Nice to see some votes for Bunuel (I marginally prefer Phantom of Liberty over Discrete Charm) but my very favourite director from this period is Claude Faraldo whose 'Bof' and 'Themroc' had  a massive impact on me.

I have lots of love also for Fellini ('Roma' and 'Amarcord') and Pasolini's great trilogy (The Decameron, The Canterbury Tales and Arabian Nights) as well, of course, as Salo.

Let us also not forget Lindsay Anderson's 'If' and 'O Lucky Man'.

It's all about expectations really isn't it?  SIP was about as much (or as little) as anyone might realistically have expected from Carl, Mike, Al and Bruce at that particular point in their career. 

On the other hand, a not insignificant proportion of Brian's post-1988 output has been considerably below my personal expectations.  For example, to my ears there are at least as many absolute clunkers on GIOMH as there are on SIP.

Other names to chuck into the discussion:  Tom Nolan and Nick Kent.

I agree with Erik who I think is the only person so far to have cast a vote for Trader.  That's my personal favourite right now.

"Mike takes what is actually a pretty rockin' backing track that doesnt seem (to me) forced, and throws some amazingly insulting lyrics over it about how you shouldn't engage in protesting because you might get hurt, so you should just go 'way until it's done and keep safe. "


Staying "out of sight" whilst the National Guard sprays bullets around indiscriminately sounds like pretty good advice to me.  At no point does the lyric implore the listener not to protest.

Really looking forward to this - particularly Dom's input.

Almost certainly within the last six months (is that close enough?) in view of the artwork visible behind SO'H.

Pardon the intrusion, and I don't have anything new to add, but I would like to offer a resounding "hear, hear!" to the recent thrust of this thread.

I'd highly recommend Kingsley Abbott's '500 Lost Gems of the Sixties'. A high proportion of the gems in question most definitely fall into the sunshine pop category.  This book drew my attention to a good spread of previously unfamiliar names and resulted in my spending several happy hours downloading new gems from YouTube onto my iPod.

Great stuff Jimmy.  It's now happily residing on my iPod.

No arguments at all from me about the quality of the singing, but my recollection/records of the event does/do not include any elements from AIWD.   The infamous TM medley to which David refers was constructed as follows:

TM (the Charles Lloyd piece)
All This Is That
Friends (bridge and final verse)
TM Song (from 15 Big Ones, sans argument on the lawn)
He Come Down
Back In the USSR (bridge) - don't ask why!
Friends (tag only)

It was indeed totally unrehearsed.  And I doubt it will ever be repeated.  It was just one of those glorious fleeting moments of ultra-fanboy fetishism made manifest.

Well.... there's 'Surfer Dan' for starters.  From the Turtles' Battle of the Bands album.

"1961 when they took the name "The Beach Boys".  The name of the band reinforces their stereotype as a fun-n-sun band"

Aha!  This old chestnut rears its head once again.

Next thing you know someone will suggest that Jefferson Airplane wasn't entirely made up of former cabin crew personnel, that Seals and Crofts weren't cute Arctic Creatures, that the High Llamas aren't intoxicated alpacas or that the Raspberries weren't a bunch of fruits.

No, the real reason why the Beach Boys are perceived by the massess as a fun'n'sun band is because the bulk of their most popular and enduring songs (e.g. Surfin' USA, Fun Fun Fun, I Get Around, California Girls, Do It Again etc.) is themed accordingly.  Leaving aside the oddities that are Good Vibrations and Heroes and Villains, the typical broad-based festival audience (i.e. Glastonbury 2005) is most at ease with those time-honored hits from 1963-1966.

Even if the group was called Doctor Jeremy Simpson's Fetid Underpants, they'd still be characterised more by the great music that they made during that era than by the name per se.  It's the music that's the critical factor at play here.  Not the name.

We (that's us here on these boards) understand the bigger picture.  But we're the minority.

Sign me up please.  Like Neil Young said, it's a lot more fun in the ditch than in the middle of the road.

I'm happy to make another contribution.

Remember The Zoo (c) Bicycle Riders

Do you remember oh when we were kids?
The trips we took the groovy things we often did
The time we spent together just  me and you
Oh ho, do you remember the zoo?

The zoo was the place we used to like to go
When things got crazy we could take it slow
Stroll around the park think of stuff to do
Oh ho, do you remember the zoo?

Remember the zoo, remember the zoo
The days we spent together there me and you
Oh my there's lions, tigers and bears
The two of us without no cares

We used to laugh at all the zebra stripes
Riding on the tramway high as a kite
Eating cotton candy, pink popcorn, too
Oh ho, do you remember the zoo?

We liked to watch oh yeah the giraffes neck
Stand above on the observation deck
Then we'd go and watch the Chimp Sullivan Shoe
Oh ho, do you remember the zoo?

We used to ride high on the llamas
Nobody would tell our papas or mamas
Wish a jellyfish might give us both a clue
Oh ho, do you remember the zoo?

We used to like to watch the byrds at play
Spy on dirty monkees hey hey hey hey
I sure do miss the days I spent with you
Oh ho, do you remember the zoo?