The sad, crazy adventures of Brian Wilson and the Beach Boys

Wow, Gregg... thanks for the heads-up on the Dennis Wilson thing! I haven't watched it yet, but I perused it to make sure it meets my old-man specifications of what a documentary should be... no screeching guitars, no epileptic jump cuts... and it passed with flying colors! If you don't mind, I thought I'd post the link to part 1 here. Looking forward to watching it!


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I don't really have anything constructive to add to the conversation, but I think this is kinda funny:

 
bwahahaha.... better than riffage!
 
Hi...yeah. Hi. Excuse me. I don't mean to disturb you, but there's one thing that's been bothering me. I hope you don't mind.
Sir. I don't get it. And it's been on my mind. I said that. But it may not mean anything. Sir. If you can oblige me for a moment.

Brian. He's always been very nice. But you see. Everything he's been through...and yet...he has no closure. He's still very nice. You understand.
Doc Landy didn't open him up. Else, I think you know what I'm getting at.
Sir, you do see that possibility, right? If Brian had closure, why didn't he convert that repressed energy to something like...


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To be, or not to be, that is the question—
Whether 'tis Nobler in the mind to suffer The Slings and Arrows of outrageous Fortune,

Or to take Arms against a Sea of troubles, And by opposing, end them? To die, to sleep—No more; and by a sleep, to say we end The Heart-ache, and the thousand Natural shocks That Flesh is heir to? 'Tis a consummation Devoutly to be wished.

To die, to sleep, To sleep, perchance to Dream; Aye, there's the rub,
For in that sleep of death, what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause. There's the respect That makes Calamity of so long life:
For who would bear the Whips and Scorns of time,
The Oppressor's wrong, the proud man's Contumely,
The pangs of despised Love, the Law’s delay,
The insolence of Office, and the Spurns
That patient merit of the unworthy takes,
When he himself might his Quietus make
With a bare Bodkin? Who would these Fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscovered Country, from whose bourn No Traveller returns,
Puzzles the will,
And makes us rather bear those ills we have,
Than fly to others that we know not of.

Thus Conscience does make Cowards of us all,
And thus the Native hue of Resolution
Is sicklied o'er, with the pale cast of Thought,
And enterprises of great pitch and moment,
With this regard their Currents turn awry,
And lose the name of Action.



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that how that work
 
Well, that's how they do it.
 
Yeah, I don't get it. Brian would have "opened up" if he had written tedious Dead-esque horseshit? Or was he supposed to do a Hamlet rock opera? But I do like the idea of him collaborating with the Sex Pistols. That would have been fruitful.

EDIT: After rereading this, I realize that I've suffered another instance in which my fingers banged on the keyboard when they shouldn't have. All apologies if I sounded like an asshole, arne.
 
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It's okay Bill. I slept all day yesterday and didn't get a chance to read it.
No, in truth, it might have been not a Deadhead, but rather quite the treat.

Something like a "Tomorrowland" album as told from '59. In '59 we who live in California had the future. We were told that we would someday ride all over town on Monorails and live in a Monsanto House of plexiglass, and take Trips to the Moon. According to Uncle Walt anyhow. Witness Walt's "City of Tomorrow".
But then the real life issues intervene, and with no Tomorrowland in sight. Our lives are never better for it, no matter the effort, or the authority.

Of course, the song "Disney Girls" hints to the possibility that the concept was already considered, but jettisoned.
 
Nothing about being able to have our heads frozen and stored under Cinderella's castle? Walt saved all the good stuff for himself!
 
Nope. He was cremated and left his empire to Roy, or Roy Jr.
Else, he had himself reincarnated,
or remains as a malevolent specter in the possession of beste batzuk.
 
This is an interesting interview with Emitt Rhodes, best known for the songs, "Live" (as in "Live for Life") and "You're a Very Lovely Woman", and several solo efforts where he played all instruments. Often considered a McCartney mimic, but I bought.

The interview is interesting due to his comments regarding The Evil Empire and Eddie Shaw. Shaw was a Sinatra associate. It is also amazing and expected how similar Rhodes story is to my experiences, and I didn't even go through the club scene. But I took drum lessons.

The Hulabaloo was a club owned by local KRLA DJ Dave Hull. He was at KRLA in the mid 60's at the same time as Bob Eubanks and Casey Kasem, and Beatlemania.

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I've been reminiscing. There were about 15 employees at Creative Services plus several more at the Home Office of Warner/Reprise. And mind you, I know the story about the socialist taxation in England. But me, I'm thinking the lyrics, "There's one for you, Nineteen for me" could also be a reference to the overhead at the record company, where the biz is financially supported by only a handful of top acts at any given time, plus payouts to investors.

It is said that the lion's share of a band's money comes from touring.
 
i read a lovely but fair article the other day ranking the boys' top 30 albums from worst to best. i meant to share, forgot.

ummm

OKAY
beach-boys-friends.jpg


4. Friends ( 1968 )

If there’s a most underrated Beach Boys album, it’s gotta be Friends. It wasn’t popular like their early material, and it wasn’t a critical darling like Pet Sounds either. But it’s really just about as good. If Smile had come out and gained success and competed with Sgt. Pepper’s, maybe Friends would be talked about in the same breath as White Album. But the way things played out, you’ll hardly hear it mentioned in the same breath as The Notorious Byrd Brothers. It’s still up the stripped-down, lo-fi alley of Smiley Smile and Wild Honey, but it’s prettier and less quirky. Brian’s unique vision of pop music and the band’s unparalleled harmonies are as intact here as they are on Pet Sounds and Smile, and there’s truly no skippable track. The harmonies on “Anna Lee, The Healer†are some of the most gorgeous of the band’s career. They’re so full-sounding that you forget they’re only backed by piano, a bass, and the tiniest bit of hand drumming. Mike Love had just gotten back from a trip to India to study Transcendental Meditation with The Beatles and Donovan, so even he was on board with the ’60s counter-culture stuff this time. The closing track is actually named “Transcendental Meditation,†it’s one of the band’s most outwardly psychedelic songs ever, and Mike Love even helped write it. This is the first one where Dennis was a key songwriter too, and his contributions (“Little Bird†and “Be Stillâ€) are both up there with Brian’s. The one-two of opening tracks “Meant for You†into “Friends†is as good an album introduction as any, and this album’s genre experiments are successful too. “Busy Doin’ Nothin'†toys with bossa nova, while the instrumental “Diamond Head†incorporates Hawaiian music. It’s not an album with Brian in the conductor’s booth, but it’s definitely the one where they clicked most as a band.

full article:
http://www.brooklynvegan.com/beach-boys-albu/
 
seems that mike love just came out with a book. the first review i read was predictably and deliciously hilarious, basically finding mike to be a huge, clueless narcissist. one might even say, a shameless weasel on par with the greats. even the article header image is tremendous:



42145430.jpg



as i've probably said earlier in the thread-- it takes a lot for me to vilify a person, usually because i can relate / understand enough of the stuff that led to their assholiness. but mike love kind of just blows that possibility out of the water.

i mean, you'd think that having a cousin like brian who single-handedly formed bands and chorus groups starting in middle school sends a pretty clear message about who the founder and soul of the band is. brian's brothers weren't unimportant musically, but they pretty much were just... available... when the band was formed. any number of brian's other friends and understudies (like al jardine) would also have worked. the pool of talent was pretty large, as i say because brian personally formed that whole extended ensemble right in school, with the school's blessing, apparently.

and then you have mike. a guy who was basically getting in trouble at the time, whose foreseeable future was as a gas station attendant. however, brian's tyrant / dad murry basically ordered mike to be included as well, for whatever (probably wacky) reasons he might have had. easily the most fortunate moment of mike's life, and you'd think he'd have a lot of gratitude and humility looking back on all that.

but no.... no. when brian started evolving his compositions in the mid to late 60's, mike was evidently front and center giving brian grief about that and playing the passive-aggressive stick in the mud to the hilt. as the book in the OP made very clear-- mike wanted to stay with surf rock the rest of his career, and resented brian's evolution and (my personal speculation) competition with the beatles. thus, he became a driving force behind brian's disconnect with the group and even isolation and drug use.

this new book also seems to make clear that mike is just... not very good at awareness about all this stuff. of course, maybe some part of him realises what a selfish, ungrateful dickhead he was towards his cousin, and he just can't take that on at this stage of the game.

...

incidentally, i just learned that the song "kokomo" is not actually mike's. turns out it was written and performed by john phillips (of the mamas and papas) and finally released in 2010, on his posthumous album "many mamas, many papas." it's on youtube if you're curious.

unlike many BB fans, personally i love kokomo. it's a more emphatic and fetching version than phillips, for me. but now i feel that much better about liking it! :p
 
That oughta be the cover for the fucking book! We'll have fun, fun, fun in your nightmares, kids!

I am going to do my best to play Dipshit's Advocate here. Let's say you co-wrote a million-selling song. Just focus on those words for a minute: a million people bought copies of a song you co-wrote. And "I Get Around" wasn't a one-hit wonder! You and your cousin have written several hit songs, you've started to pack concert halls across the country. if you're going to work for a living (and there's no question that you've been working your ass off at this job), well, this is a pretty nice payday.

And then these four assholes from England show up and ruin the party.

All of a sudden, you're those morons in Great White watching your first Nirvana video. Your career may be going up in flames. And things are getting worse. That cousin you've been writing the songs with is getting squidgy around the edges. He just spent three months working on an album! That's supposed to take about two weeks. You get a couple weeks off while Capitol prints out the copies, then you hit the road and make some money. And then it turns out the sales for that album he wasted so much time on aren't even as good as the last album the band released! And that's because you know your fans don't buy albums. They buy three minutes of California fun and sun and there's nothing wrong with that or anything to be ashamed of and there's no reason you can't just keep trying to deliver on that. You want to add strings and a theremin? Great! "Good Vibrations" was a great single you co-wrote with him and was a big hit. But now he's stealing master tapes from the studio and burning them! And that ain't good news.

Like any true masterpiece, Pet Sounds was a disappointment at the time. Hell, it was a disappointment in 1979! That's the year I took precious time out from obeying the title of Endless Summer by playing it endlessly and gave Pet Sounds a spin. And then went right back to Endless Summer. It's not like I hated it or anything... I've always loved "Sloop John B". I probably listened to it a good 20 or 30 times over the next few years... but it wasn't written for either 14-year-olds or 1979.


And that's the best I can do. I am actually able to find at least that much empathy for the inaptly-named Mr. Love. I always thought suing poor fucking Al Jardine for touring under the name The Beach Boys and Family was a watermark for a man who's spent so much of his career answering Chubby Checker's age-old question "How looooow can you go?"


(Note: I had trouble reading the text, so bumped it up a size. --Ike)
 
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...personally i love kokomo. it's a more emphatic and fetching version than phillips, for me.
Should be, after the overhaul the Boys gave it, altering lyrics and scrapping the bridge altogether. No complaints, though.....the "Aruba, Bahamas..." section definitely put their stamp on it.

Want some more Beach Boys material? Kent Crowley (no relation to my maternal grandmother, as far as I know), the author of a book I (finally) read, 'Surf Beat: Rock 'N' Roll's Forgotten Revolution' was interviewed by Bob Andelman ('Mr. Media') regarding a new book, 'Long Promised Road: Carl Wilson, Soul of the Beach Boys - The Biography'
Carl Wilson gave The Beach Boys Their Soul, biographer says! INTERVIEW - YouTube

The Beach Boys, of course, were mentioned several times in the Surf Beat book, too. Here's Crowley's interview on Rock Book Show:
Rock Book Show Interview: Kent Crowley "Surf Beat: Rock'N Roll's Forgotten Revolution" - YouTube
 
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@bill,
great post and a fun post, and i'm inclined to agree.

doesn't really matter who you are or where you came from-- becoming the co-main singer and significant contributor to a world-famous group has gotta put a serious case of the egos on anyone, not to mention make whatever humility and gratitude you might have had at one point increasingly irrelevant.

and probably brian's choice to stop touring also took away a lot of the thrust behind my idea of 'it's brian's group and he can do whatever the hell he damn pleases with it'.

hindsight making me a genius, i wonder if perhaps the boys could have split up or rearranged themselves during the crisis. mike could have left to join jan and dean, or brian could have gone solo or retired for a time; whatever. i suppose the problem is-- the group still felt it needed brian badly, and brian, mike and the others still felt tremendous attachment to the group and its already legendary name.

btw brian's book just came out too, but i haven't seen reviews yet. i'll bet it's a lot more interesting than mike's, however.


@gregg,
cued up, thanks!
 
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