Endless Summer Quarterly feedback

[ESQ Editor]

In my experience with the individual Beach Boys, if you ask them a pointed, serious question they answer it.

That's my experience too.  My interviews always reveal something…just not the dirt.  

Take the 1996 Beatles Anthology for example: The interviewer asked Paul, George and Ringo about visiting Elvis' house.  He even went so far as to ask the "soft ball" question of "Do you remember what type of dress Priscilla was wearing?"  Why does that matter?  Who cares?  They each answered the question.  George couldn't really remember because he says, "I was busy trying to find some reefer."  

If the interviewer had said to George, "Isn't it true you were trying to score pot @ Elvis' house?"  George may or may NOT be comfortable answering THAT question.  That's the type of question that — in my opinion — pins the interviewee DOWN.  When you do that…Well, let's just say that you don't get as much from the person as you would if they are relaxed.  

For the recent ALL SUMMER LONG Summer 2014 edition of ESQ I had to ask Mike about the firing of Murry because I felt it was my journalistic duty to properly put into context the way the mood / vibe of the recording sessions changed once they fired Murry, which in turn had Mike moved to the control booth during much of the recordings for that album.  Once that was established in context, I moved on to a musical discussion.  I could have pressed more, but saw no value in it, because it would draw away from the album sessions.  As I always point out, it's about the music.

As for the fallout back in 2012, I had written a very lengthy article, but I let someone talked me out of running it.  So I went with an abridged version.  Maybe, one day, I'll post it somewhere.
 

[ESQ Editor]

In David's defense, he has been after me for years to resurrect a couple of columns for ESQ: one on "collecting the Beach Boys" that I used to write, and one on bootlegs / tape trading that was written by my good pal Will Brison   I keep promising David that I will get those columns back in the pages of ESQ, and then my real job pops up and sucks up all of my spare time...

Just thinking out loud, but maybe like the "Roundtable" issue that David published last summer, he could do a "Collector's Roundtable" with Chris, Mikie, Peter, myself, and others, where we talk about rarities, market values, etc.  The late Derek Bill, Peter, and I did one of those for DISCoveries back when it was still published, moderated by the writer of their "Market Watch" column Robin Platts.  We contributed our answers via email, and Robin compiled it.  I thought it was a great article.

And although the female readership may like to see some of the photos of Dennis from my collection, Chris' collection, and Mikie's collection, trust me -- they don't want to see photos OF us!   

Lee

Lee, send me the emails of everyone you want to consider, and I'll begin to put this together.

[Mikie]

Has there been an issue about the In Concert album? I'd love to see an issue about that album. It could go over the intended single album version, concert reviews from the period, what songs were recorded that didn't show up on the final product (and why), unpublished live photos from the period, interviews with Blondie and/or Ricky on those shows, etc. I'd also be interested to read Al's recollections of those shows.

Not to derail from the original subject matter, but I'll bet Carl Wilson would have been the best contact for those questions. Maybe Mike and Al know. Or maybe even Steve Moffitt.

Songs the Beach Boys performed live between Winter '72 until the album's release in November, 1973 that probably hit the cutting room floor:

Wild Honey *
Jumpin' Jack Flash *
You Need A Mess Of Help *
Do It Again *
Long Promised Road
I Get Around
California Saga
Surf's Up
It's About Time
River Song (performed at least twice)

*Songs proposed for the original single album of "In Concert".

[HeyJude]

In my experience with the individual Beach Boys, if you ask them a pointed, serious question they answer it.

That's my experience too.  My interviews always reveal something…just not the dirt.  

Take the 1996 Beatles Anthology for example: The interviewer asked Paul, George and Ringo about visiting Elvis' house.  He even went so far as to ask the "soft ball" question of "Do you remember what type of dress Priscilla was wearing?"  Why does that matter?  Who cares?  They each answered the question.  George couldn't really remember because he says, "I was busy trying to find some reefer."  

If the interviewer had said to George, "Isn't it true you were trying to score pot @ Elvis' house?"  George may or may NOT be comfortable answering THAT question.  That's the type of question that — in my opinion — pins the interviewee DOWN.  When you do that…Well, let's just say that you don't get as much from the person as you would if they are relaxed.  

For the recent ALL SUMMER LONG Summer 2014 edition of ESQ I had to ask Mike about the firing of Murry because I felt it was my journalistic duty to properly put into context the way the mood / vibe of the recording sessions changed once they fired Murry, which in turn had Mike moved to the control booth during much of the recordings for that album.  Once that was established in context, I moved on to a musical discussion.  I could have pressed more, but saw no value in it, because it would draw away from the album sessions.  As I always point out, it's about the music.

As for the fallout back in 2012, I had written a very lengthy article, but I let someone talked me out of running it.  So I went with an abridged version.  Maybe, one day, I'll post it somewhere.
 

Concerning the Beatles Anthology, they did *dozens of hours* of interviews with each of the surviving Beatles, so it was much easier to get into the minutiae and touch on common and uncommon stories and topics.

Also, I'd say quirky, superficially inconsequential questions are different than questions that have been asked and answered a million times, or being overtly apprehensive about asking anything potentially controversial.

Also, with the Beatles Anthology, that was a sanctioned, in-house, authorized project. That their authorized project had more controversial content than some non-sanctioned projects or articles or interviews is noteworthy. The Beatles of course still overlooked topics they didn't want to get into (Pete Best for instance), but I thought the Anthology interviews were pretty good for an authorized project.

[Jim V.]

I don’t subscribe, but David will on occasion send me an issue or two. I love the themed issues. I thought the Sunflower retrospective was incredible — and actually the level that ESQ should always operate at that journalistic level. Every issue should be that intelligent, informative, and groundbreaking. So, if every, say, sixth issue, was a double themed issue, I think that would be a welcomed addition (preferably not focusing too intensely on the striped shirts era) for most readers.

Like a great many, I have zero interest in the non-Beach Boy material. I realize that the magazine is not called BEACH BOYS Quarterly, but I pass over every non-BB piece/review (e.g. Michael Angeloff, etc. . . ). I have never understood ESQ's interest/devotion to the Jan & Dean catalogue, because to me, it’s like Beatlefan handing over a large portion of the magazine to dissect the attributes of Billy J. Kramer. That said, if Jan & Dean MUST figure into ESQ's makeup, what I would be interested in is an informative -- professionally written -- examination of Jan Berry’s post accident and pre-’78 studio recordings (e.g. “Natural High,” “Blow-up Music.”) Other than that, I never need to read anything about Dean Torrence again.

I also think that ESQ doesn't always have to be a sunny side up love letter to the BB's and their work. A little more attitude and well intentioned critique would be appreciated -- certainly by me (and knowing them, probably the bandmembers, too.) I think the fact that ESQ didn't cover the fallout in any real depth after the the reunion tour firmly placed ESQ in the "fanzine" bracket rather than the "Beach Boys Publication Of Record."

My feedback is: More C-man. More balls. Less pulled punches.

I'm not sure that someone can write a better response than this.

The stuff on Dean Torrence can get tiresome. Has the man done anything worth a sh*t in the last 45 years musically? I read an interview with him from like 2012 that basically said he didn't wanna do any new music because he was so unsure about our country and our economy (read: I'm an old white guy and President Obama is gonna take all my money that worked so very hard for...must be friends with Bruce!).

On the other hand though, I am with Howie 100 percent on some info about Jan's post accident, pre '80s work. I honestly think he did some pretty neat stuff during that era, and I'm glad a few singles got out there. During the era he still seemed to have his pop smarts from the '60s and also a good singing voice. It was only into the '80s that he started finally to sound "disabled". Which makes it hard to really listen to Port to Paradise or Second Wave. Too bad he never really got a hit, nor did he release an "album" 'til the '80s. But yeah, a scholarly, informative long article about this era of Jan's career sounds very interesting to me.

And yeah, I would like if the band got some tougher questions. Usually I go into an ESQ issue or internet article expecting total softballs. Although sometimes there's interesting stuff, it's a lot of fluff.

Lastly, I'd have to say I'd love to hear more about the later albums. That meaning Surf's Up through That's Why God Made The Radio. Details about the recordings. Go through the track lists with the living members. Describe the outtakes. Describe Brian's involvement. Include Blondie and Ricky for Carl and the Passions, Holland and In Concert. And why not do something akin to Brian Chidester's "Bedroom Tapes" thing about Brian. Get Alan Boyd to tell us about what Brian was doing in depth from '67 through '75. And shed light on eras we don't know lots about. The 1974 sessions. Brian's session(s) with Steve Kalinich which resulted in the "California Feelin'" demo. Info on why Brian was rerecording "In the Back of My Mind" in 1975. That would be super interesting, as part of a package on the era between Holland and 15 Big Ones. Dennis' early '70s solo sessions. Early '80s Brian sessions for The Beach Boys. All sounds quite interesting, and I think you could get some interesting stuff.

As for the fallout back in 2012, I had written a very lengthy article, but I let someone talked me out of running it.  So I went with an abridged version.  Maybe, one day, I'll post it somewhere.

Why not post it here? We want the straight sh*t here. No pussyfooting. I'd love to read it.

[ESQ Editor]

I don’t subscribe, but David will on occasion send me an issue or two. I love the themed issues. I thought the Sunflower retrospective was incredible — and actually the level that ESQ should always operate at that journalistic level. Every issue should be that intelligent, informative, and groundbreaking. So, if every, say, sixth issue, was a double themed issue, I think that would be a welcomed addition (preferably not focusing too intensely on the striped shirts era) for most readers.

Like a great many, I have zero interest in the non-Beach Boy material. I realize that the magazine is not called BEACH BOYS Quarterly, but I pass over every non-BB piece/review (e.g. Michael Angeloff, etc. . . ). I have never understood ESQ's interest/devotion to the Jan & Dean catalogue, because to me, it’s like Beatlefan handing over a large portion of the magazine to dissect the attributes of Billy J. Kramer. That said, if Jan & Dean MUST figure into ESQ's makeup, what I would be interested in is an informative -- professionally written -- examination of Jan Berry’s post accident and pre-’78 studio recordings (e.g. “Natural High,” “Blow-up Music.”) Other than that, I never need to read anything about Dean Torrence again.

I also think that ESQ doesn't always have to be a sunny side up love letter to the BB's and their work. A little more attitude and well intentioned critique would be appreciated -- certainly by me (and knowing them, probably the bandmembers, too.) I think the fact that ESQ didn't cover the fallout in any real depth after the the reunion tour firmly placed ESQ in the "fanzine" bracket rather than the "Beach Boys Publication Of Record."

My feedback is: More C-man. More balls. Less pulled punches.

I'm not sure that someone can write a better response than this.

The stuff on Dean Torrence can get tiresome. Has the man done anything worth a sh*t in the last 45 years musically? I read an interview with him from like 2012 that basically said he didn't wanna do any new music because he was so unsure about our country and our economy (read: I'm an old white guy and President Obama is gonna take all my money that worked so very hard for...must be friends with Bruce!).

On the other hand though, I am with Howie 100 percent on some info about Jan's post accident, pre '80s work. I honestly think he did some pretty neat stuff during that era, and I'm glad a few singles got out there. During the era he still seemed to have his pop smarts from the '60s and also a good singing voice. It was only into the '80s that he started finally to sound "disabled". Which makes it hard to really listen to Port to Paradise or Second Wave. Too bad he never really got a hit, nor did he release an "album" 'til the '80s. But yeah, a scholarly, informative long article about this era of Jan's career sounds very interesting to me.

And yeah, I would like if the band got some tougher questions. Usually I go into an ESQ issue or internet article expecting total softballs. Although sometimes there's interesting stuff, it's a lot of fluff.

Lastly, I'd have to say I'd love to hear more about the later albums. That meaning Surf's Up through That's Why God Made The Radio. Details about the recordings. Go through the track lists with the living members. Describe the outtakes. Describe Brian's involvement. Include Blondie and Ricky for Carl and the Passions, Holland and In Concert. And why not do something akin to Brian Chidester's "Bedroom Tapes" thing about Brian. Get Alan Boyd to tell us about what Brian was doing in depth from '67 through '75. And shed light on eras we don't know lots about. The 1974 sessions. Brian's session(s) with Steve Kalinich which resulted in the "California Feelin'" demo. Dennis' early '70s solo sessions. Early '80s Brian sessions for The Beach Boys. All sounds quite interesting, and I think you could get some interesting stuff.

As for the fallout back in 2012, I had written a very lengthy article, but I let someone talked me out of running it.  So I went with an abridged version.  Maybe, one day, I'll post it somewhere.

I didn't learn anything from the "Bedroom Tapes" articles.

Why not post it here? We want the straight sh*t here. No pussyfooting. I'd love to read it.

[alf wiedersehen]

I didn't learn anything from the "Bedroom Tapes" articles.  It felt like a lot of drumroll for nothing.

Then do us one better, Mr. Beard.

[Jim V.]

I didn't learn anything from the "Bedroom Tapes" articles.  It felt like a lot of drumroll for nothing.

Then do us one better, Mr. Beard.

You beat me to it Bubbly!

And I totally disagree about the article's being "nothing". I sure as heck didn't know about "Pa, Let Her Go Out" from 1972 before that article. Nor did I know Brian wrote "Grateful We Are for Little Children" with Steve Kalinich, and NOT as presently though, Dennis. Even though ESQ's site says Dennis wrote it. And by ESQ's site I mean their hosting of AGD's page, haha.

But anyways, think that article sucked? Please top it. I'd never stop thanking you if ya did.

[ESQ Editor]

I didn't learn anything from the "Bedroom Tapes" articles.  It felt like a lot of drumroll for nothing.

Then do us one better, Mr. Beard.

You beat me to it Bubbly!

And I totally disagree about the article's being "nothing". I sure as heck didn't know about "Pa, Let Her Go Out" from 1972 before that article. Nor did I know Brian wrote "Grateful We Are for Little Children" with Steve Kalinich, and NOT as presently though, Dennis. Even though ESQ's site says Dennis wrote it. And by ESQ's site I mean their hosting of AGD's page, haha.

But anyways, think that article sucked? Please top it. I'd never stop thanking you if ya did.

I did not say the article sucked.  Where do you get that??  Chidester is a great writer.  If you review my work for the 21 years I have provided plenty of historical content and information. 

[Howie Edelson]

"It felt like a lot of drumroll for nothing."
What a horrible, catty thing to say.

Brian’s article was fantastic and indicative of what any decent Beach Boys publication, book, or message board should be teeming with. It has nothing to do with being a “great writer” -- although he is one. It's about knowing what’s cool and discussion worthy in 2014. It had some important info that I certainly didn’t know. And y’know why it was important? Because it advances the dialogue. That's the key. That's why people should be writing about the Beach Boys.

There were tons of conversations about that piece by a slew of music people that don’t talk about Brian Wilson any more.
It elicited a major buzz in the industry. It moved “it” forward. Incredibly important work.

Personally, I doubt any of those unreleased/unfinished compositions could ever compete with Jan & Dean's incredible work on POPSICLE -- but maybe.
Just maybe.

[Nicko1234]

"It felt like a lot of drumroll for nothing."
What a horrible, catty thing to say.

Brian’s article was fantastic and indicative of what any decent Beach Boys publication, book, or message board should be teeming with. It has nothing to do with being a “great writer” -- although he is one. It's about knowing what’s cool and discussion worthy in 2014. It had some important info that I certainly didn’t know. And y’know why it was important? Because it advances the dialogue. That's the key. That's why people should be writing about the Beach Boys.

There were tons of conversations about that piece by a slew of music people that don’t talk about Brian Wilson any more.
It elicited a major buzz in the industry. It moved “it” forward. Incredibly important work.

Personally, I doubt any of those unreleased/unfinished compositions could ever compete with Jan & Dean's incredible work on POPSICLE -- but maybe.
Just maybe.

Now who is being catty?

 

[Niko]

Listening to Popsicle for the first time right now.

I regret everything that led to this moment.

[ESQ Editor]

"It felt like a lot of drumroll for nothing."
What a horrible, catty thing to say.

Brian’s article was fantastic and indicative of what any decent Beach Boys publication, book, or message board should be teeming with. It has nothing to do with being a “great writer” -- although he is one. It's about knowing what’s cool and discussion worthy in 2014. It had some important info that I certainly didn’t know. And y’know why it was important? Because it advances the dialogue. That's the key. That's why people should be writing about the Beach Boys.

There were tons of conversations about that piece by a slew of music people that don’t talk about Brian Wilson any more.
It elicited a major buzz in the industry. It moved “it” forward. Incredibly important work.

Personally, I doubt any of those unreleased/unfinished compositions could ever compete with Jan & Dean's incredible work on POPSICLE -- but maybe.
Just maybe.

Geez Howie…

I was not aware of Brian's article receiving that much major coverage.  I read each installment as it was posted, and the build versus the reality of the information being revealed was underwhelming.  Based on discussion I had with others I'm not the only one that felt that way. 

As for ESQ, every issue of ESQ advances the dialogue; it has been for 21 years.

This thread is about what subscribers would like to see in ESQ.  Some of them have voiced their opinions, which I greatly appreciate.  Each of your posts in this thread have been shots at the mag / me for what it isn't, but maybe that's why you don't subscribe.  Respectively, I seek your opinion in this thread to help the publication, not to dismantle it.

If anyone really wants me to take their critique or want list for ESQ seriously, it begins with sarcasm being left at the curb.  There's nothing productive there.

I want ESQ to be better, because I know it can be, but that doesn't mean that isn't already a quality product.

[bgas]

Has there been an issue about the In Concert album? I'd love to see an issue about that album. It could go over the intended single album version, concert reviews from the period, what songs were recorded that didn't show up on the final product (and why), unpublished live photos from the period, interviews with Blondie and/or Ricky on those shows, etc. I'd also be interested to read Al's recollections of those shows.

Not to derail from the original subject matter, but I'll bet Carl Wilson would have been the best contact for those questions. Maybe Mike and Al know. Or maybe even Steve Moffitt.

Songs the Beach Boys performed live between Winter '72 until the album's release in November, 1973 that probably hit the cutting room floor:

Wild Honey *
Jumpin' Jack Flash *
You Need A Mess Of Help *
Do It Again *
Long Promised Road
I Get Around
California Saga
Surf's Up
It's About Time
River Song (performed at least twice)

*Songs proposed for the original single album of "In Concert".

  Songs included on the original single LP In Concert Test Acetate:  

Side 1:  
1.Woudn't It Be Nice
2. Leavin' This Town
3. Heros & Villains  
4. Marcella  
5. Mess Of Help

Side 2:
1.Let The Wind Blow
2. Let's Get Together And Do It Again  
3. Wild Honey  
4. Fun, Fun, Fun  
5. Jumpin' Jack Flash  

    

[Mikie]

Questions that arise with the above acetate:

1. Were they really thinking of releasing a live album in January, 1973? This is more like a demo or an extended EP.
2. Did they hold off releasing another live album for almost a year so they could include more new material? They already had enough recent (live) songs in the can. They had just released a live album only 4 years earlier that included 2 of these songs.
3. Why only 10 tracks? See #2.
4. Why only 3 new songs? (actually 4 with the cover song). See #2.

The Heroes & Villains on the above acetate should be the same as the version released on the 'Endless Harmony' CD.

[Jim V.]

And I totally disagree about the article's being "nothing". I sure as heck didn't know about "Pa, Let Her Go Out" from 1972 before that article. Nor did I know Brian wrote "Grateful We Are for Little Children" with Steve Kalinich, and NOT as presently though, Dennis. Even though ESQ's site says Dennis wrote it. And by ESQ's site I mean their hosting of AGD's page, haha.

But anyways, think that article sucked? Please top it. I'd never stop thanking you if ya did.

I did not say the article sucked.  Where do you get that??  Chidester is a great writer.  If you review my work for the 21 years I have provided plenty of historical content and information. 

Okay, you didn't say it sucked. You said it was "nothing", which in my book isn't really much of a compliment. And you also said you didn't learn anything from the article. Is that true? If so, that means you already knew the "new" information that Chidester was supplying and purposely chose not to share it with the rest of the fan community. If that's the case, that's a shame. However, I think if you were being honest, you'd admit that Chidester did indeed reveal some interesting new things, and also furthered the conversation about Brian's post SMiLE work (as Howie basically said earlier).

And anyways, besides all that, I think you shouldn't take all the stuff people are saying personally. We like ESQ. Pretty likely every single one of us here on the board like or even love it. I recently bought a back issue that came with a CD. Super awesome stuff. Plus you're the only person besides that Hallmark company that has actually gotten Mike to release a new solo song ("Love Like in Fairytales") since like forever. So you should be applauded for that. But I know that people like myself and Howie just want a bit more meat on the bones. Articles with the guys on interesting topics. I don't necessarily think that means having the guys beefing it out about the reunion, but more like discussing things that aren't so well covered.

For instance, a wide ranging interview with Bruce would actually be quite illuminating. Asking him why he hasn't written (or at least released) a new song in like 22 years. What his opinion of C50 was. His thoughts on L.A. (Light Album), Keepin' the Summer Alive, The Beach Boys, Still Cruisin' and Summer in Paradise. An interview with Mike on his solo material, and when we might expect to see it. And what the hold up is. I'm sure Mike would love to talk about his new work. I'm not being sarcastic. I really think he would enjoy it, and might even get feedback from us fans and actually release something. And if you could get Brian, maybe do a thing where he gave a paragraph each on Beach Boys albums he rarely talks about.

These might not be like huge important things to the public, but for a publication like yours, perfect. Of course, these ideas might not totally work, but they're a bit different. I think it'd be interesting.

[Andrew G. Doe]

Nor did I know Brian wrote "Grateful We Are for Little Children" with Steve Kalinich, and NOT as presently though, Dennis. Even though ESQ's site says Dennis wrote it. And by ESQ's site I mean their hosting of AGD's page, haha.

My bad - I fixed that some time ago but didn't upload it. Now sorted.

Also, huge disclaimer: ESQ only host 10452. Any errors, omissions or examples of questionable judgement are entirely mine. I say "only"... that's hugely unfair to David, who offered me a home when BT dropped their free hosting literally overnight. Without that kind and entirely unsolicited offer, 10452 might not be around today (not that anyone seems to look at the damn thing anyway  ) and given that I've caused him unwarranted grief in the past, that was a fine gesture. So, any comments/complaints/additings/corrections/checks with lots of zeroes on them, send 'em to my email addy.

Concerning the overall stance of ESQ, I can appreciate David has to achieve a considerable balancing act. If someone lets you into their house, you don't start criticising the decor and the kids.

[Nicko1234]

While my subscription to ESQ has currently lapsed, I am (funds permitting) hoping to start subscribing again soon so I hope it is ok to post a thought or two...

Firstly, I agree with the comments about Jan and Dean and The Bamboo Trading Company.

I also agree that ESQ could cover the albums that other magazines are not going to be interested in. For example, next year will be the 30th anniversary of BB85 and I think a great feature could be written on this if interviewees are available. Hearing from the band members about their experiences working with Steve Levine and the new technology, Landy`s involvement, why things like Oh Lord and And I Always Will didn`t make the cut etc. would be really cool. If interviews could be conducted with any of the other participants or songwriters then all the better.

The same goes for KTSA. Interviews with as many participants as possible and discussion about how songs were chosen and about the songs that were omitted would be interesting.

One other benefit of talking about these later albums is that more of the participants are still alive and (hopefully) still available to be interviewed.

[Andrew G. Doe]

Questions that arise with the above acetate:

1. Were they really thinking of releasing a live album in January, 1973? This is more like a demo or an extended EP.
2. Did they hold off releasing another live album for almost a year so they could include more new material? They already had enough recent (live) songs in the can. They had just released a live album only 4 years earlier that included 2 of these songs.
3. Why only 10 tracks? See #2.
4. Why only 3 new songs? (actually 4 with the cover song). See #2.

The Heroes & Villains on the above acetate should be the same as the version released on the 'Endless Harmony' CD.

1 - yes, which is why they submitted this master. It was rejected. The 2 disc version very nearly was too.
2 - see above. Also, Live In London wasn't released Stateside until 1976. Previous live set was nine years previously.
3 - not a clue.
4 - see #3.

[smile-holland]

And although the female readership may like to see some of the photos of Dennis from my collection, Chris' collection, and Mikie's collection, trust me -- they don't want to see photos OF us!   

Lee

This is very true. Especially concerning Chris - he's uglier than a monkey's armpit (and can't spell worth a damn).

Other potential contributors to be considered might be Smile-Holland (Klass), Steve Mayo, and Panayotis.

I wouldn't consider myself to be in the same league (by far) as the other collectors - apart from the looks perhaps  , but thanks for the compliment. 


As for ESQ. I enjoy each edition. Not interested in every article, but that applies to every magazine I buy. I too would like to to read more in-depth articles on the lesser-known years/decades of the group, as for example was done for Holland 1 or 2 years ago. Same goes for solo or related releases (Honeys, Spring, The Flame, Celebration - I think the last one was covered a bit not too long ago). A "collectors corner" would be great as well, although I wouldn't know right away which format would work best. And any archival discoveries from C-man, AGD, Howie, is always welcome!

[ESQ Editor]

Has there been an issue about the In Concert album? I'd love to see an issue about that album. It could go over the intended single album version, concert reviews from the period, what songs were recorded that didn't show up on the final product (and why), unpublished live photos from the period, interviews with Blondie and/or Ricky on those shows, etc. I'd also be interested to read Al's recollections of those shows.

Not to derail from the original subject matter, but I'll bet Carl Wilson would have been the best contact for those questions. Maybe Mike and Al know. Or maybe even Steve Moffitt.

Songs the Beach Boys performed live between Winter '72 until the album's release in November, 1973 that probably hit the cutting room floor:

Wild Honey *
Jumpin' Jack Flash *
You Need A Mess Of Help *
Do It Again *
Long Promised Road
I Get Around
California Saga
Surf's Up
It's About Time
River Song (performed at least twice)

*Songs proposed for the original single album of "In Concert".

  Songs included on the original single LP In Concert Test Acetate: 

Side 1: 
1.Woudn't It Be Nice
2. Leavin' This Town
3. Heros & Villains 
4. Marcella 
5. Mess Of Help

Side 2:
1.Let The Wind Blow
2. Let's Get Together And Do It Again 
3. Wild Honey 
4. Fun, Fun, Fun 
5. Jumpin' Jack Flash 

   

Chris, this is really cool.  Thanks for sharing.

[HeyJude]

I can’t add much to what folks like Howie and Nicko have mentioned. Like Nicko, I’ve been a subscriber but it lapsed a bit back. I’ve been reading ESQ since the 90’s. I used to buy it at Tower Records, and then eventually I got a subscription which has been on-again-off-again for a good 15 years or so.

Meat on the bones is a good term. Something like “Beatlefan”, which in the past has been dubbed as “the Newsweek of Beatles magazines.” ESQ is great with exclusives with the band members, and many articles and features have been great. However, while it’s not quite as if there has never been one bit of negative criticism in the magazine, it has always skewed very heavily toward treating the band with kid gloves. Sure, maybe an album review might mention a few weak songs or something. But in-depth editorial pieces that take an in-depth and, when needed, critical view of the band , have not been a staple of the magazine in the years I’ve read.

The aftermath of C50 should have, in my opinion, been covered with less punches being pulled. It says something to me that, from my point of view, Howie Edelson’s three or four posts on the C50 aftermath are still the most well-written pieces on the subject. We’re talking three or four posts, maybe a paragraph or two each. Clear, succinct, and critical but not erratically or unreasonably so. Those Edelson pieces, or something like them, should have been what I read alongside Mike and Brian’s reprinted letters in ESQ. I readily admit that the topic should not have been beat to death the way I and others have done so on this board (which isn’t always a bad thing; but these boards are a more appropriate forum for that). We shouldn’t have seen ESQ devote a year’s worth of issues to complaining about the end of C50. But if ESQ ever wanted to be the magazine of record for the BB’s, if they wanted to “advance the dialogue” as someone else mentioned, there should have been a full issue of essays and opinion pieces discussing C50’s aftermath. I noted in my blog back in 2012/13 that the ESQ piece on the end of C50 did include a few slightly critical comments directed at some members, and I also noted how this was surprising and rare for ESQ. But David’s mentioning that they pulled back on that article makes sense; that editorial read precisely like punches were being pulled.

As others have mentioned, the Jan & Dean stuff isn’t of any interest to me. I would also say that the issue that had both a making of/track-by-track annotation *and* review of the “Bamboo Trading Company” album was a bit ridiculous; it kind of read like an infomercial for that album, which had only the most tangential link to anything to do with the BB’s. A brief review of that album makes sense, it has a few BB backing band guys in it. But devoting a big hunk of an issue to the making of that album was both off-topic and came across as extra plugging.

I would say that, rather than having a lot of off-topic features in the magazine, I’d rather see vintage articles and interviews reprinted. I’m sure there’s a great trove of old interviews to pull from. If ESQ has no plans to compile that material into a book, then reprinting select pieces, especially if news in the BB world is slow during that “quarter”, that would be preferable to stuff like features on the Bamboo Trading Company. I realize ESQ has re-published things in select issues (e.g. the Carl/Dennis tribute issue).

I would also agree that if there ever is going to be a place to get into rather hardcore, detailed areas of BB study that other publications won’t touch, ESQ is that place. I’ve never seen in ESQ something like that extensive interview Goldmine published with Al in 2000. Can ESQ do something like that with these guys once every few years? Extensive, detailed, thoughtful interviews that touch on the good and the bad, negative and positive, new and old projects. Rather than specific remembrance from band members of one particular album or song, or just discussion of their new project, how about a career-spanning interview?

Also, while it may be even more far-fetched now given this thread, I would specifically recommend getting Howie Edelson to do some news pieces and articles on the group if both parties are willing or inclined.

[Nicko1234]

I can’t add much to what folks like Howie and Nicko have mentioned. Like Nicko, I’ve been a subscriber but it lapsed a bit back. I’ve been reading ESQ since the 90’s. I used to buy it at Tower Records, and then eventually I got a subscription which has been on-again-off-again for a good 15 years or so.

Meat on the bones is a good term. Something like “Beatlefan”, which in the past has been dubbed as “the Newsweek of Beatles magazines.” ESQ is great with exclusives with the band members, and many articles and features have been great. However, while it’s not quite as if there has never been one bit of negative criticism in the magazine, it has always skewed very heavily toward treating the band with kid gloves. Sure, maybe an album review might mention a few weak songs or something. But in-depth editorial pieces that take an in-depth and, when needed, critical view of the band , have not been a staple of the magazine in the years I’ve read.

The aftermath of C50 should have, in my opinion, been covered with less punches being pulled. It says something to me that, from my point of view, Howie Edelson’s three or four posts on the C50 aftermath are still the most well-written pieces on the subject. We’re talking three or four posts, maybe a paragraph or two each. Clear, succinct, and critical but not erratically or unreasonably so. Those Edelson pieces, or something like them, should have been what I read alongside Mike and Brian’s reprinted letters in ESQ. I readily admit that the topic should not have been beat to death the way I and others have done so on this board (which isn’t always a bad thing; but these boards are a more appropriate forum for that). We shouldn’t have seen ESQ devote a year’s worth of issues to complaining about the end of C50. But if ESQ ever wanted to be the magazine of record for the BB’s, if they wanted to “advance the dialogue” as someone else mentioned, there should have been a full issue of essays and opinion pieces discussing C50’s aftermath. I noted in my blog back in 2012/13 that the ESQ piece on the end of C50 did include a few slightly critical comments directed at some members, and I also noted how this was surprising and rare for ESQ. But David’s mentioning that they pulled back on that article makes sense; that editorial read precisely like punches were being pulled.

As others have mentioned, the Jan & Dean stuff isn’t of any interest to me. I would also say that the issue that had both a making of/track-by-track annotation *and* review of the “Bamboo Trading Company” album was a bit ridiculous; it kind of read like an infomercial for that album, which had only the most tangential link to anything to do with the BB’s. A brief review of that album makes sense, it has a few BB backing band guys in it. But devoting a big hunk of an issue to the making of that album was both off-topic and came across as extra plugging.

I would say that, rather than having a lot of off-topic features in the magazine, I’d rather see vintage articles and interviews reprinted. I’m sure there’s a great trove of old interviews to pull from. If ESQ has no plans to compile that material into a book, then reprinting select pieces, especially if news in the BB world is slow during that “quarter”, that would be preferable to stuff like features on the Bamboo Trading Company. I realize ESQ has re-published things in select issues (e.g. the Carl/Dennis tribute issue).

I would also agree that if there ever is going to be a place to get into rather hardcore, detailed areas of BB study that other publications won’t touch, ESQ is that place. I’ve never seen in ESQ something like that extensive interview Goldmine published with Al in 2000. Can ESQ do something like that with these guys once every few years? Extensive, detailed, thoughtful interviews that touch on the good and the bad, negative and positive, new and old projects. Rather than specific remembrance from band members of one particular album or song, or just discussion of their new project, how about a career-spanning interview?

Also, while it may be even more far-fetched now given this thread, I would specifically recommend getting Howie Edelson to do some news pieces and articles on the group if both parties are willing or inclined.

To be fair, ESQ has certainly done career spanning interviews with Al and Bruce (maybe other members as well) in the past. These interviews were fine and I can`t fault the questions asked at all but the answers given were mostly not dissimilar to the ones we have all heard a hundred times. One of the reasons why I think asking lots of questions about a short period of time such as one album will get specific answers, whereas covering the band`s entire career isn`t such a great idea.

[Jim V.]

Nor did I know Brian wrote "Grateful We Are for Little Children" with Steve Kalinich, and NOT as presently though, Dennis. Even though ESQ's site says Dennis wrote it. And by ESQ's site I mean their hosting of AGD's page, haha.

My bad - I fixed that some time ago but didn't upload it. Now sorted.

Also, huge disclaimer: ESQ only host 10452. Any errors, omissions or examples of questionable judgement are entirely mine. I say "only"... that's hugely unfair to David, who offered me a home when BT dropped their free hosting literally overnight. Without that kind and entirely unsolicited offer, 10452 might not be around today (not that anyone seems to look at the damn thing anyway  ) and given that I've caused him unwarranted grief in the past, that was a fine gesture. So, any comments/complaints/additings/corrections/checks with lots of zeroes on them, send 'em to my email addy.

Concerning the overall stance of ESQ, I can appreciate David has to achieve a considerable balancing act. If someone lets you into their house, you don't start criticising the decor and the kids.

By the way Andrew, you know that was just good-natured ribbing. Your site has been invaluable to me to learn about unreleased songs, unreleased album projects, and especially all of Bruce's crazy ass '60s releases, like Bob Sled & the Toboggans.

[HeyJude]

To be fair, ESQ has certainly done career spanning interviews with Al and Bruce (maybe other members as well) in the past. These interviews were fine and I can`t fault the questions asked at all but the answers given were mostly not dissimilar to the ones we have all heard a hundred times. One of the reasons why I think asking lots of questions about a short period of time such as one album will get specific answers, whereas covering the band`s entire career isn`t such a great idea.

The focus on those interviews usually at least begins with one particular topic, and that's fine. But that Goldmine interview wasn't just wide-ranging, it was *long*. With length (both in terms of time spent doing the interview and space to print it), you can get a lot of interesting stuff covered. As I recall, even that Goldmine interview, as long as it was, was slightly edited down (a different "edit" later appeared in "Record Collector").

I don't recall ever seeing something as epic as that Goldmine interview in ESQ. Obviously, that's just one example.

I agree, album "specials" would be nice, especially focusing on the stuff other outlets won't cover, and it does give interview subjects a particular area to focus in on.