like the mellotron from the Rolling Stones' 1967 cut “2,000
Light Years From Home,” features Larry Denton on lead vocals.
It has remained unreleased until
now.
サイト主註 ： 「February 8, 1964」は「February 18,
1964」の間違いだと思われる（下のセッショノグラフィでは18日になっている）。
16. I
Get Around (Session Highlight and Instrumental Mix with
Backing Vocals) (5:34)
(Brian Wilson-Mike
Love)
This was the Beach Boys' first chart topping single,
an amazing monster hit in the midst of the cultural onslaught
of Beatlemania, and it remains one of the group's signature
classics. Brian held another monumental session for this
song, bringing in select members of the Wrecking Crew to
fatten the sound on the final master, which features Dennis on
drums, Hal Blaine on percussion, Carl on guitar, Brian on
piano, organ and harpsichord, with Al on Fender bass and Ray
Pohlman and Glen Campbell on 6 string bass, plus two sax
players. Note Brian experimenting with what would become
the harpsichord overdub on the final master, and also how the
backing track demonstrates how Brian's vocal arrangements --
nearly A capella in spots on this one -- was such an important
part of the Beach Boys' sound.
17. I Get Around
(A Capella) (2:16)
An A capella mix spotlighting
one of the two layers of vocals heard on the final mono master
of “I Get Around.” Sadly, a final three track master of
this song with the original doubled vocals no longer
exists. Interestingly, when the group included this song
on their Beach Boys Concert LP later in the year, the group
rejected the actual live takes they had recorded and used the
studio version instead, in a new mix utilizing this one layer
of vocals and with audience screams and applause added to the
final version.
18. All Summer Long (Session
Highlights and Stereo Mix) (4:46)
(Brian
Wilson-Mike Love)
Another Beach Boys' signature classic,
later immortalized as the closing song in George Lucas'
“American Graffiti,” this title tune from the group's second
album release of the year took 43 attempts to get a solid
master take, mainly owing to Brian's difficulty in nailing the
introductory xylophone part. These session excerpts
provide a glimpse of his frustration, but the final master
backing track, with an overdub track, clearly demonstrates
that it was well worth the effort.
19. All
Summer Long (A Capella) (2:19)
“All Summer Long”
also features one of the group's fullest and most imaginative
vocal arrangements, presented here in a new A capella
mix.
20. All Summer Long (2007 Stereo
Mix) (2:09)
This true stereo mix of the song,
which originally had only been available in mono and
“Duophonic” versions, first appeared on the 2007 release
Warmth of the Sun.
21. Hushabye (Instrumental
Mix with Backing Vocals) (2:42)
(Doc Pomus-Mort
Shuman)
This new track plus backing vocals mix of the Beach
Boys' cover of the 1959 doo wop hit by Doc Pomus and Mort
Shuman provides yet another great display of the depth and
complexity of the group's background
vocals.
22. Girls On The Beach (Alternate Vocal
Session Highlights and Master A Capella Mix)
(5:27)
(Brian Wilson-Mike Love)
In May of 1964 the Beach
Boys apparently went back into the studio to record a new set
of vocals, with an entirely new vocal arrangement, for this
song, which was featured as the title track for Paramount
Pictures' answer to the phenomenal success of American
International's “Beach Party” movie franchise. The Beach
Boys themselves appeared in the movie and are seen performing
the end of the tune, which is featured over the opening
credits. Not much is known about this alternate session,
however, and existing documentation doesn't quite confirm
whether this attempt was made before or after the movie
version, which was also included on the All Summer Long LP,
had been completed. Based on reports that the group's
appearance was likely filmed at least a month before this
session -- plus the fact that Mike and the other Beach Boys
seem to be spoofing the other version in spots here -- could
indicate that this was an attempt to create a new
version. In any case, one thing is for certain -- the
group wasn't taking this at all seriously, and they never
managed to get to a completed master take. This version
was constructed from several unfinished, incomplete
attempts.
Interestingly, The Beach Boys also prepared
an unused alternate version of the song “Little Honda,” which
also was featured in the “Girls On The Beach” film. See
#28 below.
23. Wendy (Vocal Session Highlights
and A Capella Mix) (4:40)
(Brian Wilson-Mike
Love)
Vocal session highlights and an A capella mix of the
song “Wendy.”
24. Don't Back Down (Alternate
Version Session Highlight and New Stereo Mix)
(2:04)
(Brian Wilson-Mike Love)
The Beach Boys recorded
two completely different versions of the song “Don't Back
Down” utilizing the same backing track, and interestingly
enough, both versions are found on the same session tape, but
only one was released in 1964. This is a new stereo mix
of the alternate version of the song.
25.
Little Saint Nick (Drive In) (Vocal Session Highlights and New
Stereo Mix) (3:21)
(Brian Wilson-Mike Love)
The
Ronettes, who recorded Brian's all-time favorite Phil Spector
song, “Be My Baby,” were visiting the studio when the Beach
Boys recorded vocals for this alternate version of “Little St
Nick” using a backing track that had been recorded at a Honeys
session in late 1963 but eventually found a home as the
foundation for the song “Drive In” on the All Summer Long
LP. Notice Brian doing an imitation of Phil Spector
before the final take, presented here in a new true stereo
mix.
26. Untitled Jam/Let's Live Before We Die
(Session Highlights and Instrumental)
(3:24)
(Brian Wilson)
A short impromptu jam precedes the
track for an unfinished and unreleased song called “Let's Live
Before We Die.” This very pretty track, boasting
some very lush jazz styled chords, was recorded at the same
session as “We'll Run Away.”
27. Little Honda
(Alternate Version Session Highlight and New Stereo
Mix) (2:46)
(Brian Wilson-Mike Love)
Vocal
session chatter and a new stereo mix of the alternate version
of “Little Honda,” another song that was featured in the
Paramount Pictures release “Girls On The Beach.”
Recorded after the now-familiar version had been completed,
this features an entirely different backing vocal arrangement
and slightly revised lyrics.
28. Little Honda
(Unreleased Single Mix) (1:52)
The Beach Boys
considered releasing “Little Honda” as a single, and they
actually delivered this revised mono master to Capitol
Records, where it languished in the vaults for decades before
it was discovered a few years ago. This unreleased
single mix features an extra organ overdub.
29.
She Knows Me Too Well (Vocal Session Highlight and Track with
Backing Vocals) (2:43)
(Brian Wilson-Mike
Love)
Recorded in the early summer of 1964, and first
appearing as the b side to “When I Grow Up (To Be A Man),” in
August of that year, this introspective ballad is now regarded
as one of the highlights of the group's 1965 album, The Beach
Boys Today. This new mix highlights the backing track
and the song's intricate backing vocals. By the way,
that's noted producer Russ Titelman providing the track's
signature percussive effect by hitting a microphone stand with
a screwdriver.
30. She Knows Me Too Well (A
Capella) (2:46)
This is a new A capella mix of
“She Knows Me Too Well,” spotlighting Brian's plaintive lead
vocal.
31. Don't Hurt My Little Sister (Session
Highlight and A Capella Mix) (2:36)
(Brian
Wilson-Mike Love)
Recorded in June of 1964 shortly after
“She Knows Me Too Well,” this upbeat song lingered in the
vaults for awhile before it was finally included on The Beach
Boys Today in early 1965. This is a new A capella mix
from the final three track master.
32.
Christmas Eve (Instrumental Mix) (3:09)
(Writer
Unknown)
33. Jingle Bells (Instrumental
Mix) (2:33)
(James Lord Pierpont)
These two
songs were recorded during the July 1964 sessions for the
Beach Boys Christmas Album, released by Capitol in November of
that year. Like many of the songs on that LP, this
features the string and horn arrangements of Dick Reynolds, a
longtime industry pro who had been the primary arranger for
Capitol artists The Four Freshmen, whose signature close
harmonies had such a profound and lasting influence on
Brian. Little is known about these tracks. They
might have been intended for Beach Boys' vocals, but on the
other hand they do feature solo improvisational jazz piano
parts, recorded on their own channels on the three track
session reels, and might have been conceived as easy listening
holiday instrumentals, as most of the Beach Boys' previous
albums (with the exception of Little Deuce Coupe) had included
instrumental tracks. This compilation marks the first
official release of these long lost Christmas
recordings.
34. When I Grow Up (A
Capella) (2:11)
(Brian Wilson-Mike Love)
“When
I Grow Up (To Be A Man)” was a late summer hit single for the
Beach Boys in 1964, upbeat and catchy but with an
introspective slant to the lyrics that hints at the thematic
direction that Brian would follow on “Pet Sounds” a couple of
years later. This is a new A capella mix from the final
three track master.
35. Fun Fun Fun
(Live) (2:17)
(Brian Wilson-Mike
Love)
36. I Get Around (Live)
(2:16)
(Brian Wilson-Mike Love)
After listening to the
three track remote tapes from their August 1964 Sacramento
concerts, the group apparently felt that the live takes of
“Fun Fun Fun” and “I Get Around” weren't up to par, so they
recorded new “live” versions at Western Recorders during
sweetening sessions for the Beach Boys Concert LP.
Ultimately these takes were also consigned to the vaults, and
instead the released sngle versions, with just a single layer
of vocals and minus some of the instrumental overdubs, were
combined with audio loops of the screaming audience from the
actual concert for release on the live album. These
live-in studio performances have remained unreleased until
now.
37. I'm So Young (Alternate Version
Session Highlight and New Stereo Mix)
(4:02)
(William H “Prez” Tyus, Jr)
The Beach Boys made
two separate attempts at a cover of the doo-wop classic “I'm
So Young” before including the second version on their Beach
Boys Today LP in 1965. This cut features session
excerpts and a new stereo mix of the first version, which the
group recorded in the fall of 1964.
38. All
Dressed Up For School (Session Highlights and New Stereo
Mix) (3:47)
(Brian Wilson)
“All Dressed Up For
School,” which the group recorded in September 1964, was
passed over at the time and remained unreleased until its
first appearance as a bonus track on a CD reissue of The Beach
Boys Today in 1990. The song, which features an early
lead vocal from Carl Wilson, contains musical elements that
later found their way into some subsequent Beach Boys
recordings, the verse melody becoming the foundation for the
verses of the 1969 track “I Just Got My Pay,” and a
descending/ascending progression which would later show up in
one of the unused sections from “Heroes and Villains,” and
again in 1980 in the song “Goin' On.” This track
includes excerpts from the original vocal overdub session and
a new stereo mix from the three track
master.
39. Dance Dance Dance (Alternate
Version New Stereo Mix) (2:05)
(Brian Wilson-Carl
Wilson-Mike Love)
This early attempt at “Dance Dance Dance”
was recorded by the Beach Boys at CBS Studios in Nashville
while they were on tour in September 1964. This is a new
stereo mix from the original session master
reel.
40. Dance Dance Dance (Session Highlights
and Instrumental Mix) (4:44)
The Beach Boys scored
another massive hit with their penultimate single release of
1964, an upbeat rocker featuring an infectious lead guitar
hook by Carl Wilson. This session excerpt reveals Glen
Campbell playing acoustic guitar alongside Carl's lead
line.
41. Dance Dance Dance (A
Capella) (2:06)
42. I Get Around (Live
BBC 1964) (2:02)
(Brian Wilson-Mike
Love)
43. The Little Old Lady From Pasadena (Live
BBC 1964)
(3:07)
(Jan Berry-Roger Christian-Don Altfeld)
44.
Graduation Day (Live BBC 1964) (2:14)
(Joe
Sherman-Noel Sherman)
45. Surfin' USA (Live BBC
1964) (2:24)
(Chuck Berry)
In November of 1964
The Beach Boys toured Europe and made several high profile
media appearances in England, including a special appearance
on BBC Radio. These recordings were made for the BBC and
were broadcast in 1964 and again in 1967. These cuts,
along with the other three BBC recordings that were included
on the Made In California box set in 2013, were presumed lost
until a vintage aircheck surfaced, recorded by a British fan
back in 1967.
46. Johnny B Goode (Live Single
Mix) (1:52)
(Chuck Berry)
And for an encore --
unused, unheard and unreleased until now, and only recently
unearthed during a vault search at Capitol Records, this is a
vintage 1964 mono single mix of “Johnny B. Goode” from the
Beach Boys Concert project that may have been intended as a
potential b side for “When I Grow Up (To Be A
Man)”.
THE BEACH BOYS 1964
KEEP AN
EYE ON SUMMER
Sessionography
Researched and
Compiled by Craig Slowinski
Starting with 2011's
release of The SMiLE Sessions deluxe box set (Grammy winner
for Best Archival Release), I've had the honor and privilege
of compiling sessionographies for new Beach Boys “from the
vaults” projects, including this one and 2013's
career-spanning box set Made In California (coming soon in
online and expanded book editions). Through painstaking
research, including examination of the surviving session
tapes, studio track sheets, musician union contracts and
record company files, Mark, Alan and I believe we've come up
with as accurate a presentation as possible, including who
played, sang and engineered on these historic tracks, along
with when and where they were recorded and even which format
of tape was used on the original sessions.
Sometimes,
when chronicling events that took place a half a century ago,
it's impossible to know everything for certain -- and
sometimes we have difficulty reaching a consensus among the
three of us when it comes to the minute details behind the
creation of these tracks -- but our hope is that the casual
listener and the obsessive fan alike will learn something new
from our efforts. Above all, we hope you will enjoy
reading this sessionography as you enjoy listening to the
great music it represents.
Craig Slowinski
November
2014
Arranged: Brian Wilson,
with Carl Wilson / Vocals arranged by Brian Wilson with Mike
Love
Lead & Bass vocal: Mike Love
Harmony &
Backing vocals: Brian Wilson, Dennis Wilson, Carl Wilson, Al
Jardine
Electric lead guitar: Carl Wilson
Electric
lead/rhythm guitars: Carl Wilson
Electric rhythm guitars:
Carl Wilson
6-string electric bass guitar: Ray
Pohlman
Electric bass guitar: Al Jardine
Upright or
Grand piano: Brian Wilson
Hammond B-3 organ: Brian
Wilson
Drums: Dennis Wilson / Hal Blaine / Dennis
Wilson
Tambourine: Hal Blaine
Tenor saxophones: Steve
Douglas
Baritone saxophones: Jay Migliori
Basic track
& overdub recorded at Western Recorders Studio 3,
Hollywood, Wednesday January 1, 1964, 12:30pm-4:45pm (master
is Take 3)
Vocals & additional overdubs recorded at
Western Recorders Studio 3, Hollywood, Wednesday January 8 or
Thursday January 9, 1964
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, followed by reduction-mix
transfer to second-generation 1/2″ 3-track tape for vocals and
guitar intro & solo, followed by tape-to-tape
transfer
to third-generation 1/2″ 3-track tape with simultaneous
overdub
WHY DO FOOLS FALL IN
LOVE
Arranged: Brian Wilson
Lead vocal: Brian
Wilson
Intro bass vocal: Mike Love
Backing & Harmony
vocals: Brian Wilson, Dennis Wilson, Al Jardine, Carl Wilson,
Mike Love
Intro
Upright piano: Brian Wilson and/or Leon
Russell
Archtop acoustic rhythm guitar: Bill
Pitman
Electric rhythm guitar: Tommy Tedesco
Electric
bass guitar: Ray Pohlman
Upright bass: Jimmy Bond
Drums
& Tympani: Hal Blaine
Glockenspiel: Frank Capp
Main
body
Archtop acoustic rhythm guitar: Bill
Pitman
Electric rhythm guitar: Tommy Tedesco
Electric
bass guitar: Ray Pohlman
Upright bass: Jimmy Bond
Tack
piano: Leon Russell
Grand piano: Al de Lory
Drums: Hal
Blaine
Temple block & Castanet (w/stick): Frank
Capp
Tenor saxophones: Steve Douglas and Plas
Johnson
Baritone saxophone: Jay Migliori
Finger snaps:
Brian Wilson
Hand claps: the Boys, Chuck Girard
Basic
track, intro bass vocal & overdub recorded at Gold Star
Recorders Studio A, Hollywood, Tuesday January 7, 1964,
8:00pm-11:00pm (master is edit of
Take 19 & intro Take
5)
Vocals recorded at Gold Star Recorders Studio A,
Hollywood, Thursday January 9 or Friday January 10,
1964
Engineer: Larry Levine
Recorded on 1/2″ 3-track
tape, followed by reduction-mix transfer to second-generation
1/2″ 3-track tape for vocals, followed by tape-to-tape
transfer to third-generation 1/2″ 3-track tape with
simultaneous vocal double?
IN THE PARKIN'
LOT
Arranged: Brian Wilson
Lead & Bass
vocal: Mike Love
Backing and Harmony vocals: Brian Wilson,
Dennis Wilson, Al Jardine, Carl Wilson
Electric lead
guitar: Carl Wilson
Electric rhythm guitars: Carl
Wilson
Electric bass guitars: Al Jardine
Upright or
Grand pianos: Brian Wilson
Drums: Dennis Wilson
Basic
track, overdub & vocals recorded at Western Recorders
Studio 3, Hollywood, Tuesday January 7, 1964 (master is Take
4)
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape,
followed by reduction-mix transfer to second-generation 1/2″
3-track tape for vocal double
Chuck slates the master take
as “Take 3″, but on the track sheet “Take 4″ is notated as the
master. The rhythm track is doubled on an overdub; Carl added
the lead guitar solo during the second set of vocals, then
redid it as a punch-in.
THE WARMTH OF THE
SUN
Arranged: Brian Wilson
Lead vocal: Brian
Wilson
Backing vocals: Brian Wilson, Dennis Wilson, Carl
Wilson, Al Jardine, Mike Love
Electric lead guitars
(w/tremolo): Carl Wilson (arpeggios)
Electric rhythm
guitar: Al Jardine
Electric bass guitar: Ray
Pohlman
Upright or Grand piano: Brian Wilson
Drums:
Dennis Wilson
Bell-tree & Clinking percussion: Hal
Blaine
Tenor saxophone: Steve Douglas
Baritone
saxophone: Jay Migliori
Basic track recorded at Western
Recorders Studio 3, Hollywood, Wednesday January 1, 1964,
12:30pm-4:45pm (master is Take 4)
Vocals & overdub
recorded at Western Recorders Studio 3, Hollywood, Wednesday
January 8 or Thursday January 9, 1964
Engineer: Chuck
Britz
Recorded on 1/2″ 3-track tape, followed by
reduction-mix transfer to second-generation 1/2″ 3-track tape
for lead vocal, followed by tape-to-tape transfer to
third-generation 1/2″ 3-track tape with simultaneous lead
vocal double (the lead guitar was doubled on one of the lead
vocal tracks)
POM POM PLAY
GIRL
Arranged: Brian Wilson
Lead vocal: Carl
Wilson
Cameo bass vocal: Mike Love
Backing vocals: Brian
Wilson, Dennis Wilson, Carl Wilson, Al Jardine, Mike
Love
Electric lead guitar: Carl Wilson
Electric rhythm
guitar: Carl Wilson
Electric bass guitar: Al
Jardine
Upright or Grand piano: Brian Wilson
Drums:
Dennis Wilson
Tenor saxophone: Mike Love
Floor tom:
Dennis Wilson
Hand claps: the Boys
Recorded at Western
Recorders Studio 3, Hollywood, Tuesday January 7, 1964 or
circa Wednesday February 19, 1964 (master is Take
19)
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape,
followed by reduction-mix transfer to second-generation 1/2″
3-track tape for lead vocal, followed by reduction-mix
transfer to third-generation 1/2″ 3-track tape for lead vocal
double w/floor tom & handclaps
Backing vocals and
Mike's cameo are on one track, while the lead guitar solo and
lead vocal appear on another track, along with the floor tom
and handclaps.
DENNY'S DRUMS (Alternate
Take)
Arranged: Dennis Wilson, Carl Wilson, Al
Jardine
Instrumental
Electric lead guitar (w/Leslie
effect): Carl Wilson
Electric bass guitar: Al
Jardine
Drums: Dennis Wilson
Basic track & overdub
recorded at Western Recorders Studio 3, Hollywood, Tuesday
January 7, 1964 (master is Take 10)
Engineer: Chuck
Britz
Recorded on 1/2″ 3-track tape
Dennis overdubbed a
second set of drums. Brian produces from the control booth
while Carl, Al and Dennis jam.
KEEP AN EYE ON
SUMMER (Track with Backing Vocals)
Arranged: Brian
Wilson
Harmony and Backing vocals: Brian Wilson, Dennis
Wilson, Al Jardine, Carl Wilson, Mike Love
Electric rhythm
guitars: Carl Wilson
Electric bass guitar: Al
Jardine
Upright or Grand piano: Brian Wilson
Drums:
Dennis Wilson
Basic track & overdub recorded at Western
Recorders Studio 3, Hollywood, Monday January 20 and/or Sunday
February 2, 1964
Engineer: Chuck Britz
Recorded on 1/2″
3-track tape
Carl adds a second rhythm guitar part on one
of Brian's lead vocal tracks.
ENDLESS SLEEP
(Unreleased Brian Wilson Production, lead vocal: Larry
Denton)
Arranged: Brian Wilson
Lead vocal:
Larry Denton
Backing vocals: Brian Wilson, Larry Denton
?
Archtop acoustic rhythm guitar: Bill Pitman
Electric
rhythm guitar: Tommy Tedesco
Electric bass guitar: Ray
Pohlman
Upright bass: Jimmy Bond
Grand piano: Al de
Lory
Tack piano: Leon Russell
Drums & Clanking
percussion: Hal Blaine
Tympani & Castanets: Frank
Capp
Tenor saxophone: Steve Douglas
Baritone saxophone:
Jay Migliori
Chamberlin (strings): Brian Wilson
Basic
track recorded at Gold Star Studio A, Tuesday February 18,
1964, 2:00pm-5:00pm (master is Take 5)
Chamberlin and
vocals added thereafter
Engineer: Larry Levine
Recorded
on 1/2″ 3-track tape, followed by reduction-mix transfer to
second-generation 1/2″ 3-track tape (with simultaneous backing
vocal double) for lead vocal, followed by tape-to-tape
transfer to third-generation 1/2″ 3-track tape with
simultaneous lead vocal double
The guitar and piano credits
are speculative, based on who was at the session and what can
be heard on the track.
I GET
AROUND
Arranged: Brian Wilson
Lead & Bass
vocal: Mike Love
Chorus falsetto lead vocal: Brian
Wilson
Harmony & Backing vocals: Brian Wilson, Carl
Wilson, Al Jardine, Dennis Wilson
Electric lead/rhythm
guitars: Carl Wilson
Electric lead guitar: Carl
Wilson
Electric bass guitar: Al Jardine
6-string
electric bass guitars: Glen Campbell / Ray Pohlman
Upright
or Grand piano: Brian Wilson
Harpsichord: Brian
Wilson
Hammond B-3 organ: Brian Wilson
Drums: Dennis
Wilson
Timbale w/brush, rim w/thin stick: Hal
Blaine
Tenor saxophone: Steve Douglas ?
Baritone
saxophone: Jay Migliori ?
Hand claps: the Boys ?
Basic
track recorded at Western Recorders Studio 3, Hollywood,
Thursday April 2, 1964 (master is Take 15)
Overdubs &
vocals recorded at Western Recorders Studio 3, Hollywood,
Friday April 10, 1964
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape, likely followed by
reduction-mix transfer to second-generation 1/2″ 3-track tape
w/simultaneous doubling of vocals; final instrumental overdub
added either as simultaneous overdub during reduction-mix
transfer to third-generation 1/2″ 3-track tape, or
simultaneously during mono mixdown
ALL SUMMER
LONG
Arranged: Brian Wilson
Lead & Bass
vocal: Mike Love
Harmony & Backing vocals: Brian
Wilson, Al Jardine, Carl Wilson, Dennis Wilson
Xylophones
or Marimbas: Brian Wilson
Electric rhythm guitars: Carl
Wilson
Electric bass guitars: Al Jardine
Drums: Dennis
Wilson
Piccolo or Fife: Jay Migliori
Tenor saxophone:
Steve Douglas
Basic track & overdub recorded at Western
Recorders Studio 3, Hollywood, Wednesday May 6, 1964,
6:00pm-10:00pm (master is Take 43)
Vocals recorded at
Western Recorders Studio 3, Hollywood, Thursday May 7,
1964
Engineer: Chuck Britz
Recorded on 1/2″
3-track tape, followed by reduction-mix transfer to
second-generation 1/2″ 3-track tape with simultaneous vocal
double
HUSHABYE (Track and Backing
Vocals)
Arranged: Brian Wilson
Backing vocals:
Brian Wilson, Dennis Wilson, Carl Wilson, Mike Love, Al
Jardine
Upright or Grand piano: Brian
Wilson
Electric rhythm guitar: Carl Wilson
Electric bass
guitar: Al Jardine
6-string electric bass guitar: Glen
Campbell or Ray Pohlman ?
Drums: Dennis Wilson
Track
& vocals recorded at Western Recorders Studio 3,
Hollywood, unknown date (possibly Wednesday April 29 or
Thursday April 30, 1964)
Engineer: Chuck Britz
Recorded
on 1/2″ 3-track tape
GIRLS ON THE
BEACH
Arranged: Brian Wilson
Group vocals:
Brian Wilson, Dennis Wilson, Carl Wilson, Mike Love, Al
Jardine
Solo
lead vocal: Dennis Wilson
Electric rhythm guitars: Carl
Wilson
Electric bass guitar: Al Jardine
(6-string
electric bass guitar: Ray Pohlman ?)
Upright or Grand
piano: Brian Wilson
Drums w/brushes: Dennis
Wilson
Percussion: Dennis Wilson
Basic track &
overdub recorded at Western Recorders Studio 3, Hollywood,
Friday April 10, 1964
Engineer: Chuck Britz
Vocals
probably recorded at Western Recorders Studio 3, Hollywood,
mid-April 1964
Engineer: Chuck Britz ?
Alternate vocals
recorded at Capitol Records Studio, Hollywood, Tuesday May 19,
1964
Engineer: Bob (last name unknown)
Recorded on 1/2″
3-track tape, followed by reduction-mix transfer to
second-generation 1/2″ 3-track tape for
vocals
WENDY
Arranged: Brian
Wilson
Lead & Bass vocal: Mike Love
Chorus falsetto
lead vocal: Brian Wilson
Harmony & Backing vocals:
Brian Wilson, Dennis Wilson, Carl Wilson, Al
Jardine
Electric lead guitars: Carl
Wilson
Electric rhythm guitar: Al Jardine
Electric bass
guitar: Al Jardine
Upright or Grand piano: Brian
Wilson
Hammond B-3 organ: Brian Wilson
Drums: Dennis
Wilson
Basic track, overdub & vocals recorded at
Western Recorders Studio 3, Hollywood, late April and/or early
May 1964
Engineer: Chuck Britz
Recorded on 1/2″ 3-track
tape, followed by tape-to-tape transfer to second-generation
1/2″ 3-track tape with simultaneous vocal
double
DON'T BACK DOWN
Arranged:
Brian Wilson
Lead & Bass vocal: Mike Love
Chorus
falsetto lead vocal: Brian Wilson
Backing & Harmony
vocals: Brian Wilson, Dennis Wilson, Carl Wilson, Al Jardine,
Mike Love, with Marilyn Rovell, Diane Rovell, Ginger Blake
(aka The Honeys)
Electric rhythm guitars: Carl
Wilson
Electric bass guitars: Al Jardine
6-string
electric bass guitar: Ray Pohlman
Upright, Tack or Grand
piano: Brian Wilson
Hammond B-3 organ: Brian
Wilson
Drums: Hal Blaine and Dennis Wilson
Basic track
& overdub recorded at Western Recorders Studio 3,
Hollywood, beginning Wednesday April 29, 1964, 10:30pm-1:30am
? (master is Take 3)
Vocals recorded later that day or on a
subsequent date
Engineer: Chuck Britz
Recorded on
1/2″ 3-track tape, followed by tape-to-tape transfer to
second-generation 1/2″ 3-track tape with simultaneous vocal
double, followed by reduction-mix transfer to third-generation
1/2″ 3-track tape with simultaneous vocal
triple
LITTLE SAINT NICK (DRIVE
IN)
Arranged: Brian Wilson
Unison lead &
solo lead vocals: Brian Wilson & Mike Love
Backing
vocals: Brian Wilson, Al Jardine, Carl Wilson, Dennis Wilson,
Mike Love
Drums: Hal Blaine
Tenor saxophone: Steve
Douglas
Baritone saxophone: Jay Migliori
- Additional
personnel info unavailable -
Track recorded at Radio
Recorders, Hollywood, Friday October 18, 1963 (master is Take
2)
Engineer: C.L. or O.L. (full name unknown)
Vocals
recorded at Western Recorders Studio 3, Hollywood, Sunday
October 20, 1963
Engineer: Chuck Britz
Recorded on 1/2″
3-track tape, followed by reduction-mix transfer to
second-generation 1/2″ 3-track tape for vocals, followed by
reduction-mix transfer to third-generation 1/2″ 3-track tape
for backing vocals ?
UNTITLED JAM / LET'S LIVE
BEFORE WE DIE
Arranged: Brian Wilson
Upright or
Grand piano: Brian Wilson
Electric rhythm guitar: Carl
Wilson
Electric bass guitar: Ray Pohlman
Drums: Hal
Blaine
Track recorded at Western Recorders Studio 3,
Hollywood, Wednesday April 29 or Thursday April 30, 1964,
10:30pm-1:30am ? (master is Take 15 ?)
Engineer: Chuck
Britz
Recorded on 1/2″ 3-track tape
LITTLE
HONDA
Arranged: Brian Wilson
Lead vocal: Mike
Love
Backing vocals: Brian Wilson, Dennis Wilson, Carl
Wilson, Al Jardine
Electric lead guitars: Carl
Wilson
Electric rhythm guitars: Carl Wilson and Al
Jardine
Electric bass guitars: Al Jardine
6-string
electric bass guitars: Ray Pohlman
Upright or Grand piano:
Brian Wilson
Hammond B-3 organs: Brian Wilson
Drums:
Dennis Wilson
Opening voice: Dennis Wilson
Basic track,
overdubs & vocals recorded at Western Recorders Studio 3,
Hollywood, beginning Friday April 10, 1964. Alternate vocals
recorded Tuesday June 23, 1964, alternate version mixed
Saturday June 27, 1964
Engineer: Chuck Britz
Recorded on
1/2″ 3-track tape, followed by reduction-mix transfer to
second-generation 1/2″ 3-track tape for vocals, followed by
reduction-mix transfer to third-generation 1/2″ 3-track tape
with simultaneous vocal double
SHE KNOWS ME TOO
WELL
Arranged: Brian Wilson
Lead vocal: Brian
Wilson
Backing & Harmony vocals: Brian Wilson, Carl
Wilson, Al Jardine, Dennis Wilson, Mike Love
Electric lead
guitars: Carl Wilson
Electric rhythm guitar: Carl
Wilson
Electric bass guitar: Al Jardine
Upright piano:
Brian Wilson
Drums: Dennis Wilson
Microphone boom
w/screwdriver: Russ Titelman
Basic track, overdub &
vocals recorded at Western Recorders Studio 3, Hollywood,
Monday June 8, 1964 (master is Take 16 of 17?)
Engineer:
Chuck Britz
Recorded on 1/2″ 3-track tape, followed by
reduction-mix transfer to second-generation 1/2″ 3-track tape
(with simultaneous overdub) for lead vocal, followed by
tape-to-tape transfer to third-generation 1/2″ 3-track tape
with simultaneous overdub
DON'T HURT MY LITTLE
SISTER
Arranged: Brian Wilson / Vocals arranged by
Brian Wilson with Mike Love
Lead vocals: Mike Love, Brian
Wilson
Backing & Harmony vocals: Brian Wilson, Al
Jardine, Dennis Wilson, Carl Wilson, Mike Love
Electric
lead guitars: Carl Wilson
Electric rhythm guitar: Tommy
Tedesco
Electric baritone rhythm guitar: Ray
Pohlman
Electric bass guitar: Al Jardine
Grand piano:
John Gray
Upright piano: Brian Wilson
Drums: Hal
Blaine
Tambourine: Dennis Wilson
Basic track, overdub
& vocals recorded at Western Recorders Studio 3,
Hollywood, Monday June 22, 1964, 3:30pm-6:30pm (master is Take
18)
Engineer: Chuck Britz
Recorded on 1/2″ 3-track tape,
followed by tape-to-tape transfer to second-generation 1/2″
3-track tape with simultaneous vocal
double
CHRISTMAS EVE & JINGLE
BELLS
Arranged: Dick Reynolds
Mallets: Lou
Singer
Harp: Kathryn Julye
Flutes or Saxophones: Ted
Nash, Justin Gordon, Ronnie Langinger
Oboe or Saxophone:
Gene Cipriano
Violins: Arnold Belnick, Marvin Limonick,
Gerald Vinci, Bernard Kundell, Victor Arno, Alfred Lustgarten,
Darrel Terwilliger, Joseph Stephansky, Stanley Plummer, Erno
Neufeld, Israel Baker, Seymour Kramer, and Lenoard
Malarsky
Cello: Harold Schneier
Plus another twenty-one
musicians, likely from among these players who attended the
June 18 orchestral session for other Christmas Album
selections:
Archtop electric/acoustic rhythm guitar: Al
Viola
Upright bass: Cliff Hils
Grand piano: Jimmy
Rowles
Drums: Jack Sparling
Flute or Saxophone: Eddie
Rosa
Bass clarinet or Baritone saxophone: Chuck
Gentry
French horns: William Hinshaw, Richard Perissi, and
Arthur Briegleb
Trumpets: Henry Laubach, John Audino,
Conrad Gozzo, and Raymond Triscari
Trombones: Harry Betts,
Francis Howard, and George Roberts
Tuba: George “Red”
Callender
Cellos: Edgar Lustgarten, Jesse Ehrlich, Nathan
Gershman, Alfred Wohl, and Margaret Aue
Orchestra master:
Benjamin Barrett
Orchestra conducted by: Dick
Reynolds
Copyists: Mainerd Baker and George Yocum
Track
recorded at United Studio A, Hollywood, Wednesday June 24,
1964, 8:00pm-11:00pm
Engineer: Bill
Putnam
WHEN I GROW UP (TO BE A MAN) (A
Capella)
Arranged: Brian Wilson
Lead vocals:
Mike Love, Brian Wilson
Harmony & Backing vocals: Brian
Wilson, Carl Wilson, Al Jardine, Dennis Wilson, Mike
Love
Vocals recorded at Western Recorders Studio 3,
Hollywood, Monday August 10, 1964, aprx. 11:00pm
Engineer:
Chuck Britz
Recorded on 1/2″ 3-track
tape, followed by tape-to-tape transfer to second generation
1/2″ 3-track tape with simultaneous vocal
double
FUN, FUN, FUN (“LIVE”
VERSION)
Arranged: Brian Wilson, with Carl Wilson
/ Vocals arranged by Brian Wilson with Mike Love
Lead &
Bass vocal: Mike Love
Harmony & Backing vocals: Brian
Wilson, Carl Wilson, Al Jardine
Electric lead/rhythm
guitar: Carl Wilson
Electric rhythm guitar: Al
Jardine
Electric bass guitar: Brian Wilson
Drums: Dennis
Wilson
Track & vocals recorded at Western Recorders
Studio 3, Hollywood, Monday August 31, 1964
Engineer: Chuck
Britz
Recorded on 1/2″ 3-track tape
I GET
AROUND (“LIVE” VERSION)
Arranged: Brian
Wilson
Lead & Bass vocal: Mike Love
Chorus falsetto
lead vocal: Brian Wilson
Harmony & Backing vocals:
Brian Wilson, Carl Wilson, Al Jardine
Electric lead/rhythm
guitar: Carl Wilson
Electric rhythm guitar: Al
Jardine
Electric bass guitar: Brian Wilson
Drums: Dennis
Wilson
Track & vocals recorded at Western Recorders
Studio 3, Hollywood, Monday August 31, 1964
Engineer: Chuck
Britz
Recorded on 1/2″ 3-track tape
I'M SO
YOUNG (ALTERNATE VERSION)
Arranged: Brian
Wilson
Lead vocal: Brian Wilson
Backing & Harmony
vocals: Al JardineCarl Wilson, Dennis Wilson, Mike
Love
12-string electric rhythm/lead guitar (w/tremolo):
Carl Wilson
Electric bass guitar: Al Jardine
Upright
piano: Brian Wilson
Drums: Maurice Miller
Flute: Jay
Migliori
Basic track, overdub & vocals recorded at
Western Recorders Studio 3, Hollywood, Wednesday September 9,
1964, 4:00pm-6:00pm (master is Take 12)
Engineer: Chuck
Britz
Recorded on 1/2″ 3-track tape
ALL
DRESSED UP FOR SCHOOL
Arranged: Brian
Wilson
Lead vocal: Carl Wilson
Harmony & Backing
vocals: Brian Wilson, Al Jardine, Dennis Wilson, Mike
Love
12-string electric lead guitar: Carl
Wilson
Electric rhythm guitar: Carl Wilson
Electric bass
guitar: Al Jardine
Upright basses (arco in intro &
outro): Melvin Pollan, Jimmy Bond, and Lyle Ritz
Upright
or Grand piano: Brian Wilson
Drums: Dennis
Wilson
Accordion: Carl Fortina
Tenor saxophone: Steve
Douglas
Hand claps: the Boys
Basic track & overdub
recorded at Western Recorders Studio 3, Hollywood, Wednesday
September 16, 1964, 2:30pm-6:00pm (master is Take 14, slated
as “Take 9″)
Vocals recorded thereafter
Engineer: Chuck
Britz
Recorded on 1/2″ 3-track tape,
followed by tape-to-tape transfer to second generation 1/2″
3-track tape with simultaneous vocal double; hand claps added
simultaneously during mono mixdown
DANCE,
DANCE, DANCE (ALTERNATE VERSION)
Arranged: Brian
Wilson
Lead & Bass vocal: Mike Love
Chorus falsetto
vocal: Brian Wilson
Backing vocals: Brian Wilson, Dennis
Wilson, Al Jardine, Carl Wilson
12-string electric
lead/rhythm guitars: Carl Wilson
Electric rhythm guitar: Al
Jardine
6-string electric bass guitar: Al Jardine
?
Electric bass guitar: Brian Wilson
Grand piano: Brian
Wilson
Drums: Dennis Wilson
Tambourine: Dennis Wilson
?
Basic track, overdubs & vocals recorded Columbia
Records Studio, Nashville, TN, Tuesday September 22, 1964
(6-hour session) (master is Take 2)
Engineers: Mort
Thomasson and Charles Bradley
Recorded on 1/2″ 3-track
tape, followed by reduction-mix transfer to second-generation
1/2″ 3-track tape for overdubs, followed by reduction-mix
transfer to third-generation 1/2″ 3-track tape for vocals and
guitar solo, followed by reduction-mix transfer to
fourth-generation 1/2″ 3-track tape for vocal double
?
DANCE, DANCE, DANCE
Arranged:
Brian Wilson
Lead & Bass vocal: Mike Love
Chorus
falsetto vocal: Brian Wilson
Backing vocals: Carl Wilson,
Al Jardine, Dennis Wilson
12-string electric lead/rhythm
guitar: Carl Wilson
Acoustic lead/rhythm guitar: Glen
Campbell
Electric rhythm guitar: Al Jardine
Electric
bass guitar: Brian Wilson
6-string electric bass guitar:
Ray Pohlman
Accordion: Carl Fortina
Drums: Dennis
Wilson
Triangle, Tambourine & Sleighbells: Hal
Blaine
Sleighbells & Castanets: Hal Blaine
Tenor
saxophone: Steve Douglas
Baritone saxophone: Jay
Migliori
Basic track & overdub recorded at RCA-Victor
Studio, Hollywood, Friday October 9, 1964, 2:00pm-5:30pm
(master is Take 17)
Engineer: Dave Hassinger
Vocals
recorded at Western Recorders Studio 3, Hollywood, later in
October 1964 Engineer: Chuck
Britz
Recorded on 1/2″ 3-track tape, followed by
reduction-mix transfer to second-generation 1/2″ 3-track tape
(with simultaneous overdub) for overdubs & vocals,
followed by tape-to-tape transfer to third-generation 1/2″
3-track tape with simultaneous vocal double
I
GET AROUND (LIVE -- BBC)
Arranged: Brian
Wilson
Lead & Bass vocal: Mike Love
Chorus falsetto
lead vocal: Brian Wilson
Harmony & Backing vocals:
Brian Wilson, Carl Wilson, Al Jardine
12-string electric
lead/rhythm guitar: Carl Wilson
Electric rhythm guitar: Al
Jardine
Electric bass guitar: Brian Wilson
Drums: Dennis
Wilson
Recorded live (plus vocal double) at the BBC
Playhouse Theatre, London, England, Friday November 6,
1964
Recorded on 1/4″ mono tape
THE LITTLE
OLD LADY FROM PASADENA (LIVE -- BBC)
Arranged:
Brian Wilson
Lead & Bass vocal: Mike Love
Harmony
& Backing vocals: Brian Wilson, Carl Wilson, Al
Jardine
12-string electric rhythm/lead guitar: Carl
Wilson
Electric rhythm guitar: Al Jardine
Electric bass
guitar: Brian Wilson
Drums: Dennis Wilson
Recorded live
(plus vocal double) at the BBC Playhouse Theatre, London,
England, Friday November 6, 1964
Recorded on 1/4″ mono
tape
GRADUATION DAY (LIVE --
BBC)
Arranged: Brian Wilson
Group vocals: Brian
Wilson, Al Jardine, Carl Wilson, Mike Love
Bridge solo
vocal: Mike Love
Electric rhythm/lead guitar: Carl
Wilson
Electric bass guitar: Brian Wilson
Drums: Dennis
Wilson
Recorded live (plus vocal double) at the BBC
Playhouse Theatre, London, England, Friday November 6,
1964
Recorded on 1/4″ mono tape
SURFIN'
U.S.A. (LIVE -- BBC)
Arranged: Brian Wilson /
Vocals arranged by Brian Wilson and Mike Love
Lead &
Bass vocal: Mike Love
Backing & Harmony vocals: Brian
Wilson, Carl Wilson, Al Jardine
12-string electric lead
guitar: Carl Wilson
Electric rhythm guitar: Al
Jardine
Electric bass guitar: Brian Wilson
Drums: Dennis
Wilson
Recorded live (plus vocal double) at the BBC
Playhouse Theatre, London, England, Friday November 6,
1964
Recorded on 1/4″ mono tape
JOHNNY B.
GOODE (UNRELEASED LIVE SINGLE MIX)
Arranged: Brian
Wilson, with Carl Wilson
Unison lead vocals: Brian Wilson
& Mike Love
Harmony vocals: Carl Wilson, Al
Jardine
Electric lead/rhythm guitar: Carl
Wilson
Electric rhythm guitar: Al Jardine
Electric bass
guitar: Brian Wilson
Drums: Dennis Wilson
Recorded live
in concert at Sacramento Memorial Auditorium, Sacramento,
Saturday December 21, 1963
Recorded on 1/2″ 3-track
tape
Mixed to mono at Western Recorders, Hollywood, circa
Monday August 10, 1964
Mixdown engineer: Chuck
Britz
2014年に配信オンリーで出たレア・トラック集。
1964年のレコーディング・セッション＆ライブ音源や新規作成ミックスを収録。
2001年の 『ホーソーン、カリフォルニア』 のように、セッションの様子を編集した「ハイライト」にアカペラ・ミックスやステレオ・ミックスが続く構成。
リリース時にビーチ・ボーイズ公式サイトの「NEWS」に英文の詳細な解説が掲載されていたが、2016年6月のリニューアル（キャピトル・レコードからユニバーサル・ミュージックへの仕様変更）にともなって古い記事は消されてしまったので、ここに転載しておいた。
このような事が行われることはほとんどないが、それほどの手間とは思えないので、配信のみのリリースの際には是非定例化して欲しいもの。
英文解説にもあるが、1964年はビーチ・ボーイズの活動の最初のピークを迎えた年と言ってもよく、ビートルズをはじめとする英国勢の猛威と殺人的スケジュールの中、多くの名曲が誕生しており、ここに収録された音源からもその勢いは感じられる。
この他に、ライブ盤 『ビーチ・ボーイズ・コンサート』 の元になった1964年8月1日のライブを収録した 『Live
In Sacramento 1964』 も同時リリースされている。
◎2013年以降にリリースされた未発表音源を含むコンピレーション
2013年 『カリフォルニアの夢』、『The Big Beat
1963』
2014年 『Keep An Eye On Summer - The Beach
Boys Sessions 1964』、『Live In Sacramento
1964』
2015年 『ビーチ・ボーイズ・パーティ！〜アンカヴァード・アンド・アンプラグド』、『Live In Chicago 1965』、『Sessions '64!!』
2016年 『ペット・サウンズ 50周年記念エディション』、『Graduation Day 1966 ： Live At The University Of
Michigan』
2017年 『サンシャイン・トゥモロウ』、『Sunshine Tomorrow 2 - The Studio Sessions』、 『Live Sunshine』
2018年 『The Friends Sessions』、『The
20/20 Sessions』 『The Beach Boys On Tour
：1968』
2019年 『The Beach Boys 1969 ：
I'm Going Your Way』
2021年 『フィール・フロウズ』
2022年 『セイル・オン・セイラー 1972』