The Smiley Smile Message Board

OK, this was mentioned a few days ago in the "Re: BB Interviews do's/don't's" topic (http://smileysmile.net/board/index.php/topic,9594.msg167298.html#msg167298), but I thought it to be interesting enought for a separate topic.


I checked all Cottonfields singles I have in my collection. Not too many, but this is interesting: to my surprise both versions ended up being released as singles. I’ve also noted their highest chart position.

- U.S. = AJ-version  > did not chart
- U.K. = AJ-version (as AGD already mentioned)  > #5
- Australia = AJ-version  > #1
- South Africa = AJ-version  > #1

- Germany = BW-version  > #29
- Netherlands = BW-version  >#12

So – although the chart-failure in the U.S. sticks out – one could say that Al’s production in general did much better in the charts than Brian’s production.


But what makes me wonder: what’s the cause that the Brian Wilson produced version of Cottonfields was used as a single in some countries?
Did this only happen in Europe?
Can anyone add more releases to this list (including highest chartposition and version)

- France = BW version > ?
- Brasil = BW version > ?
- Philippines = BW version > ?

- Japan = BW and AJ version > #5 (don´t know which version charted)

- Ireland = AJ version > #3
- Italy = AJ version > did not chart
- Spain = AJ version > #5
- Denmark = AJ version > #2
- Sweden = AJ version > #1
- Norway = AJ version > #1
- New Zealand = AJ version > #13
- Yugoslavia = AJ version > ?
- Lebanon = AJ version > ?
- Singapore = AJ version > ?

Interesting indeed!  Actually though, I think we still CAN say the AJ version fared much better in the charts...looking at the numbers in the preceeding two posts, it's apparent that in the only two countries we know for sure that the BW version charted in, it failed to chart higher than # 12, wheareas in all the countries that we know of where the AJ version was released, we're only aware of it failing to chart in two (one of them being the USA), and only aware of it missing the Top 10 in one other country; in all other countries, it was in the Top 5, and in several of them it went to # 1.

So the use of the BW version ocurred outside Europe as well.

Thanks for that list, Christian. Very useful!

Lebanon? 
They actually released Beach Boys records in Lebanon? 
WOW; are there other BBs released there?

Check the dates. I think all the singles with the BW-produced version came out in 1969, while all the AJ-produced 45s were released in 1970.

I wonder if the fact that the BW-produced "Cottonfields" was being released as a single in a few places is what spurred Alan to produce his version, so that it would be used instead.

I actually think the BW version would be far superior if remixed properly. There's some really cool banjo playing going on in the background, but you can only really hear it at the end. He mixed it too low. It's one of those cases, I think, where his lack of confidence caused him to go minimalist.

That would depend on the Dutch and German - and also French - releases being some good time before early August 1969, and also, more crucially, on Alan knowing anything about it. In interviews on the subject, all he's ever said is that he wasn't too thrilled with Brian's production: nary a mention of any other spur.

Later: the Dutch release was August 1969. So... not an influence, then.

Ahh. Thanks for that bit of info.

It's curious, though, that Alan waited ... what? seven months after the release of Brian's version of "Cottonfields" on 20/20 (NINE months after its recording!) before deciding the track needed a remake. What was the immediate impetus? Or is it just that Alan takes forever with anything he tackles (e.g., "Loop De Loop," "Don't Fight The Sea," solo album, etc.)?

The latter.  ;D  Seven months in the Jardine cosmos is a veritable blink of an eye.

(http://i52.tinypic.com/25irzuq.jpg)

And I know of 3 others:

Heroes & Villains (CL 15510L), Do It Again (CL 15554L) and Break Away (CL 15598L)

Surprisingly ballsy move for Al J. and I have to say, his version of "Cottonfields" is aces.  I suspect one reason is just that, simply, they let the band just go in and play it like it was live.  This rarely happened for the later Beach Boys...think of how much more dynamic a lot of the Warner-era tracks, which were mostly built up from very minimal rhythm tracks, were live.  Don't get me wrong, it was a unique production style and I like it a lot, but it's been mentioned by me and others that so the band's uptempo material really didn't kick that hard in the studio, and it was much better live.  This one instance where they just went for it with the touring band, and the result was a big hit.  Who knows if a "Marcella" or a "Roller Skating Child" or a "Funky Pretty" wouldn't have done better if the band had done the same thing.

The BW version has "Time To Get Alone" on the B-side and was released mid August 1969, the April 1970 AJ release "The Nearest Faraway Place".

Ah, yes...looking at the AFM contracts for the two versions now...

Brian's original was cut at ID Sound November 18, 1968, with Brian on keyboards, Hal Blaine on drums, Ed Carter on guitar, Al Vescovo on (probably) banjo, Lyle Ritz on bass, and Bill Peterson, Virgil Evans, and Roy Caton on horns.  Contractor was Jon Parks.  

Al's remake was cut at Sunset Sound August 15, 1969, with Bruce and Daryl Dragon on keyboards, Carl and Al on guitars, Ed Carter on bass, and presumably Dennis on drums (his name is not on the AFM sheet, but neither is the name of any other drummer, and it SOUNDS exactly like his style...maybe he had let his union dues payments slide and was therefore technically ineligible for the benefits).  Other players were Frank Capp on percussion, Bill Peterson, Fred Koyen, David Edwards, and Ernie Small on horns, and Orville "Red" Rhodes on pedal steel.  Jon Parks once again contracted the session.

What this tells me: 
People bought this single NOT for the newer version of Cottonfields, rather, they wanted Bruce's The Nearest Faraway Place.

Maybe there was no studio time for them before....

Both versions were released in New Zealand with Brian's being one of the most difficult to find of all New Zealand Beach Boys related releases.

More difficult than Sound of Free?

I suspect so, and that's saying something.

Yowzers!

I picked up the U.S. single of Cotton Fields in 1974, and it took me quite awhile back then to find a mint copy. This was only four years after its release, and Capitol had already deleted it from their catalog. Paid 10 bucks for it, and I thought at the time how ridiculous it was to pay that much. Same thing for the Break Away single.

Like the story of Brian's on "Hawthorne"; how he drove down to Al's house to hear his version. Anybody know when Brian said that and where the interview/statement came from?

Very interesting!

I whonder why Al doesn't play Cottonfields live in recent years?

It might be a little out of his comfortable vocal range now.  I can remember hearing a '90s version of it, and he got through it OK, but there were definitely a couple of gaps in the top notes.

You're right, Tpesky. Dennis was the one who went down to Al's house to hear the newer version.

I believe that quote of Dennis', as well as the other BBs interview snippets included on "Hawthorne", are from a 1969 or 1970 Radio Luxembourg interview.

May 1969, according to the booklet.

One thing I found interesting is that Brian does sing on Alan's version. Several people I have asked have confirmed it to me.

Geeeeez! I had the Hawthorne CD(s) out and everything and neglected to look at the booklet for the answer. Shoot me!!! Thanks, guys.

Cool! Would that be him at the 2:00 mark?

I think I can detect Brian during some of the group vocals on Al's version. It seems as if he's kind of sprinkled in there rather than a full time participant (which was clearly the case in those days).

I personally think Jardine's arrangement really blows Brian's out of the water (though it's safe to say that Brian's version is what inspired Al to take the song up a notch). Brian's arrangement seems more like a demo in comparison. It has it's charms but Al's version really takes it home.

Agreed. I also prefer Al's version any day of the week.

While we're at the subject of Cottonfields, why isn't Al credited on the label for writing additional lyrics for it? I mean, Mike is credited for Student Demonstration Time and also for adding a verse to Under the Boardwalk.

Probably b/c Al didn't deem it necessary to file his name for cowriter status, whereas Mike did in those two examples.  Years later, though, Al did with "Don't Fight The Sea". 

But why wouldn't he? That would've given him royalties, right? A world wide hit that is still being played live today must have generated some money over the years, surely?

Yes that is him. Funny but I think Brian vocally (and the harmonies in general) is part of what makes the single version better.

+1 as they say on the Hoffman Forums  :)

A bit of a deviation from the original topic... but still Cottonfields related.

I just got a copy of the 20/20 album in the mail today. South African pressing. A second copy to be exactly, as I already had an RSA-pressing, but this new one is different.


I already had this one. Nothing unusual. the cover as we all know it. Released in 1969 I assume.

(http://i52.tinypic.com/2v34u2e.jpg)   (http://i52.tinypic.com/x6kleu.jpg)
(http://i52.tinypic.com/mb0acw.jpg)   (http://i55.tinypic.com/2uhmk2c.jpg)


And now I got this one as well !!


(http://i53.tinypic.com/10q9qmh.jpg)   (http://i53.tinypic.com/2dukq6c.jpg)
(http://i54.tinypic.com/9hkzmp.jpg)   (http://i54.tinypic.com/33079d5.jpg)


My guess is that when the 1970 45 release of Cottonfields became a huge hit (#1) it was decided to re-release the 20/20 album. But with the album's title changed so that the album would sell better. Apart from the obvious change in title (notice the slight difference in background colour?), the picture shown in the fold-out was turned 180 degrees, and instead of a laminated cover a more simple textured carton was used. Catalogue number is the same though. And apparently it wasn't thought necessary to change the labels (by the way: al Capitol 60ies albums were released with both esmarald blue and green labels). Probably they still had a pile of unsold 20/20 albums in stock.

O.K., back to Cottonfields / Cotton Fields (but I couldn't resist sharing this  ;D )

Yeah, sure, nice try! 
You took your Corel program , wiped 20/20 and added Cotton Fields.
Then you took the inside gatefold picture and turned it 180 degrees, did a corel color fade to the labels and Voila!!   
You Dutchies think you're SO slick, dontcha?    :lol

Well, he probably didn't think he could, until years later, when Mike did it. 

Despite of what you think, I didn't give my copies of 20/20 a "Dutch Treat".  :p

And - yes - we are slick... but not as slick as Al Jardine...

What's the additional lyrics he wrote?

The song's original lyrics, as sung by among others Creedence and Harry Belafonte, are only these verses:


When I was a little bitty baby
My mama would rock me in the cradle,
In them old cotton fields back home;

It was down in Louisiana,
Just about a mile from Texarkana,
In them old cotton fields back home.

Oh, when them cotton bolls get rotten
You can't pick very much cotton,
In them old cotton fields back home.

Mike wrote entirely new lyrics for A Young Man Is Gone but doesn't seem to be credtied with co-writer status along with Bobby Troup, not according to the credits in the 2-fer anyway.

Maybe Al thought that not giving himself any writing credit for Cotton Fields gave him the right to not give any co-credit whatsoever For Looking At Tomorrow.......

Maybe he just had more respect for Lead Belly than for the Kingston Trio!

Brian's version is a nice album track on 20/20 nothing more. Al's version is one of my favourite things the Beach Boys ever did. 70's Country Rock (which I love) crossed with BB's harmonies - that's a winner.

Such a good point!

Marcella is the king of all examples of this, as I've blathered on about elsewhere.

Think about the last few Dylan albums where he's used just his touring band and it sounds so fresh and vital and alive!

The Beach Boys could have used more of it.

I think another factor, when it comes to Brian, is that he really just doesn't dig drums all that much. Or he digs them, perhaps, but likes to think of them as just another factor in the mix rather than the foundation or engine or driving force of the track. In fact, he doesn't even seem to think of the drums, or drum kit, as a singular instrument (which of course it isn't).... Most of his productions are unique drum-wise because the drum kit, as it is, is usually augmented (with equal sonic attention) by various percussion. It's as if he employs the drummer, or "kit-player" as the left hand and right foot (snare/kick) and the various percussionists as the right hand (hi hat/ride/crashes/fills)  Thus, sort of unseating the drummer as the driver of the music and throwing off the band/unit /balance/ basic "Beatles style attack" we've come to accept as THE thing in pop/rock/whatever.... It's an effective and beautiful production technique for material such as Pet Sounds, but for something that's supposed to sort of kick or rock: it's not exactly ideal.

maybe because his musical roots were in Gershwin and 50's pop like the Four Freshmen, where drums take a big backseat to everything else.

Always had a soft spot for Brian's version. To a certain degree the production might sound underwhelming at first but to these ears the overall sound is beautiful in a way that Al's version is not (it's very impressive in its own way, however, maybe even the best thing Al ever did in terms of production). Brian's version almost sounds like a forerunner for the trademark style of the American Spring album.

Don't you mean "At My Window"?  Or am I missing something...

Yeah, you must have missed this:

Great thread!  A few thoughts:

1.  Al's version is one of my top 20 BB tracks ever.  Phenomenal track.

2.  I love that Dennis played drums on the Al version.  He did a great job.

3.  I'm not convinced it is Brian at about 2:00.  I think he is in the mix just before that, but the the vocal fill that sounds like Brian is actually Carl to my ears.

4.  I really think the dit-dit-doo at about 2:18 is Brian, though.

5.  I think Brian definitely is on the track and his voice adds a lot.

Is that really Dennis playing the great drums on that track?

I hate when I think something's Dennis only to find out it isn't  :-\

Well, as far as we can tell...like I said, there's no drummer listed on the AFM contract...I suppose it could be Frank Capp, but there's definitely percussion on there (tambourine, if I recall right), and besides, the drums just SOUND like Denny.  Maybe one day the session tape can be analyzed. 

Yes, they do sound very Denny!

I seem to remember there being a fairly detailed description of the track in the "Rarities" liner notes, and I seem to recall being disappointed that it wasn't Dennis on drums.

I hope I'm wrong  ???

Stebbins?

Count me in on the Brian camp for this one - I think the 20/20 version blows away Al's later remake.  Al's is busy and a little sloppy, although it has more superficial "energy" as he picked the pace up on the song.  But Brian's is beautiful, benefits from having more "space" in the music, and reminds me more of early Americana music than the "rocked up" Al version - and I feel that is exactly what Brian was going for (he was recording Old Folks At Home/Old Man River at this time as well).  I don't see Brian's version as a single though - so I guess Al was right to redo it as it was a hit in Europe.

I'm in the Brian camp too, as far as the arrangement goes! I just think the mix is a bit tentative and flat. The drums are doing all kinds of cool things, but they're just sitting there in the background..... along with most of the rest of it.

Still: a beautiful arrangement.

Al's version though, just ....... kicks in an awesome way!

I think 2:00 and 2:18 are the same guy. Same place in mix, and although 2:18 sounds more idiosyncratic Brian I'd say 2:00 is him as well.

I say at 2:00, that's Al doing the falsetto(think how he sounds on Be Here in the Morning).  At 2:18, (dit-dit-doo) definitely brian.

Hmm, well unless you're talking about the Japanese liner notes for the CD reissue...I checked the original 1981 Australian "Rarities" LP, the more common 1983 U.S. "Rarities" LP, the "Friends"/"20/20" twofer CD, and the 1993 box set, all of which either contain the single version of "Cottonfields" or mention it, and none of them provide the description you refer to.  But, I don't read Japanese, so who knows...

>
one more very evident example for "using" someone else´s song:

 - Lookin´ At Tomorrow (A Welfare Song): The Wanderer (by the Kingston Trio)


Never heard this before, but by jiminy, he's right:

http://www.youtube.com/watch?v=S1poFkCG2NE

The question arises ... why didn't Al credit the writer of the Trio's "The Wanderer"?

From the information provided with the YouTube video of "The Wanderer":

The song is a reworking by Irving Burgie of the American folk tune "900 Miles." Burgie is best known as "The Father of Modern Calypso," having written 34 songs recorded by Harry Belafonte, including eight of the eleven on Belafonte's landmark "Calypso" album of 1956, the first album ever to sell a certified million copies. "Day-O [The Banana Boat Song]" and "Jamaica Farewell" are probably the most enduring of Burgie's songs; he also wrote several other songs for the Kingston Trio besides "The Wanderer."

So, did Al adapt "The Wanderer" or the original folk tune, "900 Miles"?

Here's Bert Jansch doing a traditional folk version of "900 Miles":

http://www.youtube.com/watch?v=-VhmT6vOZRc

And here's the best known version of "900 Miles," as recorded by Billy Merman in 1949:

http://www.youtube.com/watch?v=LRZizbzzIPE

Of course, if Al adapted "900 Miles" to "Lookin' At Tomorrow," he has as much right to put his name down as the songwriter as Burgie did for "The Wanderer."

I can believe it's Al at 2:00.  I think you may be right.  I just feel sure it is not Brian, even though it does sound a lot like him.

Jeez, maybe someone should sue Al...    ::)

I believe BRI did just that, tho they claimed it was for other causes...