Posted: 03 Aug 2008 05:30 AM CDT
1969 appears to be the time of Brian's withdrawal from the group and from producing the group, leaving them to their own devices (and to Carl) to produce their own work and finish whatever Brian started. He was produced Ron Wilson in 68 and then the Honeys single, 69 other than Break Away and attempts to get him interested in writing with Rick Henn and with Murray! (Breakaway), there wasn't much activity from Brian. But I don't recall any talk of him wanting out of the group at this point, he was just acting like he didn't want to be in the group.
Peter Reum once posted something about Brian being hospitalized in '69 (or was it '68? '70 even?) under rather dramatic circumstances. If I remember correctly, he wrote something to the effect of Brian staring at the walls for days on end and becoming increasingly phlegmatic in general after being medicated in a certain way (I don't remember the exact name of the drug). If it really happened this way, I reckon Brian not working too much with the Boys around that time probably had a lot more to do with said episode than with him not being interested.
Posted: 03 Aug 2008 03:52 AM CDT
Posted: 03 Aug 2008 03:47 AM CDT
Come on, last time we were talking about How Can We Still Be Dancin'.
that is a very good point!
Posted: 03 Aug 2008 03:37 AM CDT
Problem I have with these sessions is that, with very few exceptions, they all sound like they were recorded on the same day, with the same instruments and the same board settings (excluding the Was fly-ins, of course). Some great stuff, but also some clunkers.
I noticed you've never really commented on these sessions until now, apart from calling them overrated in your book. I'm torn on it. Honestly, Brian's during that time period was pretty bad. But, man, I love GIOMH, and It's not Easy being green...er...Me. The opening part of the latter reminds of "All in the Family" for some reason, and I almost expect to hear Edith Bunker screeching. Yet, the lyrics are good, Brian sounds like he's singing from the heart, and it's my favorite song he's done solo. If those are his lyrics, good job Brian. If they're not, well...someone know's Brian well.
Posted: 03 Aug 2008 03:30 AM CDT
I too became a Beach Boys fan through Brian Wilson. I myself am bi-polar, and went through a very rough spell. My therapist asked me if I ever heard of Brian Wilson. I said no. They recommended me listening to Pet Sounds. At the time I thought of the Beach Boys as nothing but oldies sh*t artists. Yet I checked out a copy of Wouldn't it be Nice from the library, and that got me hooked. Yeah, even then I knew it was fake, but I felt something . So, I bought his first solo album for 99 cents (tape) from the bargain bin at Blockbuster Music. Holy sh*t, I loved it, esp. Rio Grande and Let it Shine. After that, I bought IJWMFTT, specifically for Caroline No, and I loved it, esp. the Still I Dream of it demo. Now, I finally had the courage to buy my first Beach Boys album. Pet Sounds, right?
Smiley Smile. Pet Sounds was the *second* BB album I ever bought. After that, a truly nice guy by the name of Fred Scerbo sent me tape copies of t BB 70s catalogue, plus Sweet Insanity. I'm not ashamed to admit it, but I loved it. "Someone to Love" to me had killer vocals. You know what I else I love? The Christmas album, esp. Brian's two originals.
Point is, I may not be the biggest Melinda fan in the world. I have my "misgivings" about the goings-on. But....I must admit I dig his solo music, and I'm not afraid to admit it. I hope he keeps going.
Posted: 03 Aug 2008 03:11 AM CDT
Posted: 03 Aug 2008 03:08 AM CDT
Posted: 03 Aug 2008 03:03 AM CDT
Posted: 03 Aug 2008 03:02 AM CDT
Posted: 03 Aug 2008 03:02 AM CDT
World of Peace Must Come
Stephen John Kalinich
A World Of Peace Must Come was recorded at Brian's house in Bel-Air in 1969. The tapes were promptly lost, not to be heard again until now. For the first time this truly timeless snapshot of an era and an ethos will be available nationally, and we can only hope that his prophecy is fulfilled.
Posted: 03 Aug 2008 02:53 AM CDT
The H&V stuff, is of course very ironic...obviously. And it's Villianuous episodes, especially the instrumental "segment" that appeared on the GV Box---that is the most panicked, and freight-filled musical creation I've ever heard. Man is that deeply spooky.
Are you talking about H&V Intro? Does anyone have any thoughts about how this would fit with the rest of the song? I presume it would just go before the "I've been in this town .." start but it never really sounds right if you butt it up before the beginning of H&V. The only thing that does suggest these two 'songs' (one's an instrumental I know) belong together is the presence of whistles every now and then during H&V.
I suppose the other possibility was that it was the intro to H&V pt. 2?
Any thoughts on how the 'intro' would have segued into the main song then? Most people assume a finished Smile in 67 would have started with Our Prayer, followed by H&V, but if the freaky intro was added, Our Prayer into Heroes just doesn't work at all.
Edit: maybe the scary intro would have preceded H&V AND replaced Our Prayer as the intro to the album. Can you imagine how ironic a start to an album titled 'Smile' that scary intro would have been?! It actually seems more appropriate a kick off to Smile than Our Prayer in this context, imo - the sort of mischeivous joke that BW would have played at the time. I've always found the solemn Our Prayer followed by the comedic H&V a bit of an awkward transition personally.
Posted: 03 Aug 2008 02:45 AM CDT
Posted: 03 Aug 2008 02:36 AM CDT
Paley Sessions for me are mostly great arranged & recorded backing tracks with poor lead vocals. Remix the tracks, add new vocals by Brian and voilà, a good solo album - not Pet Sounds - but certainly interesting.
Here's another fan of "I'm Broke", sometimes I'm in the mood for this kind of punky outbreak, "Rolling Up To Heaven" for example also fulfills that need. It's that "Ding Dang" feeling.
Desert Drive ***** (released, but release it again with Paley track!)
What Rock'n'Roll Can Do ****
Chain Reaction of Love ****
In My Moondreams **** (released)
It's Not Easy Being Me ****
Getting In Over My Head **** (released, briawpt!)
You're Still A Mystery ****
Soul Searchin' *** (released)
God Did It ****
Some Sweet Day ****
I'm Broke ****
Must Be A Miracle ****
Elbow '63 ***
Goin' Home *** (no, not on TLOS)
Proud Mary *****
Slightly American Music *** (surprised so many fans don't like that one)
Dancing The Night Away **** (hello Carl)
This Song Wants To Sleep With You Tonight *** (released)
Market Place **
My Mary Anne ***
This Could Be The Night *** (nice cover, released, also performed live during 1st solo tour)
Boogie's Back in Town *** (Ok, not Paley, performed live in '83, but fits in here)
Posted: 03 Aug 2008 02:13 AM CDT
"While it would be wrong to claim that any music here boasts the exquisite beauty of Surf's Up or Til I Die, That Lucky Old Sun is easily Brian's most consistently enjoyable, moving solo album; indeed, you have to go back to Surf's Up itself to hear a Beach Boys long-player as good." (Mat Snow)
Too bad this guy missed Pacific Ocean Blue.
... And Holland, and Love You for that matter. In fact, although I like parts of TLOS and think MAD is a great BW song I have to say I find it a stretch to say that it's even better than Carl & the Passions in terms of songwriting. I wonder sometimes if, overwhelmed by a sense of relief that BW is still making competent records, some critics' impartiality goes out the window - I mean, really, surely C & the P is a better listen isn't it?!! Love You is for sure! Of course, to be fair I haven't heard the finished album but going on quality of songwriting, I even prefer BW88 at the moment.
Posted: 03 Aug 2008 01:49 AM CDT
I've always been partial to the Imagination promo art -- pretty disturbing, actually.Am I the only person here looking at the drawing of the person, and seeing a "bullet hole"(for lack of a better term) in the head?
Posted: 03 Aug 2008 01:24 AM CDT
What are these guys even talking about at the end of the show? Are british radio hosts always that hectic?
Though I probably even agree with AGD to a certain degree about the rather dynamic sound of the demo version, MAD still strikes me as a very powerful and touching song, no matter which version. Come on, last time we were talking about How Can We Still Be Dancin'.
Posted: 03 Aug 2008 01:23 AM CDT
I also think it's a stretch to assume that a film crew would have been pleased to catch negative stuff and embarrass the band on 1966 television, unless it was the future crew of Inside Edition or something. It wasn't what they came for- they were making a documentary on the changing music scene, so who knows?
Good point, but then I would have expected to see in the reel notes something to indicate that "this is not to be used", or "argument - NG".
Posted: 03 Aug 2008 01:18 AM CDT
2. Is it just me or was anyone else hoping for some Pet Sounds/Hal Blaine drums in the final mix?
Err... that IS the final mix.
Posted: 03 Aug 2008 01:16 AM CDT
Posted: 03 Aug 2008 01:15 AM CDT
Posted: 02 Aug 2008 10:54 PM CDT
I like the cover. The text is simple, yes, but it kind of has that carnival look to it, kid like text since Brian's kind of immature anyways. I like that the cover doesn't try to necessarily mimic the music or try to be overly important, it looks lighthearted which is how I take the album anyways. The spoken word parts are very whimsical and stuff like "Good kind of love" and "Oxygen" are really optimistic and happy songs. Even "going home" and "Southern California" are optimistic. Brian gets a little preachy sometimes and I'm happy that this album isn't overloaded with that.
Posted: 02 Aug 2008 10:49 PM CDT
I remember another one from the 90s where Brian actually called Carl an furo do burro. Never thought anyone would stoop THAT low.What if Carl was being an furo do burro and deserved it? I know we're supposed to stick to the stereotypes, and therefore Carl was angelic in voice and demeanor, but hey, everyone has bad days. Sometimes--and you won't believe this--even I can be an furo do burro.
I always find it interesting that people who see little but good in Brian are scathingly called "Brianistas," but people who call Carl an angel are just stating the truth.
Although I will say that it's not very gracious to call people names in public either way.
Yeah, but they ARE brothers. My opinion of it is two brothers can fight as loudly viciously and publicly as they want because in the end everybody knows that they still love each other. If my brother called me an furo do burro I wouldn't think twice about it and certainly wouldn't think he had made some low blow or whatever. Again, we've got to remember that Brian literally is mentally ill. You can't take everything he says in a rational logical way, because he's not always a rational or logical guy, which pretty much defines mental illness in the first place.
Posted: 02 Aug 2008 10:43 PM CDT
Melinda is getting too much credit here. I don't like her on any level and I am sorry to say that. I really wish I could say different.
I honestly don't have any problems at all with Melinda. She certainly has her faults as we all do, but we don't know the first thing about her private life with Brian, it's incredibly presumptious to pretend that we do.
Posted: 02 Aug 2008 10:41 PM CDT
Why does Marilyn still keep the Wilson last name?
I'm sure she's proud of her relationship with the "Wilsons", plus her daughers both are Wilsons. I think once some women have children they're more reluctant to go back to their maiden names or a new married name if their children have their other last name... so still calling herself Wilson kind of ties her to her children.
From what I've seen this is a very lovely woman, the Wilson family is lucky to have her!
Posted: 02 Aug 2008 10:35 PM CDT
Posted: 02 Aug 2008 10:15 PM CDT
Posted: 02 Aug 2008 09:58 PM CDT
The only BW-produced version of "TTL" is an acetate by Jasper Dailey, recorded at Western, 1/25/67. To say Jasper couldn't carry a tune in a bucket would be somewhat understating the sheer awfulness of this vocal. Makes Jack Rieley sound like Carl in comparison.
Is this circulating?
Posted: 02 Aug 2008 09:01 PM CDT
Really? I was under the impression that the Beach Boys/Jasper Dailey version was most certainly a cover of the Marcels' "Teeter Totter Love"... (Incidentally, the Marcels' seems to be the ONLY version out there... sorry I couldn't substitute something a little more Beach Boys-ish!) I mean, what are the chances of two songs having the same unlikely title??
I'm just sorry I couldn't offer a replacement for "Remember The Zoo", the nonexistent title track... I hate to say that I don't have the talent to fake a Beach Boys song resembling "Tomorrow Never Knows" with animal noises!
Posted: 02 Aug 2008 05:50 PM CDT
Posted: 02 Aug 2008 04:00 PM CDT
|You are subscribed to email updates from Beach Boys Network |
To stop receiving these emails, you may unsubscribe now.
|Email Delivery powered by FeedBurner|
|Inbox too full? Subscribe to the feed version of Beach Boys Network in a feed reader.|
|If you prefer to unsubscribe via postal mail, write to: Beach Boys Network, c/o FeedBurner, 20 W Kinzie, 9th Floor, Chicago IL USA 60610|