The Beach Boys’ New Digital “Copyright Collections” Offer 1964 Rarities, Two Complete Concerts

 

With another year rapidly drawing to a close, many fans were wondering if 2014 would bring another round of “copyright extension collections,” i.e. releases designed to circumvent recent European Union copyright law.  The answer, of course, is “yes.”  To greatly simplify, E.U. law now holds that a recording is protected for 75 years under copyright in the E.U. (the period previously was 50 years) but only if that recording has been released.  As a result of this change in law, the past couple of years have seen collections issuing rarities from Bob Dylan, The Beatles, the Motown family of artists and The Beach Boys, simply to keep these recordings in copyright.  Last year, Capitol issued The Big Beat 1963 with a number of Brian Wilson/Beach Boys titles.  Following suit, the label has today released two more Beach Boys titles.  1964: Keep an Eye on Summer has 46 session highlight and rarities – many of which have never even been bootlegged – while Live in Sacramento 1964 has the two full shows from which the original Beach Boys Concert LP was culled.

Mark Linett and Alan Boyd have produced these two new (and alas, digital-only) releases, and Linett has remastered all tracks.  Capitol/Brother Records has happily provided detailed liner notes, including comprehensive track-by-track annotations, at The Beach Boys’ official website.  Boyd writes, in part, that “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.”

Linett adds, “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.’”

After the jump, we have more details and the complete track listings for both titles!

Five Sundazed Singles to Rock Your Record Store Day

It’s like NFL draft day for music geeks*!

Today’s the big announcement of the full Record Store Day 2014 exclusives list, to kick off with a press conference at Los Angeles’ Amoeba Music later today. While we’re positive there are some great surprises in store, a number of our favorite labels have already spilled the beans on their spreads for April 19. Sundazed Music, purveyors of great vintage rock on CD and vinyl, have five 45 RPM singles releasing on the big day, including big hits and rare rockin’ sides from Link Wray, The Standells, Ray Lanham and more!

First up, guitar master Wray’s third single for Epic Records, “Slinky” b/w “Rendezvous,” features the six-string innovator in full-on badass mode on one side, all stinging riffs and hot solos, while exploring a more nuanced (but no less swagger-heavy) sound on the other. Sundazed faithfully reproduces the single’s original labels and ultra-rare picture sleeve for your collecting pleasure.

The Standells foresaw punk rock a good two decades ahead of schedule with the raucous Top 20 hit “Dirty Water.” Sundazed’s new single features an unearthed live concert version of this classic, recorded at the University of Michigan in 1966 (where the group was opening for The Beach Boys). It’s backed with a previously unheard 1963 instrumental, “Twitchin'” and the single features new liner notes by band member Larry Tamblyn.

Speaking of The Beach Boys, Hawthorne, California’s favorite sons were something of an inspiration for the next singles act, The Sunrays, in more ways than one. The band’s manager was none other than Murry Wilson, father to Brian, Dennis and Carl. After The Beach Boys fired Wilson as manager, he took on this teenage act; while none of their singles ever became more than regional hits, the two tracks making their vinyl debut here – “Our Leader,” a paean to the band’s manager, and “Won’t You Tell Me,” a Murry-penned track featuring contributions from Dennis Wilson and the legendary Wrecking Crew – are interesting curios in the ever-sprawling story of The Beach Boys and their endless summer. Band member Rick Henn supplies liner notes for the single.

Sundazed then turns its attention to The Litter, a Minneapolis garage rock group on the Scotty Records label. Two of their fuzzed-out sides, “Action Woman” and a cover of The Who’s “A Legal Matter,” are pressed on blue vinyl with a replica Scotty label; the new picture sleeve (featuring a rarely-seen photo of the band) features liner notes from Mike Markesich, author of the book Teen Beat Mayhem!

Finally, Sundazed releases four recordings from acclaimed guitarist Ray Lanham. Recorded in 1959 and released only for the first time on this red-vinyl EP, this set features three standards (“My Adobe Hacienda,” “Song of India,” “Carnival in Paris”) and an original, “Lanham Boogie.”

All titles will be available in limited quantities at fine participating indie retailers on Record Store Day, April 19!

* Speculative – writer does not understand sports

Starbucks Goes Hip and Jazzy On Venti Release Slate

If you’re looking for a little music to go with your grande toffee nut latte, Starbucks has recently unveiled a number of new audio offerings to kick off 2014.  In addition to its annual Sweetheart disc – an anthology of new(ish) artists playing old(ish) love songs including, this year, songs by John Lennon, Bob Dylan and Harry Nilsson – the coffee giant has curated a selection of Music for Little Hipsters, sets dedicated to Women of Jazz and When Jazz Meets Guitar, and an Opus Collection volume for the one and only Dusty Springfield.  Here, you’ll find the scoop on the first three of those releases; watch this space for our all-Dusty special coming soon touching on four new releases from the late soul queen!

Music for Little Hipsters is one set that’s as intriguing as its title.  Its sixteen tracks share in common a childlike sensibility that crosses generational and genre divides; hence, Devo’s upbeat if ironic “Beautiful World” sits alongside The Free Design’s sunshine pop confection “Kites are Fun.”  The Beach Boys’ “Vegetables” (in its Smiley Smile recording) comes a few tracks after Booker T. and the MG’s “Soul Limbo,” appropriate for both adults and children on the dancefloor!  The compilation also showcases lesser-known “hipsters” from France (Franck Monnet’s tasty “Goutez-Les”), The Netherlands (Arling and Cameron’s ode to the “W.E.E.K.E.N.D.”), Florida (The Postmarks’ “Balloons”) and Seattle (Caspar Babypants’ “Stomp the Bear”).  A couple of tracks here have found a following on Nickelodeon’s offbeat Yo Gabba Gabba, including “Balloons” and I’m From Barcelona’s “Just Because It’s Different Doesn’t Mean Scary.”  The loopy, eclectic Music for Little Hipsters isn’t the usual coffeehouse fare.  On the reverse of its track-by-track liner notes you’ll find puzzles and word finds; a set of stickers is also included in the digipak.

When Jazz Meets Guitar is a more straightforward set, with thirteen tracks representing undisputed guitar greats such as Charlie Christian, Django Reinhardt, Wes Montgomery, John McLaughlin and Pat Metheny.  As each of these gentleman’s styles is singular, the disc serves as a Jazz Guitar 101-style primer.  Christian, Reinhardt and Les Paul represent the early practitioners of the art form, with “Solo Flight,” “Anniversary Song” and “Somebody Loves Me,” respectively.  Barney Kessel, a versatile member of the famed L.A. studio “Wrecking Crew,” offers up Henry Mancini’s “Something for Cat” from the score to Breakfast at Tiffany’s.  Grant Green and Kenny Burrell also represent the swinging sixties with selections from Blue Note Records outings.  Two of producer Creed Taylor’s trademark pop-jazz amalgams appear via the legendary Wes Montgomery’s “Bumpin’ on Sunset” and Montgomery disciple George Benson’s reinvention of The Mamas and the Papas’ “California Dreamin’.”  The underrated Joe Pass is heard on “How High the Moon” – popularized by Les Paul and Mary Ford – and tracks by modern masters including Pat Metheny and John McLaughlin show how the art form has developed while still building on the foundation laid by heroes of the past.  Steven Stolder provides informative track-by-track notes.

After the jump, we’ll take a peek at Women of Jazz!  Plus, we have track listings and order links for all three titles!

The Beatles and The Beach Boys Beat The Boots On “The Big Beat 1963” and “Bootleg Recordings”

1963 was a landmark year for the favorite sons of Hawthorne, California.  During those twelve months, The Beach Boys released three Top 10 studio albums (Surfin’ USA, Surfer Girl and Little Deuce Coupe) and launched three Top 10 singles (“Surfin’ USA,” “Surfer Girl,” and “Be True to Your School”).  Brian Wilson, Mike Love, Carl Wilson, Dennis Wilson, the outgoing David Marks and returning Al Jardine were perfecting their harmony-laden brand of surf rock and setting the stage for the next step in the band’s evolution.  Within one year, The Beach Boys’ music had grown leaps and bounds in sophistication with the likes of “All Summer Long,” “I Get Around” and “Fun, Fun, Fun.”  And greater stylistic changes would come with the fast and furious speed of any of the cars about which the band had so ardently sung.

Across the pond, 1963 was an even more key year for a certain quartet from Liverpool.  On March 22, The Beatles’ Please Please Me arrived on the Parlophone label.  On November 22, With the Beatles followed.  Both records topped the U.K. Albums chart, and songs like “Please Please Me,” “From Me to You,” “She Loves You,” and “I Want to Hold Your Hand” dominated the U.K. Singles charts during the year.   By the time Capitol Records’ Meet the Beatles arrived in the U.S. on January 20, 1964, John, Paul, George and Ringo were names known the world over, and “Beatlemania” was the word on everybody’s lips.

Now, however, the crucial music of 1963 is being revisited in two unusual digital-only compilations from Capitol Records.  Following in the footsteps of such projects as Bob Dylan’s The 50th Anniversary Collection or the multiple volumes of Motown Unreleased 1962, Capitol is issuing The Big Beat 1963 for Brian Wilson and The Beach Boys, and Bootleg Recordings 1963 for The Beatles.  The impetus for these iTunes-exclusive releases is a simple one: to protect these recordings from entering the public domain in Europe.  Recent changes to copyright law in the E.U. have extended the copyright term of a recording from 50 to 70 years, but only if that recording has been released.  In other words, if a recording is not officially released within 50 years of its creation, it will fall into the public domain when the next (51st) calendar year begins.  If it is released, the term extends another 20 years.

Many would like to see the vintage recordings included in these sets released as physical titles with the usual bells and whistles, and indeed, these are intended as stopgap releases only.  It’s likely that these types of releases will become more common with each passing year; whether Capitol (and other labels) will reissue the material in a more deluxe manner down the road is still a matter of speculation.  After the jump, we’ll take a look at the recordings on both The Big Beat and Bootleg Recordings 1963!

“Lethal Weapon” Box, “Superman Returns” and More Due from La-La Land

La-La Land never fails to amaze when it comes to Black Friday. The soundtrack label often saves some of its biggest and highest-profile titles for announcements on the shopping weekend (see 2010, 2011 and 2012) – and this year is no different, with two premiere releases of acclaimed scores, an expanded edition of a superhero sequel and a box set devoted to one of the biggest action film franchises of all time.

First up: call them slobs, call them jerks, call them gross – just don’t call them when you’re in trouble! Officers Mahoney, Thompson, Jones, Martin, Tackleberry, Barbara and Hightower (plus the reluctant Lt. Harris) were the misfit newbie cops in the 1984 comedy Police Academy, starring Steve Guttenberg, Kim Cattrall, Michael Winslow and Bubba Smith – and while the series is perhaps best known for the increasingly madcap sequels it never seemed to stop spawning (the seventh film in the series bowed in 1994), its score by Robert Folk has long been in high demand. Now, for the first time, enjoy every cue from the film, including the unforgettably jaunty march for the recruits, and even Jean-Marc Dompierre and His Orchestra’s “El Bimbo,” a source cue that scores a classic gag in the unforgettable Blue Oyster Bar.  LLL’s release is limited to 3,000 units.

Russian-born composer Dimitri Tiomkin was a master of the Western film score (hear his work on High Noon for definitive proof), and one of his greatest achievements, the score to John Sturges’ Gunfight At The O.K. Corral (1957), is finally available on CD in a 2,ooo-unit pressing. Burt Lancaster and Kirk Douglas’ Hollywoodized portrayals of Wyatt Earp and Doc Holliday didn’t teach anyone facts about the real event, but it sure made for some great genre entertainment. This lengthy disc features the complete score in mono, with eight bonus stereo cues, source music and demos of the classic title song, originally sung by Frankie Laine but covered here by both singing cowboy/Disney voice actor Rex Allen and Bob Hope/USO sideman Tony Romano.  Laine’s recording is, of course, also included and in fact opens the album.

After the jump, a trio of men of steel and some of their most iconic music!

Review: The Beach Boys, “Made in California”

If everybody had an ocean…

Rarely have five simple words in pop music held such promise.  The message at the time was an invitation squarely aimed at teens: “If everybody had an ocean, across the USA/Then everybody’d be surfin’ like Califor-ni-a…”  But ultimately, the promise and California dream embodied by Hawthorne, CA’s native sons came to mean so much more than mere surfin’.  The sound of The Beach Boys – Brian Wilson, Mike Love, Carl Wilson, Dennis Wilson, Al Jardine, David Marks, Bruce Johnston, Blondie Chaplin and Ricky Fataar – has crossed generational and genre lines for over five decades.  The group’s ocean of possibility has led to works of great beauty, joy, melancholy and triumph – in other words, the human experience.  It’s not bad for a group who began in primitive fashion, marrying doo-wop vocalizations to a basic melody as they exhorted, “Surfin’ is the only life, the only way for me, now, surf, surf, with me!”  The story of that band – from “Surfin’” to 2012’s Top 5 LP That’s Why God Made the Radio and beyond – is told on the new 6-CD box set Made in California (Capitol/UMe B0018509-02).  “Box set” isn’t quite accurate, though – try “book set,” as Made in California is cleverly designed in the style of a high school yearbook, complete with inscriptions from Brian, Mike, Al, Bruce and David, advertisements from merchants of days gone by, articles including a high school essay written by Brian, and numerous photographs.  In fact, the band’s (near-) entire story is told in their own words – including quotes from the late Dennis and Carl.  (Emphasis on “near” as the yearbook skips from the early 1980s to the 2012 reunion!)

We’re goin’ to the beach right after the jump!

Release Round-Up: Week of August 27

The Beach Boys, Made in California (Capitol/UMe)

Six discs of career-spanning tunes – hits and rarities aplenty – from the best band to come out of Hawthorne, California. (Amazon U.S. / Amazon U.K.)

Bob Dylan, Another Self Portrait (1969-1971): The Bootleg Series Vol. 10 (Columbia)

Revisit one of the most polarizing periods of Dylan’s career with the latest Bootleg Series entry, featuring outtakes from Nashville Skyline, Self Portrait and New Morning. A deluxe version includes Dylan and The Band’s complete Isle of Wight performance and a remastered version of Self Portrait, and a vinyl version also exists.

2CD standard edition: Amazon U.S. / Amazon U.K.
4CD deluxe edition: Amazon U.S. / Amazon U.K.
3LP vinyl edition: Amazon U.S. / Amazon U.K.

Sly & The Family Stone, Higher! (Epic/Legacy)

A four-disc box celebrating one of the pioneers of funk and R&B. Intriguing tracks from the vault and little-heard mono mixes are complemented by a really striking visual presentation, and a healthy book of liner notes. Amazon U.S. has got a six-track bonus disc with the box, and there’s also a highlights disc for the less curious.

4CD box: Amazon U.S. / Amazon U.K.
4CD box + bonus disc: Amazon U.S.
8LP box: Amazon U.K.
8LP box + bonus disc: Amazon U.S.
1CD compilation: Amazon U.S. / Amazon U.K.

Belinda Carlisle, Heaven on Earth / Runaway Horses / Live Your Life Be Free / Real: Deluxe Editions (Edsel)

When The Go-Go’s leader went full-on pop, the music world was all the better for it. Belinda’s Virgin discography has now been expanded as 2CD/1DVD sets, Edsel-style.

Heaven on Earth: Amazon U.S. / Amazon U.K.
Runaway Horses: Amazon U.S. / Amazon U.K.
Live Your Life Be Free: Amazon U.S. / Amazon U.K.
Real: Amazon U.S. / Amazon U.K.

Robert Palmer, Sneakin’ Sally Through the Alley/Pressure Drop / Some People Can Do What They Like/Double Fun / Secrets/Clues/Maybe It’s Live / Pride/Riptide (Edsel)

The Robert Palmer Island Records discography is finally remastered and expanded – not as we’d imagine (as two-fers and one three-fer), but at least this late great is getting the attention he so greatly deserves.

Sneakin’ Sally Through the Alley/Pressure Drop: Amazon U.S. / Amazon U.K.
Some People Can Do What They Like/Double Fun: Amazon U.S. / Amazon U.K.
Secrets/Clues/Maybe It’s Live: Amazon U.S. / Amazon U.K.
Pride/Riptide: Amazon U.S. / Amazon U.K.

Mario Lanza, The Toast of Hollywood (Sony Masterworks)

A new two-disc compilation celebrating MGM’s beloved actor-tenor features six previously unreleased recordings. (Amazon U.S. / Amazon U.K.)

Oscar Pettiford, Modern Quintet / Chris Connor, Sings Lullabys For Lovers / Dexter Gordon, Daddy Plays The Horn / Charles Mingus, The Jazz Experiments of Charles Mingus / Nina Simone, Little Girl Blue / Booker Ervin, The Book Cooks (Naxos/Bethlehem)

The first of several batches of reissues from the classic Bethlehem label (additional batches are planned through next summer!) are hitting CD, LP and MP3, back in print after too long. (The above link is being updated with full links as they’re available.)

CHIC, The 12″ Singles Collection (Atlantic/Rhino U.K.)

Ten tracks of disco goodness spanning the entire, immortal partnership of Nile Rodgers and Bernard Edwards, on five pieces of vinyl. (Amazon U.S. / Amazon U.K.)

Naked Eyes, Fuel for the Fire: Expanded Edition (Cherry Pop)

The second and final Naked Eyes LP debuts on CD with rare bonus tracks and unreleased demos for your enjoyment. (Amazon U.S. / Amazon U.K.)

If Everybody Had An Ocean: The Beach Boys’ 6-CD Box Set “Made in California” Premieres 60 Previously Unreleased Tracks

On my way to sunny California, on my way to spend another sunny day…

The sounds of summer will be in perfect harmony on August 27 when Capitol Records releases the

Beach Boys’ long-awaited, retrospective box set Made in California.  Word first came last summer of the 50th anniversary box, as the reunited group of Brian Wilson, Mike Love, Al Jardine, Bruce Johnston and David Marks were winding down a phenomenally successful world tour.  Since then, the Love/Johnston faction of the band has resumed touring, while Wilson, Jardine and Marks have announced a number of live dates to come this summer.  A 2-CD chronicle of the 2012 tour has just been released, and last week, Brian Wilson announced his return as a solo artist to Capitol Records for an as-yet-unscheduled album to feature Jardine, Marks, and guests including Jeff Beck.

Though a late 2012 arrival was originally planned, the band intends to prove that good things do come to those who wait with this latest celebratory project.  Made in California details the Hawthorne, California band’s history from 1961 to the present day over 6 CDs, with more than 7-1/2 hours of music and 60 previously unreleased tracks (17 of them live).  Designed in the style of a high school yearbook, Made in California tells the Beach Boys’ story through all of their hits plus never-before-released songs, alternate takes, demos, rare mixes, and live performances.

Take the plunge and hit the jump for all of the details including the complete track listing!  The water’s fine!

Release Round-Up: Week of May 21

The Beach Boys, Live: The 50th Anniversary Tour (Capitol)

Brian, Mike, Al, Bruce and David may not be touring again anytime soon, but at least we now have two discs of live memories to play. (Amazon U.S. / Amazon U.K.)

Townes Van Zandt, The Late Great Townes Van Zandt / High, Low and In Between (Omnivore)

You heard the demos, now rediscover these great country albums, on CD or vinyl!

Late Great CD (Amazon U.S. / Amazon U.K.), LP (Amazon U.S. / Amazon U.K.)
High, Low CD (Amazon U.S. / Amazon U.K.), LP (Amazon U.S. / Amazon U.K.)

Various Artists, FM: Original Motion Picture Soundtrack (Culture Factory USA)

The hit-filled soundtrack, featuring the Steely Dan single of the same name, is the latest to get the Culture Factory LP replica treatment. (Amazon U.S. / Amazon U.K.)

Southside Johnny & The Asbury Jukes, Diana Ross, Donna Summer, Jeff Buckley, Chet Atkins et al., Playlist: The Very Best of (Legacy)

A dozen or so new entries in the Playlist series are coming your way this week. Watch this space tomorrow for a full breakdown on them all!

Review: The Beach Boys, “Live – 50th Anniversary Tour”

Water has always played a key role in the California myth of The Beach Boys – whether via the inviting waves of “Surfin’ USA,” the blue seas of “Hawaii,” or the dark imagery of “Surf’s Up.”  But the water onstage for the group’s 50th anniversary tour was of a different sort: it was water under the bridge.  If perhaps only for three or so hours each night last summer, all of the oft-publicized tensions that have beset America’s Band over the years seemed to melt away in full view of the audience.  So it’s only fitting that Capitol Records’ souvenir of the landmark reunion, Live – 50th Anniversary Tour, is bathed in a warmly nostalgic glow of family and friends adding some music to their day and yours.  That this 2-CD set could be preserving the final shared appearance of Brian Wilson, Mike Love, Al Jardine, Bruce Johnston and David Marks adds a bittersweet note to the celebration, but then again, the exuberant and the melancholy have always co-existed in the music of the boys from Hawthorne.

When 50th anniversary tour concluded last September in London, it was on a triumphant note despite the confirmation that the group would again splinter.  For the second-to-last performance of September 27, the Boys played a staggering 61 tunes. And for the final Wembley Arena show on September 28, the total number was a rather still impressive 55.  The new CD set presents just 41 songs for over two hours’ of music – not bad, but not quite a representation of the marathons played last year.  But needless to say, these discs have plenty to offer, and not just for those who were in attendance.

The Boys’ first current live album since 1973’s The Beach Boys in Concert, 50th Anniversary features a larger array of onstage talent than any of their previous live recordings.  The five core members are joined by guitarist/vocalist/co-musical director Scott Totten and guitarist/vocalist John Cowsill of Love and Johnston’s Beach Boys band, plus seven members of Brian Wilson’s own remarkable collective: Jeffrey Foskett (guitar/vocals), Scott Bennett (keyboards/vocals), Nelson Bragg (percussion/vocals), Mike D’Amico (bass/vocals), Probyn Gregory (guitar/vocals), Paul Mertens (horns/vocals/co-musical director) and Darian Sahanaja (keyboards/vocals).  The versatile multi-instrumentalists of Wilson’s band bring a new dimension to the live performances, one imbued with youthful energy as well as a deep knowledge of the original record productions.  Taken as one fourteen-person unit, this Beach Boys line-up was filled with reverence and yes, nostalgia, but the group never approached the music like museum pieces.

The two discs, largely adhering to the concert tour’s two-act format and setlist running order, offer a well-sequenced blend of the timeless surf/car/teenage-themed songs and the later, more introspective and adventurous material.  The crisp, bright sound of the new album might confirm that there has been some post-concert in-studio sweetening, but it’s hardly a deterrent.  Though the sound here is much more polished than that of the raw, harder-rocking unit on the 1973 live album (with Blondie Chaplin and Ricky Fataar joining Love, Jardine, and the late Carl and Dennis Wilson), there’s plenty of spirit from the get-go.

Catch a wave with us after the jump!