I for one plan on being there tonight, quite a missed opportunity if I didn't

the song VEGATABLES (or do you say VEGA-TABLES?) would make an excellent dog food commercial theme IMO, lyrics rewritten to the degree necessary

notice Brian's beagle was photo-shopped out of that nice old cover photo (inside the tent), which's a mistake IMO since I always liked the pooch and thought he gave it a nice 'crowning touch' at the top

(I refrain from calling it either Banana or Louie since I've been known to mix-up the two)

Brian gets into MY LITTLE RED BOOK as if that song were made for him!

I wonder why the release of BIGGER THAN THE BEATLES has been delayed substantially - to at least a year from now

no question
A CASUAL LOOK

and for me it's fun to play on the piano

my reply is an abbreviated ranking by necessity:

1) R&R Music - ONLY the original 45rpm single mix though, which has the correct Brian Wilson feel to it.  I like it now as much as when I first heard it over the radio then.  I have absolutely no use for all the other dreadful embellishments mixed;
2) Getcha Back (original LP version) - I like it but it's considerably down the list from #1;
3) It's OK (original 15 big ones version) - I like it still although it doesn't have all that much staying power.
4) Good Timin' (again, original LP) - nice song & vocals but Guercio unfortunately turned it into Muzak. 

Except for it's OK I enjoy playing these on the piano.

All the other songs though I admit I don't care much ever if I hear them again

a few days before Xmas I walk into a local 'upscale' tea (loose or bagged) store I'd never been to before, wondering if i'll come across a worthwhile gift for one of my son's girlfriends

playing over their (oldies radio) PA, I suddenly hear

"Loop-de-loop, flip-flop, Santa's got an Airplane...."

I knew immediately I'd find what I was searching for there, and let out a good laugh I'm sure puzzled most around me

"Oohh....keep givin' it,
oohh, oohh my Darlin' you're so fine...."

you know the rest (I think)

BE STILL is a kind of hymn I suppose, but a particularly 'uplifting' one definitely it is not, and I am easily uplifted.  It has all the solemn plodding tone typical of a dirge IMO.  Most of the other song titles mentioned as possible dirge candidates are rife with uplifting qualities

practically none of the aforementioned titles qualifies as a 'dirge', so to speak, though LEAVING THIS TOWN comes somewhat close

but one not yet broached certainly does

BE STILL

[LONGBOARDS RULE]

Sunrays leader RICK HENN just had a birthday (see Facebook site https://www.facebook.com/richard.henn.9 where we're 'friends').  I really dug his LONGBOARDS RULE

[ACM]

The Association's 1st producer Curt Boettcher was "using the band's sound as his own creative plaything".  Hmmm, sounds like a power struggle to me.  He gave the group--then unknown on a rinky-dink label--2 chart topping hits (ACM & C)and what does that get him in the end?----Fired.  I've also read Associations members when queried about this in more recent years say they really don't remember why Curt was let go, except that they wanted to take a stab at producing their own sound just the way they wanted.  The resulting album was RENAISSAINCE with a beautiful lead single NO FAIR AT ALL which although a favorite of mine didn't give the same chart results as its predecessors (the band had nice flute solo's when other acts stuck with the tried and true guitar solo, which worked once but not repeatedly).  My own take on all this was the label VALIANT was about to be sold to Warner Bros. at that time and the late Mr. Boettcher didn't want to go along with the act on that point for reasons unknown

even though Dennis really trashes the M.I.U. album in later interviews I'm so glad nevertheless to hear his voice on MY DIANE.  and the way the melody of MD is subtly worked into the arrangement of STEVIE on the Caroline Now! tribute CD is the coolest of cool

that of all the BB tribute CD's is far and away the best in my strong opinion

BOP - what a dreck of a song

The MIU album does have solid winners, PITTER-PATTER my personal favorite followed closely by HEY, LITTLE TOMBOY.  Brians vocals on MATCHPOINT....LOVE and LITTLE GIRL....TONIGHT are excellent, plus everybody loves MY DIANE (don't they?).  I have fond memories of the scant couple times I heard PEGGY SUE over the local radio stations when it was offered as the lead single.  But the subject track offers absolutely nothing not worth skipping over when you play the L.P.

yes, but I also think Murry wanted to maintain a relationship at least as much.  if not production efforts, Brian liked it when Murry particularly dug one of his new compositions

those exact answers are unavailable, though the point already has been well-made that nominal producers have been so credited on records although their input apparently was less valuable than Murry's

Brian liked to have Murry around in the studio (apparently even after his firing, or should I say dismissal) but as he grew he liked it less and less.  Nothing terribly outrageous there.

Other artists that Brian produced then did not have hits as good as those recordings were, unfortunate but unfortunately also a telling point.  Because Murry was omitted from the recording process of those I wouldn't go so far as to say

modifying my post (due to an intervening one), call it a firm belief if you want but I'd say Murry never sought any formal production credit even if his input approached the 50/50 threshold (on this song or that)

I suppose I s/b flattered my informed outlook is considered by someone intimate, but I assure you it can be gleaned otherwise

in the Made In California booklet Murry is in fact given producer credit there on the early recordings, like '409' (his name was not on the original Capitol 409 45)

Murry's studio abilities were lacking, but Brian's abilities initially were only in vocal arrangements (where he blew everyone else out of the water) and songwriting (to a degree).  They worked as a team (Murry & Brian) in the studio initially until Brian got the chops to do all things a producer should do himself (at which point Murry was fired, an inelegant exit but perhaps gradual was not Brian's way).  Brian was less than articulate for a time so Murry 'helped' fill the silence with his paternal comments welcome or not

there's contention that on the early recordings Murry could've claimed co-producer credit--that's the issue of this topic discussion--if he'd wanted to assert himself there.  Brian was a neophyte and Murry had to facilitate his sons' songwriting & recording desires insofar as possible.  Although things changed before too long Brian was more comfortable having Murry at the sessions too,  so his input may or may not've warranted co-producer credit sometimes.  Fortunately I think, he didn't pursue this.  Murry agreed that recording at studios completely of their own choosing (instead of @ Capitol) was beneficial as it gave them unique control of the final recorded product--provided Capitol footed the bill (the spectre hanging over Murry's head was getting the session bills forwarded to him for SOT to pay).  If Murry had lost and recording returned to Capitol's studios then we'd almost certainly see nothing but albums with 1 hit single plus 10 filler tracks--the usual formula then.  

Nick Venet told Murry the label would no longer pay for anymore sessions outside of Capitol's own studios, so Murry made a deal with Nick contingent on the chart performance of the very next 45 - Little Deuce Coupe (which was recorded outside).  If it went top 10 Nick would back-off and pay for the session, if it did not make top 10 Murry would have to get Brian to return to Capitol's studios (because in the final analysis it'd be Murry who'd have to foot the recording bill out of publishing royalties).  Murry won and Nick didn't bring up the subject again (or at least for another 4 years, at which time Murry was no longer involved in those matters).

Why Brian Wilson & Murry Wilson didn't have co-producer credits on the record labels - because simply it'd look stupid.  Murry knew this intuitively

Tony Asher rattled off a figure--don't recall what exactly it was except it seemed a paltry amount (if accurate) to me--years ago that was probably in the Gaines HEROES & VILLAINS book, of what aggregate amount his Pet Sounds album lyrics profited him over the years

of course that was years ago and with the increased pet sounds song and release activity since then his frown may've been turned upside-down

little girl I once knew
all this is that
all dressed up for school
Marcella (the same only different)
she knows me too well

'in those olden days' physical tape splices were professional SOP, all recording studio engineers were well practiced in the art of making a deft tape splice on the standard splicing block hardware.  one might speculate it came as a natural outgrowth of acetate-based tape (pre-mylar) which occasionally broke anyway (accidentally without intent ) and the necessitated repair job to keep takes from being lost or compromised.  in the manual splicing procedure sometimes an additional tool played an assistive role--a liquid suspension aerosol sprayed on the tape such as one then marketed under the trade name 'Magna-See" (I believe that was 3M's product, but there were others as it was a simple formula).  It evaporated quickly and harmed nothing (except for a little clean-up perhaps) but for several seconds time it allowed a visual appearance of the recorded tape wave-forms on the tracks.  So the engineer could visually see where the best exact spot to cut the tape might be.  The professional machines were not built with a 'pause' control button like consumer got accustomed to and made their edits with (I suppose there might be pro models that did have one but they're in the minority and definitely not utilized for such purposes)

nothing to be sorry about.  That ('Al Jardine') voice's Dean's