The Smiley Smile Message Board

I wanted to start this thread for active subscribers on this message board to submit letters to the editor, and give me your thoughts on each edition.  

What did you like about the last two issues?

What do you want to see?

 

David, I invariably discover something new about the group with each issue. There were revelations in the latest issue in Craig's sessionography and Mike's interview about the All Summer Long album, particularly about the writing of I Get Around.

I found the photos of Carl at the Fender factory in 1965 most intriguing in issue 104! Being a details person, for me the only thing missing was a sessionography for Shut Down Vol. 2.

This subscriber will be happy if ESQ continues to include exclusive interviews, photos, and contributions from the collection of Chris Woods!

Also, I hope to see more Endless Sky DVDs one day!

I especially liked the format of the All Summer Long issue, with the questions about recording the album above and the sessionography info below on the pages. Excellent work! :thumbsup

Thanks for the open forum Dave.  Obviously, ESQ is a premier publication.  I have been a subscriber since I received the inaugural edition from Rick Edgil and Phil Mast back in 1987.  You have certainly taken the publication leaps and bounds since then. Honestly, I don't think I recall ever seeing an interview with any of the guys where they were asked to comment on an album track by track as you did in the last issue with Mike and ASL.  Surprisingly, it's a simple idea but I just don't remember seeing it before with the BB's. I would like to see more of that with the guys in the future. I could personally do with less of Jan and Dean, but that's just me...

…It's me too. What I love (and crave!) is a mag that's about the BBs and nothing more, nothing less. Having Mike comment on each album track sounded like a potentially dull exercise but it works tremendously well – well done! – and I'm delighted that Craig's session notes are appearing in print here too -  many thanks for providing that.

In fact, if a whole issue was to be devoted to those notes I wouldn't object. They're an admirable body of work.

I haven't subscribed for long enough to ESQ…

I assume the accompanying CDs have reached the end of the line David?  A shame as there was some great music in those… very well curatored.

On the subject of another ESQ CD, I'll speak for Dave (and ESQ), since I control the purse strings...

We are currently looking for a way to afford to include another CD in an issue of ESQ.  Quite honestly, every time we have included a CD in an issue of ESQ, we have actually lost money on that issue due to the cost of manufacturing the CD, and the additional cost of the postage to mail it.  ESQ's by themselves can be mailed at a less expensive Large Envelope rate (around $4.00 to Europe) because the envelope is flexible; ESQ's with a CD have to be mailed at a more expensive Package rate.  In the past two years, the USPS International First Class Package rates have more than doubled; an issue with a CD mailed to Europe now costs us $12.75 USD in postage alone...  Also, now the US Postal Service has more rigorous Customs regulations, and we have to hand-fill out a Customs form for every issue with a CD that we mail overseas.  Considering that we have over 250 international subscribers, that's over 250 Customs forms to fill out by hand...

We're weighing our options.  One option might be to do an issue with a CD as a single issue outside the normal subscription, at additional cost - such as MOJO does with its MOJO Limited Editions.  Another would be to find an advertiser that would be willing to subsidize the additional cost of the CD, in exchange for advertising.  And maybe we can pay a mailing service/freight forwarder to file all of the Customs forms for us.

David and I are cautiously optimistic that we will be able to work something out in the next 6-12 months.  Stay tuned!

Thanks,

Lee

Thanks for the update, Lee. I've always enjoyed the CD projects.

How about a digital download using PINs printed in the special edition?

I love ESQ!

As for suggestions, I may be in the minority here, but I'd like to read more about the later albums...from Love You to Summer in paradise. Interviews, etc. An underappreciated time in their career.

Wow, many thanks Lee for the facts regarding the CDs and what it takes just to post them. The UK too has seen costs soar and qualifying criefria messed around with, as if the Rogal Mail/Post Office organisations actually want everything to be delivered electronically in future - in other words cutting their own throats.

I could, knowing this, fully appreciate why you might never include a CD again.





But I hope you find a way!

I'll ask this question…

Anyone out there want to financially assist ESQ in the endeavor? 

Craig's notes are great, but it i snot for everyone in terms of a main article.  We do have female subscribers, and based on their feedback, they appreciate the pictures and interviews.

I did this with Mike in the Spring 2014 edition too with our discussion of the Shut Down Volume 2 album.

As for J&D.  They were side by side with the Boys in 1964 and hosted THE most important concert of 1964 in the TAMI Show.  You will see a bit more J&D coverage in the next few upcoming editions because of musical output / importance during one of the most influential times in pop history.

If nothing else, my goal is to reveal the quality of music coming from both groups.

Can I use this in the next ESQ as a letter to the editor?  If so, I need your actual name.

Eric, with so much great material having come from the 1964 period, it is a bit tricky to squeeze in other stuff, but we are willing to accept submissions.  :)

I've been meaning to subscribe for a while - just bought a year-long subscription as well as the latest summer issue...I'll add to this thread when it gets here  :)

I'll second this - while there might well be some great 50th anniversary material from '64, there must be tenth, 20th, 30th and 40th anniversary material from 2004, 1994, 1984 and 1974 to be celebrated too! :D

In my opinion it would be a shame to include more peripheral material (on, say, the likes of Jan and Dean or the Bamboo Trading Company) at the expense of hard core Beach Boys matter. I accept the fact that these other acts have strong associations with our favourite band and have created some great music but the BBs are what I go to ESQ to read about, and we have to accept that the individuals might not be around for ever to enlighten us about the other periods in the band's history.

I don't envy you as an editor as it must be a real balancing act and a very tough decision when it comes to drawing the line!

I'm sure most if not all overseas subscribers wouldn't object to stumping up some extra postage to cover costs, especially if it could be planned far enough ahead to be factored into the subscription price, rather than being perceived as an additional cost.as for the customs labelling, could those not be pre-printed rather than filled in individually? Again, add the extra cost to the subscription as part of the legitimate overheads.

I wish I had a billion bucks to sponsor the CD project…

How about a collection of some of the best material?

Surreal - I was about to ask a similar question. In the style of this kind of publication (only as softcover) or similar fanzine anthologies perhaps:

(http://oi60.tinypic.com/xo0fas.jpg)

Of course Dave, this is Jerry Pearson

It takes about $3,000 to cover costs.  Do you think we could drum that up on here?

I'm thinking out loud here about the CD issues.

Regarding the CD issue and mailing/manufacturing costs: "drbeachboy" has already made the suggestion of using digital downloads with PIN access, and I agree that is a good option, eliminating the additional manufacturing and shipping expenses. The concern there might be how to coordinate and organize the individual PIN access codes going to each subscriber with the actual database or host where they'd be entering the PIN and accessing the music. It might turn into something beyond just uploading the tracks and giving people codes to access them. Unless someone can do this in-house, it might need something like an outside administrator or host to even begin managing uploads/downloads, especially where distributing access codes is involved too.

This spring I took part in a musicians' roundtable, and learned a lot about media and marketing in terms of 2014. My mindset was still in the CD/tape format of sending a demo to various booking agents, venues, etc to get gigs. A professional who books shows told me he now gets submissions via press kits or promo kits loaded onto a thumb drive. These can be bought in bulk for not much money, they're small and weigh virtually nothing, and the band can put much more multimedia content including print, photo, audio, and video into a small package. By the time the costs are added up, that band could have saved considerable money on CD/DVD dupes, printing color pages and hi-res photos, and instead of separate pages and discs/media, it's all on a thumb drive.

I still prefer reading actual pages in books and magazines, but it's hard to deny how many millions of readers use a Kindle, or simply read on their laptops, pads, work computers, whatever the case. And I know there are many companies who do their promo and marketing at trade shows and conventions by handing out these thumb drives full of media rather than separate paper and disc packages. The portability is there, the cost of printing and duping and packaging separate elements is reduced to a digital format.

I'm not try to sell anything  :) , although I wouldn't mind being in the thumb-drive promo marketing business at this point considering my finances at the moment, but considering it's replacing disc and print packages in areas ranging from bands trying to score gigs to car companies rolling out their new model, the thumb drive format might be a radical shift for a publication but one which might be worth looking into, especially where multimedia is involved. And depending on what the content is and clearances and all that, you could even include a video file with the special edition, something as simple as an interview unique to the magazine.

Some joker on Kickstarter just made close to 40,000 asking for donations so he could make potato salad. No joke! As distasteful and ridiculous as that may sound, I'm thinking if the word is put out to subscribers to help offset the costs, and a Kickstarter campaign is in place, it might be covered. Surely a more worthy contribution than some clown making potato salad... :lol

I think the easy thing to do would be to do assign each subscriber with their own code. They put it in, the server recognizes the subscriber, and you've got your files.
You could also limit the download of the files to once or twice to discriminate sharing of their personal code, if that's a concern. 

If anyone on the board lives near Sarasota FL, there's an ebay seller who has 58 ESQ issues for sale( 1984-2013) for $80: 

 http://www.ebay.com/itm/58-ISSUES-BEACH-BOYS-BRIAN-WILSON-ENDLESS-SUMMER-QUARTERLY-MAGAZINE-1984-2013-/251614655007     

That ebay listing should read 57 issues of ESQ plus 1 issue of ASM ;D

Well, even if you were right, doesn't matter now, as someone got the seller to  agree to ship them, evidently, and bought the lot. 
 A great deal, I guess!?! 
Much less expensive than buying them now, if you could even get all those  back issues....

Good for them, despite the inaccuracy.

How important are the "themed issues" to current subscribers?

Does it matter if ESQ covers an album that does not fall on a specific anniversary year?

If we cover a specific timeframe, what do you want to know?  Give examples…

I love ESQ; provides a lot of great historical information and insights. One thing I think I would like to see that is hardly ever touched on......an in depth look at the personalities and experiences of the principal Beach Boys. How they interacted with each other, what were their daily routines while they were out on the road year after year, did they hang out together or not, what were their favorite foods and drinks.....wine , beer......how did they pass their time on the road...........just different things, maybe sort of like "A DAY IN THE LIFE OF"....... that would be something very different and give us some good insight into the individuals that comprised the band. Just a suggestion!

Anniversaries are good to note but I'd don't think you need be bound by them… something's are worth celebrating regardless. To entertain and inform might be better guidelines?

Informing is the #1 guideline. 

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.

ESQ ran both letters (Mike and Brian) and I wrote a response about those letters…it all appeared in the Fall 2012 issue.  

I know you did, David.

I placed my order a couple days ago.  :)

Pretty much this, but I realize that David has gotten inside access to the band and BRI and that would obviously be compromised if ESQ were to become too critical on controversial issues. If we want to continue to have one on one interviews with Mike, Al, Brian, etc. we have to cut David some slack on this.  I would say the Beach Boys coverage is all spot on for the most part. However,  I do not even read the articles on other artists and if anything could cause my subscription to lapse it would be coverage of Jan and Dean and the Bamboo Trading Co. et al in the magazine.

Howie, if you know I covered the fallout, why did you write, "didn't cover the fallout"?

You are a great writer.  Better than I.  Can you share one of your posts that shows a more ballsy approach to the group's history? 

Message received. 

Thank you for the compliment, David.

I didn't write -- "didn't cover the fallout," I wrote: "didn't cover the fallout in any real depth."

I'm not into pissing contests, but. . . . . . . . .

To give you but one of 1000 examples of a post which, quote, "shows a more ballsy approach to the group's history"
(I pull no punches in my coverage of the band and am in great stead with them all because of it.)

Here's the example you wanted. . .

____________________________________________

No working journalist has been more fair to all the individual Beach Boys than me.
None.

And even the strongest advocates of Mike Love would acknowledge the fact that his partnership with Brian Wilson is not, as in the case of Lennon/McCartney or Jagger/Richards, a "chicken or the egg" scenario.

It's a different setup. The strength -- and honestly the point that most people are missing in my post -- is that Mike Love has carried this gig for the past 50-plus years (no quitting the road, no solo tour instead of, no being too loaded to make the gig.) If addressing that fact is "bashing" him, then I honestly don't know what saluting him smells like.

And for those of you who are hip to the inner-workings of this band, they know there's TRULY no black and white answers to anything regarding it.
The reason why BB 50 worked is because of MANAGEMENT. Say whatever you will about Joe Thomas, but he MANAGED the thing.
The Beach Boys finally had a guy with a lot of dough and a vision, clapping his hands and saying "OK -- here's what we're gonna do."
And he did it -- reunion tour, studio and live LP, TV special, TWO DVD's.

Quibbles aside -- all that sh it hit the market in a YEAR.

In my opinion, the band should have a person IN HOUSE who does that, someone like the late Neil Aspinall who was able to rally the business around Apple for the Beatles' best interests.

BRI has chosen not to follow the insanely lucrative, high-end example of Apple. It will continue to cost them dearly.

Not having a strong manager who sits down with his/her bosses and says: "What do we need to do to keep everybody happy" -- and then realizing it -- is the difference between McCartney, Ringo & the widows kissing each others asses on Larry King and where the Beach Boys are in 2013.

The reason why the Beach Boys always f uck it up is because they're rudderless and really have been since 1976.

Edited multiple times as mild illness allows for more rumination!:


Nevertheless it would be appreciated if someone could hold the band members to account, to put to them th questions the fans have burning in their hearts - essentially, "who is responsible for the (largely) on-going train wreck that is The Beach Boys' current situation".

Look at the misplaced speculation, the lack of understanding, the ignorance (and by that I don't mean "ignorance", rather "ignorance"; please don't be offended fellow posters!) on this board, supposedly the best-informed fan community of any band, any where, any time.

Much of that could be corrected, explained, set right… frankly, we could be told to "shut the f*u*c*k up" if necessary, by those at the heart of it all, and those of us who are too easily distracted by the soap opera antics could get on with appreciating the music which, as David frequently and correctly reminds us, is what's at the heart of everything, what brings us together in harmony while at the same time being the cause of so much discord.

I'm not suggesting any band member be expected to parade his private life (lives?) through ESQ's pages but it would be great to have explained the actions and relationships that seem inexplicable to those of us on the outside looking in.

If the band remembers refused to contribute then fair enough, though Howie suggests they might be more forthcoming than most of us expect. And if they shut David out for asking such questions, then report on that fact: any such silence sometimes says as much, if not more, about people as their answers might have done.

I guess there's a point at which the friend-of-the-band persona has to be set aside - even just temporarily - to let the probing journalist take over.

Would love to see more C-man, more Peter Reum, more AGD, more Howie. Would live to see BGas and Mikie and Lee and others contribute to a "collector's corner"-type column (Antiques Roadshow these days!). Would love to see news and reviews of bootlegs too… illegal they might be, but they keep the fans fed and interested when the lean times are in session (or when band squabbling/politics/bad judgement prevents the official release of much-desired material). They exist, and to ignore them is to bury a head in the sand.  There's even an opportunity to denounce them, if it has to be done that way!  (I'd love to know what Brian thought of Sweet Insanity coming out on the black market, what Mike makes of his own unreleased albums being in circulation…)

A lot of the above is fantasy, I expect, but it's feedback of a kind, I hope.

Most sensible thing I've read on this board for ages.

Just seen ESQ's Facebook post… hope there ain't a feature on John Stamos on the way!  :lol

+1, as I mentioned something similar in a previous ESQ feedback thread, and I'd love to hear about the development of the hardcore collector circuit.

And, I'm sure if you included photos of Mikie, bgas and Lee, that would be more than enough to keep the female readership happy.

Review/discussion of key physical bootlegs would be rather interesting given a lot of this stuff has now disaparated into various disposable torrent files and blog links across the net.

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

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.

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!   :-D

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.

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.
 

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

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".

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.

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.


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

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. 

"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?

 :lol

Listening to Popsicle for the first time right now.

I regret everything that led to this moment.

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.

  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  

    

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.

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.

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  ;D ) 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.

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.

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.

I wouldn't consider myself to be in the same league (by far) as the other collectors - apart from the looks perhaps  ;D , 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!

Chris, this is really cool.  Thanks for sharing.

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.

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.

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.

Regarding #2. Understood. But while "Live In London" wasn't available in every record store in the U.S., it was available as an import in the U.S. in some markets, (i.e. Tower). You could also order it in the U.S. It wasn't ubiquitous, but I remember picking mine up (gatefold cover) in the U.S. in the early 70's around the time I picked up the released "In Concert" album. 

Not to dodge this discussion that's taking place, but it's great seeing this acetate!  First time I ever entered what would become Brother Studios, it was still an adult movie theatre in the front, on 5th. Street.  The Boys had rented the back of the building, (which was pretty much the entrance for everyone once it was built), and used it as a warehouse for the studio & equipment that had returned from Holland.  Around the time they procured the lease & decided the studio would be built there, (a story too detailed to go into here, which of course culminates with a perfect Dennis Wilsonian anecdote), Carl had Steve Moffitt assemble the board on BB anvil cases, set up a 24 machine & some monitors, and set to work listening to recent tour tapes while construction was in progress.  This accounted for hours of listening pleasure that Dennis & I often sat in on.  It was from these sessions that this acetate, (which I haven't seen in over 40 years!), was pressed.  I imagine it was presented to, (& rejected by), Warner's, but it also was the inception of endless touring/recording that led to the IN CONCERT album

Ed, did you take that cover shot of "In Concert"? My friends and I use get a few laughs about that cover - Dennis hanging his long mic stand/mic into the crowd of girls......

No, and there's a story behind that, too.  Dennis had a definite idea of the cover being this massive collage, with picture upon picture.  I toured with them constantly through those dates, and Dennis & I constantly worked on the collage.  When it came down to the wire, Dennis told me it was ultimately Carl's decision, and Carl told me he was sorry, but he was going with Ed Carreff, because he was a "professional", and really needed to money!  I asked Carl how he thought I was surviving, after spending about a year & a half on the road with them, getting nothing but per diem, but I could see his mind was made up.

At least I retained the rights to my work.  The only rights I ever had to relinquish were for the L.A. Light sleeve

My two cents on ESQ:  I have subscribed for a long time and I enjoy it.  But I do think it could be a lot more than it is.  I would like to see more commissioned articles that discuss various aspects of the BB story in more depth.  I mean it is nice to celebrate All Summer Long but basically all that you did was ask Mike Love a few questions (which wasn't hugely informative-he didn't even recall "Karen") and reprint Craig's excellent work.  But Craig's work wasn't newly done for the magazine-it is the same stuff that was up on his site for many years.  So we didn't learn that much about the album that we didn't know already.
I volunteered some years ago to write two articles on the BBs TV and Film work.  It would be cool to have occasional articles like this (but better!) by other writers.  Or some NEW writing by Craig.  Sometimes the mag seems to be just David Beard chatting with Mike and David Beard reviewing records.  It might be nice to have some other opinions in ESQ and some other writing.  That being said-the pictures you get from Capitol Records are always nice to see.   I agree with others that I am not that interested in Dean and Bamboo Trading Company (though I have come to admire some of Jan and Dean's 1960s music more than I once did).

Ed, do you know why they used the In Concert pic? Did Dennis ever mention what he thought of it?

Perhaps I missed it, but I thought the All Summer Long sessionography was fairly recent as I've never seen it posted at his archives website.

Sadly, it looks a whole bunch better than it plays, apparently.

Hmm....now I feel silly.  I could've sworn I'd seen it before. 

Don't feel too bad...at least some of C-man's ASL session info is in my Beach Boys FAQ book from a few years ago. That's probably where you remember it from. But the current ESQ version is complete and updated.

Yep. It's not the best sounding disc, what with warping of the metal base( no fixing that), scratching etc. Wish it wasn't so, but there it is.
 Maybe someone recorded it before they ruined it ? ( and now have the only clean version.... nahhh, nobody would do that, would they? )
Other than, of course, the master tapes in the vault. 

Ian, everything is written by me because I'm ESQ's in-house writer.  I welcome your contributions anytime.

Commissioning writers is a fantastic idea, but everyone who has written for ESQ knows that we have no budget.

I reached out to Bgas, Lee Dempsey, Peter Reum and Panyiotis in regard to doing a "collector's roundtable," and Bgas has already stated, "No interest."

Maybe something can come of it, but that certainly is not a good sign.

I, for one, would love to see it.  

ESQ is in a phase of change.  

It's my hope that it's for the better.  

As a fan I want to see Lee Dempsey, Ian Rusten, Jon Stebbins, Chris Woods, Peter Reum, Craig Slowinski and others contributing because the plain simple truth is it makes ESQ better…more varied.

Since Lee — as he has pointed out — controls the purse strings, I'll talk with him to see if there is some financial incentive that ESQ can offer.  If we do manage that, then the chances of a CD are really minimal.  That's not to say it can't happen, but anyone who writes or contributes to ESQ deserves something.

As it is, we are happy to give contributors comp issues.  

Today, ESQ is featured @ every BB concert that has a video screen setup (behind the stage).  The video presentation on the mag appears when people are taking their seats and — when applicable — @ intermission.  ESQ also has a full page ad featured in the current 2014 BB tour program.  

It is my hope that this exposure will help place ESQ on steady ground, affording us the opportunity to pay contributors.  We're not there yet.

How about an article from Ed Roach?

LOVE it!

Well, you reached out to me too, David, and I'd be more than happy to fill Bgas's shoes. You don't need him anyway - some of us have the same items in our collections as he does and we're also much better writers. Spoiled brat.....

That's great Mikie.  I just heard from Peter Reum too.  He's "in."

This is a post about the 2012 breakup that ran on March 15, 2013.

http://www.examiner.com/article/mike-love-says-que-sera-sera-to-beach-boys-future

Either I missed that one entirely or (more likely) completely forgot I read it. Very nice.

Was it in ESQ? I don't recall it either…

Correct, metal flake paint: while I had posted sessionographies of "Today!", "Summer Days" and the "Guess I'm Dumb" single, plus outtakes from those two '65 albums, I'd never posted an "ASL" sessionography anywhere. I was asked by Mr. Beard to compile one for this summer's ESQ, so it is indeed brand new.

And very much appreciated, too!

This is purely, 100% only my impression, but that article reads very similarly to the piece that was printed in the concurrent ESQ issue. The takeaway I get from both of the pieces is, and again this is only my impression, essentially “it’s a bummer the reunion couldn’t continue and Mike couldn't agree to more shows, but Mike likes to run his cheaper, leaner touring operation, and he’s old and stuck in his ways, so what can we do about it?”  I appreciate the degree of insight this offers, and I can’t say any of these points are inaccurate. But in the discussion earlier in this thread concerning what is hard-hitting versus pulling punches, this still veers more towards treating the situation with kid gloves.

To me, this is what needed to be written (obviously, it would have a bit more of an editorial “voice” if printed in a magazine, etc.). This is Howie Edelson on this board, October 1, 2012:

Doesn't it suck that we're even having this conversation? This tour was unbelievable. Finally it was The Beach Boys. It was arguably the best they've been since '75. Brian's band with Totten and Cowsill -- this thing was an embarrassment of riches. Everybody was there nailing it. And it's over before it even began. It's heartbreaking is that it has to go back to what it was before April. Mike and Bruce's show is tight and professional, but Mike's voice is shot from never taking a break over the years and the show includes a FULL HOUR of someone else singing the tunes while Mike points at his temple and waves. Al's show has never gained enough traction to ever evolve past rehearsal/soundcheck levels, and Brian's gigs have devolved at times into "Weekend At Bernie's" territory. But somehow when they all get together -- and together with David, who's happy, healthy, and batting .1000 -- it amazingly all fits. The carry each other and reach incredible heights together. It was masterful.

The "timing" of the announcement is a moot point. I think a week into this tour everybody kinda looked at each other and thought, "Wow -- not only is this happening, but this is actually ART. This thing is what it was always SUPPOSED to be and always fell flat. It's not cheap, it's not lame." That this thing is running the risk of being a one-off is a sin. And I sincerely believe that despite a tour wrap set for England, the fact that this was the best live show running made everyone believe -- ESPECIALLY due to the fact that Mike Love has been pining to finally get Brian "back" for 15 years -- that this would be how it will play out (e.g. with panache and class and Brian Wilson for once wanting to be a Beach Boy.) Instead it's like a kid getting adopted by a rich family and being sent back to the orphanage after a year. Pointing out that that was always the plan doesn't mean anything in the grand scope of things. A choice was made and it was a poor choice. It was the wrong choice.

Here's more from Howie, September 30, 2012:

Most of us have known about these upcoming concerts for a while. Bruce Johnston gleefully told anybody who would listen as much. A lot of us have also known that this tour happened solely at the mercy of Melinda Wilson and Jackie Love and that come the final stretch of dates how THAT relationship played out would determine the future of the Beach Boys. Regardless of whether the Mike band had a bunch of dates booked, the "this tour had a specific end date" excuse really is bulls*** -- because EVERYONE IN AND AROUND THE TOUR knew that if the powers that if be said it's going to continue, it would. The fact than none of this "specific end date" or “our final tour” talk was brought up during their global round of recent interviews proves that either this was being kept away from the general public because it would sully the celebratory aspects of the reunion -- or no one was absolutely sure what was going to go down. And trust me – no one was sure. The prevailing attitude was “let’s just get through this tour.” Would Mike keep the side band for corporate dates and/or "off season shows" -- a lot of things were kept purposely ambiguous. I honestly believe that things are still up in the air about the future of the band. I personally believe there will be some type of middle ground met. I think we’re all in agreement that it could've been done more professionally and with far more class.

When I last spoke at length to Mike in late June, I pressed him hard about what 2013 would hold in store for the band and he made it seem that after the tour the principles would regroup to record at some point -- preferably on songs he and Brian co-wrote -- and discuss future dates. He stressed that the show was more expensive than he would have liked and that he actually regretted having to only play large venues. He had ample chances to say to me that it was permanently going back to the way it was before and he did not. He loved everything about the 50th tour from the song selection to his bandmates' performances -- but (my words) he resented having to lose money paying for such a big machine. Apart from that, he gave me ZERO INDICATION that this was a finite thing. Mike telling the audience at the CalSaga Grammy performance that the group would be opening for the Beach Boys next summer certainly seemed to indicate that the co-founders would be hitting the road again. (Two members of CalSaga told me that the announcement was actually news to them.)

While talking about the tour -- and specifically the "50 Big Ones Productions" headed by Joe Thomas -- Mike gushed that no one else could have pulled this thing together. When I asked him if BRI has ever thought of hiring someone "in house" to run operations like that year-round, he admitted they never have considered it. I offered up former manager Jerry Schilling's name.

The press release issued just prior to the Grammy show was needed to explain the situation before fans started buying tickets to shows and walk out pissed at seeing "imposters." It really wasn’t the d*ck move that the press are labeling it – but the timing was both comically and typically horrible. The fact that it was bereft of any emotion, class, good will, or respect for the co-founders is why this mess happened in the first place. It was ugly and it reeked of "the bottom line." And the thing that's so dispiriting about this is that this thing was truly magnificent. It really was. It rose to every occasion. The rock press coverage was astounding. For a band with zero presence on classic rock radio, they were covered as much -- if not more -- than McCartney and The Who's tours. A hit album and massive, massive exposure. They went from Frankie Valli to Mick Jagger OVERNIGHT. Even Bruce Johnston calling Barrack Obama an as shole couldn't cause a dent in the power of this reunion. But having "Mike Love Fires Brian Wilson" being one of the top tweets and trends online coupled with the Eagles calling Mike out for being an idiot, is press so bad I doubt the brand can fully recover. All that positivity, all that good will GONE in a day. Even the cynics are speechless. What a stupid avoidable mess.

Another from September 30, 2012:

The smartest thing that they could have done is announce that Mike is fulfilling his commitments through the end of the year (while simply but adequately explaining the BRI license agreement once and for all) while listing all the wonderful accomplishments of 2012.

Then on or around Thanksgiving, announce the box set as well as two Staples Center shows for December 30th and December 31st to wrap the 50th anniversary.

It's that easy.
It's beyond a no-brainer.
It's Showbiz 101.
How do these guys not know how to do this thing by now?

December 15, 2013:

The reunion tour should've just wrapped this week with gigs in China after having played a South American tour and second smaller North American and European return legs.
Great memories aside it was a botched affair. Its demise being one of the dumber episodes in the saga.
2014 should've seen them moving into their first Vegas residency for a ton of money.
The reason why the reunion ended had more to do with power than money and the number of dates.

These posts from Howie, along with a few others (including the one he reprinted earlier in the thread) are still the best writing on the demise of the reunion I've read.

But Mike, and everyone else, had already agreed to more shows: 24 over the original 50, in fact, and everyone signed off on those, with part of the agreement being that this was it, no more (which fits in nicely with the "no more shows for Wilsons" email Ambha mentioned). Then, somewhere down the line, seemingly, Alan & Brian and/or his people decide they actually want to do more shows, despite signing off on not doing exactly that and despite knowing that Mike was booking shows for himself as far back as June. I agree the timing of the September announcement was at best unfortunate but don't forget, it was made at the express instigation of Brian's management. It's not as simple as "Mike didn't want to do any more shows". These are The Beach Boys - if you asked them for the time you'd get five different answers, probably. They don't do "simple". For me, the wonder of the C50 tour is that it happened at all, that it was as astonishingly good as it was and that all the principals played every single gig: I would have bet good money on the last item not happening. Hope I'm around when the definitive recounting of the events of 2012 emerges.

There`s no doubt that Howie`s posts are harder hitting and they are very interesting to read but I wouldn`t say they are necessarily better examples of writing. Just different.

The ESQ article keeps things simple and to the point whereas Howie`s writing branches out more and, in places, I feel has a sense of `wish fulfillment` about it (not meant in a pejorative way). The comments about a Vegas residency for example...

Normally, this would be nitpicky, semantics sort of stuff, but I think that positing the following speaks volumes, to me anyway:

Then, somewhere down the line, seemingly, Alan & Brian and/or his people decide they actually want to do more shows, despite signing off on not doing exactly that

I don’t think this is true. It completely twists around how the situation unfolded and how a contract would work. As far as we know, and as would be extremely likely given typical contracts, the contract would have laid out what was going to happen, NOT what was not going to happen. In other words, they all agreed to X number of dates taking place on specific dates. I highly doubt anything was written into the agreement that Al and Brian were NOT going to entertain more reunion shows. To say they signed off “on not doing exactly that” is using, to me, some sort of reverse logic where now the accusation is that Brian and Al were trying to BREACH an agreement to NOT do more shows.

Agreeing to shows is not the same thing as agreeing to not do shows at any time that isn’t laid out in the contract to do shows. It’s like saying someone signs a five-album deal with a record company, and then claiming that implicit in that contract is that they will NEVER make another album after those five, and if they attempt to re-sign with the label, they’re going back on their word and trying to breach the contract.

But as far as I’m concerned, this is still all just variations on “set end date”, “this was how it was always going to be”, etc. It’s definitely the easy answer, and happens to conveniently be an answer that absolves Mike Love of most or all of any blame (to the degree blame needs to be assigned at this stage). I still believe Howie’s words on the topic succinctly speak to the typically cited “reasons” the reunion tour ended.

I wasn’t particularly trying to suggest that Howie’s posts are the most well-written in terms of style. As I mentioned, if these posts had been published in a magazine or something along those lines, I would imagine the “editorial voice” would have been a bit different, and the thing would have been worded slightly differently. We’re talking about some message board posts.

I was speaking to the content and sentiment of what Howie wrote. But Howie publishes stuff as well, and his writing for news services and whatnot are as well-written as anything in ESQ. I’m sure Howie could have taken those posts and worked them into an editorial in ESQ or any other venue.

Those posts are the best writing on the demise of the reunion because they tell it like it is, they come from an uber-fan who understands the band as well as  anyone could, and who more than anything is coming from the place that most of us did, from a place of feeling the reunion was amazing. He doesn’t’ have an axe to grind with a particular member. He rightly points out the whole band fudged up the entire thing, but also calls bull**** on the tired, evasive “set end date” arguments. He points out the weaknesses in all of the members’ projects; the point being that getting them all together is what it makes it work.

As for the stuff like the Vegas residency, I didn’t take it so much as “wish fulfillment”, but more a case of pointing out what any band that has been going for half a century would entertain if they had even a modicum of organization or a sense of how to properly run a band/brand/franchise.

I didn`t say they are worse. Just different. I wouldn`t make any judgment on whether Howie`s writing is, `as well-written as anything in ESQ` anyway because that somehow implies that they are competing with each other rather than just having differing opinions.


Well actually, and I may get slated for saying it, the current touring set up of a couple of long time members is how 90% of bands end up. For every Beatles or Abba who went out on top there are dozens of Guns and Roses, Queen, Monkees, The Shadows etc. who go on in various formats due to the human element. I think it`s that human element that is the most important aspect to the whole thing (and Howie touched on it with his reference to the wives) but it`s also an aspect that these comments can`t really cover fully.

 

I don’t think they’re in competition. But this thread has included discussion of how ESQ could improve or change. We all want to be polite about it, but ultimately I’m glad we’re able to be blunt but respectful here in pointing out shortcomings. I think ESQ wants constructive feedback. That includes having more ba**s in the writing like Howie’s pieces do. It’s not a case of competition, but it is a case of perception. Nearly every person I’ve talked to about ESQ seems to have a very similar perception. They like that the magazine exists, they love the in-depth analysis, the find the non-Beach Boys stuff usually tedious, and they recognize that the editorial voice of the magazine has always leaned *heavily* towards treating all of the members with kid gloves. This sometimes is an issue for some readers, because a lot of controversial, acrimonious things tend to revolve around the group. So there have been times where there’s this big elephant in the room that ESQ doesn’t particularly address in a detailed, editorial way, such as the Mike/Al issues in the late 90’s and 2000’s.

As for the way the band operates, the BB’s certainly have certain aspects that are emblematic of how many aging bands exist (continued touring with only a few members, etc.), and they also have some situations that are quite atypical. I’m guessing, for instance, there aren’t that many bands with five “core” members, three of which own the trademark, where they collectively license the trademark to one member, yet when two of the three members that own the trademark want to keep the full band together, they are shot down by the member they are licensing the trademark to, but aren’t interested enough to try to do anything about it. A lot of stuff is ass-backwards.

Howie’s points about how the BB’s haven’t done the simple showbiz things they could have or should have doesn’t, to me, suggest that all bands do it properly. Rather, it pinpoints that the members themselves and their frame of mind and motivations are what keep f-ing things up. In the specific case of the reunion demise, we have clear evidence that three of the members were, for once, getting it right and realizing the personal, professional, artistic, and financial benefits of getting their s**t together and doing something right for a change; to put the band above any individual for the sake of fans, their legacy, and their own sense of what artistically is the best move and most fulfilling.

No, I don`t think it suggests that most bands do things properly. I just think comments like, `It`s that simple. It`s Showbiz 101`ignores slightly the fact that most bands don`t do it properly and that it is a complicated situation. I personally feel that the, `They should have just completed concerts in China...` do ignore the human element too much but there we are....

Just catching up on this discussion, this one line stood out. And it reminded me of an interview with Mike which went like this, published on MassLive this past month:

Q: What about the recent Rolling Stone report that Brian was deep into writing songs for a new Beach Boys album when you pulled the plug on the reunion tour? (Wilson told the magazine, "I was so proud of how the Boys were singing. Then it just ended.")

Mike: I saw what Jason Fine wrote. There never was a second album planned. I find it very disappointing that this information is being perpetuated. It’s erroneous and fallacious, but I suppose that is part of human nature.



*This* is the kind of issue I'd like to see an interviewer follow up with Mike, as there seems to be a contradiction between Summer 2012 and Summer 2014 in terms of a having the idea of a follow-up Beach Boys album being considered. Is it parsing words in Mike's case to say the word "planned" as in no legal contracts were agreed and signed, or is it a case of him contradicting in 2012 what he said in 2104, where in 2012 he suggested they'd regroup to record and in 2014 he calls that idea "fallacious"? It's not erroneous and fallacious to suggest something that Mike himself allegedly told others about in 2012.

It's this type of question that I'd like to see an interviewer, any interviewer, follow up. I don't think it would be out of line to ask for a clarification. Just the spectacle of fans hearing both rumors and statements in interviews about another "new" group album *possibly* in consideration featuring newly-written original songs is enough to warrant something like a clarification...isn't it?

It's probably not wise to speculate much more on what Howie meant in his comments. If he'd like to add any comments, I'll let him.  :lol

I agree that little is simple in the BB world. I probably identify with what Howie says in his posts because I have a similar frame of mind. Objectively noting that something *should* be does not equate to objectively actually thinking those things *will* be. It's a variation on all the reunion debates. I was met often with "anyone who thought the reunion would go on indefinitely is delusional." But to me, pointing out that they should be continuing the reunion (or whatever the topic is) doesn't mean I actually think it will occur.

The Beach Boys indeed should have been wrapping up international legs in 2013 and doing a Vegas residency and all of that. It doesn't mean I think that's at all realistic. But the fact that those things aren't realistic is not, in my opinion, a valid excuse for not doing them. Again, it's a variation on "we're going back to touring the way we have for 15 years." That statement is true, but it is not a logically valid reason for not continuing the reunion. It's literally a logical fallacy; an "Appeal to Tradition."

I think Mike saying there was "no plan" for a second album may be technically correct...but it was certainly being considered. I was at the Grammy Museum appearance the reunited group did in September 2012 and when asked what the plan for the immediate future was... Brian enthusiastically responded (I'll paraphrase) "I want to write and record another Beach Boys album!" I clearly recall that Al and David happily nodded in agreement...and Mike and Bruce did not. I sensed something was not copacetic, and this was confirmed to me (off the record) by the most reliable source later that night.

Actually, it is. But as my father told me, can't tell someone something they don't want to hear, so I'll leave it at that.  :)

We would obviously have to see the actual agreement to know for sure, but knowing the amount of legalese that I do, I highly doubt there is a provision in the contract that *prohibits* them from doing more shows. Contract verbiage stating things like “this contract limits the interactions to the following 73 dates, and no more” is *NOT* the same thing as agreeing to not do more shows in the future or never do more shows. Again, a recording deal stating “this agreement is limited to five albums, nothing more” does not prevent both parties to the contract from drawing *another* contract. If I sign a two-year contract with a cell phone provider, it doesn’t mean we can’t do business together once the contract is expired and all terms met.

Why in the world would anybody in the band sign an agreement binding them to never appear together again or book a tour? It’s nearly legally impossible to execute such a contract and, even if they did specifically sign a contract stating “we all agree to never play a show together again or attempt to book shows or a tour, for the rest our lives, forever…”, such an asinine contract could be nullified if they all agreed to draw up a new contract revoking the old one.

Was the verbiage on the “first 50 dates” contract the same as well? “50 dates, no more.” If so, they all revoked that when they did 73.

Of course all contracts can be renegotiated, amended, and even made null and void if all parties agree to the terms and sign off on the agreement. That's the nature of contracts in general beyond entertainment issues. But the issues of all parties who signed the original contract agreeing to the changes is the ultimate factor.

The assertion here was that Brian and Al were somehow contradicting or going back on their word by proposing more shows. Considering that they were proposing that all parties agree to it, and all parties agreeing to it could have made it happen, I don't see how Brian or Al could possibly be painted as the bad guy in this scenario. Naive perhaps. Too optimistic perhaps.

I agree. I may be naive too but I did not understand how possibly taking on more shows as some very good offers were coming in was a case of going back on an agreement or even going against an existing contract in a negative way. Like I said, contracts can be amended and voided at any time, as the original 50-show contract being stretched to add more dates clearly showed. If all parties had agreed and had come to terms, it would/could have happened. Ultimately all parties did not agree, and we can piece together those who were on board and those who were not just by reading the accounts.

Yeah, that's all I'm trying to say. One can't "go back" on an agreement because they are attempting to do something outside of the scope of the agreement. Brian and Al shouldn't have expected Mike to agree to more dates. But they also weren't "going back" on a previous agreement. Any tour has to have specific terms. Even if the BB's had sat down and said "okay, we're definitely going to tour together each summer from now on", the 2012 tour agreement would have had to lay out the specific dates for that particular tour. When McCartney books a tour, he has a "set end date" too, until or if he does another tour. It doesn't mean he has to break up with himself at the end.

Mike Love is not interested in touring with The Beach Boys, he is interested in touring with the Mike Love Boys. He knows that when Brian is around he playing the second fiddle because:

• Brian is the talented one who is The Beach Boys
  
• Mike is the not so talented one who wants to use Brian's talent from the 60's to be a pivotal figure wherever he is.

Mike will never be the interesting one in a complete Beach Boys constellation of today. He is a narcissist of sorts after all.  The solution: eliminate the real The Beach Boys and replace them with virtual nobodies. Band members who will even sell out and play Going To the Beach. I am sorry Brian got hurt after the C50 success, but I am glad he is working on some great music that will be released this fall.

If tickets stopped selling to the Mike and Bruce version of the Beach Boys, I'd wager some form of reunion would happen relativlely quickly.

Bingo! $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

The money is not the casual mechanism, it is Mike's mental problems.

Agreed frog, Mike's ego is all about himself and how much money he can save around himself to keep his solo ego trip going.

There are few, if any, people in the rock and roll business that are not all about the money.

Care to detail these mental problems ? What, exactly ?

Sure, some form of narcissism/megalomania. The way he in every single interview ever focuses on his own (small) achievements and belittles Brian.

Narcissism traits:

• An obvious self-focus in interpersonal exchanges - Check
• Problems in sustaining satisfying relationships - Super check, how many marriages are we talking about, how many BB fights are we talking about?
• Difficulty with empathy - Check
• Hypersensitivity to any insults or imagined insults (see criticism and narcissists, narcissistic rage and narcissistic injury)
• Vulnerability to shame rather than guilt
• Haughty body language - Check
• Flattery towards people who admire and affirm them (narcissistic supply)
• Detesting those who do not admire them (narcissistic abuse)
• Using other people without considering the cost of doing so - Check
• Pretending to be more important than they really are - Check
• Bragging (subtly but persistently) and exaggerating their achievements - Cheeeeeck
• Claiming to be an "expert" at many things - Check, TM, writing songs, world peace, the climate etc
• Inability to view the world from the perspective of other people
• Denial of remorse and gratitude

[/list]

I would add greed and anger.

I'd like you to post quotes on the "...belittles Brian" part of your post. Thank you.

Thanks for the giggle - that's the funniest damn thing I've read on this forum for a good while.  ;D[/list]

Mike comes across as thinking he and Brian are more equal than they really are when it comes to songwriting. The Beach Boys owe their success to Brian, not gas station employee Mike. He always unproportionally emphasizes his (often small) contributions to the Beach Boys catalogue and 60's achievements. Like coming up with a line based on someone else's bass line, being the positive force in the group, taking what someone else has created and changing some minor things around and present them as your very own.

None of that "Belittles" Brian. Sorry! Are you OSD's relative? ;)

Word - The Beach Boys owe an equal amount of their early success to Gary Usher and Roger Christian.

And there's nothing wrong with putting Mike Love's achievements in perspective.... is there?

No?

Sure bragging about minor accomplishments and belittles major accomplishments.

Please note I am not bashing Mike's actual contributions. But to me it is kinda obvious he has some mental problems. We often talk about Brian's instability over the decades, but Mike is not  sane either.

Oh come on, they were just riding Brian's coat tails, just like that no-talent lyric writer Mike Love.  ::)

Funny how Mike waited to sue for song credits once Gary usher and roger Christian were dead....

And how is your mental state these days? This is ESQ feedback, not Psych 101.

Compare:

We're always first to hit the lot
And wave to the man in blue now
(Doo run de run de doo run de run de)
It's still so early in the morning
The grass is all covered with dew now
(Doo run de run de doo run de run)

to the Sloop John B backing track. Writing the SJB backing track takes a very smart dude, writing bland lyrics does not. Mike makes himself the most important Beach Boy by shoving Brian aside even though Brian clearly wants to be a Beach Boy again. All because Mike can not handle not being the pivotal figure, due to his disturbed personality.

This is essential: the only way Mike can achieve this is by excluding, eliminating, removing, his competition.

There are interviews out there from this year, I believe, that has Mike heaping tons of praise on Roger's lyrics. I never heard him say anything negative about any of Brian's lyricists, except Van Dyke Parks.

Mike claims he has an "objective" quality that can turn Brian's uncommercial music commercial. He does not. This shows he is deluded and full of himself. When Brian lost his drug battle Mike "mysteriously" stopped writing hit songs as well. Well, how come?

The fact is Brian's melodies and productions made the songs commercial. Mike is not a gifted writer/poet/lyricist/schriftsteller, he is no Leonard Cohen or Federico Garcia Lorca. His lyrics are trite at best. Without Brian's genius productions of the 60's no-one would know Mike even existed. He can not even produce a single song himself.

Like me.

Come on OSD, stop putting us on. ;)

Am I wrong?

Yes, very wrong, on so many levels. Mike's lyrics on I Get Around, Fun, Fun, Fun and The Warmth Of The Sun are just three titles where the lyrics make the song. Not to mention Good Vibrations, Big Sur and any number of other songs. The Wild Honey album has great lyrics by Mike. As for commercial, everything in a song makes the hit; arranging, hooks, lyrics, voices, instruments. You should know better than use that as your ammunition.

Well, sure the lyrics are fine, but it might be a bit much to say they make the song. They could be singing gibberish and I would still love "I Get Around". Besides, we don't even know who contributed what when it comes to lyrics. Brian may have contributed more to a song than Mike, rather than what we're always led to believe.

Basically any words could have been used for the hit songs IGA and FFF. What makes the songs hits are the melodies and the productions. Big Sur is not responsible for Beach Boys' success. I like Big Sur, but compared to hit songs it is not that good.

To sum it up:

Mike is suffering from some form of mental disorder. He feels he has to be the center of attention in concerts, he feels he has to portray himself as more instrumental to the BB success than he really was. BB's popularity spells: Brian's melodies and production. As long as Brian produced new hits for Mike to sing Mike wanted him in the band. Now that Brian has not had a hit for decades he removes him from the BB lineup and puts the limelight on himself. All because he can not stand not being the number 1 person wherever he goes.

And it sold f***-all!


If you want to talk Beach Boys hits, sure - Mike Love has a decent track record (btw putting a word that doesn't exist into the chorus of good vibrations is up for debate). But so do Usher and Christian! Off the top of my head....

Don't Worry Baby? (lots of people's favourite beach boys song of all time, natch)
Little Deuce Coupe?
409? (y'know, that thing that got them writing about cars? Hardly insubstantial, is it?)
In My Room?

We can't deny that Mike Love got a bit better as a writer but it's hardly as if he was Brian's writing messiah until the hits stopped coming in.

Mostly because when Mike became Brian's go-to lyrics man permanently the hits dried up.

If Mike Love was the magic touch, Wild Honey would have murdered the Billboard Charts. BUT IT DIDN'T.

Those lyrics don't really reflect on Mike's lyric-writing abilities, though, as they were written by Roger Christian.

I am sorry about that mistake, but these lyrics are just as generic as Mike's lyrics. My point is still valid.

I've listened to just the tracks of IGA and Funx3 and will go on the record and say neither would have been hits without lyrics. Yes, and we don't know if Mike helped redo sections of songs as they were being written or recorded. What's your point? We are chasing windmills here, don't you think?

I'm finding the way this thread has devolved just fascinating.  What began as an interesting discussion about the future editorial direction of ESQ has turned into insane, adolescent-level playground argument about the contributions of two near retirement rock musicians and the possibility that each might be harboring some form of lingering mental issue at their advanced age.   Who gives a damn?  Certainly not the principals involved.  This is a perfect illustration of the phrase "little minds at work."  

To get back on topic, has it been confirmed whether ESQ will be utilizing Swedish Frog`s writing any time soon?  ;)

I'd rather have OSD writing. At least he is consistent in his rape and pillaging of Mike Love. ;)

That's not the topic, but thanks. If someone wants me to write something I am up for it.

I am not one-sided, I can see whatever side there is. I am consistent like that.

No one is denying his talent as a lyricist in the early days, but comparing his body of work vs his ego, things don't match up - though I'm of course not insinuating his ego would be justified by a more successful songwriting career.

For every good song he added lyrics to - and we still don't know specifically what Mike did and didn't do - he produced just as much garbage. I don't think I need to beat the dead horse on how bad Summer in Paradise, Country Love and the various other songs he's come up with (Everyone's In Love With You, Daybreak, Pisces Brothers, Sumahama, etc) are. 
:deadhorse

He should be proud of his accomplishments, but very little of what he's done past the 1962-1966 has been at all significant.
Wild Honey, Friends, 20/20, Sunflower, Holland - some great lyrics there, but is any of it significant? No.

Am I OSD for having this viewpoint? No...that's just an easy way of needling someone and trying to make them feel like their opinion is worthless. I'm not a big fan of pigeonholing posters for the things they say - DRBB, I could just as easily call you silly name that only makes sense within the context of this message board to try and bother you, sending a wink along with it, but I won't, because it's not constructive to any kind of discussion.

It's almost as if the magazine in question was concerned with these two individuals! I can't even imagine. Why, back in my day, editors talked about such matters on a place that wasn't a thread on a public forum where they invited these 'little minds' to contribute! Peons to a man!

I think you're misunderstanding what I'm saying. I'm not saying that instrumentals would have becomes hits, I'm saying that the lyrics themselves do not make the song, like you stated above. If "I Get Around" had an entirely different set of lyrics, I would still love it.

I'm not trying to convince you of anything, but I think that some of those lyrics you're saying are great and attributing to Mike may be written by someone else entirely. Additionally, I doubt Mike was ever working with Brian and said something along the lines of "You know, Brian, that Gm chord ain't really doing much for this song. What if we changed that to a Abm7/B instead?"

And how much of the I Get Around did Mike write? Correct me if I'm wrong, but I thought Mike came up with "Round round, get around, I get around" and the rest was Brian.

Mike has stated that he wrote most of the lyrics. Obviously there is no way of knowing if that is the case though.

This thread has certainly fallen off a cliff anyway though. Of that we can be certain...

All threads lapse into a let's hate on Mike, thread.

I wouldn't call questioning his input 'hating on Mike' - its better to try and discuss something than needle other people  ;)

Can we please get back on topic?

.

+1

I'm pretty sure if I started a thread asking how to get a wine stain out of a couch, it would turn into a page about Mike vs. Brian by page 2.

How about for an issue of ESQ you have OSD and Klondike Parks sit down with Mike and Bruce for a 2 on 2 interview. I'd pay $30 to read that!

+1 more.

Well, I'm going to -1, so now you're back to just +1.

Not quite sure which is the more disturbing: that you genuinely believe the twaddle you're spouting, or that it's based on such a lamentably inadequate knowledge of the band's history. Neither Mike nor anyone else removed Brian from the band: that was in the main his own handiwork.

Such an eloquent response! Good to see you clearing things up - for the good of the board Smiley.

If you follow this board, even a little bit, you know how wrong Klondike Parks' post is to begin with. Even if it is an opinion, at least he/she could have offered an educated one. I'm with AGD on this one.

I follow this board, and I do not know how wrong Klondike Parks post is. I'm inclined to agree with him actually - what the twaddle the spouting man is spouting is not in fact twaddle, but a fair point of view!! My first instinct when reading WAS to be dismissive and rude, but I decided against that, because after thinking for just a moment, its easy to see where his point of view comes from.

Even if it is an opinion, AGD could have offered an educated one - anyone's educated opinion on the subject could not have considered Klondike Parks as a twaddle spouter!

You know as well as I do Mike cannot push anybody out of anything, except the touring band to which he has a license and call the shots. Everything else goes through BRI. Anybody who reads this board knows that. It has been talked to death here. Also, I post here as well, and can ask that people don't post uneducated posts, at least by educated posters. Klondike has posted some 500 plus posts in here, so he is no newbie. To Beach Boys fans like us, these are facts we should all know by heart. Honestly, the way this board is going, some people intentionally post dumb sh*t just to start arguments like this.

OK, since you asked - and honestly, I really thought you'd know - it's twaddle because, as correctly stated, Mike cannot remove anyone from the band without being backed up by at least two other BRI votes, and because he didn't have to. Prior to 2012, the last time Brian played with the band was in 1996, and prior to that his last year of regular touring was, believe it or not, 1981. Granted there was a certain Landy factor 1982-91 (but wait - surely rehiring him was part of Mike's masterplan to 'remove' Brian from the band !  Genius !!) but fact is there were at least five years after that when Brian would have been welcomed on stage, or in the studio... but he chose not to.

And now... shall we return to the original, and entirely commendable, topic of this thread ?

Who has had the chance to read the Fall 2014 edition of ESQ?

Thoughts?

FYI: a last-minute layout change had me overlooking a cutline on page 33, which should read—
(above) Victor “Moulty” Moulton (Barbarians), Dennis Wilson and Charlie Watts (Rolling Stones) backstage; (opposite page, left) the 45 picture sleeve art for Jan & Dean’s “(Here They Come) From All Over The World” single; (opposite page, right) Jan & Dean get ready to introduce Lesley Gore.

People still read ESQ? 

Why does it have Jan and Dean in there at all?  ( Is there anyone that cares about them anymore other than  Mark Moore?  )

Ya know, I'll stick up for Jan & Dean. They are actually pretty decent. At least worthy of a "greatest hits" CD. However, I do feel that ESQ has given them a bit too much coverage. The fanbase for them as compared to The Beach Boys just isn't there. And then there's the problem of what exactly is being covered. Let's be honest, Dean Torrence hasn't done dick musically speaking since.....who knows when? We don't need any more on Dean unless it's about Save for a Rainy Day, his recording of "Vegetables", or possibly a story on the Legendary Masked Surfers (which in itself is kinda interesting...Dean, Bruce Johnston and Terry Melcher in the early '70s). But besides that, all he's done is re-record Jan & Dean and Beach Boys hits and market them as "Jan & Dean" (Silver Summer, The Jan & Dean Story, etc.). Now of course, I (and a few others) might actually find the story on why he went against Jan's wishes and released Silver Summer as Jan & Dean without Jan's consent might be interesting. But as we know, we don't want too much of the boat being rocked at ESQ (and understandably so, you wanna keep your contacts). But it sure might be interesting.

But anyways, a truly interesting "Jan & Dean" story would be a thorough investigation of Jan's post-Carnival of Sound career. You know, his early '70s singles, "Fun City" with Dean, his planned late '70s album, Port to Paradise and more. Would suuuuurely be more interesting than knowing whose county fair Dean is playing with Chris Farmer and Gary Griffin as "The Jan & Dean Show featuring Dean Torrence".

<People still read ESQ?>
<Why does it have Jan and Dean in there at all?  ( Is there anyone that cares about them anymore other than  Mark Moore?  )>

Well, counting me, that's two.  I don't think anyone with even average intelligence would argue the importance and relevance of Jan & Dean to the Beach Boys or vice versa throughout their checkered careers.  Especially the Beach Boys themselves.  And ESQ is an excellent magazine, well read by many, including the aforementioned Beach Boys.  As with any publication of this sort, one has to straddle a fine line between "approved" PR and real journalism but Dave and Lee navigate this path reasonably well.

As for the comments themselves, I'd be tempted to say I've never read such a fine, pristine and clear example of ass-hatterie (or is it hattery?) in my life.  If I was that sort of person.  Which I am not.

For those who read the Fall 2014 edition, I'd be most interested in what you learned.  Here's one example.

Hi David,
Thanks for sending your Beach Boys Concert book (of Endless Summer Quarterly)! I really enjoyed reading your multiple interviews and getting a “Rashomon effect” perspective some 50-yrs. later.  I hope you've received the kudos you deserve from your subscribers.  I certainly enjoyed the different comments made by those you interviewed, especially Dean’s.

Thanks for the time we spent talking together and look forward to reading your next project.

Warmest,
Steve Binder
Director, The T.A.M.I. Show

Are you just now figuring that out, Steve?

Evidently you are.

I really enjoyed the interviews with Steve Binder, Dean and everyone about the T.A.M.I Show.  Makes me want to go back and watch the film again.

Just finished reading it last night. I concur with Alan on the TAMI Show article. I also found the BB Concert interviews informative. I've been enjoying ESQ's examinations of the earlier albums, which I think get less attention than they deserve. Some of us became BB fans when these albums were new and made the journey through their music as it was released.

Excellent issue, David...and I will second Jim's post about Jan & Dean. Jan was pretty instrumental in the early Beach Boys' sound, including teaching Brian a number of studio production skills, co-writing some great tunes, and influencing some of the Beach Boys earliest backing vocals sounds. Dead Man's Curve, Surf City, Drag City, and Move Out Little Mustang are among my favorite tunes.

I'll take ANY excuse to watch the T.A.M.I. Show again!

And what was with that anemic depiction of it in the James Brown biopic? His set was one of the most fantastic things I've ever seen and they made it look a made4tv movie!

Enjoyed the recent issue of ESQ, as always.  The TAMI Show interviews were quite informative, especially with comments from director Steve Binder.  The Beach Boys Concert article and interviews were interesting as well, but IMO that article could have been more complete and thus significantly improved by providing more info the post production of the album, including vocal and instrumental sweetening and replacement and to what extent the scream track was overdubbed. 

I have subscribed to ESQ since issue # 1 and consider it to be essential element into my understanding and appreciation of the music of the BBs.

(As an aside, does anybody know where, when, and with how may young females the scream track used on BB Concert was recorded?  I've never done a direct comparison, but it reminds me  a lot of the scream track that was added to Ritchie Valens in Concert at Pacoima Jr. High a few years earlier.)

Thanks guys for sending me the Beach Boys Concert and Jan and Dean LP!  I wasn't expecting that at all.  I look forward to writing you guys back.  It'll be a couple weeks, though as I'm getting ready for my finals.  Can't wait to get my next issue of ESQ!

Deleted.

Didn't know ESQ was looking for a change in name. ;)

 :lol

Point taken. Serves me right for posting in the middle of the night...

You're welcome!  Hope you have a turntable.  Send us a letter to the editor with a picture of you and the LPs.  We'll try to run in an upcoming issue.

Issue #107 was mailed today, and issue #108 will be mailed out just before Christmas.
http://esquarterly.com/merchandise.html#latefall2014

Have a great Thanksgiving!

Amazing as this may seem, the "scream tracks" were recorded at the exact same time as the rest of the shows, that is 12/21/63 and 8/1/64 in Sacremento. How many young females ? At a guess, anywhere between 50% and 75% of the capacity of the venue.

Somehow, I doubt anyone at the Valens show was shouting out for "Denny's Drums".  ;D

AGD, you seem to be agreeing with the liner notes on the album, which state, "For most 'live' albums, record companies commonly beef up the sounds of the audience reaction which, because of mike placement and other factors, seldom comes across on the record as it did in the actual theater.  But for this album, audience reaction was so overwhelming that Capitol's recording engineers had to use all their knowhow to subdue audience sounds so The Beach Boys could be heard!" 

But it seems like somewhere in the past I heard that some scream tracks were added, perhaps to help mask the transitions, since the tracks come from three different shows.  So, just to be clear, are you saying that all the screaming on the album came from one of the three concerts used to compile the album, and that no outside pre-existing scream tracks were used during song transitions to help mask those transitions?  It's certainly quite possible that could be the case, but somewhere along the line I thought I heard that some scream tracks were added.

Everyone knows that at least two of the songs on the album are not live

Yes, but does everyone know that words can hurt?

I can clear this up: some tracks had audience sounds added, but they all come from different parts of the Sacramento shows. So, nothing "unauthentic" was added, just some moving-around.

But I get around and fun fun fun are studio recordings right?

Having been one of those little 12-year-old screamers in LA, Kansas City and Chicago concerts during ''64, '65, I can nearly guarantee you that they muted the sound of the audience a bit on the concert album.   I remember being lined up before the show with the other little teenies and pre-teenies in the entry hall when Brian and Mike peeked through one of the doors and the shrieking started at that point.  We then heard another shriek go up and saw Denny running down a set of stairs to the parking garage with a group of young girls right behind.  We wandered over to the top of the stairs.  A few minutes later the screams came echoing from below again, quickly followed by Dennis running past at the bottom of the stairs with the little shriekers right behind. He appeared later onstage unscathed.  It was all pretty surreal.

The screams, particularly when they introduced Dennis and Brian were as loud as anything you hear on Beatles live show videos.  I know if you weren't around in the 60's it's hard to imagine, but the screaming apparently started with Sinatra, then Elvis.  The Beach Boys' audiences were essentially the same period as the Beatles and they received the same reactions.  The sound is totally believable to me and as I said, muted so you can actually hear the show.   We were little Dionysian Maenads reincarnated, well without the blood bit...However Capitol put it together, they didn't have to fake a scream track.

Which reminds me, it's probably already been stated that was Fred Vail introducing them on the record.  He was the Sacramento promoter then and his choice of selling BB's tickets at the original Tower Records apparently helped put that chain on the map when we actually had lots of record stores, as I understood it from him.  When I started working for the BBs in 1969, Fred was my next door neighbor in Beachwood Canyon so I got to hear a lot of early days stories from him.  Fred might even know how the album was put together, since he was always close to them and worked for the BBs later.  He started in the Ivar offices in '68 or '69.

By the later '60's we were all too "cool" to scream of course.  It was a relief to be able to hear the show a lot better, I must say.

Yes, and having not listened for a long time I think they also vari-speeded the tapes, maybe trying to give the illusion that the band played them faster on stage at the show (as many bands do), and assuming not many teenage listeners would notice the pitch/key was higher.

Guitar Fool, I agree.  It's been awhile since I heard that album but I have the same memory. I also remember Brian really hating it when anyone "rushed the beat" in other instances, and I don't remember any of those shows being performed that way.

Of course Fred's intro comes from the December 1963 show.  In my book he explained that the DJ who was supposed to emcee the appearance didn't show in time-so he did it.   He did not introduce the guys at the August 1964 show.

Thanks Ian.  I knew one of you scholars would come through.  I just know what Fred told me...

Yesterday was the first time I listened to the album and I noticed that right away.  Mike's voice sounded so high pitched lol.  But it wasn't too noticeable aside from a couple of songs.

Of course I do!  :)  I'll be sure to do that. 

Of course many concert videos and albums got fiddled with. The Beatles went into a studio in early 66 to fix the she stadium film with lots of overdubbing and rerecording. The stones first love album (released only in the u.s.) got live if you want it features three studio songs with overdubbed crowd noise. Etc

That's why for the most part, and with few exceptions, I've never been a fan of "live" albums! If I do want to hear a band's live take on a song, I'd rather hear it raw, warts-and-all, but that was never the general rule with many major-label official live albums.

With the two Beach Boys songs, I'm pretty sure this speeding-up and adding crowd noise was something done thinking their main audience wouldn't notice it. Not only was it still "teen pop" as a target demographic, but I seriously think there was consideration given that the kids buying these albums would not be listening in 1964 on hi-fi or audiophile grade equipment, and that they might not be astute enough listeners to know or even care too much.

I have in my collection a "live" album by The Kingsmen from this same time, and I'll need to go back and listen but I think on that LP there is a sped-up studio recording of "Louie Louie" with crowd/club noise added just like the BB's had done. It's obvious to us now, but consider at that time did they think anyone buying a live Kingsmen album would know? It's like watching television shows from the 50's and 60's in 2014, on restored and remastered digital or high-def formats. Some details that would be considered blunders or mistakes by the prop department and set designers would *never* have been noticed by the people watching the original broadcasts on their old RCA TV sets with rabbit ear antennas.

Debbie, did you work at 1654 N. Ivar during the Summer of 1973 or '74? Back then, I walked in there and asked two ladies for Beach Boys promo stuff. Maybe you were one of them(?) Did Catherine Pace or Diane Rovell work there at the time? One of the ladies there gave me a press kit with bios and 8x10 glossies in addition to a large promo poster of the Surf's Up album. The poster is one of my prized possessions and is on my wall framed behind glass. I'll always be thankful for that.  :)

Great recollections, Debbie.  At that time, roughly what percentage of the concert goers would you say were females?

I think the '64 Concert album gets a bad rap by a lot of fans who assume it's all fake or mostly fake...but it is definitely way more real than fake. There's quite a few tracks on it that have virtually no sweetening or additions, just pure live Beach Boys. Yes, the IGA and FFF are studio versions with crowd sounds dumped on them, and a few others have vocal additions, but for the most part the album is absolutely live and considering when it came out it was very groundbreaking. It went to #1...and was a huge huge success. Probably the very first live rock album, and certainly the first that was a massive commercial success. Personally this album always get my rocks off. It's a classic, and I remember how important it was in the context of those times.

The two Sea Of Tunes Unsurpassed Masters bootlegs will verify the overdubbing in the studio. I had suspicions that there was work done on the 'In Concert' album prior to its release. Then when I heard this around 2000, my suspicions were confirmed:
 
The Beach Boys Live In Sacramento, 1964 First Show and Rehearsal August 1, 1964 at The Memorial Auditorium, Sacramento, California. To me, it shows that the band is trying to get the rhythm down and Brian seems a little impatient with the band and gives them a bad time.

The Beach Boys Live In Sacramento, 1964 Second Show and Vocal Overdubs - Second show recorded at The Memorial Auditorium, Sacramento, California on August 1, 1964. Love the Honda 55 vocals. Was that for a radio commercial? Anybody know if it was ever used?

That's funny, because the bootlegs of those Sacramento shows actually confirmed to me that a bunch of it was really live. Kind of had the opposite reaction to your confirmed suspicions because before that, in the 80's and 90's the general consensus among the hardcore BB's fans that I knew had always been that most of the performances on the '64 live album weren't really live, but the bootlegs proved that although there was some post production work on some of the tracks, that many of them were purely live.

From memory, those bootlegs also include great live versions of both I Get Around and Fun, Fun, Fun, yet for whatever reason the studio versions were used instead.

Yep! Both are on there. YOU make the call as to whether Brian did the right thing with overdubbers.

As I was saying-the Stones have redone parts for pretty much every live album they have ever put out despite being a great live act. Artists are perfectionists and having access to studios gives them the itch to fix what probably should just be left alone.  That being said-by 1980 the BBs were wise to overdub the 4th of July special and Knebworth-the undubbed versions are pretty rough in places!

Yes of course, those are the exceptions.

What about their other live albums? Wasn't "Live in London" supposedly released undoctored? And "In Concert"?

Bruce insisted to me that the the '68 London tapes were completely undoctored and that the LP is exactly what they sounded like to the band while performing onstage.

The Live In London album was superbly recorded. The clearest and cleanest and loudest of all the live albums by far. The Carnegie Hall recordings seem a close second best. Did Desper record one or both of those? Just excellent recordings sonically. Don't think you could get any better than that, especially in 1968. Felt like you were sitting in the front row center at those London gigs.

As was discussed part way down this thread http://smileysmile.net/board/index.php/topic,18584.0.html and explained in Desper's own words in the Beach Boys In Concert book...Mr. Desper was actually unaware that the Dec. 8th 1968 Finsbury Park, Astoria concert that was used on the Live In London album had been recorded (by EMI's in house set up). It's a pretty cool story, and he acknowledges that the EMI folks knew what they were doing when it came to getting a clean recording of a concert in their venues, but Desper and the Beach Boys were in the dark that this show was being recorded for a BB's release. I agree that it's probably their best sounding live show, and is a great performance by the five Beach Boys with a local brass section and only a couple of sidemen.

Jon, thanks for the info, thread link, and book reference. Completely missed those, obviously.

While Bruce was autographing the newly remastered LP for an (as of yet to be selected) ESQ subscriber, we were talking about that album (November 5, in Hamlet, NC).  His memory on many things is uncanny, and it makes listening to the album even more satisfying. It's interesting to note the cover shot was taken well over a year after the actual concert was recorded.

A reminder: You can write "Letters To The Editor" here, and discuss each issue once you have had a chance to read it.  This is also the page where updates will be posted about upcoming content, etc.

Because free content has been discussed in the past, ESQ is offering two FREE DOWNLOADABLE concert programs:
1)  Brian Wilson with Al Jardine — http://esquarterly.com/PDF/FREE_B_WILSON_PROGRAM2014.pdf (http://esquarterly.com/PDF/FREE_B_WILSON_PROGRAM2014.pdf)
2)  Mike Love and Bruce Johnston — http://esquarterly.com/PDF/ESQ_BBoysProgram-July2014.pdf (http://esquarterly.com/PDF/ESQ_BBoysProgram-July2014.pdf)

Really glad to see the ongoing discussion about the 1964 CONCERT ALBUM.   More to come.

Who has received issue #107?

Issue #108 will be published and mailed before Christmas.

Interviews with Brian Wilson, Mike Love, Al Jardine, Marilyn Wilson-Rutherford,  Jerry Schilling, Ed Roach and Geoffrey Cushing-Murray.

Features include—
Exclusive Brian Wilson content
50th anniversary of The Beach Boys Christmas Album
35th anniversary of The Beach Boys L.A. (Light Album)

Archival images provided by Capitol Records Archives,  Brian Berry, Neil Shoen Holz, Ed Roach and Dean O. Torrence.

Endless Summer Quarterly on FACEBOOK: https://www.facebook.com/ESQ.Editor (https://www.facebook.com/ESQ.Editor)
Endless Summer Quarterly limited time offer: https://www.facebook.com/ESQ.Editor/photos/a.345125747486.155678.183982922486/10152842208932487/?type=1&theater (https://www.facebook.com/ESQ.Editor/photos/a.345125747486.155678.183982922486/10152842208932487/?type=1&theater)

Received it today.  As always, jam packed with great articles and photos.

Received #107 and have read it cover to cover -- hubby's reading it now. I am thoroughly enjoying the 50 years ago album by album in-depth explorations. Keep up the good work, guys -- much appreciated!

I worked in the Ivar offices in '69-'70.  Cathy Pace worked there in '69 in accounting with a woman named Pat Babiarz.  I believe she left before I did in 1970 and was replaced by a really entertaining older lady with red hair whose name escapes me.  A red-haired woman named Lou was Grillo's secretary.  Diana Dignan was receptionist at the Ivar offices when I left in 1970 as I recall, and I'm not certain how long she worked there.  Possibly she was the lady who helped you?  She was an attractive lady in her early 20's with light brown hair.  I'm glad that you got treasured mementos and that you are better at keeping them than I.  I gave mine to a collector I respected knowing how terrible I was at paying attention to personal possessions.

Q for David -- I know the physical Mike & Bruce tour program was being sold at their recent shows. Will the Brian and Al one be available in physical format at Brian's shows?

Nice job on both books!

Debbie, I just saw this. Thanks for the reply. :)

There is a really cool Beach Boys' program being sold at BB shows, but it isn't the FREE DOWNLOADABLE version that I designed.  The one being sold at venues is very thick, and includes many rare BB pictures and original program scans form the group's 1964-era programs.  Mike, Brian, Al, Carl, Dennis and Bruce are each featured.  The only absent BB is David. 

The program I designed using photos from the Mike & Bruce show on July 13 in Augusta, GA is completely different.  As it stands, neither of the FREE concert programs are available physically.

Thoughts on issue #108 (Christmas issue) and what you want to see in 2015?

David,

Enjoyed most of the latest issue, although I was disappointed to see one-third of it devoted to a reprint of the "Keep An Eye On Summer - The Beach Boys sessions 1964" online liner notes. I would have much rather read an interview with Alan Boyd and/or Mark Linett about the process of bringing this project to fruition.

In 2015, I'd like to see the Endless Sky DVD series resurrected.

 :lol  I actually liked having the session notes in print!

A nice touch to bookend the year's 1964 50th anniversary recollections with the Christmas album - I feel an obscure affinity with this record; A seasonal offering recorded in US Summer time and listened to my me in the midst of the Australian Summer, where the only icicles are (hopefully/preferably) hanging off the bottom of your beer can (or glass of white, for the ladies).

There was so much great stuff in the current edition, it's taken me sometime to waltz through - Messrs Boyd and Linnet's track notes and Craig Slowinski's sessionography (plus Craig's tantilizing indication that the MIC sessionography will be coming out in book form at some stage), the fascinating story about Carl and Myrna Smith's Elvis song, great stuff.

I must also mention that I found both Gayle (126th concert  :o) and Heather's stories about their night at the Mike'n'Bruce show in Hamlet, NJ, a lovely little read and sounds like they had a great time and have some memories to cherish for many years.

Anyway, happy new year to you and Lee - looks like another big year in BB world with the ongoing Analogue productions reissues, the next tranche of UME vinyl reissues as well as the great man's new CD just around the corner.

See, this is what ESQ needs to do and not do. Any information (and more) that I can get for free, I'll read this board. Duplication in a fanzine is disappointing and I'm sure hard to avoid. But.......if at all possible avoid duplication and get the good insider interviews (for example the guys who compiled and engineered TSS and MIC. Those two issues alone would cause me to be a new subscriber immediately.

The Winter 2013 edition of Endless Summer Quarterly was exactly that: interviews with Alan and Mark (as well as Mike Love) about the MIC box set.  Those interviews had many insights.  And the Smile Sessions issue was replete with insights too.

As a collector, I like having a physical book and / or releases with books, etc., so that was the drive behind having the liner notes (in print).  I burned the new digital releases to CD, play them on my CD player, and read the new issue.  I don't glean as much enjoyment off of listening to music on my computer, and reading about it online.  The "old school" approach was utilized, and I acquired permission to print those notes for people like me, because I believe that most of those on this board are collectors.  Just because the Internet offers stuff for free, doesn't mean the real "meat and value" to something can't be in physical print.  In the case of ESQ, it is.

I truly hope those on this board aren't losing their sense of collectables, and the essence of the excitement that accompanies a new Beach Boys' release.  Each time there is a new Beach Boys' release I'm ready to listen, and it's with good reason… The Beach Boys are worth my time; the music deserves it.  The sessions on Keep An Eye On Summer are a fantastic fly-on-the-wall listening experience, so I stand by the decision to have a professionally laid-out booklet to accompany those sessions; it makes for a more enjoyable experience.

As for duplication:  Where else, in a professional layout, do the notes appear?  If one person buys a new LP or CD with liner notes, and it's a good collection, that doesn't prevent the next person from buying the same release.  At the end of the day, everyone has the same thing. 

Each edition of ESQ offers rare pictures, all kinds of insight, and forwards the conversation on The Beach Boys in ways that trolling a message board never will.  The in-depth interviews conducted with Mike, Al and Brian that appear in ESQ are invaluable. 

The only way you know that is by subscribing.  You, the fan, has to decide if The Beach Boys are worth it.

Back to the music.
David

I continue to subscribe to ESQ because I enjoy reading/seeing content unique to the fanzine. To me, the reprint of the liner notes, which one can copy/paste into an open-source word processor and print double-sided, doesn't meet this criterion.

David,

I doubt that too many of us over 50 are fretting over having you do the word-processing for us. Like you, I like having hard copy reference. Thanks for providing it!

From the moment that the two releases hit iTunes for release, I was unsure about the decision.  The main reason I like them in ESQ is because they work really well with the Shut Down Volume 2, All Summer Long, Concert and Christmas Album Q&A's that were presented throughout 2014 in ESQ.

Right now, planning on these topics:
The Beach Boys Today!
Summer Days (And Summer Nights!!!)
Beach Boys' Party!
"Little Girl I Once Knew" single

L.A. (light Album)
Keepin' The Summer Alive
The Beach Boys 1985 LP
and maybe…
Summer In Paradise

Every recording has a story.

 Obviously you could have gone either way, please some here, some there.
I wonder if you could have printed the notes as a separate section from the full issue; maybe that would have made it easier to read them without having the full issue each  time

The biggest challenge was not making the text too small.

I like these detailed song-by-song insights and behind-the-scenes memories from the principals...good job.  I would like to hear more about the writing process for individual songs.  I do like having the printed liner notes for "KAEOS."  What I would love is even more conversation with Alan and Mark about what's in the vaults, some of their experiences tracking down and obtaining missing tapes, what unreleased material is believed to exist in collectors' hands and how the heck we can get at it.

YES, Getting these ideas into ESQ would tempt me to but those issues

Bgas, the topics I've proposed, or the continuing Q&As with Mark and Alan…or both.  What do you want to see Bgas?

And if I were a subscriber, I would have known that!  :)  This is one of the back-issues I will need to order. This is an example of the meat and potatoes I'm referring to - information that isn't available anywhere else. So Mark and Alan talked about MIC and it would be great to interview them with every archive release, past and present. We're getting further away from TSS now, and memories are starting to laps, but it's still not too late for an interview. The Smile-o-Philes are still running rampant on this board, so interest is still there and some questions may still be answered in an interview with the three men responsible for the compilation. Soliciting pertinent questions should start on the Smiley board and existing subscribers.

My check for a new subscription is in the mail.

Obviously , different strokes for different folks... 
I'd be more interested in the Q&A first, then the in-depth  studies of Today, SDs and Party. Can't remember if you've previously done the same for the later 60s LPs, but if not those too.
My personal strain tends to lose interest with the 2nd half of your proposals, but I'm certain there are just as many folks that might rather see those first. 

this thread is all about soliciting ideas, questions, etc.

I would love to have questions from subscribers and anybody else who wants to chime in…with the understanding — if used — those questions will be appearing exclusively in ESQ. 

Is $30 U.S. really that much to ask every one to pony up for one year, and then become a part of the conversation?  I want ALL involved… I'll listen to what you have to say in private emails, as well as here in this thread.  ESQ exists for the fans, which in this case, is all of us.

I'm not sure who knows this about me, but "Cabin Essence" is, and forever will be, my favorite Beach Boys' recording.  Next…"Little Girl I Once Knew."  When I first discovered Smile, thanks to Lee Dempsey back in 1989, I literally spent months in front of the entertainment system listening to the audio discoveries pouring out of those bootlegged sessions.  Smile remains my favorite BB album to this day.

Thanks to Smile, I connected with, and understood the tragic beauty of The Beach Boys sound, and fell in love with the music.  So take out a subscription of ESQ for one year, and be a part of the conversation.  What does that mean?  Anything.  Write an article, send a letter to the editor (me), send questions for me to ask Alan Boyd, Mark Linett, Mike, Al Brian and David.  I just emailed Bruce a lengthy Q&A, so — for now — you'll have to follow him on the Beach Boys Britain Message Board. 

And, be sure and hold me to it.  You have my word that I will do my due diligence to connect the conversations in ESQ.  If I don't meet your wishes?  Contact me here, but understand that I get it…I don't need to be told how I've come up short.  I'm about helping you read a satisfying publication.  I know I won't make everyone happy, but I will put forth 100% an effort to provide really great content.  That's what each and every issue is about for me, but I want everyone else to feel that connection too.

We are all fans, and I personally think every opinion on this thread matters, when the conversation is about the music.  I'm 100% behind you, if you're 100% behind The Beach Boys and ESQ.

That's a promise that I'm putting here in writing.

I'll share one example with you.

The Spring 2015 edition, in part, has L.A. (Light Album) Q&A with: Jerry Schilling, Ed Roach, Geoffrey-Cushing Murray, (possibly) Sterling Smith and the late Carl Wilson's track by track form a May 1980 KHJ, Los Angeles, CA radio show (that's currently on Soundcloud).  I want Carl Wilson to have a voice in the discussion so I acquired permission to transcribe the Q&A.  Exclusive?  No.  Important?  Yes.  Carl's Q&A doesn't take up a third of the issue, and it really feels right as a part of the conversation about that period.

Well, who's in?

I'm staying in!

I also hope there will be a nice spread on No Pier Pressure when it comes out.  ESQ in the past has had some excellent interviews with Joe Thomas in which he goes into detail about who writes what.  Brian is usually less informative, but of course I want to hear what he has to say.  And personally I am always hungry for any previously unknown scrap of information about Smile, from any reliable source!

The later BB albums are of interest but lower priority for me as well.  And I know 2016 requires the obligatory Pet Sounds 50th anniversary issue, but that album has pretty much been done to death...while the 1967-1970 period is way under-reported.   Heck, I'd love an issue dedicated to "Love to Say Dada" and "Can't Wait Too Long"!

Actually, I've really been looking forward to an issue dedicated to L.A. (Light Album). It is, in my opinion, the last truly "good" Beach Boys until That's Why God Made The Radio. And if this feature in this next issue is pretty substantial, then I'm thinking it's pretty possible I would like to own a copy. However, I do wish it would be possible to get Brian's feelings about the album or at least the material he contributed ("Good Timin'", "Shortenin' Bread") and also the outtakes that he worked on ("California Feelin'", "Calendar Girl"). Also Mike's opinion would be interesting, if only because this was a more Carl/Dennis type album, in between two more "Mike" albums (MIU and KTSA). Lastly, I'd think it'd be interesting to hear Bruce's take, seeing as he was a producer of the album, and also get some input on "Here Comes the Night", why certain older unreleased tracks were considered and later dumped ("Do You Like Worms" and "Can't Wait Too Long" I think) and importantly why "California Feelin'" was a "heavy no" or however he put it.

So anyways, I'm very interested in as much L.A. stuff as you'd be willing to stuff into an issue.

I also know you're interested in him quite a bit, so maybe a look at Jan Berry's recordings from the early '70s through Port to Paradise? I think that might be interesting.

This is very true. I would like to see this corrected somehow. And let me extend the range into 1973. Easier said than done, but if we could just emphasize and investigate and report the years 1967-1973, it would help to fill a big gap in the Beach Boys knowledge database. We just don't know enough about the writing and recording of these albums. Having Steve Desper's recollections is a big help, but not having Carl Wilson around for his recollections absolutely does not make things any easier for historians and writers, as he was essentially the leader of the band during that period.

We're almost there.  The entire Spring 2015 edition of ESQ is devoted to L.A. (Light Album).  Interviews with Jerry Schilling, Ed Roach, Geoffrey Cushing-Murray, Carli Muñoz, Bobby Figueroa, Ron Altbach and Sterling Smith are featured.

Sparse commentary from Al, Bruce and Brian is included.   Track by track breakdown from the late Carl Wilson.

While spending the last two months working on the issue, and discovering more about the recordings being worked on in 1978, I came up with a different album.  It is surprisingly strong, contemporary and relevant.  

SIDE ONE
Brian’s Back (Endless Harmony or MIC version)
California Feelin’ (MIC box)
Good Timin’
Santa Ana Winds ("From my porch, thinkin' about the torch…" version)
Constant Companion *wait until you read the interview with Carli Muñoz
Full Sail

SIDE TWO
Angel Come Home
Love Surrounds Me
Sumahama
Lady Lynda
Baby Blue
Goin’ South

Don't have time to read the whole thread, just wanted to say your best issue in memory was the one that provided extensive information on the Wilsons' Hawthorne neighborhood.  Incredible research and new insights.

Thanks! 

That was so much fun to put together and research.

Very excited to hear about this David. I will be sure to order whenever this one is available.

Very excited to hear about this David. I will be sure to order whenever this one is available.
[/quote]


Cool.  It's $30 for four issues, and $10 for one issue.  Why not subscribe in 2015?  Give us a try. 

In the meantime, I encourage you (and everyone else) to listen to the new sequence of songs.

Very excited about anything related to L.A. Light Album. My second favorite BB studio album, just behind Friends.

I usually don't like making alternative tracklists but with L.A. Light it's very tempting. Personally I think the inclusion of California Feelin' would've made all the difference! The album is still a personal favorite of mine even the way it came out in 1979. IIRC I once read a Brian interview from the time around his 1st solo record where he said everyone in the group was really disappointed when the Light Album didn't take off commercially, since they had worked really hard on it. Good Timin' is one of my favorite songs of his, on par with the older classics. Dennis' singing strikes me as incredibly soulful on this album. Would love to read more about the making of this record and the way the group members feel about it today!

LA's just about where I came in. While I owned plenty of albums by then, LA was the first time I consciously bought a new-release album. Loved it all bar Shortening Bread, which is rough and a hard listen. Yup, even thought Here Comes the Night was a blast, and pissed on most other disco sh*t. Many press reports stated Wild Honey was also discofied and I spent time a-searching… guess they meant HCTN was originally a WH track.

Anyways, look forward to the special edition.

This is great news.  I LOVE the LA album. 

Great track list - I would've stuck Lookin' Down the Coast in there somewhere

I'm looking forward to this issue with great anticipation.  Will there be interviews with James Guercio and Bruce Johnston, as they were the architects of the album (along with Carl)?

Only those listed.

More fiddling around… try this.  Burn the CD, and listen to it in the car (best place for me).

SIDE ONE
Brian’s Back (Endless Harmony version)
Good Timin’
Constant Companion (Bambu version… start track at 0:02)
Santa Ana Winds ("From my porch, thikin' 'bout the torch…" version) <— use KTSA version if you don't have this.
California Feelin’ (MIC box)
Full Sail

SIDE TWO
Angel Come Home
Love Surrounds Me
Sumahama
Lady Lynda
Baby Blue
Goin’ South

Does the magazine ship to Canada?
Zeppo

of course…

http://esquarterly.com/order.html#4subscript

Replace Goin' South with Lookin' Down the Coast, and I'm there ^_^

Al was still working on LDTC at the time of release.

Wasn't Do You Like Worms also considered for L.A. at some point? That would have been interesting.  8)

Who has had the chance to read Issue #109?

Haven't had a chance to read it yet, as it just arrived in the mail today, but, as always, I'm totally looking forward to enjoying the content.  The only downside I can see is the black and white cover - it makes the mag look cheaper and much less professionally done than it does with it's normal full color cover.  If this was a cost cutting measure, I'd recommend against it in the future.

I take responsibility for the decision for ESQ to run a black and white cover this issue.  To be blunt, ESQ lost a significant amount of money last year.  Subscriptions are down, advertising is down, and printing and postage costs are up.  When ESQ loses money David and I have to make up the difference out of our own pockets.  I love ESQ -- but not enough to subsidize it out of my own personal wallet.  So I made the decision for ESQ to produce a couple of issues at minimum cost, so that we can regain our financial footing.  We knew that there would be some negative feedback, but the alternatives were to 1) raise subscription rates, or 2) shut the magazine down.

If we can find an advertiser willing to take out a color back cover ad, then we can run full-color on the front color, since they are both run at the same time.

Lee

Lee...Totally sympathetic re such agonistes.   Here's hoping things improve.  I remember taking a bath
when I ran that ASM scratch-n-sniff cover (some Portuguese perfume that Diane R. liked).  Big outlay,
little result.  Please hang in there! 

Sorry to hear that subscriptions are down.  I love reading ESQ and hope that it continues publication for many years into the future. 

If you feel you really must run a b&W cover, I’d suggest going to a non-glossy heavy stock cover as ESQ did in its earliest days, with simpler black and white artwork.  David’s cover for issue 109 is really well done, but when seen in b&w on glossy paper it just seems to be screaming out for color. 

Do David's BB Examiner articles generate any significant revenue for ESQ through ad clicks?  Or through publicity for the mag?  If not, it might be wise to discontinue the features.  Disregarding the recent controversies that have ensued following the publication of a couple of BB Examiner articles, offering such articles as freebees may give the erroneous impression that one need not subscribe to the mag since there is content by David available for free via BB Examiner.  Your facebook page seems like a good PR mechanism for ESQ, but I’m not sure the BB Examiner articles fulfill that mission.

As I’ve said before, I regard Endless Summer Quarterly to be an essential component of my appreciation, understanding, and enjoyment of the music of the Beach Boys.  As always, I’m looking forward to reading the current issue.

David's opinions in his Examiner articles are his own personal opinions, and are in no way affiliated with ESQ nor do they reflect the opinion of Endless Summer Quarterly, Inc.  Think of Examiner as a totally separate venue for David's more opinion-based writing, whereas the goal of ESQ is to remain relatively neutral to all camps.

Lee

Interesting, but I've gotta say I wouldn't have had a clue concerning the above info when clicking on "Read Bio", which appears under David's name and photo on all of his BB Examiner articles, as the bio starts off by advising readers that "David Beard is the editor and publisher of Endless Summer Quarterly the world’s leading Beach Boys fanzine. He has published ESQ for 15 years and has been involved with the publication since August 1993. ..."

That being said, I don't mean to be nit picking, as I love the mag and appreciate all the time and effort David, you, and everyone else involved puts into making each issue of ESQ happen.  Today I've been enjoying the interviews, comments, photos, and Craig's detailed sessionography for the LA Light Album, although as a long time fan it's hard for me to believe that album was released 36 years ago this month.

I don't think it's that unusual in the media business; take for instance Anderson Cooper.  He is employed by both CNN and CBS' 60 Minutes.  His bio lists both.  The opinions he expresses on CNN do not necessarily reflect the opinion of CBS/60 Minutes, and vice-versa.

Regarding the Spring 2015 cover, for those subscribers that would like to have a color cover, on our Facebook page David has provided a link to a downloadable full-color version of the cover that can be printed out.

Lee

Just received and read my LA issue of ESQ this weekend and was in heaven.  I love that album and it was fantastic getting a behind the scenes peek at the making of.  Thanks again ESQ!!!

ESQ is a true labor of love.  Glad you enjoyed it.
Here's the link for the full color cover— https://www.facebook.com/ESQ.Editor/photos/pcb.10153135449667487/10153135447442487/?type=1&theater

This post from Ed Roach got NO replies.  Is there no one here who still receives ESQ?


Honored Guest
******
   
SUMMER DAYS (AND SUMMER NIGHTS!!) in new ESQ
« on: June 16, 2015, 04:20:06 PM »
Reply with quote
Interesting and timely summer edition of ESQ just arrived, focusing on the "SUMMER DAYS" album, as well as the new vinyl pressings from Analogue Productions.  Some great photos once again, and looking forward to reading all of  these articles.  Also curious to hear what anyone else that gets it thinks about the issue.

I haven't received the newest ESQ yet....

David, this is not meant to be a slight on Peter Reum whose writing I've admired since reading his liner notes to The Beach Boys Capitol Years box set, but I was surprised to read that many of the musicians that played on “Then He Kissed Me” played on The Beach Boys' “Then I Kissed Her.” Your editorial intervention would have been welcomed.

Otherwise, another fine issue.

Sounds like a great opportunity as a Letter To The Editor.

I've just ordered this and another couple of back issues.  I will also be signing up for a subscription to the magazine.  I don't know why I haven't done it before now! I'm looking forward to the Analogue Productions reviews, even though I have already bought pretty much of all them!

My copy arrived today!  :happydance

This is for anyone who has ever subscribed to ESQ.

After watching "Love & Mercy," it had me thinking about all the music created by Brian between the gaps in the film; 1969-1986 and 1988-present.

Here's a list of what's being considered for the next two editions.

•  No Pier Pressure
•  Brian Wilson-1988 solo album
•  Paley/Wilson sessions (1980's, 90's and 2000's)
•  I Just Wasn't Made For These Times documentary — 20 year anniversary
•  Adult Child

Thoughts?  Additions?  What is it about Brian's musical output that fascinates you, and how would you like it to be presented in ESQ?

ESQ has already covered Love You, Orange Crate Art,  Imagination, BW Presents Smile, That Lucky Old Sun, Reimagines Gershwin and Key Of Disney.


In Music,
David

Love the thought of the Adult Child article - has there been a Spring article?

What about the Hawaii trip in '67? The run of shows in the 70's where Brian took Mike's place?

The Bedroom demos from the 70's?


just throwing ideas about...  :)

Thanks Zander.  Brian Chidester has written several articles about the Bedroom demos, and those are online.  The Hawaii trip is intriguing, and I'll begin to explore the possibilities (information available, etc).  If everything comes together, there's a good chance it could appear in a 2016 edition of ESQ.  



In Music,
David

An interview with Bill Halverson would be interesting also.

Haverson is a great idea!

In Music,
David

Any NEW information on unreleased projects like Adult Child and Paley sessions is always interesting to me.  For instance, what did Mike and Al think when they heard AC, and what is their take on how it went down with Reprise?  What are Brian's memories of those tracks?

If Brian really opened up about the BW88 album and how Landy "worked with" Brian, that would be fascinating, but I don't see that happening.

I'm also interested to  hear more about the genesis of No Pier Pressure; where the individual songs originated, how they were composed and finished.  Were a lot of them basically pieced together from 1998 tapes, then lyrics written?  Who wrote what?

And one thing that I think is shortchanged in nearly all music journalism:  more about the writing process.  For instance, how were the songs written?  How did the song originate?  Who wrote what?  Did you get stuck and when did you come back to it, how did you go about finishing it, did you end up rewriting a lot of it? Was there a particular challenge in finishing it, or a certain part you came up with that you realized made the song?  Did you have an arrangement idea in your head as you wrote it, or did that come later?  I would love a detailed interview about BB songs like Lennon's song-by-song 1980 interviews.  We've heard all the pat answers about "God Only Knows," "Good Vibrations," etc.  What about songs like "Time to Get Alone" or "This Whole World" or "You Need a Mess of Help"?  Again, the problem is Brian probably won't give a lot of detail, and Carl is gone.

And I will suggest once again a lengthy dissertation on "Can't Wait Too Long" (preferably as part of a "CWTL Sessions" release containing the ultimate completed version).

I'd love to from Darian Sahanaja, Scott Bennett and Paul von Mertens about the realities of working with Brian - writing, arranging, producing etc. how much of a hand does Brian have in the process? How has that changed down the years?

On the one hand, in a recent interview he intimated that he finds the creative process very difficult these days, that he essentially sits at his piano and finds himself writing California Girls over again and again.

On the other hand, he strikes me as healthier, with it and more relaxed today than he's been for a number of decades. Has that brought with it a more creative and involved Brian?

Similar questions could be put to other collaborators from recent years (recent by our way of thinking) - Andy Paley, Van Dyke Parks, even Tony Asher… those last two particularly could offer insight as to how working with the Brian of today/recent times compares to working with Brian at his peak.

Such a piece would be incomplete of course without opinion Brian himself - he strikes me as utterly honest and I reckon he wouldn't hesitate to offer his own comment on the writing process as it has been for him down the years.

I'm pretty sure Brian's ultimate Q&A will be in his book.

I don't think that should hold you back - the book's been put back a year already; might be put off again, or even cancelled! It'd be the norm for BBLand after all!

Point is, Brian is unavailable right now.

and based on your recent Examiner articles, is likely to remain that way

I would love for you to interview Howie Edelson.

What about Darian Sahanaja, Scott Bennett, Paul von Mertens, Van Dyke Parks, Tony Asher and especially Andy Paley? Brian's input could always wait until he is available?

Thanks John…Pretty sure you're going to be happy with the upcoming editions.

I think that this is a very good idea David.  Survey the scene.  Use some suggestions if they make sense to you.  And ignore the insults.  We discussed all THAT ... THEN.  THIS...the fact finding mission...if you will...is a response to previous observations, complaints and input.

Good for you. :thumbsup

I would so love to believe that, but on purely logical grounds I have to strongly doubt it. Consider: the 1991 book, which covered (most unevenly) 49 years was about 400 pages, but this new version has to deal with an additional 24 years in, likely, the same page count. Further, I sincerely hope the new collaborator will refrain from plagiarizing the work of others, which means original interviews. Then there's Brian. Granted he's not being medicated to the brink of the grave any more, and granted there's no obvious agenda this time round, but unless he really engages with the interviewer, he's a leading candidate for the title "World's Worst Interviewee". I've a fine idea as to who should conduct the basic interviews: Ray.

David, I always enjoy ESQ.

Someone needs to do extensive interviews with all parties with the understanding that the book won't be published until after BW's death. Not to be morbid, but that's the best way to get the unvarnished truth without stepping on too many toes. Nothing authorized while the guys are still active has a prayer of being more than a gussied-up press release.

ESQ has done a bunch of pieces like this in recent years -- a nice piece on the making of the Gershwin album, for example. Joe Thomas has talked extensively, as has Scott.

Agree - but I'd love to read an analysis of how Brian's writing process has changed down the years, whether his input has diminished or increased, or simply modified. Whether he's still got writer's block (NPP might suggest otherwise) or whether he's creating liberally; whether he's holding back, or dipping into his wealth of unreleased compositions for inspiration.

Brian's decade-long writing block ended with That Lucky Old Sun. He may have had a newish melody or two on Gettin' In Over My Head, but most of that stuff was recycled, whereas the opposite was true with Sun. On That's Why God Made The Radio, it was more-or-less half-and-half, and I think most of No Pier Pressure is newish.

So his recent "California Girls rewrite" comment is a Brianism?

The Fall 2015 edition of ESQ contents:

LETTERS
PIPELINE - news section

SECTION ONE
BRIAN WILSON - NO PIER PRESSURE
Interviews with: Al Jardine, Matt Jardine, Blondie Chaplin, Kenny Aronoff and Don Was

SECTION TWO
BRIAN WILSON - I JUST WASN'T MADE FOR THESE TIMES 20th ANNIVERSARY
Interview with: Don Was; plus sessionography by Craig Slowinski

SECTION THREE
BRIAN WILSON - ADULT CHILD
By Peter Reum; plus sessionography by Craig Slowinski

REVIEWS...

Hey...new subscriber here! Eagerly anticipating my first issue as IJWMFTT and A/C are two of my favourite Beach Boy related things ever.

 Quick question....I'm based in England...when would I usually expect this treat to plop on my doormat?

Being a former UK subscriber, until the finances hit home a touch too heavily, firstly I can tell you that the delivery takes very little time to hit these shores... always prompt. But secondly, is there any possibility you guys would consider offering an e-copy of the mag ? Cheaper to compile, distribute and purchase - and the PDF layout I'm guessing is already in place. I know it's not the same as a physical copy in your hand (much as the same comparison as buying off iTunes against having the vinyl yourself) but I get Goldmine delivered that way, don't miss out on anything - and the subs, particularly for those outside the U.S., are much cheaper. Just a thought ...

Hey Malc -

We have considered it; our issues are delivered to the printer in PDF format, so they are ready to go.  The challenge is putting the user/password infrastructure in place so that only active subscribers can download the issues; otherwise the link would get propagated across the Internet for free.  Goldmine is part of the larger Krause Publications, so they had the resources to invest in that secure download infrastructure across all of their publications.

Lee

U
Hey Malc -

We have considered it; our issues are delivered to the printer in PDF format, so they are ready to go.  The challenge is putting the user/password infrastructure in place so that only active subscribers can download the issues; otherwise the link would get propagated across the Internet for free.  Goldmine is part of the larger Krause Publications, so they had the resources to invest in that secure download infrastructure across all of their publications.

Lee
[/quote]

It would be great if you could, but I understand about the security aspect of it. The other option is maybe, every quarter, publish each issue as a Kindle/Amazon sale, individually priced. And then delete it each issue as the next one becomes available ! Crazy idea ... but it might work ! Just looking at ways to get my subs back !!

Lee, would it be feasible perhaps to email each subscriber their own password protected copy (using either a predefined password or one provided by ESQ), including password permissions protection to preclude printing, copying, or editing of the document?

I'm sure that there are 3rd-party services out there that we could pay to manage the issue hosting and security and download process for us; the problem is they charge a fee, and ESQ is barely breaking even as it is.  We wouldn't be eliminating the printing process since some subscribers will still want a printed copy.  We would have to make it up with an increased subscriber count.

Lee

Posted a primary list for the giveaway items available to all subscribers of ESQ.
https://www.facebook.com/ESQ.Editor

Yeah: www.facebook.com/pctjohnbadger :)

Hope David and the mods don't mind me reporting ESQ's Facebook post here for the benefit of those without Facebook acounts. ESQ's a great read and there's plenty of incentive here to subscribe if you don't already:




Looks from the exclusions listed that overseas subscribers do qualify for the draw too :)

I just subscribed recently....they just 'give away' this stuff!! Wow...all I have to do is be a subscriber? Count me in...

Heck, I think the best prize would be to get on the complimentary subscribers list and never have to pay for ESQ

Chris, change your last name to Wilson, Love, or Jardine, or join one of the touring bands, and we will be happy to comp you!  :)

That's all it takes?  Simple enough...

Oh, and don't take shots at the editor every chance you get...

Moi??  There's SO many chances lately and so few shots across the bow, at least by me. 
Think you need to step up with your cd collection tho....

"Love & Mercy" DVDs arrived today, and will be added to the giveaway.

Maybe you can send one to Mike Love for a candid examiner.com review of it!

:lol

The Endless Summer Quarterly giveaway is underway, and we will begin to mail random prizes out between now and November 7.  You have to be a subscriber to be eligible. 
 
The deadline date is November 7, and names will be chosen at random.  More details to come on ESQ's Facebook page.

Here's the direct link to information on the Fall 2015 edition of Endless Summer Quarterly.
http://esquarterly.com/buy-ESQ.html#fall2015

Looking forward to your feedback when it reaches you.

We have more items that we're in the process of including, so be sure to have your subscriptions up to date by November 7. 

We also anticipate receiving copies of:
Carl Wilson CD
Carl Wilson Youngblood CD 
Carl Wilson - Long Promised Road: Carl Wilson, Soul of the Beach Boys - The Biography

Promo SACDs of Acoustic Sounds' All Summer Long, Today!, Summer Days, Party! and Pet Sounds just arrived.  LPs should be soon.  Look for reviews in the next ESQ.

Got this issue in yesterday's mail... went right to the Adult Child article but skimmed the rest.  Once again, a great issue, up there with the previous LA Light Album edition.  Peter Reum's ruminations about that aborted project were fascinating, as was the sessionography.

Thank you Steve.

Craig Slowinski's sessionography work is invaluable, and Peter Reum's firsthand accounts are too.  Craig and Peter bring tremendous value to ESQ, and we're grateful for their continued contributions. 

Worth checking out…
https://www.facebook.com/ESQ.Editor/posts/10153617398372487


Endless Summer Quarterly added 24 new photos — with Al Jardine and 8 others.
1 hr · Edited ·
Ready for an incredible event? The likes of which you've never seen? ‪#‎EndlessSummerQuarterlySWAG‬ ‪#‎TheBeachBoys‬ ‪#‎BrianWilson‬ ‪#‎MikeLove‬ ‪#‎AlJardine‬ ‪#‎CarlWilson‬ ‪#‎DennisWilson‬ ‪#‎BlondieChaplin‬

ENDLESS SUMMER QUARTERLY is excited to announce our latest giveaway! No secret keywords, no forms to fill out, no essays. Just be an ACTIVE PAID SUBSCRIBER with one or more issues remaining on your subscription as of November 7, 2015. New subscribers, former subscribers who re-subscribe, and current subscribers all have an equal chance to win. Complimentary subscribers are not eligible. (NOTE: If your subscription expires with the Fall 2015 issue, get your renewal in by November 7, 2015 in order to eligible.)

GRAND PRIZE (NOTE: Due to international shipping costs and Customs restrictions, Grand Prize is available to U.S. subscribers only.):
• The Beach Boys 2015 Official Endless Summer Days (And Summer Nights!!) Tour Program - autographed by Mike Love & Bruce Johnston
• Endless Summer Quarterly: Summer 2015 edition - autographed by Mike Love & Bruce Johnston
• The Beach Boys - Assortment of Acoustic Sounds LP re-releases ‪#‎TheBeach‬ Boys
• The Beach Boys - Assortment of Capitol Records LP re-releases
• The Beach Boys - Good Timin': Live At Knebworth England 1980 CD
• Brian Wilson - autographed 2000 8" x 10"
• Brian Wilson - No Pier Pressure 16-track Deluxe CD [still sealed]
• Brian Wilson - No Pier Pressure XL T-shirt ‪#‎NoPierPressure‬
• Brian Wilson, Al Jardine and Blondie Chaplin - Record Store Day “The Right Time”/“Sail Away” 45 [still sealed]
• Brian Wilson - That Lucky Old Sun LP [still sealed]
• Brian Wilson - “Midnight’s Another Day”/“That Lucky Old Sun”/“Morning Beat” blue vinyl 45 with picture sleeve
• Brian Wilson - “Midnight’s Another Day”/“That Lucky Old Sun”/“Morning Beat” yellow vinyl 45 with picture sleeve
• Al Jardine - autographed 2002 8” x 10”
• Al Jardine - autographed A Postcard From California post card
• Al Jardine - Family & Friends: Live In Las Vegas CD [still sealed]
• Al Jardine - “Don’t Fight The Sea ” /“Friends (A Capella)” white vinyl 45
• Carl Wilson – Self-titled CD
• Carl Wilson – Youngblood CD
• Carl Wilson – Long Promised Road, Soul Of The Beach Boys Book
• Dennis Wilson, James Taylor — Two-Lane Blacktop LIMITED EDITION VHS collectible metal box with collector's book (#3,924 of 5,000)
• David Marks And Friends – Live On Sunset 2010 CD
• Ricci Martin – Beached CD
• “Love Love & Mercy” DVD
• The Bamboo Trading Company CD - autographed by Matthew A. Jardine, Gary Griffin, Randell Kirsch, Philip Bardowell, Chris English Pittman and Miami Dan Miami Dan & the Hayes Street Band) + special guests Dean Torrence, David Marks & Probyn Gregory
• The Wrecking Crew DVD
• SOUND EXPLOSION! – Inside L.A.’s Studio Factory With The Wrecking Crew Book
• The Surf City AllStars — autographed program
• DRIFTING SAND – Summer Splash CD Drifting Sand
• Chris Farmer - “Born On Christmas day” CD single
• MOJO ’60s - Smile edition, with “Cabin Essence”/“Wonderful” yellow vinyl 45

SECOND PRIZES (5):
• “LOVE & MERCY” DVD
• DRIFTING SAND – Summer Splash CD
• AL JARDINE - autographed A Postcard From California post card
• RICCI MARTIN – Beached CD
• Two edition issue extension to subscription.

THIRD PRIZES (10):
• “LOVE & MERCY” DVD
• One edition issue extension to subscription.

Note: Endless Summer Quarterly reserves the right to substitute prizes at its discretion.

Just curious, based on the article in the recent ESQ (which I have not read, apologies) is there any indication that "I Just Wasn't Made For These Times" might get a release on Blu-ray?

yeah, why not. Maybe I'll win the grand prize, I subscribed

But you already own everything included in be grand prize. In the Outer Mongolian release version as well as coloured vinyl.

Maybe if you win you'll redistribute it all to Third World and UK fans… ;)

I was thinking for most of it, about you, John

Ooh, where's the :blush emoticon when you need it!!!

I bet John has most of it as well.  Best send it down Melbourne way where it can be best appreciated; our local stocks of Surf City Allstars souvenirs is critically low.

Actually, David, keep me in the draw & when I win this bounty, I'll make up the difference on the postage!

gee, offering bribes...

In fact (forgetting any of the autographs and T-shirts, which don't move me anyway) I don't have any of the following:


I'd quite like that Wrecking Crew book, for the pictures…

I just noticed that ESQ Facebook just added several more giveaways in addition to the BIG one they were already having. For me a subscription was already a non brainer as I love every issue especially the recent ones and now any subscription has us in the drawing for these many prizes, no entry needed just have a subscription and were automatically entered!

We want to spread out the giveaways so that more people win.  For that reason, we're creating smaller PRIZE PACKAGES.

David - finally found some time to get through the Fall 2015 edition of ESQ.  I hope you found it as rewarding to put together as it was to read.

I consider myself an ESQ newb having only subscribed since 2012, but this and the previous 2 editions have been really solid reads packed with great info, topped with a slow burn preview of c-man's highly anticipated sessionography.

What was it like to have Al Jardine confess he may be ready to change out of his long term Big Sur residency to explore much more?  And thanks for asking Al about Postcards - it's great to hear Al recorded that gem on an analogue console: here's to hoping we get to hold/hear a vinyl edition some day.

Al's comments, the additional info you managed to get from Matt and Blondie about NPP; Don Was's insights into IJWMFTT doco and beyond - pure gold!

Peter Reum always blows me away with his insightful and heartfelt words with the requisite gravitas to appropriately frame and discuss a(nother) difficult time in Brian's past.

Best wishes for the next edition, I can't wait - cheers - A   

Thanks Alan.  Appreciate the feedback.

Seems to me, each issue of ESQ is better then the one before which is amazing considering there is a limited amount of new music coming from the boys in recent decades. My favorite issues are the ones that break down and dissect albums and give history and back ground stories to each track. It make old songs sound and feel fresh after learning new info about them. The only thing I wish ESQ would do different is I wish they had at least one page dedicated to collectors,maybe highlighting at least one super rare or super unique Beach Boy / Jan Dean collectible and encourage readers to send in a pic of their special piece. If you haven't heard already ESQ is giving away a ton of their beach Boy collectibles. NO ENTRY required! Just be a subscriber, if your already subscribed then your already entered. here is some of the goodies they are giving away:
BRIAN WILSON - THAT LUCKY OLD SUN PRIZE PACKAGE
https://www.facebook.com/ESQ.Editor/photos/a.345125747486.155678.183982922486/10153642514662487/?type=3&theater

DENNIS WILSON PRIZE PACKAGE
https://www.facebook.com/ESQ.Editor/photos/a.345125747486.155678.183982922486/10153650918992487/?type=3&theater

CARL WILSON PRIZE PACKAGE
https://www.facebook.com/ESQ.Editor/photos/pcb.10153629932757487/10153629930047487/?type=3&theater

AL JARDINE PRIZE PACKAGE
https://www.facebook.com/ESQ.Editor/photos/a.345125747486.155678.183982922486/10153643844127487/?type=3&theater

WRECKING CREW PRIZE PACKAGE
https://www.facebook.com/ESQ.Editor/photos/pcb.10153629932757487/10153629929022487/?type=3&theater

David I have signed up.  I have been meaning to do this for a while and bought some back issues a few months back.  Great read.  ;D

The names drawn for the first eight prize packages are:

GRAND PRIZE #1: Keith Guinn
GRAND PRIZE #2: Darlene Morga
GRAND PRIZE #3: Tim O'Shea

BRIAN WILSON - NO PIER PRESSURE PRIZE PACKAGE: John Lally
AL JARDINE PRIZE PACKAGE: Peter S. Hansen
CARL WILSON PRIZE PACKAGE: Ian Pratt
DENNIS WILSON PRIZE PACKAGE: Don Faruolo
WRECKING CREW PRIZE PACKAGE: Brian Dillon

More prize packages are coming soon!

The Winter 2015 edition of Endless Summer Quarterly was mailed on Monday, December 14.  Has anyone received it?

Thoughts?

Got mine on Saturday. Great, great piece on the Paley sessions! Such an awesome read and insightful. Thanks to all who make ESQ what it is. Also, interesting list of recordings by BW at Gary Griffin's studio!

Spoke with Andy Paley, and we're going to be continuing the discussion on the work he did with Brian in the past in upcoming editions of ESQ in 2016.  Andy is still uncovering previously unnamed and unreleased demos.  

Alan Boyd sent a nice note that he had to read the Winter 2015 front to back as soon as it arrived.  

Speaking for Lee, and our assistant editors -- Keith Devoe and Ron Kohl -- we would like wish everyone a happy holiday!

More ESQ prize packages are coming soon!

Received mine yesterday (UK) and have devoured the Andy Paley interview - fascinating stuff and fine detail considering Andy warned David that it might be otherwise!  Look forward to the renewed conversation, David.

Lee's analysis of the new SACDs is excellent and I see has helped inspire more discussion of the recent Analogue LPs elsewhere on this board.

Terrific issue, hearty thanks, one and all!

Why no cheaper, digital alternatives?

If you have personal knowledge of a third-party solution/service that will allow secure, subscriber-only magazine downloads that can't be forwarded or copied, but doesn't cost the publisher an arm and a leg, feel free to PM me.  I'm all ears (or eyes in this case).

Lee

Call me old fashioned, but I still enjoy having hard copy in hand. There is nothing quite like the printed page. Cheers to your latest issue.

i don't think we would ever do away with the printed edition.  It's true we would save some costs of printing and postage if current subscribers opted for a digital subscription, but a good portion of our expenses are fixed regardless of whether we print 100 copies or 1,000 copies.  The value proposition is how many subscribers would we gain by a digital edition, what price could we set, and what is the cost of a third party service to host the issues, provide an eCommerce front-end website to purchase the digital subscriptions and individual issues, and provide a secure method of delivery.  They would have to support Microsoft devices, Apple devices, Kindles, Androids, etc.

Lee

Even if a digital option was available to the fans for a fraction of the price, I would still stick with the print edition. I like something that I can look back at in future years and not have to turn on a device to read.

Amen to that, Eric!

Got mine this morning, devoured it while the laundry was drying. The Paley interview is the stuff of life to the likes of me. More new session dates !!

One point I would argue: Landy didn't help Brian get his publishing back... because he didn't get it back. He did get an out of court settlement of $10 million in April 1992, but the publishing remained with Irving/Almo.

The Griffin recordings - am I right in thinking they're mostly, if not all, covers ?

Hi David and Lee,

I damn near starved to death reading the latest ESQ - deciding to take things easy and have a quick skim read in bed before breakfast, I was soon fully hooked into the Paley interview and had to read every word twice - a fantastic read, and definitely unputdownable despite the ferociously cannibalistic rumblings of my pudgy post christmas gut.

Thanks also to Lee for another kickin' review of the Analogue Productions reissue series, with the focus on the digital media - not having yet squandered my vast fortune on these items, it provides a some balanced and reasonable previews of what to expect.

Looking forward to another great year for ESQ - A

Based on the titles, I would tend to think so...however, seeing the title "Mary Honey" makes me wonder, as Chuck "Crane" Kirkpatrick recalled that Brian played him his demo of a tune with that same name following the "Shortenin' Bread" session at Brother (January '78). Brian even had Earle run off a cassette dub for Kirkpatrick, but it was later stolen from his car in Miami years later. I'd always assumed the song in question was actually "Marilyn Rovell", recorded by Brian in '76 during the New Album era, and that Kirkpatrick was just misremembering the lyrical hook and title...but now I'm not so sure...

Craig, between the three of us, we can obtain the answer, and more information surrounding the song, and print a follow up in ESQ.   I have an email out to Gary Griffin for clarification.

I agree the new issue was great!  I think that the last four or five issues of ESQ have been some of the best ever. 

The Spring 2016 edition of Endless Summer Quarterly will be going to press VERY soon.  

Contents:
Interviews with Brian Wilson, Melinda Wilson and Dr. Barbara Van Dahlen for Campaign To Change Direction.

An exclusive look at the making of the Wrecking Crew for the "Love & Mercy" film; including interviews with Johnny Sneed (Hal Blaine), Gary Griffin (Al De Lory), Teresa Cowles (Carol Kaye), Jim Laspesa and others.

Rare behind-the-scenes (on set) photos are included.

Sound great David, will be nice to have some good background material to accompany the Blu-ray.

What's the likelihood of you interviewing Rocky Pamplin about his forthcoming NYT best-seller dishing the dirt on his five minutes in the presence of the Beach Boys? (Please tell me the chances are slim!!!!!)

ESQ has never had an interest in "the dirt."  We know it, but we don't go down that road. The music, and anything any one of the members is promoting is our focus.  Albums, tours, causes, etc.

Pet Sounds 50!
50 Years Of Good Vibrations!

Just in case anyone is unaware of what ESQ is doing …
https://www.facebook.com/ESQ.Editor/photos/a.345125747486.155678.183982922486/10154413706937487/?type=3&theater

The Summer 2016 edition of Endless Summer Quarterly [ESQ] celebrates The Beach Boys 50th Anniversary Pet Sounds box set. Brand new exclusive interviews with Mike Love, Al Jardine and Bruce Johnston

Previously untold details about: The Beach Boy's first tour of Japan, details of The Pet Sounds Sessions, a track by track breakdown of Pet Sounds, and Archival comments from Brian Wilson, Carl Wilson and Dennis Wilson.

Plus, Lee Dempsey reviews the MONO versions of Pet Sounds from the last 50 years to point you in the right direction to hear the best possible version available.
http://esquarterly.com/buy-ESQ.html#summer2016

This information should be live on the ESQ site by next Monday.

The Fall 2016 edition of Endless Summer Quarterly [ESQ] celebrates The Beach Boys 50th Anniversary of “Good Vibrations” with the release of the 12” commemorative vinyl. Exclusive interviews with Brian Wilson, Mike Love, Al Jardine and Bruce Johnston, as well as Hal Blaine and Don Randi of The Wrecking Crew are included.  

Previously untold details about The Beach Boys' Pet Sounds and “Good Vibrations” sessions from Brian, Mike, Al, Bruce, Hal and Don are included.

The Fall 2016 edition of Endless Summer Quarterly [ESQ] celebrates The Beach Boys 50th Anniversary of “Good Vibrations” with the release of the 12” commemorative vinyl. Exclusive interviews with Brian Wilson, Mike Love, Al Jardine and Bruce Johnston, as well as Hal Blaine and Don Randi of The Wrecking Crew are included.  

Previously untold details about The Beach Boys' Pet Sounds and “Good Vibrations” sessions from Brian, Mike, Al, Bruce, Hal and Don are included.

Here's the link: http://esquarterly.com/buy-ESQ.html#fall2016

ESQ has been drawing name after name for our giveaways, and there are more to come!

https://www.facebook.com/ESQ.Editor/photos/a.345125747486.155678.183982922486/10154587168582487/?type=3&theater

https://www.facebook.com/ESQ.Editor/photos/a.345125747486.155678.183982922486/10154574990607487/?type=3&theater