As the great poem states: "They crowd the stage with countless hoards  / while the ones they love are not in sight."

Surely "hordes"?  Not that I'm a professor or anything.

Thanks for this; you made me laugh out loud.

If you want to call that "ridiculous nitpicking", or "freaking-the-f*** out" I guess that's your call.

My call? Okay, that's ridiculous nitpicking.

I don't post very often, but I want to add my thanks, Ray, for sharing your knowledge with us. The least appealing aspect of the internet, for me at least, is that it brings out the urge in people to proclaim themselves "experts" in matters they have no firsthand experience with. Bless you for setting the story straight.

I remember Brian singing a bit of "Give Me Love" during an interview from...the late 70s, maybe? He said that he liked that song a lot, so it would be a likely candidate for him to cover.

I once suggested (to absolutely no reaction) that Brian could easily do projects like Quincy Jones does. When you buy a Quincy album, it's HIS name on the cover, but he enlists dozens of the greatest musicians and singers in the world. He doesn't write the songs, for the most part, doesn't sing a note, doesn't play any of the instruments...but it's STILL a Quincy Jones album and he usually wins an armload of Grammies for each one.
Maybe Brian's new album will be more along those lines; seems to have tons of guest stars.

I have long wished that Brian's albums could become more like Quincy Jones' records. Quincy is the only name on the cover, but the credits inside are as long as those at the end of a superhero movie. And Q doesn't sing, doesn't play anything on the record, doesn't write the songs...and yet, he is the artist, the creator of the album. Brian, it seems to me, has even greater right to do this, since he DOES write, play and sing on his albums, in addition to being the producer and arranger. Everyone wants to be on a Quincy Jones album and he will have very current young artists right next to old-timers...and it works. Why can't we afford Brian the same level of control and respect?

The best BB music book ever is the Sunflower/Surf's Up folio. True chords, good bass lines and even some written background vocals. Almost everything else is incorrect or incomplete.

I'd like to hear Brian take on 'Dear Boy.'

I always thought Mike was taking a boastful dig at Brian with the line: "You fell in love with a pretty cheerleader; I EVEN MARRIED ONE!"

Wilson sings Newman
- In line with Brian's "reimagine" series, Brian Wilson plays his favorite Randy Newman compositions. Title tips its hat to Harry Nilsson.

Heck, why not Wilson Sings Nilsson?

Rita Wilson sang Warmth of the Sun? Whah??

Where I Belong is just a gorgeous, great song for a wedding recessional.

So, unless the BB had mastered the art of time travel and devoted that knowledge to recording songs after they'd been released...  

That could be the answer. Brian insisted that he Wasn't Made For These Times. Perhaps he exists in ALL times.

[I miss the way that I usedTo call the shots]

I have always thought that Brian's "Your Imagination" could easily be read as a dig at Mike. The lyrics can be taken positively or negatively, but think about Brian's feelings about Mike and then read these:

Another bucket of sand
Another wave at the pier
I miss the way that I used
To call the shots around here

You know it would've been nice
If I had something to do
I took a trip through the past
And got to spend it with you

You take my hand, smile (!) and say you don't understand
To look in your eyes and see what you feel
And then realize that nothing's for real
'Cause you know it's just

Your imagination running wild

And the first verse, which I didn't copy here, can be interpreted to be saying, "Another car song? Another beach song? That's way in the past."

Yeah, the cake/steak comparison is a good one. If there was a Pavarotti/Merle Haggard concert, would you go? Both are great, but where is the overlap?

Here are a couple of videos I shot with my phone. Taylor Mills' appearance for "Marcella"

http://youtu.be/lIMBcA036yk

David Marks tells a story about Dennis, then sings Little Bird:

http://youtu.be/JBHWbpNPgpo

And finally, a snippet of Billy Gibbons' puzzling cameo during Jeff Beck's rendition of "A Day In The Life."

http://youtu.be/zN3pQeAtoIk

Okay, back in my hotel now, so I can type for real.

Jeff Beck's set (after a 15-minute break) consisted of:

Eternity's Breath/Stratus
Even Odds
You Know You Know
Yemin
Little Wing
Where Were You
Big Block

Then, without a break, various vocalists from Brian's band came out, including BW himself. They added backing vocals to:
Our Prayer/Surf's Up (BW left the stage after this)
Brush With The Blues
How High the Moon (Just Jeff and Probyn, along with Beck's violinist, Lizzie Ball doing the lead vocal)
Rollin' & Tumblin' (Darian, Jeff, and Scott adding very enthusiastic WHOA-WHOAs)
A Day In The Life (during Beck's instrumental version of this Beatles tune, ZZTop guitarist Billy Gibbons comes out onstage, bows and genuflects to Beck as if to say "We're not worthy..." and then leaves! There were only about eight guitars onstage; surely he could have picked one up and done something. Beck was totally and obviously surprised to see Gibbons there. He wrapped up the song and left the stage without indicating there was more to come.
Jeff Foskett came out then and introduced all the members of both bands. Beck's bassist on this tour is not Tal Wilkenfeld, but another female bass player named Rhonda Smith. She is HOT. Brian should hire her for his own band, I could not stop watching her. Great player, fantastic presence.

Everyone came out and they all ran through 409, Surfin' USA, Fun Fun Fun, then left and came back to close with Danny Boy.

The venue was nowhere near a sellout and the audience seemed pleased but not ecstatic. I feel much the same way, trying to make sense of this odd combination of musicians. It's a bit like putting butterfly wings on a pit bull: I'm not sure either really benefits. There was a couple sitting in front of me. The man turned to me before the show started and said, "Can I ask you a stupid question." I said sure.
"Who's Brian Wilson?" he said.
There were Brian fans and Beck fans and a few who liked 'em both. But I don't know what Brian gains from this pairing.

Here's the first segment:
California Girls
Do It Again
Shut Down/Deuce Coupe--Al lead
Surfer Girl
Then I Kissed Her
Little Bird
Old Man River/Cottonfields
That's Why God Made the Radio
Sail On Sailor
Heroes & Villains
Darlin'
Marcella
Pet Sounds
God Only Knows
Sloop John B
Wouldn't It Be Nice
Help Me Rhonda
I Get Around
Good Vibrations

Rhonda was a surprising high point, where everything sounded great. The vocals throughout seemed shakier and thinner than usual. The sound mixer was part of the problem: he almost always missed guitar or sax solos or keyboard solos. Perhaps it's just early in the tour. Brian, however, was in a great mood, acting as emcee, smiling a LOT, etc. he even told Jeff--forgetting there was a mic in front of him--"I feel really good tonight." Unfortunately, he said it while Dave was telling the story of Dennis cutting down the tree Dave fell out of and broke his arm. That was the intro to Little Bird.

Yes, sound check does indeed come before the show. Brian seemed upbeat, in decent voice. He called Al over to the piano and said "You sing that third verse: 'When I take her to the drag she really shines."
Al, not on mic, apparently expressed the fear that he couldn't remember the words. Brian said, "ya gotta get up and do it...if you feel up to it."
He sang the line again, really sliding up on the final word, "shine."
Al said, "that's very bluesy, Brian...we should do a slow, sultry version of that."
Heard the run through of Our Prayer/Surf's Up...very nice. They did Danny Boy...meh. How High the Moon was good. Then Taylor came out and Brian played a doo-woppy piano intro which then turned into Nicky playing the familiar opening riff to Marcella. They also did Sail On Sailor, on which Brian will do the lead. Babe sounds great and the show will kick off in an hour. Doesn't look like Metropolis will be debuting tonight.

Ladies and gents: Taylor Mills in the house, singing Marcella...and looking awesome.

I saw Brian with the BBs in the early 80s, saw him on the Pet Sounds Tour, the Smile Tour and the C50 tour. I'm seeing him next Tuesday night in Houston and I'm excited because THIS show cannot be predictable. The addition of Jeff Beck, plus the welcome presence of Al and Dave, make me quite curious and it's gonna be a refreshing, non-cookie-cutter show. Wouldn't miss it.

I got my VIP package for the Houston show last night. I plan to do some Beck-tracking in the next month, since I don't think I own anything by Jeff Beck. Any recommendations for where to start?

I agree that the album is disappointing, but there's one song -- Very Best Years -- that is straight-up terrific.
And yeah, Jellyfish...how did they not own the world after those two amazing albums?

Just stumbled upon a documentary on Showtime about the Cowsills and ended up watching the whole thing. Their story is as harrowing as the Wilsons, and includes a violent, hot-tempered, alcoholic father. There are lots of interview segments with John Cowsill and mention of his current role as drummer with Mike & Bruce. Fascinating film, full of stuff I never heard before.

So great...Dennis even hits on the woman reporter a bit, complimenting her on her lovely gown.
And here's Mike Love, the OLDEST member of the group.
Terrific find.

1975: I had become a huge BB fan during the past couple of years, the "dead zone" between Holland and 15 Big Ones. When I heard that the Beach Boys and Chicago were touring together, my friend Tom and I got tickets to see them at the Cotton Bowl in Dallas. Tom was a Chicago fan and we had both begun to appreciate the other guy's favorite band.
A couple of months earlier, I had seen a classified ad in Rolling Stone for a new BB fan club called Beach Boys Freaks United (BBFUN). I sent off for info, encountered Alice Lilly, and was soon the "state representative" of BBFUN for Texas, a dubious title since I think there were only three members in the whole state at that point.
I somehow learned that the BBs road manager was a guy named Rick Nelson and I managed to track down a phone number for him before the tour started. He actually gave some credence to the "state representative" thing and told me the groups would be staying at the Fairmont Hotel. I asked if I might be able to meet/interview someone; he said it was up to them, but he couldn't commit.
On concert day, Tom and I went to the Fairmont in early afternoon. Tom was wearing a t-shirt with the iron-on logo that came in the Chicago VII album. We sat in the lobby awhile, seeing nothing of interest. Tom finally said he was going to go call a girl he knew in Dallas. I continued to sit in the lavish lobby and was staring blindly into one of the ritzy shops...I suddenly realized that Al Jardine and his wife were looking at jewelry! When they came out, I approached them and shook hands with Al and made some small talk. Then I saw Terry Kath, the guitarist from Chicago, and spoke to him. Jim Guercio entered then and said hello. Tom came back and asked if he'd missed anything. YES! But right then, Dennis Wilson came in and we talked to him. I proudly said I was the Texas rep for Beach Boys Freaks United. Denny looked at Tom's shirt and said, "And you must be with Chicago Freaks United."
Carl and Annie Wilson came strolling through. I snapped a picture of them (didn't even think about getting in the picture) and asked about maybe doing an interview. He said he couldn't do it before the show, but maybe afterwards....
We drove to the Cotton Bowl. I think this was only the second show on the tour, but it was a great experience seeing these two bands mixing it up, including the finale with everyone on stage and Mike doing Jumpin' Jack Flash.
We headed back to the hotel. Word had gotten out and there were lots of young, nubile women there. I actually managed to find Carl and he said we could chat in the hotel bar, which was right in the lobby. While we sat there, the horn players from Chicago joined us, along with their significant others. I had my little cassette recorder and asked my questions of Carl, who patiently answered them. At first, his answers were short, yes-or-no responses, but as he saw I actually had some knowledge of the band, he loosened up a bit. He told me a new album would be out by end of 1975 (didn't happen). I asked him if he could see himself doing this in ten more years and he said no, he couldn't. We talked 15-20 minutes and then we hit the road for home. For my first BB concert, it couldn't have gone much better.