Fred was such an advocate and champion of the group during a difficult period. His interview in BRIAN WILSON:SONGWRITER gets me every time when he's telling the story of the program director saying that "The Beach Boys aren't hip anymore"  and that he won't play "Add Some Music To Your Day" on the station, and the emotion wells up in Fred's eyes.

The a Cappella "All I Wanna Do" and "Marcella" are just wonderful! "Marcella" in particular was very revealing in how prominent Dennis was in the blend on that track. "Her eyes...those eyes will knock you right over".

O'Neill's book brings to light so many "you can't make this stuff up"  details. Even if you don't care for Joe Rogan, his podcast with O'Neill is remarkable. Hearing this stuff from the author himself is very enlightening with some jaw-dropping details.

Here's my latest revised SURF'S UP sequence:

Side One:
Don’t Go Near The Water
Long Promised Road
Take A Load Off Your Feet
Disney Girls
4th Of July
Student Demonstration Time
Surf’s Up

Side Two:
Feel Flows
Lookin’ At Tomorrow
Big Sur
Lady
A Day In The Life Of A Tree
‘Til I Die
(Wouldn’t It Be Nice) To Live Again

Perhaps Stephen Desper can chime in with information about the original mastering matrix, because there is some controversy regarding the  digital remastering of these post Capitol albums going back to the original set of Joe Gastwirt remastered CD's in 1990. I've always found there to be a world of difference between the 1990 CD and the original LP pressing that goes way beyond analogue 'warmth'. It wasn't until I heard about the mastering matrix that this made sense. So perhaps it is the lack of the correct mastering matrix which is impairing your listening experience? Try the original LP if that is the case.

COMMENT to Greg Parry,  The matrix is analog not digital.  If you wish to hear the correct and Carl Wilson approved release of SF and SU, the only source for this today are my Study-Videos. I am sorry that you must deal with passwords and other security things, but this is all required of Copyright Law in the United States. My book comments on these copyrighted recordings as they play and provides resolved versions, mastered by Carl and myself in the best fidelity I can provide. Most fan feedback is positive and comments reflect what I heard when I re-mastered all my recordings for use in the Study-Video series of explanations and experiences during my time as BB engineer.

The above release (via Artisan) and approval of the first pressing issues marked the end of my connection and/or control over any further modifications made to these productions by other mastering houses or individual engineers. Without matrix resolution, the whole (re) issue is kind of like DOA. All these productions were intended to be released in, what today would be called "virtual surround." It's all encoded within the original master, but no one seems to care enough to release the resolved version.

It's very frustrating as an artisan and engineer to create a work of art, but not be able to get it released as it should be. Like painting in color, but only being able to make copies in black and white. So at least you can find a source for these productions in their intended format, even if the record companies are stuck in stereo.
 
At one time the good folks here at Smilesmile hosted the series for several years. It is currently available at one of the other popular message boards. Registration is required there as it was here; part of the copyright law.

 abonnevillemariner -- look for a personal message for more details.  ~SWD

Stephen,

When I got back into vinyl a couple of years ago, two of the first albums I made the effort to track down were Artisan first-pressings of SUNFLOWER and SURF'S UP. Thank you for ALL of the work, craft and talent you put into those albums! I keep telling fans to track down these pressings before any reissues if they want to hear these albums at their best. Thanks for making the study videos available again.

I remember your original book of Recording The Beach Boys including a home version of The Spatializer. Any thought of making The Spatializer available again?

Best regards,

Jonathan

Listening to SUNFLOWER and SURF’S UP from the study videos resolved through Desper’s matrix is a whole other listening experience. It opens up the mixes and allows the separation between the vocals and the instruments to really shine.

I also have Artisan Recorders first pressings of both albums and they’re better than any other mastering out there.  I know they’re Mr. Desper’s preferred format as well.

In the commentary track for the film, Monte (who's worked with some great actors) said that Dennis was an ideal actor in the sense that he was the most unselfconscious actor he ever directed. Dennis did his scenes as though everything that was happening was real. He seemed completely unaware of being filmed. Dennis' only real issue was remembering his lines (though there weren't that many of them).

The IN CONCERT of "Funky Pretty" is one of my favorites.

I'd never read or heard anything about Levine's time with the band and his work on the album before the interview. He seems like a very nice and straightforward person. He obviously has great respect and affection for Brian. His stories are an interesting glimpse at the man behind the public image.

When you consider his background and success at the time, the production is exactly in line with what you'd expect. They didn't hire him for a Beach Boys-style production, they obviously hired him to make a contemporary album. Steve definitely brought the modern technology available at the time to the group, and I'm sure it was a culture shock for a band used to working like the old days back at Western, Gold Star, Brother Studios, or even Brian's house.

It's not a bad album, it's just not what most people expected.

Monte (who's worked with some great actors) was VERY complimentary of Dennis. In the commentary track for the film, he said that Dennis was an ideal actor in the sense that he was the most unselfconscious actor he ever directed. Dennis did his scenes as though everything that was happening was real. He seemed completely unaware of being filmed. Dennis' only real issue was remembering his lines (though there weren't that many of them).

Back in my BB listening infancy, I thought it was Brian singing on Baby Blue since I'd heard some of his singing around the LOVE YOU-era.

Thanks for the analysis! Amazing the level of sophistication that Brian was working at during this period.

Does anyone else hear Brian saying "awesome!" at around 2:22?

It better not be September. Awful time to release a Beach Boys box set, especially Sunflower.

"We're sure to sell a million units in September!"

It's coming.
It's major.

The machine is at full speed.

Thanks for that Howie! Just those few words are enough to dispel the kind of speculation that tends to dominate discussion on message boards.

I've been thinking back to reading David Leaf's book, THE BEACH BOYS AND THE CALIFORNIA MYTH, in the 80's and being fascinated and at the same time saddened at all the work that was done by the group during this period being met with indifference in the States along with much being shelved.

I've mused before about the "Wrecking Crew" and other studio musicians who played on those peak-Brian 1964-67 sessions: did they have any sense or appreciation at the time of the special magic in which they were participating or was it just another ho-hum gig no different than scoring another peanut-butter commercial?   It's always heartening to see how many of them truly did (and do) get it, speaking glowingly of Brian's sessions during that period.  This is clearly true of Don and is/was also true of Hal Blaine, Lyle Ritz, Leon Russell, Glen Campbell and even the not-always-charming Carol Kaye.

From what I can gather, many of the session musicians would cancel other dates if they had the opportunity to work for Brian as they found it interesting musically and really liked Brian.

I wish I could find the interview footage of Leon Russell talking about Brian. Leon said that the term genius gets thrown around a lot in music, but that in Brian's case, he was in a league of his own. Leon was VERY complimentary of Bri. High praise coming from someone of Leon's talents.

I just signed the petition and donated some extra money to spread the word.

Sirius/XM channel Deep Tracks regularly plays SUNFLOWER through HOLLAND era tracks.

Sorry for those with bad experiences at the Meet And Greets. Could be the opportunity of a lifetime or a huge letdown. Glad that the concert experiences have been much better!

quote]"I take Luvox for depression, Klonopin for anxiety and Clozaril to help with the voices and help me sleep at night."
[/quote]

I didn't know Brian was on Clozaril, but can comment on the treatment from personal experience as a pharmacist: Clozaril is the drug of last resort for schizophrenia due to its possible serious effects on white blood cells.  Because of this, patients on Clozaril are required to be on a national registry and have to pass blood tests before any new doses are given. Patients may have to have labs done as often as every week, and their labs must stay within set levels to continue treatment. It really is a miracle drug for schizophrenia, as I have treated patients who were totally unresponsive before treatment, but after starting the medication were able to interact and lead much more fulfilling lives.

I don't know if its easily explained or not, but it seems Landy's chemical abuse of Brian in the early 90's did more damage than anything else. Find an interview of Brian from '76-77 and compare it to almost anything from the 90's. Brian seemed lucid and very self-aware during his first "comback", but there are some heartbreaking interviews from the 90's that makes Brian's current state almost a miracle. If Landy had continued his "treatment", Brian might not even be here today. I don't even want to legitimize Landy with derogatory terms.

Brian is a true survivor.

CD:  Japanese Greenline or DCC
Vinyl: two-fer with CARL AND THE PASSIONS

If I had to trim anything from SUNFLOWER it would be "At My Window" or "Tears In The Morning". I can only imagine the grief when WB rejected the first lineup.  Anyone else agree with Leaf that the disappointment over SUNFLOWER was a big reason Brian took another step back from the group?

Brian seemed together mentally in the mid 70's (at least based on the interview footage I've seen from AMERICAN BAND, Mike Douglas Show, etc.).  The early 80's seemed to be his lowest ebb physically. I've seen some heartbreaking interviews from the early 90's where Brian seems totally out of it.

Can someone  help me understand Landy's prescriptive authority? Wasn't he a clinical psychologist, not  a psychiatrist? Do psychologists in California have prescriptive powers? Was it even legal for him to give medications to Brian? I've never found an answer.