Doeheads!!!

I made it to the Nashville signings too.  The record store (Grimey's) had the rules to the game posted before hand....at that time signing only one item and had to purchase at store or have receipt of earlier purchase and no pix.  By the time I am waiting in line the rules changed to where he would sign two items per person, but no instruments.  Then they expanded the pix rule to where you take pix OF Brian, but not posed WITH Brian. 

Jeff Foskett was with Brian and seemed to be there to engage the purchasers.  Brian did not appear to be in a talkative mood and no reason to look a gift horse in the mouth, was appreciative to get a chance to see him up closeand get a sig.

The Monday night show was great.  First chance I have had to see this band in an extended format (Brian played a few songs for a July 4th show in Nashville a few years back but nothing near a full set). 

I have no idea how ticket sales work, but the night before, online, the best seat I could get was last row on the floor (the Ryman is a wonderful theater, but the balcony support posts make anything past the first 10 or so rows a crap shoot if you will have a good view).  I show up ticket office about 3 hours before showtime and get offered my choice of front row floor or balcony seat??  go figure.  I took the balcony so I could get a clear view of the stage and all players.

I think you (as well as a lot of other folks...me included) are changing our relationship to music much the same way folks started to look at poetry differently in the early 20th century.

Up till then if you wanted to understand a poem or view its importance, you read a biography of the author.  Biographical interpretation.  Not necessarily bad, but not always right either.

Then came two movements.  One was out of the Chicago School of literary criticism. The other was the Agrarians of Vanderbilt.  Here is a quote from John Crowe Ransom's Wiki article "Ransom more or less founded the school of literary criticism known as the New Criticism, which gained its name from his 1941 volume of essays The New Criticism. This school, which dominated American literary thought throughout the middle 20th century, emphasized close reading, and criticism based on the texts themselves rather than on extraneous information. "

I usually try to apply the same thought to a lot of my musical listening...ie. a song's greatness (whatever that means) not relying on the artists biography, on what was produced before, or or what was produced afterwards.  What is the merits of that song.

I think biographical information can add to the enjoyment of an artists music, but should not  overbear the song.  And all this is based on what the listener brings to the song. 

While the Beach Boys have not been as dissected as some other artists, a large general overview of the band or BW would not excite me as much as a book that took a narrower aspect of the band.

In the vein of one of my favorite Elvis books (Elvis and Gladys), I would like to see a book that developed Brian's relationship to both his parents.  Murry is an important figure in the history of the group and book could probably be written on that relationship alone.  But I know less about the relationship with Audree although wonder if that  relationship is just as important in Brian's development. (probably but once again I dont know as much about it)

Heck why narrow it to Brian.  Open it up to Carl's and Dennis' view of their parents as a comparison/contrast as why three different children coming from the same environment deal with their childhood in different ways.

Call it "Murry and Audree's Boys"

Mark

Was scanning a kid's section for my daughter yesterday and came across Disney's Beach Party. Has bout 10 Beach Boy covers and dang if it was not produced by Mark Linett and Fred Mollin and has folks called Jeff Foskett and Darien Sahanaja doing background vocals.  (Even Pat Buchanan too, a nice twist for us folks in Tennessee) 

No real questions unless you would like to share anything regarding putting this one together; did not see it listed as a tribute album and would hate to see this one fall through the cracks (unless you would like it fall through the cracks).  Once you get past the Mickey, Minnie and Goofy intros some pretty good things going on.   Even a couple of  visual nods on the cover/insert.   

It will probably not be in my rotation for long, but I cant speak for my 5 year old.  It may be her soundtrack for this summer.
Thanks.

Ringo it is.
I've listened to the Beatles all my live and just this week I was blown away by the drum part in Here comes the Sun ( esp. the end and the cymbal tags on Sun, Sun, Sun, here it Comes...then fills until the line comes back).

But on Charlie's side is he always had such a great snare sound.  A drummer I knew once pointed out how Charlie would often raise his hi hat stick during the snare notes so that nothing would distract or muddy the snare sound.

Sorta like the punching of Mick Jagger.  No idea if its true, but it makes for a good story.

I'm still holding out hope someday I will hear Matthew Sweet do a cover of Caroline No.

Thought it would be choice for his Under the Covers cd with Susannah Hoffs, but he threw a curveball and did Warmth of the Sun.