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672375 Posts in 27076 Topics by 3979 Members - Latest Member: sloopfan3 October 16, 2021, 08:52:39 PM
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1  Smiley Smile Stuff / General On Topic Discussions / Re: Dennis Wilson article in \ on: October 07, 2021, 10:26:52 PM
I believe this is the essay in question:

https://www.shindig-magazine.com/?p=4986

What's here is quite like fodder for a long, complicated thread, but if the description in the section of the essay pertaining to "Wouldn't It Be Nice (to Live Again)" is any indication, there was (as Jack Rieley has been quoted as saying) simply too much music being created in the time frame after SUNFLOWER's release for the group to process it properly. The question of how the "Poops" songs were supposed to seque is worth some time from some of our more advanced musicians/musical thinkers, and I hope that some folks will take it up.

But the central mystery that I'd love to have solved is why "Make It Good" and "Cuddle Up" got selected for CATP over "Wouldn't It Be Nice (to Live Again)." Neither of those tracks could possibly have been seen as singles, and it must have been apparent even then that WIBNTLA was a superior track.
2  Smiley Smile Stuff / General On Topic Discussions / Re: Here's a little web-series about some Feel Flows era tunes on: October 07, 2021, 10:04:40 PM
Have always LOVED "Got To Know The Woman" and it's a great insight about how the decision to "accelerate" the modulation really optimizes the energy of the track.

And, yes, one of Mike's greatest bass line inventions--it's too bad that Mark & Alan did not include an isolated clip of Mike's work in it...because it's really as mind-blowing to the listening as the woman was for Dennis...  Smokin
3  Smiley Smile Stuff / General On Topic Discussions / Re: Mike Love just announced a \ on: October 07, 2021, 09:59:12 PM
Well, it's a spring cruise...so there's still plenty of time in 2022 for a 60th tour. Strikes me that this is just Mike being Mike, continuing to demonstrate his unquenchable neediness to see his name in the media somewhere.
4  Smiley Smile Stuff / General On Topic Discussions / Re: New Brian music this Friday ? on: October 01, 2021, 03:51:22 PM


YES!!! After the classics, let's have Volume 2, with (among others) a selection of tunes from his adventures in San Diego...the "Deep Cut" edition.  Cool Guy

Won't be complete, of course, without a piano demo version of "Beatrice From Baltimore"...

5  Smiley Smile Stuff / General On Topic Discussions / Re: Feel Flows box set on: September 23, 2021, 10:50:34 AM
Beautiful stuff, a reminder of a period of fleeting, youthful unity that could even forgive our boys for their "trespasses." The footage gives just about everyone a chance in the spotlight except good ol' Al, anchoring things as he would always do. Those shots of Dennis and Daryl are phenomenal, but so is the later sequence that shows Bruce with precision and low-key panache on GOK, helping to elevate it into a hymn of love--just what the doctor ordered for a concert held on May Day, 1971.
6  Smiley Smile Stuff / General On Topic Discussions / Re: Jan & Dean are terrible singers on: September 22, 2021, 12:25:09 PM
Jan had his finger on the pulse of a particular "wave" of popular music that represented the adolescent period of rock. His skills as an arranger allowed him to move in heady circles for awhile, but when rock started to grow up, he was in serious trouble--and he knew it. There's a desperation captured in his work from late '64 up until the accident, a kind of "I'll throw anything up against the wall and hope something sticks" undercurrent, embodying someone who is all too aware that he's being left behind and is flailing against the dying of light (so to speak). And of course it was manifesting itself in his personal life as well.

A different version of the same problem confronted a group that still belongs in the RRHOF--the Shangri-Las, who were essentially abandoned by their svengali producer and allowed to die on the vine after a second LP that is one of the great records of the decade...but on the losing side of rock history, just as Spector was. Shadow Morton made a perfunctory effort to mold Mary Weiss into a version of the full-fledged "diva" singer that was emerging in 1966-67, but he didn't really have the arranging chops to pull off the transition, so he left them in a trash can adjacent to the Brill Building and moved on to Janis Ian and the Vanilla Fudge, signaling the exact type of phase shift that rock was undergoing at that time, a shift that made symphonic pop an endangered species literally overnight. SHANGRI-LA's '65, in its last incarnation (the label reissued it twice by adding singles) is the apex of the East Coast "symphonic pop" style and shows the range of talent in the singing group--check out their cover of the Ikettes' "I'm Blue," where its neither Mary or Betty Weiss but Mary-Ann Ganser, one of the twin "backup" singers, who gets one shot to step up to the plate and knocks it out of the stadium.
7  Smiley Smile Stuff / General On Topic Discussions / Re: New Van Dyke Parks and Mark Linett podcast on: September 22, 2021, 11:56:00 AM
Very enjoyable with lots of added detail--the interviewer's relaxed, appreciative approach is very effective at drawing out the folks with whom he's conversing...thanks much!
8  Smiley Smile Stuff / General On Topic Discussions / Re: 'CHAOS' The new Manson book on: September 21, 2021, 12:23:26 PM
My recollections of the 1970-71 time frame--which are here to be corrected by those who've done a more complete dive into the many Manson source materials (I've ordered CHAOS and plan to work it into my reading shortly after it arrives)--was that the press in general really tried to put the toothpaste back in the tube for the band and Dennis after the Manson events broke wide. Their reviews of SUNFLOWER are glowing. They did not pick up and run with Dennis' earlier statements about his association with Manson--a few sensationalistic references, but these were kept on the margins.

But there was clearly something going on behind the scenes that Fred Vail bumped into, but may not have connected the dots at the time in terms of a "slient backlash" that involved the folks who could make or break an album commercially making sure that SUNFLOWER tanked.

Think of it as a tradeoff--you are cut loose in the industry to sink or swim based on how things play out, in exchange for not being dragged into an incredibly messy story about music biz excess and the type of FBI "sting operation" lawlessness built on destroying the political efficacy of the counterculture (which went way beyond destroying the credibility of rock stars: let's not forget their involvement in domestic political assassinations of key figures in dissent political groups, such as Fred Hampton).

Moving away from the hoary tip of the iceberg in the Manson situation, maybe we now can more clearly embrace the thinking in the Beach Boys' camp once Jack Rieley is on board, a recognition that the band had to mount an all-out counterassault on their past image AND more aggressively employ the SMiLE myth in order to dig themselves out of a hole that might otherwise have had no bottom. Adds another dimension as to why some were so adamant about resurrecting "Surf's Up." It helps to explain the rather pointed tone of VDP's quote about guaranteeing pre-sales by making "Surf's Up" the title of the LP.
9  Smiley Smile Stuff / General On Topic Discussions / Re: Surf's Up: A Beach Boys Podcast Safari - \ on: September 19, 2021, 10:54:36 PM
Most enjoyable. Thanks to a terrific trio for continuing to spread the word about a release that was:

1) everything that Howie said it was from the start, and

2) more than worth the often-agonizing wait.

Looking forward to hearing the three of you "do it again" with the next box set!
10  Smiley Smile Stuff / General On Topic Discussions / Re: New Brian music this Friday ? on: September 18, 2021, 05:07:33 PM
To use the most appropriate terminology in reacting to this news: I'm STOKED!  3D

GF gave us a great historical parallel with the Gershwin piano rolls, and we can hope that this is only the first of such projects. Hopefully strong sales will encourage everyone involved to take the idea even further.

Of course, it would REALLY be something if someone managed to turn up some tapes of Brian on his sojourn to San Diego back in '78, where he was purportedly playing in a cocktail bar for drinks...what a wild "bonus disk" that would be!!  Smokin

11  Smiley Smile Stuff / General On Topic Discussions / Re: Here's a little web-series about some Feel Flows era tunes on: September 11, 2021, 06:05:30 PM
A great idea and a great start with what you've done to date, Joshilyn. I left a couple of suggestions at You Tube, you can check them out there at your leisure and see if they make any sense...!

Very much looking forward to more of this--like the box set itself, it will be an embarrassment of riches!
12  Smiley Smile Stuff / General On Topic Discussions / Re: The evolution of the Beach Boys as backing vocalists (As heard on Feel Flows) on: September 03, 2021, 02:32:31 PM
I think it's now abundantly clear that, starting in 1969, Carl (and, in his own way, Bruce) looked for ways to take the backing vocal arrangements to "places where new things might be found." They were riffing off what they'd been involved with previously, but when they did it on their own they took things further, adding more layers than even Brian would create, possibly because they didn't quite know how to reproduce a similar sense of fullness without using more background voices.

As Carl got more confident in what he was doing, the parts became more intricate, filled with tiny details that become increasingly difficult to pick out of a finished mix, and Carl's love of "tags" gave him license to take it to the limit and create more expressive, harder-edged, "soulful" backing vocal figures. Bruce has a similar impetus for fullness, but it's more ethereal and choir-like, linked to ascending figures rise up in the background ("Tears," "Disney Girls"). Certain of Dennis' songs partake of this as well ("San Miguel," "Got to Know the Woman," the "tag" in "Celebrate the News," and "Slip On Through," but it's unclear who was doing the vocal arranging for those tracks. (I suspect several of the mega-experts can fill all that in.)

The level of commitment to their vocal sound that had developed and escalated in tandem with Brian's evolution as a songwriter was almost certainly the reason why the band had no qualms about trying anything vocally--they'd been through an incredible intense "boot camp" under Brian and had developed their self-identity around their abilities to deliver a uniquely complex vocal sound. Pride of previous accomplishment inspired them to be fearless, I'd figure...

13  Smiley Smile Stuff / General On Topic Discussions / Re: Feel Flows box set on: September 03, 2021, 02:04:24 PM
"FUNKY PRETTY--The Politically Correct (but formerly and once again Politically Incorrect) Music of the Beach Boys, 1972-1974"  Cool Guy
14  Smiley Smile Stuff / General On Topic Discussions / Re: Feel Flows box set on: September 02, 2021, 02:47:37 PM
So many thoughts I want to share but I don’t have a lot of time right now so I’ll keep it brief for now….

Anybody want to admit I was right about Brian being on Mess of Help and Marcella vocally? 😏



I always believed you, Billy!  3D
15  Smiley Smile Stuff / General On Topic Discussions / Re: Feel Flows box set on: September 01, 2021, 06:49:52 PM
99% lock is pretty confident, considering it’s The Beach Boys…

Point noted, but there's a lot of positive momentum that's gathered around this set--and with added management gravitas overseeing the bottom line (and the ongoing fault lines between factions), I'm a lot more optimistic that we'll get a CATP/Holland set next fall.
16  Smiley Smile Stuff / General On Topic Discussions / Re: Feel Flows box set on: September 01, 2021, 05:13:28 PM
Just curious...

Why are Marcella and You Need A Mess Of Help To Stand Alone included?  Weren't they recorded in 1972?

Sessions for both songs commenced 1971. Plus it makes a nice teaser for what's to come in the future.

Not Mess of Help. Per Alan, their inclusion didn't have anything to do with when they were recorded.

Okay - thanks - hadn't heard/read that Alan had said that it didn't have anything to do with when they were recorded.

Is this info below wrong?

Beatrice from Baltimore
Brian Wilson and Tandyn Almer song, recorded December 6–10, 1971 and January 31, 1972. According to Debbie Keil, a verse was "She got a hole in her stocking, she does a whole lot of rockin'. She do the shake down a Bumbles, she do the chicano rumble. Little Beatrice from Baltimore."
- from https://beachboysdb.fandom.com/wiki/Unreleased_Songs

“Beatrice from Baltimore” – A tapebox for “Beatrice from Baltimore” is in the Beach Boys' vault, though it features no vocals and eventually became, “You Need a Mess of Help to Stand Alone” on Carl & the Passions.
- from https://www.laweekly.com/brian-wilsons-secret-bedroom-tapes-a-track-by-track-description/

In a way, the early title / lyrics for the song explain why the song transitions abruptly from talking about the protagonist, switching to the "She don't know . . . ." lyrics, talking about a girl who has not been previously mentioned in the song.

There's good contemporaneous evidence in the form of comments from Carl, and I think Mike, to support "Beatrice" being from very early '72, and not having been started by the time '71 ended.  It may not quite be definitive, but it's convincing.

Over at the nearest faraway place, one of the more valuable threads that surfaced with info not also available here--one with many translations from Dutch media interviews (a number of them with Carl)--pinpoints a "jam session" that fleshed out "Mess of Help" (still apparently called "Beatrice" at that point) and that Carl was clearly highly enthusiastic about. That interview was from late February '72, when the band was on a short European tour before returning to LA for the second round of sessions that would culminate in the tracks for CATP. The jam session had apparently occurred shortly before the tour, so it can be probably be placed in early-mid February.

So what about those 12/6-12/10/71 dates? They get listed as "sessions" in the data at AGD's site (I call it "do-si-Doe") but it seems as though this was taken almost verbatim from Badman, a good bit of whose material has been "superseded." We don't really know the provenance of that session info, but it could be from some kind of log that doesn't discriminate between "recording sessions" and "writing sessions." We have precious little data about when songs were actually written, but one guess is that some of the tracks we are talking about here and that are part of Badman's activity log could be referring to writing sessions, and that "Beatrice" was conceived and fleshed out during that time frame. Carl is still referring to it as "Beatrice" in the Dutch interview, and the question one could ask Alan and Mark about the track/backing vocals version of "Mess of Help" is whether they have any idea when that was recorded. The finished track may well be built out of the "jam session" to which Carl refers, which would then follow up to the rewrite of the lyrics, and possibly added parts which followed in March-April. The high "fiddle" part is not prominent on the track/backing vocal version that's just appeared on FEEL FLOWS, but that could be due to Mark's remix, which brings the backing vocals way up from what was heard on the '72 release, and seems to be spiraling through a range of the more complex backing vocals in the tag, dropping out to a capella at the end, and finally isolating on Mike's goofing around with some "alternate lyrics" at the tail end of the tape (and prompting Al's tongue-in-cheek reference to "I Get Around").

At any rate, formal recording may not have commenced until the "jam session," which would mean early '72. What's more important (and more encouraging to a "Mess of Help" fanatic like me) is that Mark & Alan seem to have a similar affection for the track, raising hopes that they will give us even more glimpses at its production understructure when they gear up for the CATP/Holland set (which now seems to be a 99% lock given how the response to FEEL FLOWS is proceeding).
17  Smiley Smile Stuff / General On Topic Discussions / Re: Feel Flows box set on: August 28, 2021, 09:27:10 AM
Dennis...Dennis...Dennis...good golly! I don't think there was quite a full solo LP there--Howie and others can feel free to correct me, as there may be more to which they are privy--but listening to all of this abundance of material suggests that SURF'S UP had the potential to be a double LP literally bursting at the seams. The band was literally overflowing with creativity, to a point where all of it could've have done more harm than good in terms of their career.

Four sides of music, with all of Dennis' incredibly varied output repositioned in ways to not make it stand out too starkly. Consider:

Side One: 4th of July--Don't Go Near the Water--Long Promised Road--Take A Load Off Your Feet--Disney Girls--Student Demonstration Time
Side Two: San Miguel--Big Sur--Awake--Where Is She--Wouldn't It Be Nice to Live Again
Side Three: I'm Going Your Way--All of My Love--Before--Behold the Night--Hawaiian Dream--Old Movie
Side Four: Feel Flows--Looking At Tomorrow-A Day in the Life of A Tree--Til I Die--Surf's Up

That's a total of nine Dennis tracks on the double LP...nine out of twenty-two. Brian has five, Al two, Carl two, Mike two, Al & Mike one, Bruce one. That's probably too unbalanced for the band to have swallowed at the time, but holy moly Dennis was the elephant in the room and the approach taken to his material was clearly not sufficiently nurturing. They took the tracks that were the easiest fit into the band's style, but the material that would comprise a "Side Three" here was (mostly) something beyond what they could assimilate (and, indeed, some portion of it just never coalesced into full coherence--Dennis simply moved on and revised/set aside/revised again until the more congenial beachhead of Brother Studio and a few more years of assimilating the developing music of the seventies assisted him in pulling together the material that comprised POB).

It's almost as if Brother Studio was a grudging recognition that the band had to subsidize Dennis' work despite their inability to assimilate it into their overall identity. Of course, Dennis' volatility and addictive impulses made for a path to creativity that was as complicated and chaotic as the place that Brian was inhabiting in various stages of fragility and outright dyfunctionality from late '68 until he was dragged out of his hibernation (and back into Brother Studio) in '76.

But would a four-sided SURF'S UP have provided a better outcome for the band at the time? Jack and Carl found a way to kow-tow to the band's precipitous democracy with the assemblage of the 10-track LP, while stoking the fires of the ongoing Brian Wilson mythos (which is what really sold SURF'S UP to the general public--David Hepworth, in his book NEVER A DULL MOMENT--looking at 1971, the jam-packed "advent year" of rock--nails what the effect of the 10-track LP ultimately was...as he put it "they were the first band to create a tribute album to themselves" that also made it safe for the counterculture to like them). Could such calculation have been able to withstand the onslaught of the eleven tracks on Sides Two/Three, where the hidden underside of the band's creativity would have manifested itself (mostly via Dennis: eight of his songs are here, making those sides--which in those days would have appeared separate from one another--into a kind of de facto solo LP)?

It's an overwhelming, sad but joyous discovery half a century later, one that (IMO) vindicates all of the folks (raising my hand here) who've fervently felt that Dennis was in his way as unique and significant a songwriter as his older brother. Sad because it never was able to be fully realized; joyous because we finally get to hear just how unique and incredibly wide-ranging Dennis' musical world was, and have all of the materials with which to give him his proper due.

Of course the FEEL FLOWS set does even more than this, and that's to the infinite credit of Howie and Mark and Alan for all they did to ensure that all of this music would, at long last, finally see the light of day. Fifty years is a very long time to wait, but the payoff here makes it all worthwhile.
18  Smiley Smile Stuff / General On Topic Discussions / Re: Thread for various insignificant questions that don't deserve their own thread! on: August 23, 2021, 12:54:18 PM
That's three questions, and the genie is not pleased to discover you playing fast and loose with arithmetic again...  3D

So I will answer one, and one only: what you should expect to hear on "Sweet and Bitter" is a somewhat more adenoidal-than-usual Mike on lead vocal; Don Goldberg, who wrote the song, revealed in his autobio THE LOST SONG that Mike showed up to sing the lead while suffering from a head cold. Given the maelstrom that was often the scene at Bellagio, Goldberg was grateful that Mike didn't beg off. It's not a bad vocal: there's a reasonable amount of emotional conviction to be found amidst those adenoids... Smokin
19  Smiley Smile Stuff / General On Topic Discussions / Re: A newbie to the Beach Boys----advice needed on: August 21, 2021, 09:19:30 PM
Thanks for joining us, Zooey--we are maniacs but the most recent data suggests that 89% of us at least mean well!!  Grin

Joshilyn's advice (essentially to listen chronologically) is definitely the wisest approach, IMO, and is most conveniently accomplished by following Wirestone's great tip and obtaining the 1993 box set.

If you aren't able to get the set, then another place for a solid introduction would be the CD "Classics," which features 20 Beach Boys tracks selected by Brian Wilson. The tracks are mostly in chronological order and this collection is (IMO) about 90% undisputed greatness.

Another CD that covers additional ground is called "The Warmth of the Sun," which has a bit of overlap with "Classics" but covers more ground. The track listing looks a lot like the promo CD that was put out in 1993 as a teaser for the boxed set. This one is not in chrono order but has a nice flow for listening, giving you some interesting contrasts without being too jarring.

Don't be shy about asking any questions here when there are things you want to know more about. Glad to have you with us!
20  Smiley Smile Stuff / General On Topic Discussions / Re: Brian and a move towards an authentic pop musical vocabulary on: August 08, 2021, 09:32:14 AM
This is indeed a fascinating thread, and much of it is beyond what's left of my pay grade, but I do have one thought that might juxtapose what Joshilyn appears to be after, the context GF is providing, and the macro-historical overview that Mitchell provided...

...as part of the project to capture the fleeting collision of a "pop music vocabulary" with experimental composition (song fragments or sections combined for the sake of the added power or resonance as a result of their juxtaposition), compare the arranging and recording approaches that evolved from early '65 into the SMiLE sessions with the production approach taken in the 1980s when Brian was "called out" by Lenny Waronker to return to such a compositional/production approach with "Rio Grande." What are the differences and similarities that exist in 1987-88 with respect to (re)creating a type of compositional approach that had been set aside (or, possibly, sublimated into the songwriting process itself, where "tags" produced the functional equivalent/analogue to the more externalized "modular" mode that came to dominate the SMiLE material)? What did Brian utilize to respond to Lenny's "challenge"? Was it a conscious anachronism back to a moment when the moment of breakthrough into a "blossom world" of "experimental pop mosaic" was actually a leap into the void due to the changes in rock music that turned something revolutionary into something passé in a matter of months? For context, recall that this is the point in time when Spector crashes and burns, and the time that Shadow Morton abandons the symphonic angst of the Shangri-Las for Janis Ian and the Vanilla Fudge.

A lot of sea-change in that 1966-68 time period: was not "Cabinessence" simply received as an brilliant but unfathomable artifact from an already (irrevocably) lost era when it surfaced in '69 on 20/20? And given their recognition of the rate of change that was continuing to occur, can we see the effort to rescue "Surf's Up" undertaken by Carl and Jack Rieley as part of a way to reclaim that past in a way that could create a wormhole through which the band could wriggle to some kind of viable future? While I understand that we are after a more direct musical analysis of how Brian got to his unique compositional/arrangement synthesis, I think it's important to note how shockingly fragile any/all of that was in terms of mass commercial success. When Brian made "Good Vibrations," I don't think it was clear to anyone that it would be the first and last of its kind...but it most certainly was, wasn't it?
21  Smiley Smile Stuff / General On Topic Discussions / Re: Howie Edelson Talks Brian's 1971 \ on: August 02, 2021, 06:23:08 AM
Frankly, as legendary as that Brian/Van Dyke cassette tape is, and how interesting it might be to hear Dennis sing SOS, what I want Howie and Alan and Mark to conjure up is a tape where someone is singing the original "Beatrice" lyrics before they were rewritten. And then--because I'm egregiously greedy about all things "Mess of Help"--I want the jam session from Bellagio where Carl and the outside musicians worked on the backing track (referred to in the Dutch interview posted over at the "nearest faraway place"...). Just fork that stuff over, guys, so I can die in peace... Smokin
22  Smiley Smile Stuff / General On Topic Discussions / Re: Greatest Brian Wilson-Mike Love collaboration? on: August 01, 2021, 11:46:00 PM
Oh, holy freakazoid, everyone knows it's "Cassius Love vs. Sonny Wilson."  3D

For an actual singing collaboration (instead of however one attempts to classify the above...), it's "Devoted to You."
23  Smiley Smile Stuff / General On Topic Discussions / Re: Demos posted to Brian Wilson's website on: July 20, 2021, 10:12:19 AM
A whole lotta fascinating stuff, all over the six-dimensional map that is Brian's life and career. But that last part of the "Surf's Up" session, when the track is put together with the piano prominent and punchy as all get-out, with the chords alternately floating and bouncing, is definitely what the music of heaven must be like--and if it isn't, I ain't going there!  Smokin
24  Smiley Smile Stuff / General On Topic Discussions / Re: Billy Hinsche being asked to replace Bruce in 1969 on: July 18, 2021, 04:20:04 PM
My best guess would be that Bruce felt increasingly trapped by the changing direction that the band was trying to negotiate--and probably frustrated by the fact that Carl and Dennis were getting a lot more "air time" in that process than he was. But let's look at what he was contributing to the band song-wise during the 1969-71 period: "The Nearest Faraway Place," "Bluebirds Over The Mountain," "Tears in the Morning," "Dierdre," and "Disney Girls." This is not a discography suggesting that Bruce is in any way central to what was happening with the band at that time--a time of great creativity but also of great ferment.

Bruce was by this time a very experienced and proficient (if not particularly inspired) producer, and all of the tracks he produced that wound up on 20/20, SUNFLOWER and SURF'S UP are rock-solid from a technical perspective, but they are really marginal in terms of their potential contribution to a viable new artistic/commercial direction for the band. And this fact had to be pretty sore-thumb obvious for some time--probably since even before he began submitting material. At that time he was looking to have things both ways, oscillating between loyal subordinate and "objective" outsider. "Ten Years Harmony," which IIRC was the track he was pushing for inclusion on CATP, is the type of track the band would do later on, when it acquiesced to forms of self-referential nostalgia.

Being a "schmaltzmeister" at a time when the band was competing for a slice of credibility in an age when hard rock was at its apex was not going to sit well--and when Dennis' "orchestral schmaltz" was given a place at the table for CATP, and when Blondie and Ricky were tapped for two songs to integrate them into the band, and there was even a chance that another pop-oriented outside writer (Don Goldberg) might even slip past him onto the LP, it's not all that surprising to discover that Bruce acted out with some passive-aggressive behavior. It was probably clear to him for some time that he was on the margins, and he probably compensated by putting on some of the Beverly Hills airs that he and Terry Melcher had due to their more privileged upbringings. That, too, was (and probably still is, deep in the back of his mind...) part of how he held himself outside the group, and has clearly continued to do so even after coming back in '78 when the Wilson brothers were too burned out to take the controls in the studio.
25  Smiley Smile Stuff / General On Topic Discussions / Re: Beach Boys (Mike/Bruce) appearing on CNN 4th of July special on: July 05, 2021, 07:45:07 PM
Poor Mike couldn't get through "California Girls," which is a relatively undemanding lead vocal. That's not a good sign. If he can't handle his own leads any better than that, a 60th anniversary tour is a very dire prospect indeed. Al can't sing all the leads!!  3D
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