The Smiley Smile Message Board

Here is a three part text I prepared for another message board. Since they had a major crash some time ago and a lot of their messages were lost, I'll publish it here.

Feel free to comment or correct me.

Part 1 - Hubba Hubba - Dennis' unreleased solo-album
 
No one would have expected that the middle of the Wilson brothers would blossom like he did. For the first few years, Dennis was seen as the Beach Boys pin up. The epitome of Sixties West Coast cool. The only surfer in the Beach Boys. The good looking boy who sat behind his drums, smiling at the girls and getting them wild shaking his long blond hair.
Later he got even more stereotyped as a drug-abusing, womanising, Manson disciple.

Yet, those are only small aspects of his personality. In Dumb Angel: The Life and Music of Dennis Wilson he is portrayed by Adam Webb as a very generous, romantic soul and a prolific and songwriter.
But that creative aspect only became visible after many years in the background.

When Brian slowly started to withdraw from his role as leader of the band, the other members had to fill the gap. To everyone's surprise it was Dennis who delivered the goods, often in collaboration with others: first with a little help from Brian, then with Steve Kalanich and Gregg Jakobson.

This started around 1968 and evolved over the next years.
According to engineer Stephen W. Desper (whose book Recording The Beach Boys is highly recommended), Dennis worked on his song in the morning studio sessions before the group came in to work on their stuff.

(The quotes from Mr. Desper are not from his book, but gathered from various posts, often months or even years apart, on various BB forums.)

Stephen Desper: "Although Dennis has a reputation for banging more than his drums while on the road, he was a musical natural in the studio. If he did not know how to play an instrument, and he wanted to use it on a track, he would learn enough of the playing technique to record and then continue to learn. Too bad he was treated as the black sheep of the family -- but it forced him into more solo situations."

"He recorded in the morning and the rest of the gang came in during the afternoon hours. Depending on what was happening, he either stayed or went to surf or whatever.
I'd say about half his time was spent by himself in the studio (with this engineer). As an independent he recorded lots of song starts, but only stayed with them a few days -- short attention span.”

"As far as the group was concerned, it was Dennis fooling around in the studio every morning on his stuff -- until Warner called with a deadline."

When Warners rejected the proposed track list for Sunflower, the Beach Boys turned to Dennis, because they knew he had a lot of song that were almost finished.
"Then all of a sudden Dennis' tape productions were given a listen, and deemed quite good" continues Desper, "Good enough to be finished by the group. It was not until the pressure was on that Dennis was even considered a producer. Up until then, he had been doing all the vocal parts himself, but now under the Warner clock, the entire group got involved with his productions, taking them over and finishing what Dennis could not."
That help sometime came from Brian, but mostly it was Carl who took it on him to finish the song.
"Dennis did not object…. It was his artistic temperament that Dennis had trouble controlling. He had gotten use to working by himself on his material. Not rejected, but forgotten by the other guys, all of a sudden Dennis was a means to getting the job done. Dennis wanted acceptance, but not at the price of being overridden on artistic decisions. Dennis had become a good producer without the group, but when THEY needed him, he found acceptance. By the time that happened, Dennis had his own confidence -- the group was just a side-bar issue to him."

Sunflower included four songs written by Dennis, including 'Forever'. The track, considered by many to be his first masterpiece, earned him some much sought praise from brother Brian and father Murry. This gave him enough confidence to try it on his own.

* * *

On December 4, 1970, Dennis Wilson was the first of the original Beach Boys to release solo material. To test the waters for a solo album, a single 'Sound Of Free' b/w 'Lady' was released outside the US, under the moniker of Dennis Wilson & Rumbo.

Both songs were recorded in the Add Some Music era. 'Lady' was started on December 26, 1969 and finished exactly a month later. In this period Dennis started working with Beach Boys session keyboardist Darryl "Rumbo" Dragon. Darryl would later gain some fame on his own as the Captain in Captain and Tenneille.

The gentle ballad with simple Maestro drum machine and lush strings was presumably inspired by his new love Barbara Cherren and certainly influenced by Ennio Morricone.
The song was later covered by Spring as 'Fallin' In Love' - changing the word "lady" to "baby" for gender purposes. This version was released on their 1972 United Artists debut American Spring and also as the b-side to their single 'Shyin' Away.'

Here's a clip Dennis performing 'Lady' with the Beach Boys, probably filmed on March 1, 1971 for the David Frost TV-show in Philadelphia PA: http://nl.youtube.com/profile_video_...7640F594DE6CC2

According to Alan Boyd, the 16 track master for 'Lady' is on one of the two Sunflower master reels, which shows that it would blend perfectly with the BB sound.

There's a rumour that Dennis would have recorded a new version of 'Lady' in 1976 as 'Flowers Come in the Spring', but that version remains unreleased (if it exists).

That could not be said for the a-side: 'Sound Of Free' is a blast of rock that would stick out on any Beach Boys album of this era. It is however, co-written with cousin Mike Love and there are rumours of vocal contributions from Brian and Carl.

Despite some limited success in the UK, the single attained the status of 'collectors item'. The only re-release of these tracks is on the Rarities album, where the original mono mixes are featured. Both songs have appeared on various bootlegs over the years, but mostly in stereo mixes.

* * *

In the Summer of 1971, at the final stages of finishing Surf's Up a conflict arouse around the sequencing of the songs. Dennis wanted to finish the album with his song 'Wouldn't It be Nice To Live Again', but Carl objected.

Enraged, Dennis withdrew the song and his other offerings for the album (‘4th of July’ and possibly ‘Fallin' In Love’) too. According to Andrew G. Doe (author of the excellent The Complete Guide to the Music of the Beach Boys), one of the few people who actually heard it, "The original BB version of "Wouldn't It be Nice To Live Again" is easily one of the best three unreleased BB tracks I've ever heard - it is just staggeringly magnificent. You wouldn't believe Dennis could sing so sweetly, and the background vocals... awesome. Not having this on Surf's Up was a major, major loss."

But according to Stephen Desper it was not only about the sequencing. There were other matters were involved. "Dennis was going through a lot of depression and anxiety in his personal life at this time. That, along with the commercial response to Sunflower where he did have songs, made him very moody about putting more of his work on the next album.
Dennis also had issues with Mike. There was much behind-the-scenes bickering and quibbling at that time which I was not privileged to, but Dennis was unhappy more than he was happy. His drink induced mood swings became more extreme as time went along as his participation in sessions became less."

Around the same time, Dennis had an accident with that prevented him from drumming for several years. Apparently he cut some nerves and muscles in his hand while hitting through a plate glass door.

That doesn't prevent Dennis (or give him a good excuse) to start working in earnest on a solo album, in collaboration with Darryl Dragon and engineer Steve Desper. The sessions take place in Brian's home studio, which give him the opportunity to work whenever he feels like doing so.

Among the songs recorded for this album, which Dennis - evidently none too seriously - claimed to be titled ed Poops or maybe Hubba Hubba, are 'Baby Baby', 'Sea Cruise', 'Behold the Night', 'Ecology', 'Old Movie' and 'Barbara'.

'It's A New Day', like 'Wouldn't It Be Nice To Live Again', a collaboration with Stanley Shapiro, started as a a commercial for Dry Command anti-perspirant, but was later finished with a Blondie Chaplin lead and considered for release on a Beach Boys album.
Another song, 'Baby Baby', described by Alan Boyd as "an eccentric old-fashioned little rocker on which Dennis seems to be doing his best to sound like Leon Redbone... " was once played by the band during their 1972 fall tour.
The intro of 'Ecology' later grew into 'All Of My Love'. Alan Boyd again: "After that intro, there are two unfinished segments, one of which incorporates the piano riff that later was the foundation for "River Song." As a matter of fact, on the second segment of "Ecology," the only vocals consist if Dennis repeating "Run Run, river run..."

Of special interest is a assemblage of several segments made by Dennis and Daryl, that is pressed onto an acetate. Bootleggers later gave it the name of 'Quad Symphony' because there are "three movements":
- a duet piano sonata and accompanying organ duet, both performed by Dennis and Darryl;
- the 'All of My Love' vocal choral
- a lush piano piece with delayed electric guitar lines and drums.
Of course this piece was never meant to be released in this form.

Stephen W. Desper explained it's origin in February 2003: "All of those recordings are my property and I have the April 1971, 30 ips, 1/2 inch 4 track masters in my collection. Back then, I was asked by the Audio Engineering Society (AES) to give a paper and presentation to the Hollywood section on Quadraphonic recording technique for my fellow engineers. I asked Dennis Wilson and Daryl Dragon to help me in the production of the sound portion of the demo. I recorded Dennis and Daryl playing a piano duet, miked four different ways. I recorded Dennis doing a drum solo. It was than that I recorded 'Barbara' and mixed it to two different formats in Quad.
In the talk I demonstrated eight different miking techniques and recording styles and various echo chamber imaging techniques using Barbara. In one segment, Dennis overdubbed his voice more than 350 times to make the sound of a large choir ("Steve, the big speakers are on." -- refers to the studio speakers used by Brian to hear the mixes in mono and for playbacks in the studio.)
The AES talk lasted about forty minutes and was well accepted. Although the Beach Boys, under my direction, never recorded using the Quadraphonic discipline but rather a Surround discipline, the AES figured it would ask me to present the ideas since I was one of a few engineers exploring these new multi-channel techniques of production back in 1971"

Among the unfinished songs are a couple of love songs to Barbara: one is called 'I've Got A Friend'. That track is never bootlegged, but it seems to exists on tape as an unfinished backing track - no vocals. Another is the beautiful April 1971 demo for 'Barbara' was released in 1998 on Endless Harmony. It is presented as a piano duet between Dennis and Daryl, but it was meant to receive a string arrangement.

Dennis was very interested in string arrangements in that period, but had to find a balance, as shown on 'Make It Good' which is practically drown in it.

Stephen Desper once more: "Brian was the master, and Carl was not far behind -- if not equal.
Dennis was more conventional, serendipity at times, certainly planning as he went along and as events presented themselves, such as string sessions.
Sometimes Carl would book (minimum booking is three hours) a string or horn date for the songs he was working on, and if he finished early, Dennis would use the remaining time to add strings or horns to his songs, even if he had no plans to -- thinking up the arrangements on the spot, with the conductors help."

Although Desper later claimed that "90% of it [was] 90% done", many of these songs for the Dennis Wilson - Daryl Dragon album were still unfinished, when in early 1972, Dennis effectively sealed the fate of the album by submitting two of the songs to The Beach Boys. The epic and monumental tearjerker 'Cuddle Up' and the aforementioned 'Make It Good'. Both appeared on Carl And The Passions - So Tough - and clearly showed their origins as solo recordings unrelated to the rest of the group's material.

"This version was released on their 1972 United Artists debut American Spring and also as the b-side to their single 'Shyin' Away.'"

Nope - it was the B side of the 1973 Columbia 45 sure enough, but wasn't on the UA album, largely because it wasn't recorded until after the album was released. Interesting point - the Spring version uses the original instrumental track as a foundation.

"The only re-release of these [Rumbo] tracks is on the Rarities album, where the original mono mixes are featured. "

That would be the swiftly withdrawn Australian Rarities album, not the American Capitol release.

 :o
The link is not working. Anyone could re-upload this? I've never seen this video

Yeah I was hoping this would work too, I never even knew that footage of this was out there

This must be a hoax because that footage has never surfaced, only stills from the appearance exist to my knowledge. If this person has access to that footage I will be utterly astounded. Show me dude.
JS

BTW there is some DW footage over the track of "Lady" on You Tube but that footage is unrelated to the song...it was lifted from the Vic Kettle Dec. '68 tour film. The '71 TV footage of DW singing Lady has never been seen since it aired.

""The only re-release of these [Rumbo] tracks is on the Rarities album, where the original mono mixes are featured. ""

Isn't the Dennis/Rumbo Lady featured on Super Furry Animals' Under the Influence compilation CD?

I wonder what would have happened to the Beach Boys if Slip on Through or Forever had been a hit single.  Dennis was the obvious choice as a frontman for the group, being the most popular with the fans, and with his newly unfolding compositional and production talents, I really think he would have poised to take over Brian's lead role in the group.  But his songs all stiffed on singles, so he continued to be the "uncommercial" and "erratic" Dennis, and Brian gave the leadership and production role to Carl.  Still, around this time Dennis was featured singing Never Learn Not to Love and Fallin' in Love (that was the title announced on tv, not Lady) on television, as if he was being promoted as a lead , if not the lead, singer in the group.

During that performance on David Frost the BB's did three songs...Forever, Fallin In Love(Lady), Vegetables. Seems Dennis was the focal point and creative leader even if it only lasted for a minute.

I do hope it shows up one day.

All things must surface.
It will one day.

Don't hold your breath. Although, it might surface before the guy who started this thread does. Hoax.
JS

By the by, I'm an idea guy and I have one for David Marks.  I find his musical style/voice and vibe having alot in common with Dennis's music.
What about a album by David covering DW songs?

Congrats on the book, by the way!  Great read (as was the DW book)

Part 2: Pacific Ocean Blue
 
When the Beach Boys recruited the rhythm section of the South African band The Flame, Dennis was happy to work with these new members. He was the first to use drummer Ricky Fataar and bass player Blondie Chaplin on studio sessions for his song 'Carry Me Home'. It was offered for Holland, but then Dennis got second thoughts. He found this Vietnam-themed ballad too depressing for a Beach Boys record and withdrew the offer. The emotional song remains unreleased.

During the Beach Boys' three year recording hiatus following that album, Dennis kept writing and occasionally recording.

There's a rumor that he had a hand in Joe Cocker's big hit 'You Are So Beautiful', especially since he sometimes sang it during concerts. Billy Hinsche confirms that Dennis was there when the song was being written and that he helped Billy Preston write it.

In Spring 1974 the engineers Steve Moffitt and Gordon Rudd built a new Brothers Studio in Santa Monica with the latest 16- and 24-tracks equipment.
According to some stories, Dennis was enthusiastic to try out the new surroundings. Among the titles that are credited to him in this period are 'Our Love Remains', 'Grateful Are We For Little', Children', 'Marble Sittin' at the Kitchen Table', 'Don't Want Much, Just a Country or Two, Maybe a Planet', 'Before It’s Through', 'Helen Keller' and 'Holy Man (and Slow Booze)'. Not much is known about these songs except that they are all co-written with Steve Kalinich.

But then again, these sessions may never really have taken place. According to Steve Desper, 'Grateful Are We For Little' was something that he had worked on with Brian back in the late 60s or early 70s. When he sang it to Alan Boyd, he instantly recognized the melody as what eventually became 'Saturday Morning In The City'.

Alan Boyd also stated that "'Holy Man (and Slow Booze)' seems to be a mis-translation of sorts. There's a tape labeled 'Holy Man' and 'Slow Blues'. Two separate tunes on the same tape."

* * *

In autumn of 1974, Dennis returned to the band as a drummer and, after Ricky resigned, his friend James William Guercio joined to play the bass. Guercio was also the owner of Caribou Records and soon The Beach Boys tried to record a come back album in his Caribou Ranch studio in Colorado.

When that didn't work out, the sessions continued throughout the Summer of 1975 in the Brothers Studio, in Santa Monica. Dennis collaborated there with members of the band: 'River Song', which he already brought live a few times in 1973-74, was finished by brother Carl, while Mike Love wrote the lyrics for 'Pacific Ocean Blues', after Dennis showed him the melody over the phone.
Mike also contributed lyrics to '10,000 Years'. That song was never finished as Dennis kept working on it during the next seven years. He and Mike couldn't agree which direction the song should go. At one time Al mentioned he wanted to record it for his projected solo-album. No vocals have ever surfaced.

'Miller Drive' is a wonderful yet unreleased duet with America's Gerry Beckley.

Carl also contributed to another song co-written with Steve Kalinich: 'Rainbows'. Dennis played drums and Moog bass synthesizer and Carl is audible in the backing vocals.

When finally is decided that 15 Big Ones will be released instead of one album of covers and an album with new compositions, Dennis is very unhappy. He refuses to let the band use any of his songs.

* * *

Knowing the internal friction in the band, Jim Guercio decided it was time to help his friend. He offered Dennis a two-album deal on Caribou Records with an $100,000 advance. But Guercio also knew what Dennis lacked: focus. He had a tendency to leave work unfinished. So there were some conditions. Dennis was granted complete artistic license but only if he agreed on a structured recording process. "We can go anywhere you want,' Guercio told him, 'but only if you work on one track at a time."
Dennis longtime friend and drinking buddy Gregg Jakobson was brought in to produce the sessions, but also as collaborator and anchor.

Under the working title of Freckles, the sessions started in September 1976 and ran through to spring of the following year.

"It's a homemade kind of album," confirms Gregg Jakobson, "without a lot of studio players. Dennis created it as he's gone along, track by track. It was really built in the studio... That's pretty unique.... It's one of the things you don't do. ... Dennis comes into the studio in the morning and stays until he's tired. I think it's innovative in the way it's produced and evolved.”

With total freedom, Dennis did precisely what big brother Brian had been doing for years; using the studio as a diary or notebook.

"Dennis really felt he could do whatever he wanted," continues Jakobson, "If he had an idea, he had the room in that studio, and the time and the engineers and the inclination and the support just to really fool around until it was the way he really wanted. It was really nice. The clock was never running. It was never a concern."

In the studio, Dennis concentrated on playing the keyboards, leaving most of the drumming to Beach Boys touring band member Bobby Figueroa, Ricky Fataar and the legendary Hal Blaine.

Over the years his voice was reduced to almost a single octave. Some claim from the deteriorating was the result of an injury sustained in a 1974 fight, others contribute it to alcohol and substance abuse. Whatever, it remained intimate and expressive - like someone whispering in your ear.

Among the backing vocalists were an uncredited Carl Wilson, plus Curt Boetcher, Billy Hinsche, Bruce Johnston and new wife Karen Lamm.

Recently divorced from Barbara, Dennis had met Karen Lamm in Autumn 1975. Although only 23, the actress born as Barbara Karen Perk, was the ex-wife of Chicago's keyboardist Robert Lamm. Dennis and Karen married on May 21, 1976 in Kauai, Hawaii. They co-wrote two songs: 'Time' and 'You And I'.
However during the recording of the album, the marriage collapsed and the were divorced just after the release.

Of course the curve of this love affair was reflected in many of the songs.

Guitar chores were handled by Ed Tuleja and Eddie Carter, the latter doubling on bass with the great Jamie Jamerson and Chuck Domanico. The horn section was Bill Lamb, Michael Andreas, Lance Buller, Janice Hubbard & Charlie McCarthy.

The recordings were engineered by Earle Mankey and John Hanlon. "I just thought he was really avant-garde - he was an amazing artist,' says Hanlon, 'He wasn't afraid to experiment, to fall into space. He was very out there. He wasn't afraid of being different."

* * *

 

Dennis Wilson's first and only solo album Pacific Ocean Blue (Caribou) was released on September 16, 1977 as the first result of the Beach Boys contract with CBS.

side 1
1. River Song
2. What's Wrong
3. Moonshine
4. Friday Night
5. Dreamer
6. Thoughts of You

side 2
1. Time
2. You and I
3. Pacific Ocean Blues
4. Farewell My Friend
5. Rainbows
6. End of the Show

Pacific Ocean Blue is very different and far rockier than any Beach Boys release.

The almost title track, the strangely funky 'Pacific Ocean Blues' with some of Mike's finest ecologically-minded lyrics started out as a BB song for 15 Big Ones, but in the released mix, the band's contributions are buried in the mix, to highlight other accents.

The other funky song is 'Dreamer'. It's driven by a repetitive bass harmonica line, played by Dennis, as most of the instruments on this track "about Christ".

Another rocker didn't make the final track list: the lyrics of 'School Girl' probably weren't pleasing Karen too much!

But most of the other songs are slow paced. A lot of them a laments of the loss of his love: Karen, with whom he was breaking up during the latter part of the recordings.

The centerpiece of the album are a couple of song about the breaking up of his marriage to Karen. 'Thoughts Of You' is one of Dennis' most heartbreaking songs, with beautiful delicate piano lines supported by string (slowed down to half-speed) much subtler than on the earlier 'Cuddle Up.'

Another beautiful piano dominated song is 'Time'. "That's about coming home after a tour and floating into L.A. on a 747. Thinking about her....just a spontaneous thing."

The album closes with a last break-up song 'End of the Show', which can also be seen as a humble message for his fans: 'Thank you very much for everything I've ever dreamed of...'

* * *

The atmospheric album charted in the Billboard Hot 100 at a respectable #96.
It went on to sell over 100,000 copies, thus outselling the next couple of Beach Boys albums. This scared the living daylights out of some band members, but Brian reportedly loved the album. In the outside world however, the album failed to earn Dennis the widespread respect he deserved.

Perhaps Dennis was partly to blame too, as he didn't exactly support the album. "To me, this album is lightweight," he declared in September 1977. "It has no substance. The next album is a hundred times what Pacific Ocean Blue is. It kicks. It's different in a way. I think I have more confidence now that I've completed one project, and I'm moving on to another... "

A small tour was planned, but although some rehearsals took place with the BB touring band, and venues were booked, it never materialized. At that time the Beach Boys were close to a split and apparently going out on tour solo was considered not-done.
Dennis was allowed to sing some Pacific Ocean Blue tracks at a few 1977 Beach Boys shows, but that was about it.


In October 1977 'You And I' b/w 'Friday Night' was released as a single in the US.
The b-side is a spontaneous song, as Dennis explained at the time: "It's a memory of when I was young and Friday night came. The white punks were out having fun. I am the white punk!"
The gentle samba-tinged ballad on the a-side was co-written with Greg and Karen. Dennis confirmed that it is about her too, although they were already separated when the single was released.
It indeed is the sweetest sounding song of the album and fitted well between The Eagles and Jackson Browne on the radio. It should have been a big hit, yet it somehow never caught on.

 

In Europe however, 'River Song' b/w 'Farewell My Friend' was chosen as the single.
'River Song' had been knocking around for years. The opening piano riff dates goes back to the early Seventies.
Dennis explained the origin of the song to David Leaf: "A few years ago, I was in the High Sierras walking by this river, that was very small and it kept getting bigger and bigger....that's the guitar sound on the track. And then thinking, Los Angeles vs. the High Sierras, it just makes me sick to think of what's happening here. That's the lyrical idea; Carl assisted on some of the lyrics. Musically, it came from the river."
While you can hear Carl in the massive choir in the intro and Alexander Hamilton's Double Rock Baptist choir was brought in for this song, Dennis stated that "Ninety per cent of those voices are mine."
An immaculate production, an ecological theme, gospel overtones... it should have been a big hit. It wasn't.

A rough mix, taped on to a cassette and dating back to 1973 or 1974 can be found on many bootlegs and this song was chosen to represent Dennis on the Ten Years Of harmony compilation.

For the b-side the sole composition penned by Dennis himself is chosen: 'Farewell My Friend'. It's one of the greatest songs of lost ever. Dennis wrote it as a eulogy for Otto "Pops" Hinsche, father of Carl Wilson's former brother-in-law and Beach Boy session musician Billy Hinsche.
Dennis Wilson: "My best friend died in my arms, and I came to the studio. I knew that he loved the Hawaiian Islands [hence the singing whales in the intro]; the song just happened, sort of a happy farewell. It's written for Otto Hinsche. I carry a picture of him everywhere. When my father died, Pops saved my life in a way."

Allegedly when the Beach Boys first came together to discuss and mourn Dennis' death, they put on this song.

Both singles failed to chart. But finally that was not what Dennis was after. "Dennis wasn't looking for a hit," says Carli Muñoz, "Dennis was going for the emotional - what worked for him, what had emotional strength and basically what sounded good."

* * *

The album was re-issued on cd in 1991 by Epic, as part of the re-issue programme of the Caribou/Epic Beach Boys albums. But it went out of sale soon and that added to the album's reputation as a lost classic, with copies fetching over $100 a piece on internet auction sites. (I should add that I bought my cd some five years ago at a fair for less then $2!)

In an interview in 2001, to promote his book Dumb Angel: The Life and Music of Dennis Wilson, author Adam Webb explains why the album is no longer available: "The legalities of putting the album out have always been a problem in the past. POB was originally released on Caribou - a subsidiary of CBS that was owned by James Guercio of the band Chicago.
The Beach Boys left CBS in 1979 (I think, off the top of my head) and Caribou would have ceased to exist too. So there's problems there as to who owns the masters. Is it James Guercio or is it CBS? Or is it Warner Bros - as the Beach Boys were signed to them when work on POB began in 1974/75.
Also, Dennis recorded a lot of material. He also recorded over a lot of material - that was his perfectionist/short attention-spanned style. The tapes are not in one location and they were not well documented.
Throw into that the complexities of Dennis' estate (married 5 times, twice to the same woman), the nature of his death, and the friction in The Beach Boys and it's a very complicated situation.
The bottom line seems now to be that James Guercio does own the masters, or some masters at least, and seems to be into the idea of putting them out. That's unconfirmed - but what seems to be rumored."

These days Pacific Ocean Blue is considered by many to be the finest Beach Boy solo project and a re-issue or, better even, some kind of box set would be more then welcome, as such a strong body of work deserves wider recognition.

This is a bit of a gray area, but I think Brother was opened summer 1973.

"With total freedom, Dennis did precisely what big brother Brian had been doing for years; using the studio as a diary or notebook."

Good line - I thought so when i wrote it for the updated ComGuide in 2004.  ::) [sorry, cheap shot...]

"The Beach Boys left CBS in 1979 (I think, off the top of my head)"

About 1986, I think, after the self-titled album - word is they they were 'let go'. JWG definitely owns the rights to the masters: this was settled maybe two, three years ago.

Excellent articles, articles rather. Would make great liners when the DW box set comes to pass.

It's a pity none of us will actually be alive by the time it comes out...

I fully intend to live forever, or die in the attempt.

In all seriousness Andrew, do you think a DW box set will eventually come out? Or at worst (which is still good) a re-issue of POB... I mean is there any talk that you (or indeed anyone) know of that they are going to re-issue POB soon? I am lucky enough to own it on vinyl but I would kill (not literally) to have it on CD, in fact Id probably buy 3 or 4 copies for backup in case it goes out of print again!

I'd say a POB reissue is far more likely than a DW box, and I don't see it happening soon. JWG isn't much enamoured of the music biz right now.

anyone heard the dennis song "our love" ? POB outtake maybe? not to be mixed up with "all of my love"

That's sad to hear, I really hope JWG decides to atleast sell the rights to it then if he isn't planning to release it any time soon. And even though a DW box set is unlikely that would be a mouth-watering prospect. I'm gonna keep dreaming and hoping for a DW box set. That along with the SMiLE box set (which is top of the list) I think are the two most enticing things for me, I would buy them both in an instant, though I spose any new BB/BB Solo material I would buy in an instant. What about the likelihood of a Carl Wilson re-release for his two albums or a LBWL re-release? (I would still buy it despite it being pretty bad). And in regards to the Bruce Johnston re-releases, are they Japan-only releases? Because I saw Going Public on CD in a record store in Sydney and it was a Japanese release. I mean is that the only "legal" means of hearing the album on CD?

On Luxuriamusic, they stated that POB would be re-released on CD by Sony in 2008... With bonus tracks.  :3d

Regarding a POB/DW reissue or new release...stuff is happening.

I love stuff.

So...Peerke...what about the video clip of "Lady"??

I am sorry, Mr. Stebbins. It definitely wasn't my intention to put you on. I had prepared the text at home and was looking, during my lunchbreak at work for some pictures to illustrate the text. I came across this YouTube link and thought it would be interesting. But at work, I can not open this kind of links. I didn't check it later. That, in a nutshell, is the whole story.
I apologize. The only pupose was to give a summary of the solo work of Dennis Wilson. I am not saying I know everything about him. That's why I added "feel free to correct or comment".

Mike Love recorded a version of 10,000 Years Ago recently. The lyrics are pretty lame.

Okay Bro...you just got me all churned up because that clip is like the grail for me. A live TV appearance of an acoustic version of Lady which is rendered beautifully(I have the audio)...I've seen the stills...DW looks great...so to have the moving color pictures would really make me happy. I thought you were torturing me for fun. Just FYI...The DW solo material is lurching towards a release with lots of stops and starts and strangeness...but its moving forward. 2008 will more than likely be the year. Thanks for the explanation.

That doesn't sound like a Beach Boys-related product at all! They NEVER have stops, starts or strangeness...

That's fantastic news. Let's hope it will come through soon.

Jon, to your knowledge thus far is there any chance that "Wouldn't It Be Nice to Live Again" will finally see the light of day on a re-release of POB (maybe as a bonus track)?  As I'm sure you know that song is the holy grail for a lot of us as far as mostly-unheard Dennis material goes.

Sad to say, some years ago I spoke to a representative of the company that owns the rights to the old David Frost show, and I was told that the master 2" video masters were no longer "extant."  Not sure if that meant they had been lost or if someone had determined that they were unplayable or if they were junked to save money on storage fees or if the folks in the office simply didn't want to deal with the hassle of going into a warehouse to look for them....

The only reason we had access to the 1971 David Frost show ("Cool Cool Water") was because a studio technician at the time liked the group's performance so much he went ahead and snuck a copy for himself.

It'd be a real shame if they junked the tapes.  Those old 2" video masters have turned out to be surprisingly durable, if one knows what to do with them.

WIBNTLA is a "Beach Boys" track and doesn't fall into the Caribou owned DW solo catalog. Sorry to say if it didn't show up on Warmth of the Sun(where there was every opportunity to include it) then it probably will remain under wraps until something I don't know about yet happens.

So this new DW package is separate from the BB? With regards to bonuses (whatever they may be) how easy is it to differentiate between Dennis stuff done for the BB and stuff for himself, and more importantly what company would own the rights to it. Obviously J Guercio owns POB, but River song was also a BB song at some point etc etc..
Likewise with the Bamboo material, its hard to divide that and the BB stuff - seeing as some of it was on LA..

This is why it took so long to get to the point the project is at now, sorting the legalities. They are sorted as best as I can determine, although in this world anything can happen. JG owns all the stuff from POB including outtakes and unreleased tracks of which there are a couple really good ones, and for the most part all of the stuff from the Bamboo period as well, much of it unfinished, some of it finished and amazing. If the BB's used DW solo material on L.A. it doesn't preclude JG from asserting his ownership under the terms of his orig. contract with Dennis. I doubt there will be much overlap there anyway.

"2008 will more than likely be the year."

Wow, that just made my day. More like week. No, I take that back...possibly year.
Just to know that things are finally happening makes me smile.

Well its good news anyway, seeing as it been 6 years since the Hawthorne CD, it'll be great to have a rare BB fix, whatever it is!
On a side note to Alan Boyd, anything happen with the BB central?

Yeh that really is great news, becuse I (like many others) am a big fan of Denny's and would love to hear some of the Bamboo tracks/POB outtakes re-mastered but Im not getting too excited because as Jon says, anything can happen

Part 3: Bamboo

(Note: this is my interpretation of what could have happened. Living in Belgium, it's only based on various interviews published in magazines and on the net.)


Even before Pacific Ocean Blue was released Dennis Wilson already started working on the follow-up album.

Those first sessions were to record some left-overs, like '(I Found Myself in a) Wild Situation' and a re-recording of 'School Girl'. Both songs were a bit politically incorrect and perhaps not deemed fitting to the atmosphere of the album.
Also dating from these sessions is the backing track for 'Baby Blue Eyes'.

In May 1977 he is interviewed by David Leaf to promote Pacific Ocean Blue, but he is more interested in talking about the next album.
"[The record company] call it one, two, three. I just don't stop recording. You're talking to, if there ever was, a freak or somebody completely into it, I am home here at the studio or playing music on the road. When I go to the shack that I stay at, I hate it. Music is everything. The stage, recording music, signing autographs, worrying about the airplay, worrying about talking to you, everything.
If there was ever a real lover in my life, it'd be Karen Lamm and music. Sounds silly, doesn't it? I just love it. I have so much fun doing it. I want you to come by the studio tonight to watch me record.....it's a new approach...a song called "He's a Bum." Even has a nasty line in there - "he likes to do it on his hands and knees." I know that's terrible but....."

Thanks to this interview, 'He's a bum' became one of the most legendary unreleased Dennis Wilson songs. It appears however that never more then a demo version is recorded and what appears of it on bootlegs is taken from a very poor sounding copy.

These sessions are still being produced together with Gregg Jakobson. Dennis and Gregg were also planning to built a recording studio in Hawaii, called Sunset Studios. A twenty-acre parcel of land on the north shore of Oahu was bought. They planned to live and record there with other musicians in a scenic and peaceful atmosphere. Everything was to be arranged by their new company Bamboo Productions.

"It was their plan for a recording studio and resort in Hawaii that spawned the name "Bamboo"," explained Jon Stebins. "There are those who believe it was never actually a working title for the second LP but only a label for the grand plan percolating around it."

Of course, the project never progressed past the initial planning stages - Dennis simply didn't have the necessary money, or focus, and he ultimately abandoned the project. Jakobson continued with an adjusted version of the Hawaii plan after Dennis had dropped out.

* * *

But there are more plans Dennis had to give up. A proposed solo tour to promote the album was cancelled at the last minute, because Caribou didn't want to spent the amount of money needed for the string and horns sections Dennis wanted to take with him.

* * *

At the same time, the relationships between the different members of the Beach Boys had deteriorated fast that Summer, leading to a (short) split in September 1977 - right after the release of Pacific Ocean Blue.

It's no surprise then that Carl and Dennis prefer to stay at home when Mike, Alan and Brian head to Fairfield, IA to record a contract-fulfilling Christmas album for Warners.

Dennis however is prepared to contribute a song. 'Holy Evening' (or 'Morning Christmas' or 'Holy Holy') is recorded in the Brother Studio, in Santa Monica. If released this emotive, stark ballad would have been the best track on the proposed album. Especially noteworthy are the layered angelic vocals courtesy of Marisa Conover.

These M.I.U. sessions were followed by a three-week tour of Australia & New Zealand, in February and March 1978, during which Carl and Dennis tried to cure their unhappiness with drugs and alcohol.

* * *

As Dennis saw his second album as a more ambitious affair then his impressionistic solo debut, he needed someone to replace Gregg Jakobson. He found his perfect collaborator in Carli Muñoz.

Puerto Rico-born Carlos C. Muñoz had joined the Beach Boys touring band in 1970 as percussionist, but when Daryl Dragon left the following year, he replaced him as pianist. Originally a jazz pianist, Carli was also a gifted composer and arranger and a great friend.

In April 1978, they assembled a band in Brothers Studio, consisting of Beach Boys touring band members Bobby Figueroa, Joel Peskin and Sterling Smith, along with players from Smith’s new wave band The Load: bassist Dave Hessler and Sterling’s guitar playing brother Tommy Smith.

With Muňoz as producer, the goal was to record some of the songs Carli had written and stockpiled over the years.

He had composed 'Under the Moonlight' mid-flight during a Beach Boys tour, sometime around 1973. This was a giant step from the sound of POB: it's a brash rocker with a fantastic Ed Carter guitar solo.

The dynamic 'Companion' received lyrics by Rags Baker and clearly shows Muňoz South American background. Carl Wilson was very fond of this song and wanted the use it as the title song of the next Beach Boys album.

The oldest composition from Muňoz recorded during these sessions went as far back as 1967 or 1968. 'It's Not Too Late' aka 'It Won't Be Long' is considered by some to be the most chilling song in the entire Beach Boys cannon. After a sensitive vocal intro by Dennis, it's Carl who takes the lead with one of his most heartfelt vocals of all time. The contrast between the brother's voices is staggering, but the overall effect is extremely effective.

The most famous of these Carli Muňoz songs is the gorgeous and heartbreaking 'All Alone' which was released in 1997 on Capitol's Endless Harmony. Carli had written the song around 1970-71, when he had just joined the band. Dennis plays an ARP synthesizer and adds percussion. While adding the lead vocals , he wanted to change some of the lyrics, as can be heard on an alternate vocal take, which also lacks the unnecessary sax solo.

Other Muňoz compositions that were recorded are 'Shu-Ru Bop' and 'La Plena de Amor'. These two songs were probably unfinished and have not yet surfaced amongst collectors.

These tracks are unique in Dennis's oeuvre. Carli Muňoz contributed not only the songs but also provided Dennis with a tight and uncharacteristically commercial sound. Dennis for his part, as ever not one to do something half-hearted, made all of these songs his own with some of the most honest, heartfelt singing of his career.

* * *

Despite allegations that in April Karen found Dennis not once but twice in the arms of another woman, they re-married on June 28 in Las Vegas. He promised her a new start and to stay clear of cocaine and heroin.

After two weeks she filed for divorce again.

* * *

That Summer and Autumn Dennis continued sporadically to work on his second solo album. This time on it's own.
That move strained the tension between Dennis and Caribou further because Jim Guercio wanted Dennis to work with a staff producer. Because of the label’s demands for a proven producer, the sessions for that second album were actually unauthorized under the terms of Dennis’s Caribou contract.

In August 'Love Surrounds Me' and ‘Time For Bed’ are committed to tape.

Co-written with Geoffrey Cushing-Murray, ‘Love Surrounds Me, explores Dennis’s loss of Karen. Given the recent circumstances, it's not surprisingly it's one of his saddest songs. While Christine McVie is often credited for the background vocals on the tag it might just as well be Marisa Conover once more.

The equally heart-wrenching 'Baby Blue Eyes' receives it's first lead vocals - sung by Carl, while Dennis adds a simple but pretty whistled middle eight.

Furthermore there's a backing track labeled 'New Orleans'. It's not known if lyrics excited or if it is meant to remain an instrumental.

The work is interrupted when, at Karen's request, he is admitted to the Century City hospital at the end of September, 1978, to kick off his drug habits.

The last 'starting date' for a new song is October 15, 1978: 'I Love You.' But because Dennis is used to re-record and replace parts continually, it is impossible to say when the last work is done.

* * *

But then the Brothers Studio has to be sold. The studio, co-owned by Dennis and Carl, has been operating at a loss for many years. "The problem with Brother Studio is that it started becoming a drug hangout," declared Beach Boys manager Jerry Schilling. "Carl was not going to support that, and Dennis did not have the finances to foot it alone."

The closing of the studio signals the end of Bamboo. As part-owner he was able to go in and work on tracks whenever he felt like it - if it wasn't booked by an outside artist, of course. Once the studio is sold, it' become much harder for the unorganized Dennis to work on a moment's notice, as he is used to.

So, in December, mixing and occasionally recording sessions are moved to the Venice Beach home of Beach Boys soundman Tom Murphy. The casual atmosphere of Murphy's sixteen-track home studio suited Dennis's erratic work habits, as did Murphy's tolerant personality.

When a different sound was called for, sessions would be held at United-Western studio, among others. The recording and mixing sessions continue throughout December and January.

But the work is seriously undermined by Dennis's inability to stop drinking. "When we were trying to finish the Bamboo record, Dennis kept getting so drunk I had to stop the sessions and drive him home rather than finish the mixes," says Tom Murphy. "My creative side said, I'm not going to finish the mixes without Dennis because its Dennis's project."

* * *

Shortly there after Dennis offers two of his solo tracks to The Beach Boys, when they need some songs to strengthen their Caribou debut. That move effectively seals that albums' fate.

Both 'Love Surrounds Me' and 'Baby Blue Eyes' (shortened to 'Baby Blue') receive some overdubs to make them more Beach Boys songs, before they are included on L.A. (Light Album) in March 1979.

* * *

Apart from the ongoing personal turmoil and the selling of Brother Studios, Jon Stebbins feels that the main factor in the non release of Dennis's second solo album is that "Bamboo desperately needed an outside producer to pull it together, which is what caused the unfortunate split between James Guercio and Dennis, JG felt that way too. As talented as Dennis was, he was not a good finisher."

"If the Bamboo LP had seen completion the Producer would probably have been Dennis Wilson," he continues, "That's precisely why it didn't see completion, he didn't want to share the vision, and his vision was fuzzy. Tom Murphy could have been a co-producer, or Carli Muñoz, or even Jakobson or Jim Guercio who desperately wanted SOMEBODY brought in to co-produce and to save the sessions. It seems as though he was right. “

* * *

After 1978, Dennis didn't do much work anymore in a recording studio. According to David Leaf, some tracks were cut in Hawaii at one point, but those tapes are not in the Beach Boys' tape vault, so the information on them is very sketchy.

In July 1979, according to engineer Stephen Desper, "Dennis visited the studio once, otherwise stayed on his boat." And around 1980-81 he did produce several sessions for Brian ('Night Bloomin' Jasmine', 'Stevie' and the infamous Hamburger Sessions).

His voice had completely broken down by then. After years of abuse, it had given out completely. "Dennis was convinced that the real damage had been caused by a stray blow to his throat delivered by Stan Love during a recent fistfight. He underwent several operations to remove the damaged tissue, but he never gave his tortured vocal cords a chance to heal properly."

* * *

But let's finish with some quotes from Dennis Wilson himself.

"They say I live a fast life. Maybe I just like a fast life. I wouldn’t give it up for anything in the world. It won’t last forever, either. But the memories will.”

"Everything that I am or will ever be is in the music. If you want to know me, just listen."

By the way, what is Gregg Jakobson doing these days?

By the way peerke... really good posts.. you obviously spent a lot of time researching and compiling it... Really well done :thumbsup

good writing Peerke.



I remember reading a couple of years ago (probably in ESQ magazine) that it wasn't Dennis replacing Gregg for Carli, but Gregg ending his work with Dennis, because of his increasing use of alcohol and drugs, which made composing and writing together harder and harder. I’ll have to look up the exact quote.

I did hear My Love Comes Tumbling Down. It's pretty raw, their are some choral voices intoning the title, which comes between Dennis interjecting c'mon over and over. It's got potential but what's there is pretty basic.

I've never heard of that MBE, when was that recorded (roughly)?

I wouldn't go earlier then 1976 but no later then 78. Probably recorded at the P.O.B. sessions.

I read something similar in the Winter/Spring '03 issue...that may be the one you're thinking of. Gregg stated (on page 41) that he told Dennis he wasn't going to do "Bamboo" unless he 'cleaned up', which he didn't.

The voice on Love Surrounds Me is definitely not Marissa Conover...it is Christine McVie.

The main reason DW's solo tour was canceled is that a majority of BB's gave him an ultimatum...do the tour and you're out of the band.

Gregg Jakobson lives in Oregon, i talk to him frequently...he's still very active in promoting and developing the music he wrote with Dennis.

Carli Munoz was the direction Dennis wanted to move in in '78, there's was a true artistic collaboration.

Do you think if Dennis had done the tour he would have been able to rejoin the band by 1978?

Did he ever get any futher with those plans in Hawaii?

Gregg owns property in Hawaii, I believe rental real estate. I don't think he ever developed the resort/studio but he's had holdings there and business interests since his days with Dennis.

Very interesting, Jon. I'm surprised the band wouldn't have jumped at the opportunity to unload the baggage that Dennis had become, and simply inserted Bobby Figueroa, like they did with Hal Blaine (and others) in the studio, and Ricky Fataar on the road.

So Dennis chose to stay with the Mike Love-led Beach Boys, performing in the "traveling jukebox", with a group that was working on Merry Christmas From The Beach Boys and later MIU, instead of devoting his energies to his art, and music that came from his heart and soul, because....

The first guess that would come to mind would be the income.

The dickens you say.

Now, if we were discussing Mike Love, people would've jumped at that answer. But I was asking about Dennis Wilson, who unlike Mike, had artistic integrity. Didn't Dennis rebel against the oldies? Why choose them over his own art?

Also, if Jon's point is correct, and I'm not doubting it is, it's kind of sad that Brian, Carl, and Al would threaten to throw old Dennis out of the group, just because he wanted to "step outside" the group for a little bit, something Mike Love did with Celebration and Carl Wilson did three short years later.

Maybe someday people will realize that musicians are 3-dimensional people, not simple caricatures of types we've assigned. (Paul's the cute one; John's the smart one; Ringo's the funny one; and George is the quiet one.) Art is a wonderful thing, and I have no doubt Dennis was chasing his artistic muse. But a person can only focus on, produce and distribute his art (not to mention support his lavish lifestyle) if someone's paying the bills.

Amen, brother! I like what you said about the "simple caricatures" we've assigned. I see a lot of that...

From what I've heard from people who actually witnessed this ultimatum, the check and the stature certainly figured...but Dennis was an emotional and impulsive character and his reaction to stay in the group was more about family. Dennis was always looking for somewhere to belong and the BB's were his family. This is what I believe is the core of his reluctance to truly go solo. And BTW...Dennis was not "baggage" in 1977...he was the most popular Beach Boy at that time and functioning very well. But most insiders point to the ultimatum as the turning point in his demise. Its a complex thing that has as much to do with battered child syndrome as greed, cowardice, insecurity and fear of success, which all factor in as well. I have it on good authority that the vote was Mike, Al and Brian's vote(cast by someone other than Brian) against DW being allowed to tour, and Carl being the sole vote allowing him to do so. In fact Carl was rehearsing with Dennis for the tour, the rehearsal tapes exist...the set sounded incredible. Maybe we'll get lucky and a sample of them will surface on a future DW solo release.

Jon, thank you.

Any theroies as to why Brian's vote was "hijacked"?

From what I understand Brian did not vote starting sometime in 1976, his vote was cast by someone with his interests in mind. Whether that was Marilyn or Steve Love or Landy or whomever... I don't really know.

Not Landy by late '77, as he was gone by then.  I remember reading Brian gave his vote to Mike so Mike would leave him alone.   Whether that means literally ("I offically give Mike my voting proxy in all future votes") or figuratively ("I'll vote the same way as Mike just to shut him up"), I don't know. 

Man, those Wilson Brothers were really unlucky. Cancelled albums and tours, lack of support from bandmates... No wonder they tried to self-destruct with booze and drugs.

You don't do snarky sarcasm that well.

Being a hard-workin' guy must suck when the f***-ups, slackers and cry babies get all of the credit that you so rightfully deserve!

You made me drool all over the keyboard.

It's good enough to make you throw your little tantrums.

I don't know why you get so hung up about the 'everybody hates Mike Love' thing. Isn't it just a fact that everybody likes some people over others for whatever reasons. I mean I'll admit like I have countless times before that I love all three Wilson Brothers and therefore am biased towards them. Yes they made mistakes and were FAR from perfect, but aren't we all? And I am not Mike Love's biggest fan. Yes he wrote some great lyrics, yes I like his lead vocals and yes I think he is an incredible bass vocalist. But I just hate his attitude towards some things. Like he always seems to hold grudges against certain people and just seems so arrogant and self-centred to me. But like I said before nobody is perfect. I don't hate Mike Love and I appreciate his contribution to the band but he can sure annoy me sometimes and hence he is my least favourite Beach Boy.

Now you can't seriously tell me that you don't have people in life that you favour over others and therefore are more lenient to the wrong things that they do. Just accept it, it's a fact of life. For example if Brian Wilson assaulted somebody then I would be more likely to defend him over if Eminem assaulted someone. Now is that fair? I don't think so... But that's life.

I must be confused, I thought the band was promoting/supporting Dennis' solo album with collaboration and from the stage and even letting Dennis front an act as part of their touring?  Did I make that up or confabulate it or how am I cocking that up?

any good quality live recordings of "i've got a friend" exist? just thinking today about james taylor releasing "youve got a friend" round the time dennis would have composed "ive got a friend" and of course working on 2 lane together. must have stuck in dennis's head

No. DW front an act? What? There is anecdotal evidence that maybe the BB's played one or two songs from POB once at a concert in '77...but I have no actual proof of that. Is that what you meant? Collaboration? The song POB co-written with Mike is a 15 Big Ones leftover. Carl helped on the LP, but no other Beach Boy is on there...other than Bruce on one track and he wasn't a Beach Boy at the time. Please explain what you meant by promoting/supporting. If you meant Carl then yes, if you meant any of the others...no.

It's a true shame (or sham) that Brian "gave" his vote away regarding the DW solo tour, rather than voting with Denny & Carl.  The Wilson Brothers would've been all-powerful had they voted together. 

And if the Al/Mike fued had just started a decade or two sooner, it might've been a four-to-one vote!

It just seems a crime that Mike was able to tour with Celebration the following year, but he didn't want Dennis touring solo!

Wasn't there an issue between Dennis and Caribou, that he wanted the label to pay for a string section to join the tour? I THINK I remeber Roach mentioning it as one of the reasons that the tour was cancelled. BTW, I don't know the answer, if it's a myth let's kill it, please.  :)

Fair question, mikeyj, and it deserves an answer. I apologize for going off-topic, though.

Honestly, I don't really care for Mike Love that much either. Like you, I appreciate all of his contributions to the group, which I think are many. And, like you, I think Mike can be annoying. But what has been bugging me recently is the hypocrisy and re-writing of Beach Boys' history by many posters.

It's the old cliche - people in glass houses shouldn't throw stones. Many of the people taking shots at Mike Love are short-sighted and hypocritical. A few examples:

Somebody who is defending Brian will say, "I saw Mike Love on TV recently and he was atrocious". Has this person seen Brian's catalogue of TV appearances over the last twenty years? Are they ignoring the deer-in-the-headlight looks, flubbing lyrics, and singing off key? But they're quick to take a shot a Mike.

Somebody defending Brian (and Al) will complain about Mike & Bruces' "oldies-filled setlist". If you take a good, in-depth look at ALL of the guys' setlists - Mike's, Brian's, even Al's - they are amazingly similar. I give Brian a lot of credit for performing Pet Sounds and SMiLE, but that was very temporary. Let's face it, they're ALL top heavy with the same Beach Boys' classic tunes. As a matter of FACT, Mike and Bruce's sets have been adding several "rarities" for the last 7-8 years. In my opinion, no one, no band EVER has displayed a setlist the likes of Mike and Bruce's over the last couple of years. 35-40 songs a night! And then, people will say they're just trying to keep up with Brian? They just can't win.

There are posters complaining that Mike's voice isn't what it used to be. This is true, but it's not said as a matter of fact, it is said as criticism. And this criticism comes from Brian backers/Mike bashers. If I was a Brian backer, I don't think I'd be complaining about the quality of other singers' vocals.

Posters are constantly belittling Mike Loves' lyrics. I can only respond by saying Brian Wilson (1988), Imagination, Getting In Over My Head, and All I Really Want For Christmas. And since I've mentioned those solo albums, are any of them "artistic statements". I don't think so, but then again, I'm not criticizing Mike Love for being a non-artist, when Brian's turning out stuff like that.

Al Jardine takes shots at Mike Love and people defend him. Al Jardine says some of the loopiest things I've ever heard, most 20/20 hindsight, most of it bitter. I don't think Al is in any position to be talking. Over the last 35 years, what outstanding musical contributions has Al Jardine made? But people side with Al like he's some kind of victim, and Mike is the bad guy.

Finally, mikeyj, there's the constant criticism that Mike Love is ALL about the money. As if he was the only one! They were all about the money. Drugs, alimony, child support, boats, and real estate all have a way of doing that to you. Why single out Mike Love? I will never be able to prove it. Many of the people are dead, and since Mike Love isn't the most popular person, many people are going to side with the Wilsons. In my opinion, I firmly believe that Brian, Dennis, Carl, and maybe Al were just as interested in "the money" when the various decisions were made in the mid to late 1970's. But it's easier to blame Mike Love for Endless Summer, 15 Big Ones, oldies setlists, throwing guys out of the band, and cheerleaders, because he didn't write "God Only Knows"...

"Somebody who is defending Brian will say, "I saw Mike Love on TV recently and he was atrocious". Has this person seen Brian's catalogue of TV appearances over the last twenty years? Are they ignoring the deer-in-the-headlight looks, flubbing lyrics, and singing off key? "

I hope that's not the only evidence in defence of Brian!

A tad unfair, considering BW's psychological problems...

Yes I was told this was an issue back in '99, but a lot of new information has come to light in recent years proving to me it was more than just that.

Ed, with all due respect, you're missing the point of my post. It wasn't to criticize Brian. It wasn't even to defend Mike. It was to say that if somebody is going to criticize Mike for something - even if the criticism is warranted - I wish they would first look at Brian (or the other guys) before they take a shot at Mike.

But since you brought up this particular issue, this is a perfect example of what I'm talking about. You immediately came up with an excuse for Brian. AND YOU MIGHT BE RIGHT! But maybe Mike had laryngitis. Maybe the microphone was bad. Maybe the mix was bad. Maybe the TV reception was bad. Maybe Mike had a bad day. Maybe Mike sabotaged his voice by chain smoking! But there it is. Excuses for Brian. Mike is bad. 

You say you're not out to criticize Brian Wilson, but you do so anyway. You can't come up with a suitable arguable in favor for Mike so what do you do? Jab at the other BB's faults whether they exist or not.

In Brian's case, what Ed *is* legitimate.  What's Mike's excuse?

He's an ornery old fart who's always been jealous of the Wilson bros' talents, that's his excuse.
...well, not really. He just has a nasal singing voice that's gotten really unbearable since the second half of the 70s.

I think Mike does get an unfair bashing at times, other times he deserves it. Yet I don't find the need to compare him to Brian or anyone else. If I like what Mike does I do, if I don't I don't. Same with Brian, same with Carl etc. Do I find the Wilson's to be more talented? Yes. Yet they made many bad choices that Mike didn't. I do think Mike shouldn't be treated with any more malice then the rest, and I also think Brian shouldn't get breaks not afforded to the others. Still why knock anyone or their opinion just to make this point? I think we all would do well to stay on focus and call things as we see them on each issue. The Beach Boys story is way to complex to be black and white on any of them. This is the main mistake people like Leaf made back in the 70's and it blew up in everyones face.

So, about Dennis Wilson's solo recordings...

Thanks for clarifying that Sheriff.. But I still say that it's always going to be like that. People are always going to choose favourites. I think you should just ignore it and don't get too hung up about it.

To be totally honest, I've heard Brian being criticised such as when people criticise Gettin In Over My Head (AGD especially) or songs like Smart Girls... and rightly so. I mean Mike has come up with some total crap (Summer of Love etc..) but so has Brian and I have seen people criticise them both.

Wouldn't it be better to start a new thread where the pro's and con's of Mike can be discussed?

By the way. I too have the audio of the Lady performance but on my version there is a bit where it cuts out part of the song. Is there a better version than that out there?

As I was just listening to the song "Pacific Ocean Blues," I was thinking how great it would have sounded with Beach Boys backing vocals. The bass vocal, in particular, makes it easy to imagine Mike singing "water, water."

So...Jon, when you say it is a leftover, do you know whether a recording was begun and/or completed during that era? Or was it just something they wrote at the time, but didn't pursue?

To me, this is another track (like "River Song" and a few others from POB) that fits into a natural progression after Holland.

Jon may have more and better info to offer on this, but I thought I'd share what I've read, for what it's worth:  in his book, Brad Elliott indicates the song was recorded twice by Dennis in 1975 (at a February 12th session, and again late in the year).  In the Summer '82 issue of "Add Some Music", Brad writes "'Pacific Ocean Blue' existed only as an unfinished instrumental track prior to the sessions for 15 Big Ones.  During those sessions Dennis decided he wanted a cut on the album.  He asked Mike to write the lyrics, which he did, phoning them in from his home after only a few hours."  Brad doesn't say whether or not the Boys attempted vocals, just that the song was not included on 15 Big Ones.  Then around August or September '76, Dennis told Timothy White "Yesterday, I did a final version of 'Pacific Ocean Song' which I had cut several times".  So there may be three backing tracks laying around of that song. 

To be fair, it would have sounded terrible on 15BO (or 15BO would have sounded terrible around it, more precisely), very out of place. So I can understand them not using it. But it would have been nice to hear a full BBs version.

Thanks for posting that c-man. I never read that quote before. At the height of the Endless Summer/Spirit Of America craze when the band was "changing direction", when they had debated about recording oldies instead of "art", and when their lifestyles were beginning to take different paths, you would think Mike Love would be the last person that Dennis Wilson would call to write lyrics. Wow...

It's also interesting that Dennis titled the album after that song.

Oh, yeah, Luther, you're right. It would've been neat to hear a full BB's version of "Pacific Ocean Blues". Actually, when I first heard the song, I thought that WAS Mike Love singing that bass vocal part.

Jon, who were in the support band for Dennis' proposed tour? (Apart from Carl!!!!).

Which songs were in the set?

Not necessarilly.. I mean they had not long ago (meaning a few years previously) written "Only With You" and a few years before that "Sound of Free".

Still surprising, mikeyj. A few years previously, Mike was more "on the same page" with the group, especially on the albums Sunflower thru Holland. Amazingly, Mike could even come up with something like "Big Sur".

Now, a few years later (1976), Mike had regressed into an oldies mentality, going back to the "wontcha catch a ride in the fun, fun, sun" style of lyrics, fighting a one man battle to recapture the hit-making days of the group, putting money before art. I thought Dennis would've shied away from Mike. I'm shyin' away from you....I really like Pacific Ocean Blue(s). Dennis and Mike should've collaborated more often!   

I agree with you on that. "Sound of Free", "Only With You" and "Pacific Ocean Blues" are all great songs, especially Only With You. That has always made me wonder, why on earth did Mike want to go back to the oldies? I mean Surf's Up from what I understand was when they started becoming a relevant band again. And then we had Holland and then it was around the 15 Big Ones era that they band started to play more oldies live as well as writing songs using the old 'forumla' (eg: It's OK) as well as covering old rock standards (eg: Rock And Roll Music). So okay, I understand they still made money from 15 Big Ones etc.. and were still a popular band but didn't Mike take any satisfaction when he helped write songs like "Only With You", "California Saga" etc... I mean I would certainly take pride in that I could write something as good as them. By no means the best songs by The Beach Boys but still fine efforts. I mean what made Mike want to go back to the old formula when the band was being recognised as the best live band in 74 in Rolling Stone Magazine (I think - or something like that anyway) and were clearing evolving creatively as well as being relevant again.

Because...the album sales for "Endless Summer" and "Spirit Of America" WAY outdid the sales for "Surf's Up" and "Holland", and they found that the more oldies they did, the bigger the crowds got.  See, their audience went from maybe 2,000 people who wanted to hear "Surf's Up" to 20,000 people who wanted to hear "Surfin' U.S.A.".  So when it came to recording new stuff, Mike was thinking like a business man (maybe encouraged in that mentality by his brother Steve, who managed the group at two different times in the mid-to-late '70s), and understood that they (a) needed to get Brian producing again, and (b) their new records needed to sound like their old records in order to be as successful as their old records.  'Course, it didn't quite happen that way, and couldn't, but it was wishful thinking on his part. 

Well didn't POB outsell Love You... maby that shouldve been an indication to Mike and the rest of the group to get Dennis as a more influential creative force in the band. :P I'm sure Dennis could have written some better stuff than some of the crap on M.I.U. Album.

Yes, but Dennis' mature, adult, and artful vision wouldn't have been within what Mike saw as "the formula" for success (Beach Boys success, anyway).  Also, Dennis' lifestyle ruled out any possibility of Mike encouraging him to take the creative reigns in the band.  If Dennis wrote simple, upbeat pop songs, was free of any self-destructive vices, and got along well with Mike, then things might've been different.  But then he wouldn't have been Dennis!  ;)

Yeh true. I realise that but I think I am just annoyed because it went from Holland (one of their best - I've always liked it but only recently realised just HOW good the album is.) to 15 Big Ones (one of their worst). Hindsight is a wonderful thing and like most things in life, you can look back and say "gee I wish this was different" etc.. but I just wish so many things were different about The Beach Boys story. Then maby they would get MORE recognition. But then again maby not. That's just one of the most frustrating things... people say "oh the Beach Boys they suck - 'BA BA BA BA Barbara Ann' and 'Aruba Jamaica'" etc.. It just frustrates me that everyone (even people who don't realise how good they are) automatically say "The Beatles are a great band" even if they only know 10 songs or something (which in the big picture is very little of the good stuff that the Beatles recorded yet people pass off the Beach Boys as just some fun in the sun wimpy surfer band and THAT really pisses me off sometimes. And it sure wasn't helped by songs like Kokomo etc.. which of course the steps towards Kokomo basically started at 15 Big Ones

I think all of us here feel the same about that...lots of missed opportunities for great art!  But 15 Big Ones was very successful commerically, so even though Love You (which is great for us fan-atics, but hard to swallow for the general Joe) wasn't the most commercial, "Beach Boys-sounding" endeavor, there was still hope in the BBs camp that it could achieve a similar level of success.  When it didn't, I think they made the decision to pass the reigns to someone else, so you have Al and Ron Altbach producing the next album, which had a really retro sound but more "Beach Boys-like" arrangements and performances.

And regarding "Kokomo", it's just my opinion, but I think a lot of "serious" fans would be more accepting of it had been a single released from a whole album of more mature-sounding stuff.  In other words, its deliberately commercial, and although the chorus hook appeals to the lowest common demoninator, the verses actually sound fairly mature to me.  Put that in the context of 10 or 11 other songs of the kind that they SHOULD have been producing by this point in their career, and it wouldn't seem so bad.  But like you say...it's hindsight.

C-man I agree with everything you say. In regards to Kokomo though I think its a decent song, nowhere near one of their best songs but by no means a bad song. I just hate how people think it (along with other "classics" such as Barbara Ann) is their only type of song. Plus I, like most fans, hate that era of the band. Like that 25 Year Celebration etc... Man thats embarassing

I agree with the two above points. I wonder why THEY (I assume that you meant the GROUP) passed the reigns to Al and Ron? I always wondered why the Wilson brothers didn't assume control, by vote of course.

As far as the other songs "surrounding" Kokomo, it was disappointing. I was surprised to hear songs like "In My Car" from Brian Wilson, "Island Girl" from Al Jardine, and no new songs from Carl Wilson.

Oh, mikeyj, I wanted to respond to your above post regarding sales. I don't have the sales figures but, The Beach Boys Love You peaked at #53 in the U.S. and #28 in the U.K.; Pacific Ocean Blue peaked at #96 in the U.S. and did not chart in the U.K.

Some of that (passing the reigns to Al and Altbach) was obviously dictated by the circumstances...Carl was not in the best of shape, going through a divorce and self-medicating a bit too much, Dennis was at odds with the Loves and also subtance-abusing.  And so the decision was made to go to MIU...what I remember reading is that Mike, Al, and Brian starting recording there without Carl or Dennis (this was reported in Rolling Stone at the time).  Brian was "giving" his vote to Mike in those days, so that's probably how it happened.  With no Carl or Dennis (at first), and Brian supposedly "unable" to make commercial-sounding records (but still able to write catchy melodies), the obvious remaining choice was Al Jardine as producer.  After awhile, Carl showed up while recording was already in-progress, and finally Dennis for a very brief time.

As you say, you don't have the sales figures, so it's entirely possible that POB outsold Love You (I'm talking exclusively about the US here)... I just remember reading that in several places and from what I rememeber they were pretty realiable sources... but I spose there is no way of knowing.. I mean there is every possibility that Love You outsold POB, which to be honest is probably more likely.

I particularly find it incredibly annoying how Barbara Ann, Wipe Out, Come Go With Me, Rock And Roll Music (ALL COVERS!!) can be such big hits in either the US/UK or both and yet some of the classics that the band actually wrote were ignored. It just shows how stupid the general public can be... but then who am I (or anyone else for that matter) to say what IS and what ISN'T good music... But it still frustrates me that such great art (as you say) can be passed over.

I don't think there was a black and white situation where Mike told Dennis that his songs wouldn't be used for the next three albums, or Dennis told Mike he would be keeping his songs for his solo career. If there ever was the recent books would have informed us. Things just happened.

As much as I wish they had recorded another Holland in 74/75, after the struggle that last project had become those guys didn't feel like spending some months at a studio just to see the results peaking at top 40. A new aproach was needed and Endless Summer gave them the answer. Dennis had the Guercio solo offer and Carl wan't coming up with new songs that we know of (was a Love Surrounds Me backing track recorded at Caribou?). The rest is history.

I was trying to think earlier today what songs might have been on such an album. The most obvious ones would be We Got Love, River Song, Good Timin, and various other POB things. Otherwise, are we looking at leftovers, or were there other songs from the mid-70s that were unused but fit into that vein?

That's quite an intriguing prospect to think about. Imagine BW88 being a Beach Boys album with Kokomo fitting snugly between Night Time and Let It Shine. An album like that, backed by the commercial success of the number one hit single and Brian's great album tunes might've been huge.

Love You peaked higher but was on the charts for a shorter length of time, and stores were subsequently filled with Love You cut-outs for decades, still one of the easiest BB's LPs to find. I think the chart placing was optimistic compared to actual demand. POB may have only risen #96 but it charted for two months. MIU peaked at #151 and L.A. Light peaked at #100. I think the anecdote that DW's solo LP sold better than the Beach Boys during that period is probably at least partially true. Al told me the band was aware of this at the time.

DW had Carli Munoz, Ed Carter, Bobby Figueroa, Ed Tuleja, Billy Hinsche, Carl and others, plus horns rehearsing the material.  The set was the LP.

Did he rehearse any earlier songs too or just the POB selections exclusively?

Picture this: A 2007 Dennis/Carl tour vs. a 2007 Brian and the Wondermints tour. Oh, the possibilities...  ;D

On the 77 rehearsal tapes, Dennnis and the band do run-throughs on a number of POB cuts - the one track not from the album is "Baby Blue."

Great info Alan, thanks for sharing. I wish these recordings would ever get a proper release...but knowing that even a regular Dennis POB-cd release is a tough job....I guess probably not...

I've always liked to think that if Dennis had done that tour with the 22-piece "orchestra", he would have closed out the show with "Cuddle Up".  Wouldn't that have been cool? 

Really?!?!? "Baby Blue" is, in my opinion, one of the most beautiful songs ever in the history of music. I would sell my mother to hear those rehearsal tapes.  :lol