Interesting if nothing else that Amazon is locking down the reviews. They've done this on other products, usually things that have quickly sold out and thus see a bunch of reviews from people complaining that they didn't get it.

Amazon did this with the Megyn Kelly book when Trump supporters organized an online campaign to bombard it 1 star reviews on its first day of release.

I'm loathe to order again on Amazon but this CD appears to be of the mail order only variety. No brick and mortar store in my area is carrying it.

Congrats, guys! Listening right now! Great to hear two fans who know their stuff and have such a great attitude and enthusiasm for the band!

Van and Brian looked genuinely cordial and on good terms in the Beautiful Dreamer doc in 2004. It really didn't feel fake to me. Plus Van wrote some great material in 2008 for TLOS (although who knows when exactly it was written?)

VDP has complained in interviews and on Twitter that when work began on BWPS he wasn't consulted or asked to participate. It was only further on into the project that he received the call from Brian to provide a forgotten lyric and then write new ones. While he appears enthusiastic in the video, he's also said that he felt disrespected. One would think he'd have gotten over it, but VDP harbors some weird grudges and passive-aggressively uses Twitter to lash out. His bitching about the cellos in Love and Mercy (which he never even saw), his "Free Brian Wilson" tweet when the guest artists for NPP were announced, something about having to deal with Brian's buffoonery in 1966, etc.

Whatever his issues are, I don't think they're actually real. Maybe to him they are, but it seems much ado about nothing. If anyone benefitted from his association with SMiLE it's VDP.

So long

Now look what you've done, guys.

Although I find GF's approach to discussions like this obnoxious, I'll take obnoxious nitpicking over "I'm going to take my ball and go home" any day.

Agree fully. I think GF is well-intentioned, if a little overboard sometimes. But I'll take being a stickler for getting things right over somebody who thinks they deserve to have us bow down to him because he has access to the band (and likely now, only to Mike since he called Brian brain damaged).

Actually, David speaks with Brian several times a year. David had just interviewed Brian a few days before we did that Wild Honey track-by-track.

Not that anyone asked, but at 21:19 you can hear my summation of the album and who is responsible for it.

Unfortunately, it is a semantic issue here; you would need to clarify, specifically, what "calling shots" entails, and also what "the context of Wild Honey"  refers to. On the actual physical recording of the album, I'm not sure that anyone would dispute that Brian produced it and/or was in control of the recording. Likewise the writing of the music.  But the question of whether Brian is "in control" during the Wild Honey era, or time period as a whole, is a different question.  I would think that it's pretty settled that the "Redwood Affair" establishes that Brian is not in control.  The scene depicted by Chuck Negron, for example, is not that of a man who is in control of his creativity as the Beach Boys are ramping up to make a new album at the end of 1967.  That is, anyone who wants to claim that Brian is "doing what he wants to do" during the Wild Honey era would have to somehow explain away the Redwood incident.  
Maybe the distinction between different kinds of "control" is where the confusion is coming from. Maybe the overall answer is that Brian is in control during Wild Honey but boundaries have been set (collectively, by the organization, and within Brian's psyche) as to how that control will be exercised.  

Thanks for the reply Jake. Please go back to the original words and re-read what David said as re-posted by Ghosty who hosted the show:

The exact quote (and we were talking about Carl's lead vocal on the song "Wild Honey", for context) is as follows:

"Carl was the right guy for the job. Brian was still...I'm not going to say calling the shots because that would be inaccurate...Brian was active but I think the reason that Carl is so present on this Wild Honey album is because this is where Brian is kind of pulling away, because Brian could've easily sang a lot of this stuff that Carl's singing but we do hear Brian singing on the album where the stuff is more personal".

I'm curious to know in what context or what semantics you read from David's quote. I cannot clarify for someone else (Jake) what another someone else (David) meant or intended to say, I can only read it as it appears above. Curious how you read it or what you took it to be a reference for, especially what would be inaccurate in that context, then we'll discuss further.

Actually I accidentally misquoted David. It isn't "right man for the job" but rather "right man for the song". Carry on.

But why say that saying Brian was still calling the shots was "inaccurate "? That's what the issue with this is.

The exact quote (and we were talking about Carl's lead vocal on the song "Wild Honey", for context) is as follows:

"Carl was the right guy for the job. Brian was still...I'm not going to say calling the shots because that would be inaccurate...Brian was active but I think the reason that Carl is so present on this Wild Honey album is because this is where Brian is kind of pulling away, because Brian could've easily sang a lot of this stuff that Carl's singing but we do hear Brian singing on the album where the stuff is more personal".

I don't know where someone gets "Carl produced the album" out of that, nor is that ever said during the course of the conversation. We do say that Carl's love of RnB may have influenced Brian's songwriting. In the liner notes for "Sunshine Tomorrow" Al Jardine states that Carl was getting into production at this time, presumably learning from Brian. We don't even go THAT far.  Lol

Anyway, thanks to the folks who said they enjoyed it and even if you didn't that's cool too.

"calling the shots" is producing the album in that context, Ghosty. C'mon, I dig your show but let's not get into parsing words or backpedaling. And if you equate which band member other than Brian would be chosen to sing lead on a given track, would that mean Brian was "pulling away" when he had Carl, Al, or Mike sing leads on Pet Sounds or any previous album when Brian himself could have sung them and actually did in the early stages to be replaced later? There is no logic to the connection between pulling away and not singing leads when it's the way Brian was working since 1965 and still works today as recent as the NPP album regarding who sings his songs.

I'm backpedaling by posting the full quote?  (sigh)

But why say that saying Brian was still calling the shots was "inaccurate "? That's what the issue with this is.

The exact quote (and we were talking about Carl's lead vocal on the song "Wild Honey", for context) is as follows:

"Carl was the right guy for the job. Brian was still...I'm not going to say calling the shots because that would be inaccurate...Brian was active but I think the reason that Carl is so present on this Wild Honey album is because this is where Brian is kind of pulling away, because Brian could've easily sang a lot of this stuff that Carl's singing but we do hear Brian singing on the album where the stuff is more personal".

I don't know where someone gets "Carl produced the album" out of that, nor is that ever said during the course of the conversation. We do say that Carl's love of RnB may have influenced Brian's songwriting. In the liner notes for "Sunshine Tomorrow" Al Jardine states that Carl was getting into production at this time, presumably learning from Brian. We don't even go THAT far.  Lol

Anyway, thanks to the folks who said they enjoyed it and even if you didn't that's cool too.

I wouldn't speak for David but the purpose of these chats (for me) is to introduce the Beach Boys' music to an audience that is largely unfamiliar with their music outside of the hit singles up through "Good Vibrations". Usually the discussions last around a half hour, split with the music. Yes, the clock IS a factor in radio and I think we spent maybe a minute or two on each track. For me, the story of rewriting Sharon Marie's "Thinkin' Bout You Baby" as "Darlin" is the kind of trivia I know my audience loves (and it gives me an excuse to play an edit of one right into the other). To give you some perspective, I did a show two weeks ago on The Beatles in 1967 with author Robert Rodriguez which included discussion of Sgt. Pepper, "All You Need Is Love", and Magical Mystery Tour...and that was all of 21 minutes. I'm very conscious of not testing the audience's patience with a single topic and if anything I'm trying to make these darn things shorter. That's one of the reasons I decided not to do a 3 hour Beach Boys special this August (we're in danger of Beach Boys overkill).     

I think David and I were both pretty effusive in our praise for Brian (as always) and his work on Wild Honey. And to be accurate David said Brian was "kind of pulling away" during this period, hardly a controversial statement. He also further elaborates that Wild Honey "feels" like a Brian and Carl with The Beach Boys album. Again, suggesting that Carl had more of a role on this album than previous ones, statements historically backed up by the Beach Boys themselves, is not some ridiculous heresy, or an attempt to strip Brian of his credit or a slam against Brian. Frankly, it seems silly to even have to explain that.
     
I can tell you, however,  that whenever I do one of these album reviews I always hear from people who say "I've never heard this stuff before" or "I never took The Beach Boys seriously until you started doing these reviews". That happened again today. Mission accomplished.

ESQ's David Beard joined us today to talk about the Wild Honey album. Listen here..... https://www.youtube.com/watch?v=z68SZupsV0k

If it were me (and Rhino had deeper pockets)...

1. Let It Shine
2. Melt Away
3. Rio Grande
4. On The Wings Of A Dove
5. Orange Crate Art
6. Love and Mercy (IJWMFTT version)
7. Your Imagination
8. She Says She Needs Me
9. Gettin' In Over My Head
10. Some Sweet Day
11. Live Let Live
12. Midnight's Another Day
13. Nothing But Love
14. The Bare Necessities
15. Sail Away
16. One Kind Of Love
17. Run James Run
18. Surf's Up

Well......if someone didn't have ANY solo Brian in their collection at all, then this would be a serviceable place to begin. As it is, the sequencing leaves a lot to be desired making for a disjointed listening experience (why not just go chronological? That would've helped) but I suppose in this day and age of iTunes and everyone living in an eternal shuffle mode it hardly matters.

Of course, everyone here has their opinion on what should've been included (2 songs from GIOMH and only one from TLOS? No "Imagination". It was a f**king single!) but I'm guessing this was a licensing issue between Rhino and the various labels Brian's recorded for over the years.

Nice to have the 2 unreleased tracks for hardcores but Brian's solo career deserves better. 

I quite like this (obvious nod to DHMLS in the verses and all). I think the production is just right and Brian sounds less processed and more "in your face" than he has on recent efforts.

When Brian speaks of that long-jawed-about rock and roll album, I hope it's more material like this rather than covers. If so, please take my money.

Y'know, there are quite a few "Paul Is Dead" forums out there that would fall for every idea in this thread and run with it. 

For what it's worth, when I interviewed Brian about the album he said he bought Louis Armstrong's recording of "That Lucky Old Sun" at a record store, learned it and then taught it to his band which indicates to me that he was hot on the idea of recording it and I would assume he was responsible for that intro as well as the rest of the arrangement.

I'm more interested in exactly what Jon Bon Jovi contributed to "Summer's Gone" to receive a writing credit on that. Presumably he had a hand in the lyrics but the lyrics to "Summer's Gone" are so effective because they're so simple. Did it really take three guys to write that? Was it merely a case of "Hey, Jon's in the studio next door and he contributed the word "gone" so let's give him a credit and we can say we've got Jon Bon Jovi on the record" or was his contribution much more substantial?   

David Beard of Endless Summer Quarterly magazine returns to The Vintage Rock & Pop Shop to review/discuss the The Beach Boys' "Smiley Smile" album...


https://www.youtube.com/watch?v=4GfpIsrJ2is
 

the absolute bottom of the barrel..."Happy Endings" with Little Richard. You have rock and roll's wild man Little Richard on a record and he sounds like he's weeping over a Casio.

Despite the abysmal "Happy Endings" (to say nothing of the abysmal "My Ding-A-Ling"), Little Richard's legacy (to say nothing of Chuck Berry's) is every bit as intact as that of The Beach Boys. I fail to see the problem.

Never suggested Richard`s legacy was in trouble. He could record 1000 "Happy Endings" and it would make a damn bit of difference to his legacy (which has consistently been my point all along).

Wishing you all the best, Billy!

Funny this topic comes up when people are freaking out over Mike's version of DOI.

I don't begrudge anyone for liking this but...

to me, this is (nearly) the nadir of The Beach Boys' recording career. I don't have any problem with The Fat Boys and obviously have no problem with The Beach Boys...but never the twain shall meet. Truly appalling version of the song. The only redeeming value for me is the wall of Brian Wilsons singing backup.

And yet...still not as bad as "East Meets West" with Frankie Valli & Whoever-happens-to-be-The-Four-Seasons. Two groups that seemed so well matched put out a song that could barely pass for incidental music in "Hardbodies". 

..yet not as bad as the absolute bottom of the barrel..."Happy Endings" with Little Richard. You have rock and roll's wild man Little Richard on a record and he sounds like he's weeping over a Casio.

Ay-yi-yi!     

My main issue with the version of DOI is the horribly processed production that makes the C50 live album sound like a Steely Dan record.

I only heard it once but I assumed it was same lead vocal from the C50 remake just imported over.

(double post)

Honestly I think there is no comparison between it and the new Love-Stamos-McGrath DIA. (Though I don't care much about the latter either, and certainly don't subscribe to blaming it for the collapse of the band's legacy and/or western civilization.)

Well, I think there IS a comparison because they both suck. lol (in my opinion)

...but yes, as history has proven these questionable (to be kind) choices don't matter a hill of beans when it comes to what the group is remembered for. More like odd detours for hardcore fans to discuss after history forgets.  

This is a no-brainer. At the very least he should be in just as a Producer alone.

Funny this topic comes up when people are freaking out over Mike's version of DOI.

I don't begrudge anyone for liking this but...

to me, this is (nearly) the nadir of The Beach Boys' recording career. I don't have any problem with The Fat Boys and obviously have no problem with The Beach Boys...but never the twain shall meet. Truly appalling version of the song. The only redeeming value for me is the wall of Brian Wilsons singing backup.

And yet...still not as bad as "East Meets West" with Frankie Valli & Whoever-happens-to-be-The-Four-Seasons. Two groups that seemed so well matched put out a song that could barely pass for incidental music in "Hardbodies". 

..yet not as bad as the absolute bottom of the barrel..."Happy Endings" with Little Richard. You have rock and roll's wild man Little Richard on a record and he sounds like he's weeping over a Casio.

Ay-yi-yi!     

[Becoming The Beach Boys 1961-1963]

Becoming The Beach Boys 1961-1963 by James B. Murphy is one of the most incredible books on the band I have ever had the pleasure of reading. The amount of details crammed into it, especially given its relatively limited temporal focus, is absolutely insane.

I second that. This would be my #1 pick. Kind of like Lewisohn's Tune In for Beach Boys fans. 

Why can't all of what you described be done without billing these shows as "The Beach Boys" if in your own opinion (shared by similar serious music fans) The Beach Boys no longer exist? Does the right to use the name outweigh the concert experience itself, would people who bought tickets and had those emotional experiences have them any less if it weren't The Beach Boys on the marquee?

I'd also raise the issue again about performing songs under the band name that are not Beach Boys releases - especially on national television. There has to be a separation, and there simply is not.

It definitely could be done that way but BRI didn't do a survey of hardcore fans and ask their permission for what they think is acceptable. I mean, you're asking me the question as if we, as fans, have any authority over how they run their business. Heck, even Al couldn't get that authority.

Truth be told, when all this went down nearly 20 years ago I was enraged about it but I've long since made my peace with it because all that nerd rage was a waste of energy and in the end it doesn't really matter. The touring entity does what it does and to me, The Beach Boys are a recording act first and foremost. When they ceased to make records, they ceased to be IMO.