Mike Like

I don't love Mike Love. But I also don't hate him. Even though "there are a lot of fallacies about [him]," as said by Mike himself, there are certain contributions by him that can't go unnoticed.

Mike definitely had a nice, respectable beard during 1966-1972ish. Even though it's not a musical contribution it kicks ass. 

You also have to admit it's fun to hear Mike joke around using his stand up skills on the Beach Boys Concert live album. His monologue at the beginning of Graduation Day is great. When he's talking about hair school and summer school I even laughed. 

But even bigger than his looks or humor, his musical contributions did indeed help the Beach Boys, even though most won't want to admit it! Being primarily a lyricist he added a cool vibe to Brian's deeply complex melodies. Whether or not Mike was cool among his peers like he makes himself out to be he wrote pretty cool lyrics. His lyrics on "I Get Around" makes me not want to fuck around with those guys. While that's his coolest lyric his writing grew and he wrote some really great introspective lyrics before Brian continued in that direction. Look at "The Warmth of the Sun" and side two of The Beach Boys Today.

to be continued

Big Sur

It's amazing that Mike Love has written one of my top five favorites.

My Interview With Adam Marsland

With his Chaos Band, Adam Marsland recorded an album playing tribute to the songs of Dennis and Carl Wilson. This interview revisits his time with this material.

Would a Chaos Band tour be possible playing Dennis and Carl songs?

Adam Marsland: We did do such a tour in 2006. It did alright, but it was expensive to put on. We wouldn't rule out doing it again if the interest was really there, but again, it's a very expensive show to take out on the road.

I think it would be funny to do a version of this concept only playing the songs of Mike Love and Al Jardine. What do you think?

AM: We actually almost approached Al to do it. I can't remember why we dropped the idea.

How does it feel to have the official release of "Wouldn't it Be Nice (To Live Again") since your band covered it years before it's release?

AM: I'm glad people will stop bugging me to make a copy for them! We knew that it would be Alan Boyd's head if it ever got out. So our official line was that we didn't have a copy, that we'd returned them all when we were done.

How did you come into contact with Evie Sands?

AM: We met through mutual friends and hanging around the same places and through another friend, wound up going out to dinner one very late night and got along like a house on fire. So I started looking around for things that we could do together musically and it took off. I didn't know who she was at the time. I had to google her later.

Can you describe how it was to experience hearing WIBNTLA and others when most of the world hadn't heard it?

AM:  My reaction was, "Now the Surf's Up album makes sense." I was knocked out by the song but it also, I realized, represented a gap in what that album was supposed to be, and why it doesn't quite achieve the heights of the albums that preceded it.

In 50 Sides of the Beach Boys, you describe the way Carl plays major seven chords. I play them like this occasionally and they sound great. Any other chord shapes unique to Carl or Dennis?

AM: Dennis was a fairly orthodox keyboard player, actually. Of the three brothers, he had the most "normal" playing style. He had more of an arpeggiated thing whereas Brian and Carl both tended to play "rhythm", playing thick chords on the quarter or eighth notes, which intrigued me when I first heard it. It was an interesting and, dare I say it, very "humble" kind of playing style.

But it's true that Carl's keyboard playing style was, from what I can tell, kind of odd. He was apparently left handed which might account for some of it. I've seen some video where he's playing the root note on his left hand, and he just hit it with his whole hand like a karate chop. And I'm like, "whoa! Where did that come from?" Or maybe he was just hung over that day.

Thanks Adam.


























 

My Interview With Ron Altbach

I've had the special opportunity to interview Ron Altbach, whose contributions to the Beach Boys include being a live tour member and also producing the MIU Album. He also had a hit, "Dancing in the Moonlight" with his band King Harvest. This interview reflects on his King Harvest days and his limited days with the Beach Boys.

With your band King Harvest, you had the one hit single "Dancing in the Moonlight." I feel like the rest of your material is very underrated. Other songs like "You and I" brings to mind the Zombies and "Motor Job" sounds like Traffic and Steely Dan. What was the band originally going for?

Ron Altbach: We never went for any copy sound. We, meaning Eddie Tuleja (guitar), Wells Kelly (drums) and I were all musicans who played in bands in Ithaca, NY, where R&B was the real basic force. So, when you listen to "Motor Job," you get the feel. "You and I" was an exception because were asked by a small record company to record the song (actually I wrote the words, lame as they are) to a tune written by the famous composer Ennio Morricone. Eddie and I loved the band, so you can hear some of that in our sound, but generally it's R&B mixed with rock. 

This is a question I have always been curious about. Do you blame the Beach Boys for the ending of King Harvest? 

RA: No. In the summer of 1974, King Harvest had pretty much run its course for a while. We were playing bars and small clubs in the Buffalo area, actually the area where we were living, Olcott, NY. I was playing drums, with Eddie on guitar, Doc on bass and Rod on this weird electronic sax gizmo he found. But we were a kick ass bar band. It just didn't seem to be going much further. So i left to become a professor at Maharishi International Institute in Iowa. Eddie and Doc stayed in Olcott for a while and Rod had already gone to New York to work in management for Jerry Percell. I had met Mike Love in the Spring of 1973 in New York. Then in 1974 I sailed over to Toronto to see the Beach Boys when they played at the CNE. There was talk of me joining the band, but when I met Carl it seemed he really didn't hear anything from those guys for several months, until some time in October. I had just arrived in Switzerland to spend some time with Maharishi and then to go to Nepal with him to teach TM. But the day I arrived in Switzerland I received a call from Rick Nelson, the Beach Boys' road manager and was asked to come on the next tour.

Was playing live with the Beach Boys similar to playing live with King Harvest?

RA:  Not at all. King Harvest was a great band in that we knew each other so well that we would play down the same path at the same time. Think of how the Dead was in concert. I believe all bands get there, but King Harvest was definitely a great performing band, and we enjoyed playing with one another all the time. The Beach Boys, for me, was more like joining an orchestra. Great songs, great energy, fine musicians, but there were distinct parts and the music was all about the vocals, not about improvisation. Carly Munoz, for example, was a killer, killer B-3 player, Guercio was playing bass, Ed Carter on guitar. These guys were fine musicians. I just never quite felt at home playing the Beach Boys music. Although, we did play some of my songs on stage ("Country Pie," which Eddie Tuleja and I wrote, and later, "Lady Lynda," which Al Jardine and I wrote). It was fun. 

The album you co-produced (M.I.U. Album) is an album that is hardly talked about in Beach Boys discussions. Being that you put hard work in it, how did you feel about the album at the time and now?

RA: I think the Beach Boys fans in general worshiped anything that Carl, Dennis or Brian did and really disliked Mike and anything he did. The MIU Album was conceived by Mike, in that the band needed to deliver an album to Warners and Mike wanted to do the album in a drug free atmosphere, so we built a studio at MIU in Fairfield, Iowa and built some living quarters where we all stayed while we did the album. I know it's not a particularly inventive album like other Beach Boys' albums had been. It's a collection of songs, some of which were written there at the time. We did it relatively quickly and there's nothing interesting about the sound of the recording. But, the songs are good and I stand by them. "Pitter Patter" is a good song, for example. 

One of the best songs on the album is "She's Got Rhythm," which you co-wrote. I read on YouTube a comment you wrote about the creation of the song. Can you elaborate on this one?

RA:  I was sitting at the piano playing a shuffle I had written as part of the score for the film Endless Summer and Brian just started wailing away with the melody. It happened quickly. First time in the studio for me with Brian, so it was a thrill, although he wasn't in good shape then so it was a bit sad. 

I feel that the M.I.U. Album's inclusion of cover songs lessened the albums potential. The cover songs are great in their own right but the original tracks shed light on a very interesting era of the Beach Boys. Why were these chosen to be on the album?

RA: Al's Idea. He had recorded those songs already at a studio. We didn't do them at MIU.

How do you feel about "Winds of Change?" It's beautiful...

RA: I wrote that melody in Paris and Eddie Tuleja wrote the words. I love the song. Actually, the Track on MIU was done a year earlier at Brother Studio in Santa Monica. Al, Mike, Charles Lloyd and I were planning a band called Waves (later called Celebration) so that Mike and Al could have some creative output about direction. We were planning to use the King Harvest guys in the band. At the session where we recorded "Winds of Change." we also recorded the original version of "Lady Lynda." Bobby Figueroa played drums, Eddie Carter on bass and Eddie Tuleja on guitar. I happen to like the rawness of that Lady Lynda version but it's certainly more Beach Boys like in the final that Al did, although I am pretty sure he used my track and added to it with the harpsichord, etc. On "Winds of Change," Charles Lloyd played flute and Maureen Love played harp. That's it, just piano and vocals. When we used it for MIU, Brian added some vocals.

Why and how did your studio role diminish after this record? 

RA:  The Beach Boys were asked to do a soundtrack for Almost Summer, but there was no harmony at that point, so Mike suggested that we in our new company Lovesongs, do it. Mike and Brian wrote the title song and I produced all of the stuff. Charles Lloyd and I did the musical track for the film. That was the departure for me. We did a lot of recording for Lovesongs, including a very good solo album with Mike on which he did a terrific song called "First Love," among other songs he had written. We also did a Celebration album with a bunch of tunes EddieTuleja and I had written - "Country Pie," "Go and Get That Girl" and "Lovestruck." I was having the time of my life. 

Why did you not perform on Dennis' Pacific Ocean Blue while Ed Tuleja and Ron Novak did? I think your keyboards would have went great with his music.

RA: Dennis was very close with Carly, who is/was a great keyboard artist. He didn't need me. 


Do you still contact Mike Love/Al Jardine, etc.?

RA:  Mike and I stay in touch regularly. I saw Al last year at the 50th Tour and it was old times for us.

Finally, in a video of you explaining the Beach Boys and King Harvest in the late 70's, you had an awesome mustache and an awesome overall 70's look. How did you look so cool and how did you take care of that amazing 'stache?

RA: Never cut it. Then, one day, I just shaved it off. Now I am an old bald guy. But take a look online under King Harvest. We did a reunion show last year and an interview. It was great fun. 

Here is the video from the 70's. http://www.youtube.com/watch?v=-SVB-EvYtNw

Thanks Ron.

Rare American Spring

I can't get enough Spring lately. Here is a really cool and rare compilation that you hopefully don't have. It includes songs not included on their lone album including a cover of "Sweet Sunday Kind of Love" which is better in my opinion. Also included is "Do Ya," which was covered by Jad Fair for the Caroline Now compilation.

1. She's Just Out To Get You
2. Romeo and Juliet
3. It's Like Heaven
4. Don't Be Cruel
5. Do Ya
6. Slip On Through
7. Sweet Sunday Kind of Love
8. Snowflakes
9. Had to Phone Ya

*Snowflakes is the best!

Here ya go

Where is She is Revealed

This unreleased/unheard Brian Wilson track from the Sunflower era can now finally be heard before it's released on Made in California. Although from the Sunflower era his vocals sounds very much like his singing from Wild Honey/Friends. You can download and listen here!

Where is She

American Spring Interviews

While stumbling through American Spring videos, I came across these two audio interviews with Brian and Diane Rovell. These are from 1972 and give candid insight into some of the making of the record. These are fascinating to listen to because you can hear how Brian acted and talked during his "bedroom" days.

My Interview With Jon Stebbins

Jon Stebbins is the highly acclaimed author of Dennis Wilson: The Real Beach Boy, The Lost Beach Boy, The Beach Boys FAQ and recently The Beach Boys in Concert. His books provide great detail, analysis and research and proves that he is one of the world's most renowned Beach Boys historian, if not the best. Since being released in 2000, Jon's first book about the life and career of Dennis Wilson has achieved a rare status and the online selling of the book has seen prices from 150-300 dollars. With the plans to reissue the book by the end of the year, this interview with Jon revisits his time with the book and he gives a little more input to the life of the real Beach Boy.

What is the general feeling you have about your first book being on Dennis Wilson?

Jon Stebbins: I feel really good about it. I think it’s something to be proud of, having written the first biography on one of rock history’s most interesting figures. I kept wondering how someone so popular and with such a sensational back story could have gone that long without an in-depth book being devoted to him. Of course there was a book called Denny Remembered that was more of a memorial tribute kind of thing. But there was no real biography until the Real Beach Boy book. I was very honored to get the opportunity to write about Dennis.

How long did this book take to write? 

JS: I started in mid-1997, and had it finished in mid-1999…so about two years.

If you look online, you can find this book goes for a lot of money. How do you feel about that and are there ever any plans to reissue it? 

JS: Yeah they can really go for big bucks, it’s a supply vs. demand situation. I have a revised and expanded edition on the way, and I’m hoping its out by the end of the year.

What do you think is the most significant song, musically, that was ever done by Dennis with the band and by Dennis solo?

JS: It’s very tough to pick one or two. I think "River Song" is his real masterpiece and it’s a hybrid of group/solo. I’d probably pick "Slip On Through" as his best group track and "Thoughts of You" as his best solo track, but both would follow "River Song" on my list of best Dennis songs.

How did you get connections to the band?

JS: I was a Beach Boys fan from my earliest days of listening to records. My older sister brought home the Surfin' USA LP when I was five or six, and from there I was hooked. I saw them in concert in the ‘70’s with Brian. I met Dennis Wilson in 1978, while living in LA. I had a band and was sort of on the fringes of the music scene. I also worked for a record company during that time. I met Brian Wilson in 1979, and Mike Love and Bruce Johnston too that same year. I’ve met them all and have been very lucky to talk to Brian quite a few times. I’ve interviewed Mike Love and Al Jardine and of course I’m very good friends with David Marks because we wrote his book, The Lost Beach Boy, together.

Is Dennis the coolest rock star of all time? 

JS: He’s definitely high on the list. He was charismatic, but in a more visceral or natural way than most show business types. It’s as if his charisma was some kind of animal magnetism that he couldn’t control, or turn on and off. It just was integral to his being. And that translated into his drumming style, his singing style and in his creativity as a composer and arranger. You can see that he had some kind of intense magnetic spark in photos and footage. His presence in the film Two Lane Blacktop is a good example of how he didn’t have to try very hard to stand out. He just had that essence of cool, like Elvis, James Dean, Steve McQueen, but Dennis also had a kind of awkward and shy side too. That was about his nagging lack of self-esteem. The mix of swagger and shyness made him unique.

When writing a biography like you did, did you ever get overwhelmed with all the information you found and did you write the book in chronological order?

JS: I’m still overwhelmed. I could write for years and years and never run out of interesting material regarding Dennis. He experienced so much and he affected so many people. His story is a deep deep vein. 

I always found the connections to artists that the Beach Boys had to be very fascinating. Are there any stories about Dennis and Fleetwood Mac you have that wasn't in the book? 

JS: There are too many stories to list. His time with Christine and Fleetwood Mac was a crazy off the rails period. He and Christine did some recording together in a couple of different studios. Those tapes haven’t been heard by anyone I know but I know they exist and they really intrigue me because of the creative potential of that combination. I hope we get to hear them someday.

Oh, I wish we can hear those one day too! 

 Thanks for the interview Jon.

My Interview With David Beard

David Beard is the editor and publisher of Endless Summer Quarterly [ ESQ] the world’s leading Beach Boys fanzine.  He has published ESQ for 14 years and has been involved with the publication since August 1993.  He has served as a consultant and image archivist for various projects, including 2006’s “The Beach Boys – Songs From Here & Back,” 2002’s documentary “Jan & Dean: The Other Beach Boys” on A&E’s Biography channel and 1998’s VH1 special “Jan & Dean: Behind The Music.”  His liner notes experience includes 2008’s “Dennis Wilson: Pacific Ocean Blue – Legacy Edition,” and 2008’s “Jan & Dean – The Complete Liberty Singles” collection.  Chances are if you are reading this blog then you are already a Beach Boys fan. And if you have found this blog, chances are you are an obsessive fan who knows all about ESQ.  At least, you should.  If not let me explain.  Endless Summer Quarterly is a magazine that focuses strictly on The Beach Boys and other related artists.  His devotion to the group is evident as he has reached 100 issues now over the last 20 years.  This interview explains his passion for writing about The Beach Boys, and the opportunities the experience has presented him. 

When you started out your publication, Endless Summer Quarterly, did you do it by yourself at first?

David Beard:  Endless Summer Quarterly [ESQ] actually began in 1987 under the direction of editors emeritus Phil Mast and Rick Edgil, who both live out in the San Diego, CA area.  Editor emeritus Lee Dempsey was a writer for the publication when I initially met him in 1991 at a record convention.  He told me about ESQ, so I subscribed for one year and then opted out of receiving it, because I felt it didn't really offer much insight into the history of The Beach Boys.  

Back then, mostly because of computer capabilities, it was a photo-copied product.  Rick & Phil — from my understanding — got burnt out on producing the mag in 1993 and approached Lee about carrying the torch.  Lee asked me if I'd like to contribute, because he felt he couldn't do it on his own.  I immediately said yes.  The first edition we produced was the Fall 1993 edition focusing on the 1993 box set, which we were still devouring.  My very first interview (for that issue) was with Dean Torrence.  I remember being extremely nervous…and Dean was as cool as the day is long.  Eliott Kendall set that up.  

Fortunately for us, a couple of months later we saw The Beach Boys begin their rare 1993 acoustic tour in Charlotte, NC.  That night I saw perhaps the most memorable show of my life.  Carl Wilson singing "Wonderful"… The group performing "Vegetables" and "Take A Load Off Your Feet," etc. It was all great, and I was particularly impressed with the emergence of Matt Jardine.  Matt was nailing every note, and he knocked "Hushabye" out of the park.  The show inspired me.  I felt, if The Beach Boys could do that show, then I could give my time and energy to them.  It was at that time that Lee and I decided ESQ needed a facelift.  It should focus on the historical relevance of the music and the impact that it had on our society.  That impact is immeasurable, which is why — 50 years later — we're still talking about them.

When Carl passed away in February of 1998 I became even more adamant about providing a service to the fans to fill the emotional gap that the loss left behind.  I hope I did that.  It was not an easy task, because the group all went their separate ways…then the court battles ensued.  Regardless, I forged ahead believing that the music was far more important than any individual member having a falling out with one another.  Lee was less enthusiastic and resigned from his role of editor in 1999, but sill maintains a connection with ESQ as the business manager.   

It wasn't until 2012's reunion show in Irvine, CA on Sunday, June 3 (with California Saga opening the show, and Dean Torrence going on stage for the encore) that I was reassured that ESQ does provide a service to the fans that no message board could possibly provide…ever.  While it is true that I don't "truly" know them intimately, I can say I know all of the families, camps, etc., and I love them all.  They know it…It isn't false.  I'm actually that thankful for the music.  Many fans spend unnecessary energy with unending jabs at the group or Mike Love, etc.  The message boards are constantly full of "glasses empty" comments.  To me, if you genuinely love the music, that's what the conversation should be about.  That seems like a no brainer.  It is because of my "no hidden agenda" approach to publishing ESQ that I get really quality interviews with all the guys… Answers that you won't get anywhere else.  That is true.  They are all very comfortable with me, and vise versa.  When we interview, it often feels like two buddies hanging out chatting about the past.  I'm grateful for that.  I think that trust is what made it possible for me to produce the complimentary ESQ CD "Boys Of Summer" in 2010.  It is the ONLY compilation of its kind.  Anywhere.   

With this summer's issue being the 100th, what issue do you believe is the best for new readers to backorder?

David:  There are several.  

WINTER 2011 - Collectible SMiLE cover & edition


ESQ's all SMiLE edition features new SMiLE q&a's with Brian Wilson & Mike Love; artist Frank Holmes taking us on a tour of the different meanings behind the artwork for his three renderings for the song "Cabin Essence" (Holmes also created a collectible cover for this special edition); Peter Reum offers an examination of Brian's exploration in life during the SMiLE era.; Andrew G. Doe writes about the humor of SMiLE; Bill Tobelman studies the potential meanings behind the SMiLE music; more

WINTER 2010 - Endless Summer Quarterly, Featuring: THE BEACH BOYS - SUNFLOWER

The Winter 2010/2011 edition of Endless Summer Quarterly [ESQ] features:

A 48-page celebration of The Beach Boys finest group album with new articles by David M. Beard, Peter Reum, Andrew G. Doe and Fred Vail; previously unreleased images; more

SUMMER 2010 - Endless Summer Quarterly, featuring:
The new CD compilaton and "The Beach Boys TV & Film Appearances PT.2" - (Read the press release)

The Summer 2010 edition of Endless Summer Quarterly [ESQ] includes: Ian Rusten's second installment of his well-researched Beach Boys TV & Film appearances from 1977-1998; accompanying the issue is a new compilation titled An ESQ Offering From The Boys Of Summer that brings together Brian Wilson, Mike Love, Al Jardine, David Marks, Dean Torrence, Carl Wilson, Dennis Wilson and Jan Berry in one exciting and moving collection; Brian Wilson album news; more...

An ESQ Offering From The Boys Of Summer CD (NOT FOR SALE) ESQBBCD2010

Tracklisting:

• Brian Wilson: The Spirit of Rock & Roll

• Mike Love: Cool Head, Warm Heart

• Beckley-Lamm-Wilson (featuring Carl Wilson): Run Don't Walk

• David Marks: Big Wave

• Jan & Dean: Ocean Park Angel

• Al Jardine (w/Brian Wilson): Honkin' Down The Highway

• Al Jardine (w/Brian Wilson & David Marks): Drivin'

• Dean Torrence: Sunny Afternoon

• Carl Wilson and Brian Wilson: Soul Searchin'

• David Marks (w/Al Jardine): I Sail Away

• Dennis Wilson: Mexico

• Mike Love: Love Like In Fairytales

• David Marks: The Circle Continues

• Beckley-Lamm-Wilson (featuring Carl Wilson): Like A Brother

SMiLE 2004/SMiLE 1967/Grammy© 2005 Three pack limited time offer: SPECIAL OFFER
The Fall 2004 edition featuring exclusive interviews with: Brian Wilson, Van Dyke Parks (PT. 1), David Leaf, Mark Linett, and Mark London. The exclusive, limited-edition collector’s CD of “On a Holiday” and the instrumental version of “Roll Plymouth Rock.”
The SMiLE 1967 edition features exclusive Frank Holmes artwork, Van Dyke Parks (PT. 2) and a historic study of the SMiLE subject matter.

The Spring 2005 edition celebrates Brian Wilson’s Grammy® win for “Mrs. O’Leary’s Cow” in the “Best Rock Instrumental” category. Exclusive interviews with Brian Wilson and David Leaf; images exclusive to ESQ from the Grammys; much more! The exclusive, limited-edition collector’s CD of “Mrs. O’Leary’s Cow.”

SUMMER 2008 - Endless Summer Quarterly Special Edition, Dennis Wilson tribute CD:

The Summer 2008 edition of Endless Summer Quarterly [ESQ] is the exclusive companion piece to the 'PACIFIC OCEAN BLUE: LEGACY EDITION' featuring unabridged interviews with Jim Guercio, John Hanlon, Gregg Jakobson, Dean O. Torrence, Billy Hinsche, Bobby Figueroa and Carli Munoz in their entirety (used in the liner note essay for the release co-written by Jon Stebbins and David Beard). Additional interviews and testimonials from Trisha Campo, Wayne Tweed, Ricci Martin, Daryl Dragon, Fred Vail, Stephen Kalinich and David Marks are included. The special issue includes an introduction from author Jon Stebbins and closing by Ed Roach.     

Winter 2006 - Carl Wilson Special Edition & Tribute CD: "Under God":

The Winter 2006 edition of Endless Summer Quarterly [ESQ] celebrates the late Carl Wilson’s 60th birthday with the collectible ESQ tribute CD titled “Under God.” The title is inspired by Carl's son Justyn Wilson, who penned the track with his father in mind. Featured artists on the CD include: Brian Wilson, David Marks, Matthew Jardine, Robert Lamm, Gerry Beckley, Desi Arnaz, Jr. & Billy Hinsche, Alan Boyd, and the late Carl Wilson. 

How did you get to have connections to the Beach Boys?

David: Initially through Lee…we were able to get backstage passes, etc.  I did my due diligence to make the most of those situations, by getting to know them as people over the last 20 years.  The truth is, they don't need anymore friends.  When you're a celebrity of their caliber the last thing they need is someone ALWAYS wanting something from them.  As a fan I have had multiple opportunities for autographs, pictures and signatures, etc.  I do not take those opportunities for granted; I appreciate each and every one of them.  My connection to them is the music, so if they make time to do an interview with me I do everything I can to make it worth their while by producing a quality publication about them.  A lot of times I am able to get those interviews into Goldmine Magazine.  I've been writing for Goldmine for about six years now.  

Most embarrassing Beach Boys moment that you have been a part of, if you have been?

David: Oh yeah… But I cannot possibly write about it publicly.  There is one that should never be repeated, another that's actually pretty funny and one that makes me laugh out loud every time I think of it…like right now (while typing this). I will go on record and say that they all have great senses of humor.  I mean, they have to in order to survive one another after all these years.  There are two nice memories from the group's show in Atlanta, GA on April 28th. I tripped over Brian (sitting down) and the group laughed at me. That was like being in a Lucy skit, and quite funny. After that same show I told Al how great it was to watch them perform "All This Is That."  He asked me why. I explained that — for my money — it is as good as The Beatles' "Across The Universe," and that it was a beautiful reminder of the spiritual connection that I have with the music. He was visibly moved, and rushed off to tell Mike. 

What is the biggest misconception about ESQ?  

David: The one perception that amuses me the most is that I write positive reviews of releases because I am beholden to the group.  I write reviews the way I do because it's what I actually believe.  Take for example 1992's "Summer In Paradise" CD.  As a Beach Boys album it doesn't do much for me, but as Mike Love solo project with the "Beach Boys" name utilizing Carl, Al and Bruce on vocals…and Terry Melcher as his main collaborator.  It's kind of the same thing Brian did on "Pet Sounds" and "Smile"; use an outside collaborator and have The Beach Boys vocally emulate the music.  That's the template.  For "Summer In Paradise" Mike uses the same template.  So, for me, "Summer In Paradise" is a very good Mike Love album release.  When viewing it that way, it's pretty good.  Do I think about how the guys will feel if I write something that isn't the popular opinion?  Sure, but that doesn't keep me from writing what the feeling the music gives me.  That is what reviews are for me, a reflection of the music…not a criticism.  As for the overall content of ESQ… Well, I am doing my due diligence to properly honor the memories of Dennis and Carl Wilson.  Just talking about these two is a whole other interview. 

Who is absolutely your favorite subscriber to ESQ?

David:  Anyone who is passionate about the group, is inspired by the content of the magazine and sends letters in for publication.  On a more somber note, I miss Les Chan, Bob Hanes…and many others that have left us through the years.  I will say that 48-pages per issue are well worth paying a little over $7.50 (in the US).  

 What is your relationship to the Bamboo Trading Company/Jan & Dean?

David:  That's two different answers.  I'm a Jan & Dean nut…I love their stuff!  It may be because my first interview was with Dean (1993) that I have gotten to know him the best.  We have a very similar sense of humor…as does Mike Love.  My interview with Jan Berry in 1997 turned out very well.  I got to spend a little bit of time around Jan…and he was cool.  I could tell there was a great composer trapped in that body… I really wish I had known him back in the 1960's because of the stories that Dean has shared with me through the years in interviews.  I think the thing I like most about Jan & Dean is just how cool they were in the 1960's.  Jan was essentially Brian & Dennis Wilson rolled into one.  He had Brian's compositional knowhow and Dennis' flare for getting into trouble.  Dean?  Well, how many people have been friends with both Mike Love and Dennis Wilson?  He's always gotten along with everyone.  That's kind of cool.

As for The Bamboo Trading Company… Well, it is essentially a group that I invented.  I'm not exactly sure if the word "invent" is correct, but it's close.  The group name was inspired by Dean's memorabilia shop, and the song "Kitty Hawk" was inspired by his graphic arts company of the same name.  The project began in early 2011 when film director (and ESQ subscriber) Steve Latshaw approached me about supplying music for a film he was writing titled "Return Of The Killer Shrews;" a B movie spoof horror film.  As a lyricist my work has been recorded by Jez Graham, Chris English and UK artist Peter Lacey…I dabble on the guitar, but I'm no musician.  Because of ESQ I've gotten to know the Beach Boys as well as all of the incredibly multi-talented musicians who make them sound great (in the studio and on stage).  

I wanted to work with one guy…Gary Griffin.  Gary has played with The Beach Boys, Brian Wilson, Mike Love and The Endless Summer Band, Celebration, Jan & Dean, etc.… and he is legitimately one of the best in the business…at least Brian Wilson thinks so.  In addition to appearing on multiple projects through the years Gary recorded on the 2011 remake of "Do It Again" with The Beach Boys, had Brian, Mike, Bruce and David record instruments and vocals from "That's Why God Made The Radio" at his studio in 2012, and recorded accordion for "Strange World."  Last year Brian told me, "I love the vibe at Gary’s house.  I have cut some of my very favorite records there.  It’s very laid back and mellow.  Gary is a really sweet guy and a joy to work with.  I’m very relaxed there. … I love everything he plays. … He’s a very talented engineer, piano player, vibe player, accordionist… everything."  How's that for an endorsement?

Back to the film…I was brought on as Artist Coordinator and commissioned to provide the music.  Gary and I wrote two originals, "Shrewd Awakening" and "Tonga Hut."  We also provided two other cuts, "Star Of The Beach" and "Don't Say It's Over."  Thanks in large part to the friendships over the last 20 years, we were able to get Dean and his daughters Katie & Jillian involved.  We also got Matt Jardine, Philip Bardowell, Alan Boyd and Chris English involved.  Everyone had a great time!  Then, we were done.  Gary and I seemed to agree that the four songs turned out pretty good.  "Return Of The Killer Shrews" was not a big budget film, so we knew were uncertain that the music would reach anyone.

I went back to the drawing board in early 2012 and worked diligently on putting together a full-on conceptual listening experience.  It was at this time that I proposed recording an album under the name The Bamboo Trading Company.  The concept that I was trying to put together — outside of any obvious homages — was a trip that took the listener from Kitty Hawk, NC to Surf City, CA… It seemed like and easy enough thing to communicate to the listener.  Gary liked the idea enough, so we asked Philip, Matt and Chris back.  A songwriting buddy of mine, Dan Yoe (Miami Dan) had written "Star Of The Beach" in addition to "I've Always Loved The Ocean" and "Jericho."  Probyn Gregory (from Brian's band) produced & arranged the first two tracks and David Marks produced "Jericho."  I then revisited "Drinkin' In The Sunshine;" a track that I had written with Peter Lacey for his 2011 "We Are The Sand" album.  Gary had a few instrumentals sitting around that he felt fit the mold of the album.  I also brought "Tweet (Don't Talk Anymore)" to the table.  Jez Graham approached me about writing this with him back in 2009.  The song is a conscious dialogue about our society losing its way in electronic devices.  Chris had a lovely piece that evoked Beach Boys harmonies, so we broke his song into two pieces and made them the bookends of the album ("Airborne" and "Airborne Reentry").   

All that really remained was the starting and ending point.  We then wrote "Kitty Hawk" and "The Bamboo Trading Company (Theme)."  Since we had Dean on a couple of tracks already (the film) we re-approached him, and he agreed to guest on a few more.  He sings a great falsetto on "Drinkin' In The Sunshine" and lead on "Tweet."  By every bit of luck, Randell Kirsch was available to join in on the fun, and he — like the others — brought his A-game.  It was really cool to watch this musical brotherhood in action.  (If you ever read Bob Greene's "When We Get To Surf City" then you know about these guys.  If not, pick it up today.)  My role for the project ended up being Executive Producer, Co-Producer, Creative/Art Direction & Package Design, Artist Coordinator, Songwriter…I wore a lot of hats, and I'm extremely proud of what we accomplished together.  Gary, Matt, Philip, Randell, Chris and Miami Dan are each very pleased with the results too…As is Dean.  That is all good, etc., but they are ones who made it great!  I've already begun work on a second album…We'll see how it goes.

Plans on writing a book?

  David: Yes. Probably the place where those stories that I cannot share here will make their appearance.  It's been an amazing 20 years of working with like-minded people. 

LINKS

The Bamboo Trading Company

http://killershrewsmovie.com/bambootradingcompany.html

Endless Summer Quarterly back editions

http://esquarterly.com/merchandise.html

Complete back issue list:

http://esquarterly.com/PDF/ESQ_Back_Issues_Order_Form.pdf

Subscribe to ESQ
http://esquarterly.com/order.html

Beach Boys Examiner
http://www.examiner.com/beach-boys-in-national/david-beard

Thank you David.

Bruce & Terry - Dreamy Pop

During his first tenure in the Beach Boys, Bruce Johnston also worked with Terry Melcher in a duo, conveniently named Bruce &Terry. In 1966 (I believe on the same day as the recording of That's Not Me) they recorded "Don't Run Away." This is one that should have been recorded by the Beach Boys but is now sadly obscure. If you download the Beach Boys Preiss tape from the 70's, you will find an instrumental version of this track under the name "I Don't Know," not to be confused with the Dennis Wilson outtake of the same name from SMiLE. This solo recording sounds very hip and should be played on college radio to give people more of an idea of how the obscure Beach Boys/related artists influenced everyone else after. It's dreamy Jazz chords and harmonics makes me think of the band Real Estate, especially their instrumental song, "Kinder Blumen" from 2011's Days. Listen.

The instrumental version isn't anywhere on YouTube but here is the original. Now compare it to Real Estate. I know they aren't exactly the same but there is a similar feel musically.

My Interview With Ian Rusten

In a new series for my blog, I plan on having a bunch of interviews with people that have connections with the Beach Boys. Number one in this series is with author and live concert collector Ian Rusten, who with Jon Stebbins, wrote The Beach Boys in Concert. The interview that follows includes a few of his thoughts on his book and other Beach Boy information.

Your new book The Beach Boys in Concert is now one of the most
encyclopedic works on the Beach Boys. How long did this take you?

Ian Rusten: It took a long time actually. I began researching the Beach Boys concert history as a hobby about nine years ago. While researching all these concerts, I ended up accumulating a massive collection of newspaper reviews and magazine  articles. I also met people who shared information with me and collected ticket stubs and other memorabilia. As I got more into it, I began to see that all this information might make an interesting book. When Jon and I decided to work together, we began compiling all the information I had, while continuing to go to libraries to find more.

What about the live concerts appealed to you so much?

IR: I think that most Beach Boys related books so far have focused on Brian and the group in the studio and given short shrift to the Beach Boys performing career.The Beach Boys have played about 100 to 150 shows a year for 50 years. It is a big part of their career. If you listen to albums like Live In London and The Beach Boys In Concert, you realize that in their prime they were a great live band and they don’t get much public recognition of that fact.

How did the writing process work between you and Jon? And how did you end up working with him?

IR: When Jon Stebbins and I agreed to collaborate, we wrote and rewrote the book, adding and deleting material to edit it down to the length the publisher wanted. Jon and I also did many original interviews for the book. We also worked hard to obtain photos that had not been seen before. I began corresponding with Jon years ago because I enjoyed his work. When he wrote The Lost Beach Boy I helped him obtain information on a few 1963 east-coast shows and he shared his concert info with me. We collaborated on a few pages of his FAQ book as well. We had discussed working together on a book for many years and this project brought us together.

Favorite live era and least favorite?

IR: I really love the Live In London album. I think the group sounded so great at that time (1968), with just two sidemen and a small horn section. So I guess that is my favorite era. But, I also love the live recordings from Chicago 1965 with Brian and the 1973 In Concert album with Blondie and Ricky. I think the band was consistently exciting on stage till the late 70s. I have to say I really loved the 2012 tour as well! I think the worst era to see them live was probably the late 1980s to mid 1990s. Some may disagree, but I just did not like all the cheerleaders and general silliness of that time. I also felt that the set lists were pretty boring. But, in the midst of that mediocre period they could still surprise you. The November 1993 box-set tour was fantastic.

What do you think of Badman's book?

IR: I think that the book had flaws and inaccuracies but was hugely entertaining. Even though a number of dates/venues turned out to be incorrect, there was a lot of useful information in it.That book has tons of great photographs and is well worth owning for fans. And although our book has supplanted Badman’s when it comes to information about concerts, his book is the only one so far to discuss recording sessions in detail. Though, I hope someday Craig Slowinski will write the definitive sessions book.

Most embarrassing live moment?

IR: There are too many!! The group had many highs and many, many lows. One story that sticks out occurred in May 1967. Carl Wilson was arrested for draft-evasion in April and began a long drawn out court battle. As a result, he missed the opening date of the Beach Boys European tour. Rather than alter their game plan, the group played the same show with other members taking Carl’s leads. But they were not well rehearsed for this.  Bruce sang “God Only Knows” and forgot the words!!! Apparently, the audience was not pleased. The funniest concert moment was probably when the band was playing in Ohio in 1983 and the elderly guy at the gates failed to recognize them and insisted that they buy tickets to get in the venue!!!

I've been an obsessive fan now for about 5 years but I am not just appreciating the 80's BB albums. Do you think there is too much snobbiness about the Beach Boys music, especially 1966-1971?

IR: I am a fan of Beach Boys music period. I think they have put out a lot of great songs in all eras (I really like their latest album). But, I do believe that the 1966-1971 period was pretty amazing! Pet Sounds is fantastic and deserves all its plaudits, but albums like Wild Honey and Sunflower were criminally overlooked for years. I am glad they are now getting their due. And of course the recent release of The Smile Sessions was sensational.  It’s a great time to be a fan.

Favorite song?

IR: I love “God Only Knows” with Carl’s incredible lead and Brian’s unbelievable arrangement. I also think “Caroline, No” is fantastic. Love Brian’s voice on that one! I also have a soft spot for Brian’s incredible vocals on “Let Him Run Wild,” “She Knows Me Too Well,” and “We’ll Run Away.” I think Mike’s best lead is on the Sunflower cut “All I Wanna Do.” My favorite Dennis song is “Forever.”

Do you think the Beach Boys/Brian Wilson solo should be hipper? What if instead of working with Jeff Beck, Elton John, Eric Clapton and Jimmy Buffet, Wilson worked with his musical devotees with indie cred like Sean O'Hagan, Beach House etc.?

IR: Brian is now 71 years old. I think the time for him to try to be “hip” has passed. He should just have fun. If he wants to tour that is great and if he wants to make another album that is great too. But we should not have any more expectations.

Any plans on writing a new book?

IR: Not sure about another book right now. But you never know. I am hoping that Craig will write his sessions book. If I can help that project at all, I will.