It's thought to be recorded in 1970, I don't think Brian's singing is weak, I think he's just trying to sound gritty ala "Bakers Man" or "Walkin". The outakes show Brian put his voice on first.

Jan Berry was working on a version of "Don't You Just Know It" in 1966, before his accident. He produced a track for it, and the session tape still exists.

M.

I included a rare photo of Jan's smashed 'Vette in the promo video for our album.

This was when the wreck was sitting in Jan's garage at Park Lane Circle -- before it was sold for scrap.

http://www.youtube.com/watch?v=8pT10L-L0Zo

M.

(...)

as four people would not fit into a Corvette Stingray (a two-seater).

That would be a Sting Ray (two words) and not a Stingray (one word). The former spelling was featured on 1963-1967 Corvettes, and the latter on 1969-1976 Corvettes. 

By the way Mark, I've tried many times to know more about Jan's Corvette, without success. Would you happen to know more about it? I'd like to know whether it was a coupe or a convertible, which color it was, and what kind of engine it had. You probably don't know the answer to all these questions but any info would be greatly appreciated!

I have documentation on the car (not easily in front of me right now). We've run the VIN number, and it's not in use.

The color was silver (according to the police report).

M.

if anyone wants to read that 1974 issue of rolling stone about jan i guess i could upload it.

plus i saw the beach boys in aug of 1987 in vegas at caesar's. on the 10th song a big surpise to all jan limped out to the mic and sung little of lady. not many seem to know who he was but he sure was proud to be on stage and had a big smile on his face. luckly i recorded that show. he didn't do to bad a job either.

The Paul Morantz article in RS is a landmark piece . . . great stuff (with a cool full-page, full-color pic of Jan & Dean taken by Annie Liebowitz). This was back in the days when RS was like a newspaper . . . printed on news stock.

Paul knew Jan, and did some legal work for him.

The movie (based on the article) contains many falsehoods . . . but the article is much more accurate.

M.

one hears all kinds of falsehoods over the years but i was back in college in 1974. i seem to remember it being said that full page photo on the beach was to be the cover photo but the tricky dick/watergate fall from grace was used instead. any truth to that story? what i remember being said at that time anyway. thanks for any info...

Yeah, they were supposed to be on the cover.

M.

Mark can you tell me what that thing with Jenny McCarthy was at some MTV-awards or something like this? I heard she yelled Jan's name or something.....?

That was at the American Music Awards . . . and Dick Clark arranged for that to happen.

Jan & Dean were in the audience . . . and Jenny gave a shout-out to Jan as a legend and one of the best producers of his era. It could have been said with better clarity and context, but . . . it was basically something to cheer Jan up. He was suffering from depression.

Chuck Harter took Jan to the event, and to one of the parties afterward. According to Chuck, Dean told Jan: "I like your date."

M.

if anyone wants to read that 1974 issue of rolling stone about jan i guess i could upload it.

plus i saw the beach boys in aug of 1987 in vegas at caesar's. on the 10th song a big surpise to all jan limped out to the mic and sung little of lady. not many seem to know who he was but he sure was proud to be on stage and had a big smile on his face. luckly i recorded that show. he didn't do to bad a job either.

The Paul Morantz article in RS is a landmark piece . . . great stuff (with a cool full-page, full-color pic of Jan & Dean taken by Annie Liebowitz). This was back in the days when RS was like a newspaper . . . printed on news stock.

Paul knew Jan, and did some legal work for him.

The movie (based on the article) contains many falsehoods . . . but the article is much more accurate.

M.

Wasn't Jan initially reported as being dead?

No . . . but emergency responders at first thought he might be dead when they arrived on the scene.

What happened was that a news report ran a misleading headline, reporting multiple car accidents within the past 24 hours . . . using Jan's name as the lead, and saying that three people had been killed.

Well, some egregiously careless journalist didn't read carefully enough, and published a story of how Jan's three passengers had been killed in his accident!

Amazingly, this falsehood is still pervasive . . . and has been perpetuated over and over by other writers!

Not only was Jan alone in his car . . . but it would have been damned crowded . . . as four people would not fit into a Corvette Stingray (a two-seater).

M.

I've seen this picture of a badly mangled car (a license plate is visible) with these policemen surveying the damage, and the caption is describing Jan Berry's accident, as if this is the actual car. Is this THE actual picture of the car?

I've been thinking about Jan Berry lately. Talk about somebody who had it all. He was such a handsome man, very intelligent, and obviously talented. There isn't a lot, but I love watching any footage of Jan & Dean in their prime. Jan & Dean are kind of legendary, but I don't think Jan's accident is recognized enough. Recognized isn't the exact word I mean; it's just such a tragedy.

Yes . . . Here's a photo of Jan's demolished Corvette. This is the photo that accompanied newspaper reports about the accident.

Note that some one placed what appears to be a copy of Jan & Dean's 1966 tour booklet (designed by Dean) atop the wreckage. That, or at least the photo that was used for the cover of the booklet.

[Jan Berry / Jan & Dean Tribute Album]

Okay, I just saw this thread for the first time . . .

Brian was working on Pet Sounds (in various capacities) when Jan had his accident . . .

"Don't Talk (Put Your Head on My Shoulder)" on April 3, 1966 -- Jan's 25th birthday.

"Wouln't It Be Nice" on April 11, 1966 -- one day before Jan's accident.

"God Only Knows" on April 11, 1966 -- one day before Jan's accident.

"I Just Wasn't Made for These Times" on April 13, 1966 -- one day after Jan's accident.

And it's not surprising that Brian has few memories of hearing about Jan's accident. This was the beginning of Brian's descent into the abyss . . .

And funny enough . . . Jan (now brain damaged) and Brian (soon to be so, certifiably) . . . partook of illicit subtances together in the early '70s. I have documentation on this!

But make no mistake . . . Brian and Jan's friendship and relationship in the early to mid-'60s is illuminated far beyond their songwriting credits. Certain stories are not myths.

I ask all Brain Wilson fans to listen to track number 28 of our new Jan Berry / Jan & Dean Tribute Album (Amazon.com) . . .

This audio montage gives you an aural glimpse of Jan and Brian working together in the studio.

Mark M.

I love this song . . .

http://www.youtube.com/watch?v=_OpkTbuE-1g

Written by Jan Berry, Arnie Ginsburg, and Don Altfeld . . . it really illustrates the R&B influences absorbed by Jan Berry.

This tune cracked the national Top 100 . . . a better composition than "Jennie Lee" . . . But of Jan & Arnie's three singles on Arwin, only "Jennie Lee" received serious (official) hype and promoton. The rest were left to wilt on the vine.

"Gas Money" (their second single) charted solely on the buzz surrounding "Jennie Lee" . . . which spent 13 weeks on the charts (including three in the Top 10, and 11 in the Top 40).

On our new Jan Berry tribute album, the "KJAN" bonus track features Jan discussing his favorite R&B groups in 1958 . . . the very year they were released, along with "Jennie Lee."

We also have a "Jan & Arnie" bonus track -- from 1958 --  in which Jan makes significant references to being backed up by studio musicians (which was the case for all six sides by Jan & Arnie).

Don Ralke's Music  . . . the Adam Ross Orchestra . . . Ernie Freeman's guys . . . Earle Palmer and Plas Johnson . . . great stuff.

M.

No, I wouldn't expect you to keep it up just for Jan & Dean . . . You had an elaborate plan for #5 . . . only part of which would have included J&D . . . the "Carnival of Sound" and "Save For A Rainy Day" stuff.

DAG was cool extra publicity for my stuff . . . as I pursue my own publishing ventures.

Now that the album will be released this month . . . I'll be moving on to the next step in the process . . . which is an in-depth Sessionography for J&D.

M.

Well, we just put up some money for our album . . . and it aint easy, that's for sure (even with help).

What I wanted with DAG was an on-going series . . . like the Psychedelic issue originally planned for #5 . . . in which we were planning that I would write about "Carnival of Sound." But we don't always get what we want. It was a business thing for Brian (as publisher)  . . . and for me it was just a very cool way to promote my studies.

With Dean and "Popsicle" . . . he made some egregious misrepresentations about Jan. I didn't blackmail him, I just pointed out how Jan's career documentation significantly contradicted Dean's account.

I realize now what Brian was saying about the "failure" of #4 . . . constructive self-criticism . . . But I think overall it was outstanding. And I really liked the design, too.  I'm obsessive over my own stuff, so naturally was dissatisfied with small problems in my article.

M.

He's gonna save the world through pop culture. I admire his devotion to the '60s. He's really steeped in it.

Glad you liked Dumb Angel 4... thanks for saying so. I still feel like it wasn't design-oriented enough to really appeal to artists and designers... and conversely, it wasn't Beach Boys-oriented enough to really appeal to Beach Boys fans. It was stuck somewhere in the middle, where the artists were just kind of scratching their heads at the collector mentality of the articles, and some of the sloppy layouts. And the Beach Boys fans never seem to like surf instrumental material, for the most part. I probably went too far with all the celestial suns and Mondrian graphic design stuff, but hey, the All Summer Long album thrilled me to death and I tried to deconstruct it's time and place. I consider DAG #4, on a whole, to be a failure, because I'm a perfectionsit and wanted it to be so much better. But maybe its appeal was limited to begin with, and I just didn't know it going in.

Brian,

Bite your tongue, my friend . . . There is nothing remotely "collector mentality" about my Jan Berry article in DAG #4 . . . (and by the way, you still gotta return my Audition Record of POP SYMPHONY and the other materials I sent for that issue).  Mine is one of the few pieces in DAG #4 that's based on hard-core documentation and interviews . . . nothing like the strictly "opinion" approach. And what did I hear all the while? . . . "Beach Boys dorks are not our audience or market . . . we're all about the Bohemiam surf aeshthetic . . . Shag is what it's all about" . . . Ha!

And yeah, we all know your type setter f*ked it up, introducing minor errors and whatnot (to my piece for sure) . . . plus the larger dust-ups with Harvey Kubernik and Mark London  . . . (at least as explained to me).

It's too bad, really . . . The magazine sold 5,000 copies . . . and in a perfect world, we should all be digging DAG #5 right now. I signed on for that ambitious vision . . . but it didn't happen.

M.

Here's a promo video:

http://www.youtube.com/watch?v=8pT10L-L0Zo

M.

[Encomium In Memoriam Vol. 1Jan Berry of Jan & Dean]

For anyone who's interested:
 
The Jan Berry Tribute Album is finished and currently available for pre-order on Amazon.com. The official release date is August 19, 2008. After release, the album will also be available through CDBaby.com.
 
Here are the details:
 
Encomium In Memoriam Vol. 1
Jan Berry of Jan & Dean
 
Produced by:
Cameron Michael Parkes and Mark A. Moore
 
Mastered by:
Earle Mankey
 
Featuring 30 tracks and more than 20 artists.
 
20-page booklet with photos and extensive liner notes.

Based on Jan Berry's original music scores from the 1960s.
 

TRACK LIST:
 
1. The Anaheim, Azusa & Cucamonga Sewing Circle, Book Review and Timing Association

2. It’s As Easy As 1, 2, 3

3. Dead Man’s Curve

4. Ace of Hearts

5. She’s My Summer Girl

6. “B” Gas Rickshaw (Quasimoto)

7. When It’s Over

8. I Found A Girl

9. Filet of Droll (Part 1)

10. Norwegian Wood (This Bird Has Flown)

11. Bat No. 4

12. Filet of Droll (Part 2)

13. Bat No. 1

14. Carnival of Sound

15. Blowin’ My Mind

16. Fan Tan

17. Love & Hate

18. I Know My Mind

19. Mulholland

20. Laurel & Hardy

21. Flight No. 9 (Cheyenne)

22. California Sunshine (On My Mind)

23. Continuous Eternal (A Prose Poem) 
 

BONUS TRACKS:

24. Anaheim, Azusa — “A Cappella” Excerpt

25. Fan Tan — “A Cappella” Excerpt

26. Audio Montage #1 — KJAN

27. Audio Montage #2 — Jan & Arnie

28. Audio Montage #3 — Jan & Dean — (Warning: Strong Language)

29. Audio Montage #4 — Jan Berry

30. Surf City
 

ARTISTS:

P. F. Sloan - (harmonica)
Eve of Destruction, Secret Agent Man, Fantastic Baggys
Background singer for Jan & Dean, 1964-66

Vic Diaz - (vocals)
Matadors, Gents, Sinners, "Tony, Vic, & Manuel"
Background singer for Jan & Dean, 1963

Jill Gibson - (vocals, album cover portrait artist)
Jan Berry's former girlfriend and songwriting partner
Brief member of the Mamas and the Papas
Photographer, Monterey Pop Festival (1967)

Tom Bahler - (vocals)
Love Generation, Partridge Family, Monkees, Elvis Presley, Frank Sinatra
Vocalist on Jan & Dean's unreleased album, "Carnival of Sound" (Warner Bros. 1968)

Mike Deasy - (guitar)
Former member of the Wrecking Crew
Guitarist on Jan & Dean's unreleased album, "Carnival of Sound" (Warner Bros. 1968)

David Marks - (guitar)
Beach Boys (original member), Dave & the Marksmen, The Moon, Solo Artist

Don Grady - (vocals)
The Yellow Balloon, Windupwatchband, "Robbie Douglas" on the sitcom "My Three Sons"

Paul Johnson - (guitar)
Belairs, Surfaris, Duo-Tones
Writer of Mr. Moto

Stephen Kalinich - (poetry)
Brian Wilson, Dennis Wilson, P. F. Sloan, Diana Ross

Probyn Gregory - (trumpet, flugelhorn, French horn, trombone)
Brian Wilson's Band, Wondermints, The Now People

Lisa Mychols - (vocals)
Masticators, Sweet Sinsations, Nobody's Girl, Nushu

Michael Carey Schneider - (vocals)
Sneaker, More than Just the Two of Us

Robbin Thompson - (vocals, guitar)
Tasmanians, Steel Mill with Bruce Springsteen, Robbin Thompson Band, Solo Artist

Tripsitter - (vocals)
California Son, Billy Hinsche, Al Jardine

Alan Boyd - (vocals, associate producer)
Filmmaker, Beach Boys archivist, Endless Harmony, Channel Surfin'

Billy Berry - (piano, vocals)
Jan Berry's younger brother

Laurie Biagini - (vocals)
Solo Artist

Charles Pett - (vocals)
Box o' Clox

Woolly Bandits and Special Guests - (vocals, guitar, bass, drums)
Say Hello To My Little Friend

David Beard - (vocals, design, art direction)
Endless Summer Quarterly

Cameron Michael Parkes - (vocals, keyboards, guitar, bass, percussion)
Box o' Clox, A Tribute to Brian Wilson

Mark A. Moore - (vocals, guitar, percussion)
Jan Berry / Jan & Dean Scholar

[LINER NOTES:]

Okay, here’s my review . . .

This is a fantastic release, and fills a huge void in the Jan & Dean re-issue catalog. The mono single mixes have been absent (or in the background) for far too long.

To CCM: Lot’s of very familiar stuff in your liner notes . . . so thanks for including the official Jan Berry Website in your acknowledgments.

Question for audiophiles . . . How much compression do you hear?

And now, I’ll put on my AGD cap and nitpick the liner notes and track notes:


LINER NOTES:

Clarification:

In 1962, Lou Adler was still with Nevins-Kirshner (Brill Building stuff), not Screen Gems. Nevins-Kirshner wasn’t acquired by Screen Gems until 1963, at which point Lou Adler was made their chief operating officer on the West Coast. The first two Liberty albums (Golden Hits and Take Linda Surfin'), as well as the hit single “Linda,” were produced for Nevins-Kirshner. The “Linda” album and single were Jan’s first official production credits, thanks to his initial producer’s contract with Nevins-Kirshner. Surf City and Other Swingin’ Cities was the first Screen Gems album for Jan & Dean. When the merger happened, Jan signed new songwriting and producing contracts with Screen Gems.


Factual Error:

CCM: “On June 20, 1963, ‘Surf City’ slid into #1 on the national Hot 100.”
Nope — off by a month. There was no June 20 entry for Billboard. It would have been June 22.
“Surf City” was released on May 17, and peaked on Billboard at #1 on July 20 (and stayed there for two weeks).


Misleading:

CCM: “Bones used a core crew led by drummer Hal Blaine . . . “
No, Jan Berry used a core crew of musicians (and Hal was the contractor). Bones was only the engineer (responsible for getting the sound right, from a technical standpoint -- and there is plenty of documentation for Lanky's participation, as well.).  Bones did, however, do some verbal directing during vocal sessions that Jan sang on. Only later, after Jan & Dean, did Bones become a producer in his own right (and a great one, at that).


Factual Error (?):

Regarding “Dead Man’s Curve.” CCM: “Don Altfeld recalls how Art, Jan, and Roger wrote the song on a restaurant napkin, and then left it on the table, returning later to dig through the trash for it.” Timothy White tells this story in detail in his 1994 book, The Nearest Faraway Place — and the song in question is “Honolulu Lulu” . . . not “Dead Man’s Curve.” Problem is, White doesn’t cite his source . . . and Altfeld can't be used as a single source, either. (For the record, I've corresponded in-depth with Don Altfeld).


Misleading:

Regarding “Ride the Wild Surf” — CCM: “Jan & Dean returned to the ocean for the next three 45s.”
Not true — Only “Ride the Wild Surf” had an ocean theme. It was their only surf-themed single of 1964. “Sidewalk Surfin’” was about skateboarding, and “From All Over the World” (1965) was the TAMI theme song.


Context:

“Popsicle” (recorded in 1963), “Bucket T” (recorded in 1964), and “A Surfer’s Dream” (recorded in 1964) should have been placed in context, rather than having them come across like Jan & Dean’s latest new releases in 1966. Contextually, this is the worst part of the liner notes.


Serious Question:

Can anyone demonstrate for me [aurally] the difference between Jan Berry's original mix for "Popsicle" in 1963, and Dean Torrence's self-proclaimed re-mix for the 1966 single?



TRACK LIST:

Incorrect Dates:

CCM: "When I Learn How to Cry (1962)"
The correct date is 1963

CCM: "Schlock Rod Part 1 (1962)"
The correct date is 1963


Date Inconsistencies:

CCM: “A Sunday Kind of Love (1962)”
Release date November 1961 — Peak chart date: January 1962
Thus, this entry sets the date formula  for Billboard chart hits.

CCM: “Drag City (1963)”
Release date November 1963 — Peak chart date: January 1964
Thus, for consistency, this entry should have been dated 1964

CCM: “A Beginning from an End (1965)”
Release date November 1965 — Peak chart date: January 1966
Thus, for consistency, this entry should have been dated 1966


Songwriting Credits:

The song writing credits in this comp are wholly arbitrary, and since the focus here is on the singles,  it would have been nice to see the actual listings as they appeared on the Liberty single labels in the ‘60s (except for the instances where Jan Berry’s writing credits were officially restored in 2002). Jan’s name was never listed last in the credits, as it often appears in this CCM comp. Jan was a company-signed songwriter and producer for Screen Gems. His name usually (but not always) appeared first for his Jan & Dean writing collaborations.

A few Examples:

She’s My Summer Girl
Liberty single label credits: Berry-Altfeld-Wilson
CCM credits:  “Altfeld-Berry-Wilson”

Honolulu Lulu
Liberty single label credits: Berry-Christian-Spunky
CCM credits:  “Christian-Berry-Adler”

Someday (You’ll Go Walking By)
Liberty single label credits: Berry-Altfeld
CCM credits:  “Altfeld-Berry”

Drag City
Liberty single label credits: Berry-Christian-Wilson
CCM credits:  “Christian-Wilson-Berry”

Schlock Rod (Part 1)
Liberty single label credits: Berry-Christian-Torrence-Altfeld
CCM credits:  “Christian-Berry-Altfeld-Torrence”

Dead Man’s Curve
Liberty single label credits: Wilson-Berry-Christian-Kornfeld
CCM credits:  “Christian-Kornfeld-Wilson-Berry”

The New Girl In School
Liberty single label credits: Wilson-Berry-Christian-Norman
CCM credits:  “Norman-Wilson-Christian-Berry”

Anaheim, Azusa
Liberty single label credits: Berry-Christian-Altfeld
CCM credits:  “Altfeld-Christian-Berry”

Freeway Flyer
Liberty single label credits: Altfeld-Christian-Berry
CCM credits:  “Altfeld-Berry-Christian”

A Beginning from an End
Liberty single label credits: Berry-Christian-Hermann-Tipton
CCM credits:  “Tipton-Christian-Berry-Herman”

Batman
Liberty single label credits: Berry-Altfeld-Wieder
CCM credits:  “Altfeld-Wieder-Berry”

The Universal Coward
Liberty single label credits: Berry-Gibson-Tipton
CCM credits:  “Gibson-Tipton-Berry”

I Can’t Wait to Love You
Liberty single label credits: Berry-Christian-Tipton
CCM credits:  “Tipton-Christian-Berry”


Mark A. Moore
June 28, 2008

[George Carlin]

"Richard Pryor had a heart attack.

I had a heart attack.

Richard Pryor burned himself up.

I said, 'F*k that, I'm havin' another heart attack!'"

— George Carlin

One of my all-time favorite comedians . . .

"Have you ever noticed that their stuff is sh*t and your sh*t is stuff?"

M.

What if you want to listen in your car? . . . That's a heck of a lot of CD-changing. 

M.

[BW]

See, there's no frame of reference for Dean's copy of the "Surf City" lyric sheet. There's no way to tell WHEN he crossed out the lyrics, even if it was on a sheet with Brian's handwriting. Dean could have changed an old lyric sheet after the song was updated.
M.

Putting Dean’s ‘debateable’ contribution aside and not wanting to get into another Jan vs. Dean type debate…

How much input into ‘Surf City’ did BW actually have?

The lyrics which Dean has show, (prior to his amendments), a set of lyrics which do not correspond 100% to those of the final version of the song yet supposedly they are written out in Brian’s hand…

If Jan took the ‘Goodie Connie’ song from Brian then effectively went away and wrote a completely new set of lyrics with NO BW input (ie. the FINAL version), why then does there exist an ‘intermediate’ set of lyrics written out by Brian?

Surely, if Brian was not involved, wouldn’t any preliminary lyrics only be written out solely by Jan?

My guess is this:

Melody                             : Brian (from ‘Goodie Connie’)
Lyrics                               : Brian & Jan with input from Dean
Production/Arrangement       : Jan


But as was stated, just like there is no way of knowing in what time frame/situation Dean made his amendments, maybe equally there is no way of knowing for sure if Brian’s hand written lyrics were made during the actual creative process of writing the song… (Maybe at some later date  Jan dictated what words he had, and Brian simply noted down what was said without contributing anything…?!)

Who knows either way...?

According to Jan, he and Brian wrote both the music and lyrics together at Brian's piano. Brian's own statements support this (at least in part), explaining that he and Jan wrote "Surf City" by sitting down together at a piano -- and Brian claims they wrote the song really fast.

I think the Groseclose story is the only reference to the "Goodie Connie" scenario -- which could be quite true, but no other supporting evidence.

Don Altfeld has also floated the idea (to myself and others) that Roger Christian later claimed to have co-written the lyrics, and it became an issue when Jan first tried to get his writing credit restored to "Little Old Lady" (which finally happened officially, much later, in 2002 -- thanks to Don Altfeld). "Honolulu Lulu" -- the follow-up hit after "Surf City" -- was Roger's first official credit.

But as a friend and lyricist, Roger Christian stuck with Jan Berry all the way through Carnival of Sound in 1967-68, and well into the 1970s (Jan's solo singles). So if there was a rift there, it developed late in the game.

Dean may well have had input. It would make sense on the surface . . . Yet all indictaions point to Dean not being a member of Jan's creative inner circle, at least as remembered and related (in interviews with me) by Jan's associates.

Dean's name appears on precious few Jan & Dean songs (in terms of writing credit) . . . and it seems that Dean co-wrote more during the earlier pre-surf phase of their career.

M.

[original Brian Wilson hand written lyrics]

Memory recalls that original hand written lyrics for 'Good Vibrations' (and maybe 'God Only Knows') were due to be auctioned off along with other BBoy memorabilia in London last year, (or maybe the year before...)

However the auction was halted by Brother, claiming that the memorabilia had been stolen and was not the legal property of the collector commiting them/it for auction...

I believe however that once the proceedings got to court the claims put forward by Brother were dismissed, effectively confirming that said collector had acquired the material by legitimate means, was now the legal owner and was free to do as he pleased with his own property...

Memory is alittle vague on this but perhaps someone else will remember... 

There are tons of handwritten lyrics in Jan Berry's archive . . . including "Surf City."

But doesn't Dean have the original Brian Wilson hand written lyrics to 'Surf City' as shown on his J&D websight? Didn't he suggest afew years ago that, due to the fact that his [Dean's] hand writing is evident on there too, (amending some of the original lyrics which Brian had scribbled down), that this was proof that he contributed lyrics to the song and was never given a co/writing credit?

Well, I've made this point many times before, but I'll say it again. Especially since Bob Greene has published a few paragraphs saying Dean has thought about suing for credit.

Dean's lyric sheet for "Surf City" -- by itself -- proves nothing. There are other lyric sheets, and there are even other lyric sheets where Dean has crossed out words and replaced them with new words -- on songs that we know he didn't co-write, such as "Little Deuce Coupe." In fact, there are a number of handwritten lyrics with Dean's handwriting, in Jan's archive.

See, there's no frame of reference for Dean's copy of the "Surf City" lyric sheet. There's no way to tell WHEN he crossed out the lyrics, even if it was on a sheet with Brian's handwriting. Dean could have changed an old lyric sheet after the song was updated.

So again, that lyric sheet Dean has proves nothing by itself . . . nothing on its own. Given other evidence that exists, it wouldn't hold up in court as proof.

In my opinion, if Dean co-wrote "Surf City," he should have found a way to prove it a long time ago . . . and not after Jan Berry's death.

Dean has always said he didn't care at the time (though he did make similar claims in writing years ago).. . . so the question becomes . . . why does he care now? . . . And it seems to me that it can be traced  to the recent SURF CITY USA trademark and marketing ploy for Huntington Beach.

Dean was on TV making the case, saying "we didn't write the song about Santa Cruz", etc. (paraphrased) . . . trying to tie the song to specifically Huntngton Beach. Problem is, the subject in the song claims he'll "hitch a ride in my wetsuit" . . . which indicates surfing father north where the water is cold (and Santa Cruz gave us the wetsuit, correct)?

Truth is, the song was not written about any specific place. (The town of Surf City, N.C. was incorporated in 1949 . . . when Jan & Dean were 8 and 9 years old. There is also a Surf City in New Jersey).

Here's an example of Dean's handwritten lyrics . . . Dig the flourish for "DOT Productions.":



M.

There are tons of handwritten lyrics in Jan Berry's archive . . . including "Surf City."

I've always wondered, how much of Surf City did Brian write? In fact, I've always wondered how much Brian wrote of some of the other Jan & Dean songs that he co-wrote. Besides Sidewalk Surfin', which of course is just Catch A Wave with re-written lyrics.

Mark does the Jan Berry archive have handwritten lyrics to all of the Brian co-writes (including Sidewalk Surfin')?

Yes, there are handwritten or typed lyrics for pretty much everything.

M.

I know this may be pretty trivial but does anyone know if any handwritten lyrics/music still exist for any Beach Boys songs (or songs written by one of the boys) Obviously there is the hand written lyrics to Surf City. But is there anything else that still exists?

I was just wondering cause you always hear about things like handwritten John Lennon lyrics (eg: Give Peace A Chance, Nowhere Man etc..)

There are tons of handwritten lyrics in Jan Berry's archive . . . including "Surf City."

[Tom Bahler]

Here'a a preview of Tom Bahler singing the title track from Carnival of Sound . . . which will be on our forthcoming Jan Berry tribute album. Tom (Monkees, Partridge Family, etc.) sang lead on the original version in 1968, and reprises that role here, for our project:

http://www.myspace.com/jananddeantribute

The masters for Carnival of Sound are owned by Warner Bros. ,  so I would expect that to be a Rhino Handmade release (unless they decide to farm it out).

I read Bob Greene's "Surf City" book in one sitting . . . and for what it is, I found it enjoyable. And I've told Bob as much.

But what is it? . . . It's a memoir of a high-profile columnist and writer (himself tainted by personal scandal) who played weekend and summer gigs with Jan & Dean, beginning in 1992.

The book does contain a certain amount of pro-Dean Torrence propaganda .  . . but I was also pleased to see Bob strike a measure of balance, acknowledging Jan & Dean's personal conflicts . . . which helps temper the "Dean as a long-sufffering daddy to a brain-damaged Jan" rhetoric.

See, the problem is . . . neither Bob Greene, nor his longer-serving "bandmates" in the J&D touring pantheon, knew Jan Berry before his accident. And Bob acknowledges this fact in the book, in a way that's meaningful.

These are people -- to a man, aside from Dean Torrence -- who only knew Jan as a cripple . . . often to be made fun of . . . or to be praised condescendingly for his perseverance. Like : "Awwwww . . . the poor guy. Good for him." For the most part, these people have no idea who Jan Berry was before his accident.

So as usual, this gives us the company-signed songwriter and producer . . . (that would be Jan) . . . as seen through that lens, while also being filtered through the spin of Dean Torrence (himself bitter about his past relationship with Jan). And Dean was these peoples' boss in the touring operation . . . and so that's where all of their loyalties and biases fall . . . to the guy who signed their paychecks.

In their live shows  . . . they now play maybe four Jan & Dean songs . . . and the rest are Beach Boys songs, and tunes by other artists.

I don't see any malice here, on the part of the band members . . . I just think it's a severe lack of knowledge and insight on the part of people who were hired to play for Jan & Dean since 1978. And they wouldn't know any better . . . because Dean is the guy who could speak normally, putting his own spin on things, and who was paying the band.

Plus, Jan frustrated the hell out of everyone . . . so it was a volatile mix, at all times.

M.