The Beach Boys - Monster Mash
Oil Well RSC 043
Oil Well RSC 043
1. Long Tall Sally 2:36
2. In My Room 3:08
3. Graduation Day 2:45
4. Hawaii 1:55
5. The Wanderer 1:39
6. Fun Fun Fun 2:11
7. The Little Old 3:32
8. Let's Go Trippin' 1:51
9. Surfer Girl 2:22
10. Papa Oom Mow Mow 2:09
11. I Get Around 2:28
12. Johnny B. Goode 3:11
13. Little Douche 1:40
14. Monster Mash 2:41
15. Don't Worry Baby 3:00
16. Louie Louie 2:30
17. Surfin' USA 2:26
Runtime - 42 Minutes 17 Seconds
Note:
All songs written by Brian Wilson unless noted
Live in Santa Monica, California - August 15th, 1965
Tracks: 1,2,3,6,9-17: Live in Sweden in November '64
Tracks: 4,5,7,8: Civic Memorial Auditorium, Sacramento, CA 1964
Lineup:
Mike Love - vocals; saxophone on "Let's Go Trippin'" and "Long Tall Texan"
Al Jardine - vocals, rhythm guitar
Brian Wilson - vocals, bass guitar, drums on "The Wanderer"
Carl Wilson - vocals, lead guitar
Dennis Wilson - drums, lead vocals on "The Wanderer"
This bootleg is a clone of: Live - Sm'Art Art – WZ 98003
This rare bootleg is made of 2 shows from 1964: one in Sweden and one in Sacramento.
The first portion is a selection of the tracks from the official "Concert" album and tracks 10-17 seem to be from the concert in Sweden in November '64 as featured on the "Mike Love, Not War" boot.
The first portion is a selection of the tracks from the official "Concert" album and tracks 10-17 seem to be from the concert in Sweden in November '64 as featured on the "Mike Love, Not War" boot.
Sound is very good and tracklist is fairly interesting but the fact that it's purporting to be something it's not and stealing official tracks makes it a big rip-off. 8/10 for quality, 0/10 for honesty.
Track 1 written on CD as Long Tall Sally; Track 7 written on CD as The Little Old; Track 13 written on CD as Little Douche
Read below for more informations!
Audio quality:
Quality content:
Read below for more informations!
Audio quality:
Quality content:
© Official released material:
Tracks: 4,5,7,8: have been released officially on: "Beach Boys Concert"
___________________________________________________________________
Who are The Beach Boys
The Beach Boys have been at least three bands: crafty chroniclers of pre-freakout mid-Sixties Southern California, audacious cult oddballs and shameless nostalgia merchants. The first incarnation created pop art of the highest order from 1962 to 1969; the third still rides on the original’s coattails for empty entertainment and profit. But their complex middle era — plagued by commercial failure, interpersonal warfare and the psychological roller coaster of leader Brian Wilson — is always up for reinterpretation, particularly because it’s the least known. The Beach Boys’ Seventies output has gone in and out of print with more fluctuation than any other major catalog has had, and its only Top Twenty hits were sentimental remakes aimed at a summer-concert crowd more interested in fun fun fun classics than creative maturation.
Yet for a new generation of harmony-friendly alternative popsters, Seventies Beach Boys albums like Surf’s Up and Love You are becoming sonic blueprints, akin to what early Velvet Underground LPs meant to the previous indie peer group. The High Llamas, Eric Matthews and Saint Etienne are but three alt heroes touched by those largely ignored platters’ production eccentricities, wandering melodies and resigned sense of suffering. They and twenty-one other winsome acts bypass big hits in favor of unreleased, overlooked or underappreciated Wilson/Beach Boys obscurities on Caroline Now!, a well-researched tribute that serves as a good starting point for adventurous listeners to hang ten beyond the Beach Boys’ familiar shallows into deeper waters. Tracks like the Pearlfishers’ moody “Go Away Boy” (a 1962 composition first released twenty years later by Brian’s girl group, the Honeys) and Kle’s “Rainbow Eyes” (a sugary kiss from Sweet Insanity, the aborted follow-up to Brian’s soon-to-be-reissued 1988 solo album) are both affectionately academic and mighty swell.
Beach Boys Concert
Recorded live in Sacramento in 1964, the Beach Boys run through several of their big early hits and a bunch of covers that hadn't made it to record. The screaming, while not at a Beatles Live at the Hollywood Bowl level, is loud enough to present a real problem as far as sonic clarity, especially given that the instruments aren't recorded too well either. Even more crucially, the Beach Boys simply didn't play nearly as well on-stage as on record, at least at this concert; the arrangements are thin and the playing and singing are ragged, though the group is enthusiastic. None of this stopped it from becoming one of their biggest sellers; in fact, it topped the charts for four weeks, at the height of the British Invasion. It's also of interest in that it has several covers that they didn't release as studio recordings in the '60s, including "Johnny B. Goode," Jan & Dean's "The Little Old Lady From Pasadena," the dorky "Long Tall Texan," "Monster Mash," the Four Freshmen's "Graduation Day," and the Rivingtons' goofy doo wop rave-up "Papa-Oom-Mow-Mow." Everyone other than major Beach Boys fans, however, should give it a miss. [Concert/Live in London, a Capitol two-fer CD, combines this and Live in London (1968 live material that has also, confusingly, been issued as Beach Boys '69) onto one disc, adding previously unreleased live versions of "Don't Worry Baby" (from 1964) and "Heroes and Villains" (from 1967).]
https://www.allmusic.com/album/beach-boys-concert-mw0000691308
___________________________________________________________________
Who are The Beach BoysThe Beach Boys have been at least three bands: crafty chroniclers of pre-freakout mid-Sixties Southern California, audacious cult oddballs and shameless nostalgia merchants. The first incarnation created pop art of the highest order from 1962 to 1969; the third still rides on the original’s coattails for empty entertainment and profit. But their complex middle era — plagued by commercial failure, interpersonal warfare and the psychological roller coaster of leader Brian Wilson — is always up for reinterpretation, particularly because it’s the least known. The Beach Boys’ Seventies output has gone in and out of print with more fluctuation than any other major catalog has had, and its only Top Twenty hits were sentimental remakes aimed at a summer-concert crowd more interested in fun fun fun classics than creative maturation.
Yet for a new generation of harmony-friendly alternative popsters, Seventies Beach Boys albums like Surf’s Up and Love You are becoming sonic blueprints, akin to what early Velvet Underground LPs meant to the previous indie peer group. The High Llamas, Eric Matthews and Saint Etienne are but three alt heroes touched by those largely ignored platters’ production eccentricities, wandering melodies and resigned sense of suffering. They and twenty-one other winsome acts bypass big hits in favor of unreleased, overlooked or underappreciated Wilson/Beach Boys obscurities on Caroline Now!, a well-researched tribute that serves as a good starting point for adventurous listeners to hang ten beyond the Beach Boys’ familiar shallows into deeper waters. Tracks like the Pearlfishers’ moody “Go Away Boy” (a 1962 composition first released twenty years later by Brian’s girl group, the Honeys) and Kle’s “Rainbow Eyes” (a sugary kiss from Sweet Insanity, the aborted follow-up to Brian’s soon-to-be-reissued 1988 solo album) are both affectionately academic and mighty swell.
Beach Boys ConcertRecorded live in Sacramento in 1964, the Beach Boys run through several of their big early hits and a bunch of covers that hadn't made it to record. The screaming, while not at a Beatles Live at the Hollywood Bowl level, is loud enough to present a real problem as far as sonic clarity, especially given that the instruments aren't recorded too well either. Even more crucially, the Beach Boys simply didn't play nearly as well on-stage as on record, at least at this concert; the arrangements are thin and the playing and singing are ragged, though the group is enthusiastic. None of this stopped it from becoming one of their biggest sellers; in fact, it topped the charts for four weeks, at the height of the British Invasion. It's also of interest in that it has several covers that they didn't release as studio recordings in the '60s, including "Johnny B. Goode," Jan & Dean's "The Little Old Lady From Pasadena," the dorky "Long Tall Texan," "Monster Mash," the Four Freshmen's "Graduation Day," and the Rivingtons' goofy doo wop rave-up "Papa-Oom-Mow-Mow." Everyone other than major Beach Boys fans, however, should give it a miss. [Concert/Live in London, a Capitol two-fer CD, combines this and Live in London (1968 live material that has also, confusingly, been issued as Beach Boys '69) onto one disc, adding previously unreleased live versions of "Don't Worry Baby" (from 1964) and "Heroes and Villains" (from 1967).]
https://www.allmusic.com/album/beach-boys-concert-mw0000691308
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https://mega.nz/#F!RGwRDIyD!uN7K2R2b7YUETnspzp4Amg
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