Well, would all elections take place in swimming pools then ?

...and sandbox's.


To deter criminals returning to prison..."SUMMER IN PARADISE" piped to all cells.

From

www.contactmusic.com


THE THINGS THEY SAY 3316   
 
 
"BRIAN WILSON should be the f**king Governor of California." SIR ELTON JOHN believes the BEACH BOYS star would be a better choice than ARNOLD SCHWARZENEGGER to run California.
10/11/2006 03:45
 
 

Great site. Covered a few albums before and about to do a few more now. My only gripe is having to read those great stories from the screen. If it ever makes book form with those cool pictures, put me down for a copy.

  There was something on this earlier but its now gone. Cassette from 83 I believe.

 Nov 7, 2006 3:01 pm US/Pacific

Capital Records Tower Granted Monument Status
(CBS) LOS ANGELES The 13-story cylindrical Capitol Records Tower in Hollywood was granted tentative monument status Tuesday by the Los Angeles City Council's Planning and Land Use Management Committee.

Monument status would protect the building's iconic exterior from being altered, although the structure could be used for other purposes.

The city's Cultural Heritage Commission agreed in August that the building should be granted monument status.

The plan will now go before the full City Council for final approval. The celebrated tower, one of the city's most distinctive landmarks and the world's first circular office building, was the recording studio for such music legends as Frank Sinatra, Nat King Cole and the Beach Boys.

Architect Welton Beckett designed the structure that was built in 1956, just north of the city's storied intersection of Hollywood Boulevard and Vine Street, to serve as the headquarters of what was then the West Coast's most powerful record company.

In 2000, the city came up with $4 million to help renovate the building as part of an effort to head off Capitol's departure from Hollywood.

But earlier this year, EMI Music North America sold the tower for $50 million to Argent Ventures, a New York-based developer. As part of the agreement, the Capitol Records label and Capitol Studios will continue to be housed in the tower.

Curved awnings over the windows and the tall spike emerging from the top of the white building give it the appearance of a stack of vinyl 45s on a record turntable. At night, a blinking light on top spells out "Hollywood" in Morse code.


(© 2006 CBS Broadcasting Inc. All Rights Reserved. This material may not be published, broadcast, rewritten, or redistributed. The Associated Press contributed to this report.)

...it was on E! 

As I said...It shows the level of interest.

Strange that their are no fan pictures at least. Also nothing on BWs site or Als.

However it does show the level of mainstream media (TV) interest of Al and Brian reuniting...Zip!

What is it with this site?

Its been COMING SOON since June.

All signed up and waiting just for the final ok from Dennis and Carl maybe?

Looks like Fig is helping out on this one.


http://shop.bigkarmarecords.com/products/blondie-chaplin-between-us


However they both helped Fig on his 02 Figments album according to his site.

http://antonfig.com/press.htm

One of the best albums of 2002, Figments is the long awaited album from celebrity drummer Anton Fig. Best known as the house drummer in the David Letterman Show band, Fig has sagaciously assembled a number prominent music heroes for his solo debut. Also the drummer in the house band at the Rock and Roll Hall of Fame, Fig has over the years worked with the best in the biz. First off, the voices Fig spotlights on the CD are brilliant and among the fine vocalists taking center spotlight here are legendary folk-rocker Richie Havens, Beach Boys founder Brian Wilson, Wilson’s former band mate in the ‘Boys, singer/guitarist Blondie Chaplin and legendary songwriter, Chip Taylor (“Wild Thing”), singing the Fig/Taylor tune “When The Good Die Young”. Brian Wilson’s ever-amazing harmonies supporting Chaplin’s striking vocals on “Hand On My Shoulder” is clearly a Figments highlight. According to Anton, “This record reminds me of the days when we used to put on headphones and listen to the details in the music. The combinations of singers and musicians, different from song to song, are exciting.” From a guitarists perspective, the album features ace fretboard work from Chaplin, Ace Frehley, Chris Spedding and Vincent Nguini (to name a few) as well as keyboards legends like Al Kooper, Paul Shaffer and the dozens of other notable Fig cohorts partaking in the upbeat musical moods here. Whatever your favorite flavor of music—rock, pop, jazz and more—Figments has it covered on what has to be among the coolest surprises of 2002.
- Robert Silverstein, 20th Century Guitar Magazine   

[After the Stones' tour wraps up, he'll be hitting the road for a series of club dates to promote the new album.]

from

www.RockRadio.com

 
Monday, November 06, 2006
Rolling Stones sideman says there are no bad shows
Blondie Chaplin, the Rolling Stones' live backing vocalist and guitarist, says that the band never has an off-night onstage, just varying degrees of great shows.

Chaplin, who's been on the road with the band since 1997, told us that the Stones are consistently hot in concert: "It's such a high, heavy energy show. I mean people ask me all the time, I go, 'Hey that was pretty good,' or 'That was real good.' But it's just measuring emotional highs. It's just, "Oh, that energy was incredible,' and I'll say it that way, as opposed to, "This is better than...' -- y'know what I mean?"

He was an official member of the Beach Boys in the early '70s, and sang lead on their 1973 hit, "Sail On Sailor," which is featured in Martin Scorsese's new film, The Departed. Incidentally, Scorsese is now filming a documentary on the Stones current tour.

Over the years Chaplin has performed with Eric Clapton, Bonnie Raitt, Phoebe Snow, and members of the Byrds and the Band.

Chaplin, who is of South African decent, has just released his second solo album titled, Between Us, which is exclusively available through his blondiechaplin.com website. After the Stones' tour wraps up, he'll be hitting the road for a series of club dates to promote the new album. [/color]

Well of course. This from the Surf City Allstars site.

http://www.surfcityallstars.com/jardine.html


ORIGINAL BEACH BOY AL JARDINE



...Al Jardine is the co-founder of the Beach Boys and the most recognizable of all the original members of the Beach Boys band...


Go Al! Ditch Brian, rename his band and go out on your own.



 

From

www.aversion.com


Endless Wire
The Who
Universal Republic Records


   
If there's ever been a band more responsible for fanning the flames of the generation gap, it's The Who. The act's "My Generation" drew a line in the sand: Either you were with the leaper-popping, amphetamine-stuttering mods and their new ways, or you were against them. Now, more than 40 years after singer Roger Daltrey howled "I hope I die before I get old," things aren't so clear-cut: Half the band succumbed to My Generation's grim prophecy (drummer Keith Moon overdosed in '78, while bassist lasted until '02 when too much cocaine triggered a heart attack), while the other half became some of rock's elder statesmen.

And, as elder statesmen go, The Who are doing pretty well with Endless Wire, especially when you start comparing them next to the rest of their generation. Where most of their contemporaries are either dead (John Lennon, George Harrison, Brian Jones), crapping out one pitiful new album to avoid retirement or the country-fair circuit (Paul McCartney, The Rolling Stones) or mortgaged their legacy to nostalgia stages and approximations of their glory-years lineup (The Animals, every Beach Boy but Brian Wilson), The Who are back at it. Not just back at it, but making new music -- and Endless Wire is the most relevant recording, save Wilson's Smile and possibly Ray Davies' Other People's Lives, to come from any of rock's golden era architects in years.

That's a pretty big qualifier, though. Endless Wire's certainly better than whatever McCartney or Jagger/Richards are peddling at the moment, but it's a distant second to anything The Who produced in its glory days. Yes, the band sounds old -- a deluge of acoustic tracks sound anything but like the dangerous mods of the band's better years -- and yes, guitarist/songwriter Pete Townshend's a little to enamored with his band's past -- "Fragments" self-consciously references bits of "Baba O'Reily" and "Won't Get Fooled Again" -- and, yes, only one cut, "Mike Post Theme," is strong enough to make even a charitable appearance on the next greatest hits collection. Come to Endless Wire looking for The Who of legend (which petered out long before Moon kicked the bucket), and you're bound to be disappointed.

It's a softer, grayer and more introverted who on Endless Wire, an album neatly halved into two sections, a string of unrelated songs then, in a nod to Who history, a "mini-opera," "Wire and Glass." The first stretch waffles between tracks that tip at the band's arena-rock glory and a sometimes ill-fitting acoustic sense. Of the former, "Mike Post Theme," an ode to the emotions conjured by classic television theme songs, successfully approximates the band at its Who's Next peak, while "Black Widow's Eyes" loses the bluster that made The Who an intergenerational icon. "It's Not Enough" bottoms out, with generic '70s hard rock leading the charge.

The band's quiet side's a little more difficult to swallow. Although Townshend's right-wing baiting shots at spirituality make "A Man in a Purple Dress" and "Two Thousand Years" some of his best lyrics to appear under the Who moniker, the duo struggles through the cuts. The folksy "Man in a Purple Dress" seems to only underscore the fact that The Who's down an entire rhythm section (which, at its peak, was arguably the best in rock history), while the mandolins and banjo in "Two Thousand Years" smack of pretense.

The "Wire and Glass" segment leans more toward The Who's traditional rock side, with "We Got a Hit," "Mirror Door" and "Sound Round" mincing a workable, if rather generic, take on the band's classic sound. "Unholy Trinity" continues the folk approach, while everything briefly breaks down altogether in "Trilby's Piano" as Daltrey whips out an over-the-top, operatic delivery that buries the song in cheese and pretense.

The glory days are long gone. That's the unavoidable reminder -- that and 60-year-old millionaires just can't make the most vital rock -- on Endless Wire. Don't dwell on it, though: The Who is growing old gracefully. Or at least as gracefully as a band that came of age next to Paul McCartney and Alan Jardine's Beach Boys can hope for in 2006.

- Matt Schild

I do like the idea of using the bull-horn on Demo Time. Don't know if had been done before but when you think of the protest songs of the time it was quite inspired. Dylan may have kicked himself that he didn't think of it.

[Also from the BW site]

Also from the BW site   
  Brian's Royce Hall Set List

(posted by Curt Lambert on November 2, 2006 at 8:26 am)

Message:

Here is the set list from an absolutely fantastic concert.

Un-plugged Set:

Surfer Girl
Drive In
Please Let Me Wonder
Add Some Music To Your Day
You're Welcome(as they moved in shifts to their positions)

Al's entry

Electric Set

Then I Kissed Her
When I Grow Up To Be A Man
Break Away
Do It Again
Dance,Dance,Dance
In My Room
Do You Wanna Dance
California Saga
I Get Around
Row,Row,Row Your Boat
Come Go With Me
California Girls
Sail On Sailor
Marcella
Help Me Rhonda(Al lead)
Good Vibrations

10 Min Break

Pet Sounds(Awesome! Long Standing O after GOK)

Encore(Intros)

Johnny B Good
Surfin USA
Barbara Ann
Fun,Fun,Fun

Love and Mercy

Here's a review I sent my two brothers last night when I got home. The three of us are crazy for the Wilson brothers and their music. Sorry it makes this a long post.

"Dudes - Just got in from Brian Wilson's concert. Just incredible!! There was some Brit group for an opening act - played about 30 minutes. Twenty minute break and then the lights came up on Brian and his band sitting, standing in a half circle or so, down right stage. They only used two guitars and a bongo type drum- the un-plugged set. Opened with Surfer Girl, Drive In, Please Let me Wonder, Add Some Music To Your Day. Then sang Your Welcome as they moved in shifts to their places on stage and instruments. And as they did this Al Jardine came on stage and Brian introduced him as, "Hey, it's a Beach Boy! Al Jardine, ladies and gentlemen - a Beach Boy!"

Then came: And Then I Kissed Her(Al lead), When I Grow Up To Be a Man, Break Away(so great), Do It Again(rockin'), Come Go With Me(Brian very cool and having fun on the "you never give me a chance(s) part-Al lead), Dance,Dance,Dance(fantastic), In my Room, California Saga(Californ-i-aye) [Brian sang a lot of the lead on this one - Al introduced it], Do You Wanna Dance, I Get Around, California Girls, Sail On Sailor, Marcella(rocknroll!), Help Me Rhonda(Brian cued Al in on the start-Al sounded great), and Good Vibrations(this so rocked). Then a 10 minute intermission and then Pet Sounds in it's entirety. Brian was awesome on this as was the band(vocally and musically). Brian sounded really incredible on You Still Believe in Me, That's Not Me, I'm Waiting For the Day, God Only Knows, Here Today. Sloop John B was great and Al took the 3rd verse lead. Al and Brian sang the acapella harmony in the middle alone and it was so Beach Boy cool!! On Caroline No Brian was incredible. He sounded like he was in his twenties again. He used a kinda head voice I guess and it sounded great. Really young and vulnerable sounding. The falsetto Noooo at the end was cool. Just incredible sounds for Pet Sounds. The harmonies on Wouldn't It Be Nice blew me a way. All the songs were right on. Brian's voice tired a bit on a couple here, but he bounced back. Instrumentals were great. During Let's Go Away For Awhile Brian with back to audience kinda conducted. Al came over, put his arm around Brian and they were talking to each other. Then Al and Brian conducted together - having fun. Brian was animated about the players to Al. Very cool moments.
Then Brian left as the band played out the end of Caroline No and the train and dogs came in right on cue. Then an encore of Johnny B Good, Surfin USA, Barbara Ann, and closed with Fun, Fun, Fun. Brian played base on Barbara Ann. He was having such a good time the whole concert. Very animated. Then He left during the high horse wails at the end of Fun,Fun,Fun. Band closed and left and then Brian came back on, then the band and he sang a great version of Love and Mercy. Really sounded great on that. Then they all held hands in a line(Brian and Al together) and some bows. And it was over. Great concert!!

So 25 (26 w/Row Your Boat)songs plus Pet Sounds. Surf was up!! Brian tinkled on his piano inbetween some songs. Led an audience Row,Row Your Boat and did the cigarette lighter joke(12). I wish or hope they had or do film and record this tour as it is a great song line up and he and the band are really on. Al is a nice add.
There's your report from LA.
Curt"



 

[From the BW site.]

 From the BW site.

 
  Brian Wilson at Royce Hall 1/11/2006

(posted by Peter Simpson on November 2, 2006 at 12:39 pm)

Message:

“Would that be with soy or skim milk sir?” asked the barista making my latte - a sure sign I was back in LA for the briefest of “adsettian” visits as part of a wider holiday. Just long enough to sample the delights of Amoeba and “going out of business” Tower records, the descriptive “In ‘n’ out Burger” chain and an all day bus pass covering the whole of LA for only 3 dollars (what a deal - and no parking problems!!!!)

Oh, and of course there was a Brian Wilson concert at UCLA where I was staying on campus at the Guest House (another great find). (I was offerred a free ticket for “Borat” being premiered in Westwood the same night but decided to pass!!)

During the afternoon I saw Nelson and Bob heading to the sound check. Nelson said his album should be out in a couple of weeks time. (I said Hi for you Janine!!! but I still think he needs a haircut)

Before the show I met Linda Sigmon for the first time - a lovely lady and provider of my great ticket for the show. I also met up with Art Bailey again - a veteran of last years shows in the North West and California. Phil Rotella arranged a meet up at an Italian Restauarnt in Westwood, just south of UCLA which was really nice and filled with the warmth and friendship that seems to exist naturally among Brian fans. It was good to meet crazy Jack G (watch out London!) and Lina and Rory again and to meet Jack’s friend, Dan, Phil’s pal Ron and nice guy Joe Sedemeyer

Royce Hall is a magnificent building right in the middle of the Campus. You’d never know that Brian had a concert scheduled there since there were no posters outside (or indeed anything to show that it was a concert hall). Inside it’s a little like Birmingham Symphony Hall but with a lot less wood and much more ornate

Merchandise for sale was limited to “that” doll - signed or unsigned or a 40th Anniversary T shirt limited edition - a bit steep at 40 dollars - I passed on both although there seemed to be a brisk trade

Scritti Pollitti performed a pleasant enough set - the band seemed pretty young and there were signs of nervousness, no old material from “Cupid and Psyche” - just the later stuff

In the interval I met Melinda who said she was coming to London.

Time for the show. - Apologies in advance that I didn’t make a set list. It started with a short Unplugged session, including “Surfer Girl” , “Drive In” and “Please Let Me Wonder”. Then - as the band played “You’re Welcome” and took up their positions, Al Jardine joined them on stage (and stayed for the whole show). Songs in the first set included “Dance, Dance,Dance”, “Do you Wanna Dance” ‘Breakaway” :” California Saga:California” “Do It Again” and ”Come Go With Me” The set ended with “Sail On Sailor” “Marcella” and “GV” - the only SMiLE track of the evening.

Al was in fine voice, sounding just like he does on the records. Brian was in good voice too - hitting all the notes, He seemed a little serious at times, but soon loosened up. I thought he’d lost a little bit of weight too from the last time I saw him - he looked trim. He was wearing a purple cowboy type shirt and dark slacks -He used his endearing characteristic arm guestures throughout the show. The band was the classic line up (including Darian) with the addition of Gary Griffin from time to time on keyboards and accordian

There was a 10 minute break to rearrange things and then they performed “Pet Sounds” “You still believe in me” was a particular highlight, very tender and awash with harmonies - having an additional singer on stage seemed to me to make quite a difference throughout the show - The whole album was expertly performed and it seemed the band were well rehearsed. Al and Brian had a chat during “Let’s go away for a while” . “God only Knows” received a standing ovation. Nelson and Jim went crazy on “Pet Sounds” as expected. "Caroline No" brought this part of the show to a gentle end and Brian left the stage to another standing ovation while the band completed their instrumental parts at the end of the song

The sound seemed pretty good thoughout - a relief after the rather bass heavy support act sound quality.

Jeff introduced the band (including Al) and then everyone was on their feet for the encores which comprised “Johnny B Goode” “Surfin’ USA” “Barbara Ann” “Fun Fun Fun” “Help Me Rhonda” and “Love and Mercy. I think Al missed his cue in “Help me Rhonda’” and got a look from Brian as if to say “well...come on then” - Al spoke to the crowd probably as much as Brian did - introducing “California Saga” for example

It was about a two hour show (including the 10 minute break) Al was signing autographs at the front of the stage after the show.

It was a thouroughly excelllent show - I couldn’t have wished for anything better and everyone I spoke too seemed to agree

Eventually I’ll post some of the photos I took before the show (there are a couple of Royce Hall itself in Blueboardpix13, but right now I have to get a few hours sleep before getting up early to fly to the NorthWest where I’ll see my other favourite band, Dolorean, playing in Portland on Saturday before returning home next week - I’m sure I’ve got something on there the following Sunday...........

Pete - sigining out!
 

Brian put on a lot of weight in the 70s so is the fault those that fed him cake? Of course not. These were people in their 20s and at that age we all think we were bullet-proof. In hindsight those taking drugs would not do so today but it was the thing to do then.

It's kinda pricey, but it's cute, except for his eyes, the eyes don't look right to me, the doll looks scared or something.
Carly

66 Doll with 76 eyes IMO.   

 I'll wait for Mikes "Make Love, Not War" 

Same result 

REVIEW
Music Review: Rockabye Baby! - Lullaby Renditions of the Beach Boys
Written by Bill Sherman
Published October 27, 2006


When Blogcritics Publisher Eric Olsen first passed on the word that a CD containing lullaby renditions of Beach Boys songs was being released, my first response was similar to my reaction on learning that ace power-popper Jason Falkner had put out an instrumental collection of Beatles lullabies: "Now there's a waste of listening time..."

But the longer I thought about it, the more intrigued I became by the idea. If ever there was a rock-'n'-roll artist suited to the children's tunes approach, it's Brian Wilson. Back in the band's early days (of Summer Days [And Summer Nights]), the guy even capped an album with a crooning goodnight to a girlfriend ("And Your Dreams Come True"), while in the later Brother Records years, his band included a Peter Pan-style storybook 45, "Mt. Vernon And Fairway (A Fairy Tale)", in the middle of Holland. Even the Boys' wackiest LP, Love You, included an ambiguous tune aimed at a young child which included the disturbingly memorable entreaty to "pat, pat, pat her on her butt." Who better to be given the nursery instrumental sound than the Beach Boys? I bet Bri was tickled by the idea.

I went to the Baby Rock Records site to see what I could see – and was startled to learn that Rockabye Baby! – Lullaby Renditions of the Beach Boys was only one of a series of discs devoted to sleepy-time takes on various rockers. Among the others so adapted: Radiohead, Metallica, Tool, Bjork, and Queens of the Stone Age. Clearly, the folks at Baby Rock were going after more than Baby Boomer grandparents, though other sets (Beatles, Eagles, Zep, Floyd) are obviously aimed at the Classic Rock Set. Me, I'm visualizing a former grunge rock mama lightly crooning to her child alongside the Nirvana set that she'd love to "eat your cancer."

When I got the Beach Boys disc, first time through I decided to play "Name That Tune" with myself: plopping the disc into the PT Cruiser stereo and playing it through once without looking at the track listing. Wanted to see how quickly it took me to identify each cut. Tracks one and two were a breeze – "Surfer Girl" and "In My Room" – but instrumentalist/producer Michael Armstrong threw a curve at me with number three, momentarily stumping me with the much more musically elaborate "Surf's Up." A much less familiar track for all but serious Beach Boys fans (perhaps the original's ref to "Frére Jacques" inspired the choice?), think I, as was its follower, an instrumental from Pet Sounds entitled "Let's Go Away for A While." But when Armstrong then included "Our Prayer," the much tossed-around track originally meant to be the opener to Smile, it was clear this set was no mere "Greatest Hits" revamp. Someone at Baby Rock knows and loves their Beach Boys.

Don't think I wanna play the disc again while driving in the car, though, since (per its stated intent) the material's plenty snoozy. Basically comprised of mellotron, vibraphone and glockenspiel – with an occasional bell or otherwise non-disruptive sound added to the mix – the focus here is on softer, slower Beach Boys numbers. No "Fun Fun Fun" or "Shut Down" here, thanks, not even a "Sloop John B." Instead we get "God Only Knows" (featuring a quirky keyboard take on the original's orchestral break and the only hint of harmony vocals on the entire disc) or "Don't Talk (Put Your Head on My Shoulders." Six of the eleven tracks are from Pet Sounds, in fact, which makes sense since it's often cited as Brian Wilson's most "grown-up" album (if not always the most fun).

Still, listening to these pared-down takes on classic pop-rock, I found myself once more appreciating their creator's simple genius (virtually all the tracks on Rockabye are Brian W. compositions). Whether this pleasantly low-key disc will serve as a gateway to future Beach Boys fans is another question, though I suppose it's possible. It got this longtime fan pulling the discs off the shelf once again (first up: the Capitol two-fer, Today! and Summer Days), but since that's something I do every other month or so, anyway, you probably shouldn't make too much of it .

From Blogcritics.com

http://www.amazon.com/Rockabye-Lullaby-Renditions-Beach-Boys/dp/B000HCPSEO/ref=pd_sxp_f_pt/002-5655331-0689610

Which begs the question from someone who knows how record companies work. If they sign a artist for a album, just what is the definition. ie How many songs or the total length etc?
I read of some artists who have so many songs, they then try to put out a double album which must require some renegotiation with the label.

Re the Rieley 96 replies. His distaste of Mike working out some moves for Marcella live. Brian did just those same moves, sitting down, when I went to a BWPS show in 04! 

Has the Mike and Bruce setlist evolved to what it is today because they (I include their band) wanted to be more adventurous or were they annoyed at the comparisons with Brians setlist? Maybe a bit of both?

I do think Brian's crew setout with the idea of playing more the less-known tunes and a few surf-car hits while Mike continued with the standard BB formula but in the last year or so (PS and BWPS aside), both setlists seem to be merging.

[Dennis (untruthfully) says that Brian & Mike have written a song about surfing. The two cousins then proceed to do just that]

How about  61. The year they started I know but what happened on my date, August? Recorded Surfin while Murry and Audree in Mexico maybe?



...found this on a timeline search, mid August

with Brian, Carl, Dennis & Mike, Alan re-auditions for the Morgans, performing either
  "Rio Grande" or "Sloop John B" (or possibly both); the Morgans request original material.
  Dennis (untruthfully) says that Brian & Mike have written a song about surfing. The two cousins
  then proceed to do just that

Thanks for the replies. I'll go for his preference. I was concerned he may not have been taught correctly.

Thanks again

[Opinions please]

My 11 year old has just changed drumming teachers and the new one wants him to play the bass heel down after 3 years with the old one heel up! For a dummy like me, whats the way to go?

Opinions please 

No luck finding anything new but thought this quote was worth repeating.

    

"To me, Surf's Up is, and always has been, one hyped up lie!  It was a false reflection of The Beach Boys, and one which Jack (Rieley) engineered right from the outset.  Jack was just very, very smart in that he was able to camouflage what was actually going on by making it look like Brian Wilson was more than just a visitor at those sessions.  Jack made it appear as though Brian was really there all the time."
 
Bruce Johnston on the fight that caused him to leave The Beach Boys