<< I wonder if they edited out one juncture when he starts up again after one song and a fed up audience member shouts "SHUT UP!" very forcefully, which seems to rattle him, and after which he does tone it down considerably, for a while at least.>>

Not an audience member.  That was Dennis.

Marsh's liner notes for the Anthology Album are as true an analysis of Jan & Dean's intent and output as has ever been written. Marsh got it - the mix of satire, opportunism and punk sensibility - tweaking, skewering and sending up the very top 40 marketplace they were working in.  And having hits with their satires, which is as subversive as it gets. Intentionally.

It's no coincidence that their biggest car song was about a drag race racing old lady from Pasadena - or that their operatic, Wagnerian car crash classic Dead Man's Curve brutally satirized the then popular "Last Kiss" - style teen death rock genre. Dean himself has called that one their "Fargo."

The album cuts are just as sneaky... Drag Strip Girl (a romantic nod to a female grease monkey)... Schlock Rods pts. 1&2:"I ask all the chicks for a ride but they all pass - tough sh*t!" (Cries the Greek Chorus)....Bucket T... Horace the Swinging School Bus Driver ("Well he picks up the kids and he takes 'em to school now...")... One Piece Topless Bathing Suit... Freeway Flyer (about traffic cops... "... gotta make his quota today...")... or the Dylan satire Folk City ("Go away from my window and come 'round to my door... if ya wanna be in , that's what it's for...").

And if that's not enough, full bore comedy with Jan & Dean meet Batman and their insane, unreleased live album spoof Filet of Soul, part of which can be heard on side 4 of the Anthology Album, and apparently due for a full scale release now some fifty years later.

Early on, Jan & Dean jumped on the musical satire train, taking cues from Spike Jones and The Coasters, who they loved, before the baton got passed to Zappa and The Turtles. Just ask Flo & Eddie.

And they did it for decades.  Check out their 1987 cover of Oh What A Beautiful Morning. Shades of the BBC Goon Show.

Let's Hang On, Might As Well (from Filet of Soul)
Schlock Rod pt 2
Horace the Swinging School Bus Driver
Oh What A Beautiful Morning
Folk City

https://youtu.be/OCIiug7cuAQ


https://youtu.be/fv8aJhS380U

https://youtu.be/i7DTrbvWa4o

https://youtu.be/w89y6deJFDA

https://youtu.be/-o4QKpvAnU0

Jude -

Just a reminder... your question, specifically, was "Has Lloyd ever even worked with Brian?"

I answered it.

<<It's beyond weird that Jeff Foskett is turning to Michael Lloyd to offer a summation of anything to do with *Brian*. Has Lloyd ever even worked with Brian?>>

Michael Lloyd worked with Brian on a stunning arrangement of "It's Like Heaven" which Lloyd produced for Shaun Cassidy in 1978.

One all time favorite with a BW connection: Lee Marvin in "Point Blank" walking through the terminal at LAX, filmed in '66, with the color tiles and artwork prominently on display. This was shot at almost the same time frame when Brian had the famous Smile group photo taken in that same terminal at LAX, if I could pin down the exact date when Marvin filmed his walk there in '66, it would be cool but I haven't seen anything yet. But the art on the walls is exactly as seen in the BW Smile photos.>>

With a release date in August of 1967, Point Blank had to have been shot in the late fall of 1966... Lee had already wrapped production of the Dirty Dozen the same year.

<<The dukes of hazard was shot in covington/ conyers, GA i know those locations (in the heat of the night show fan Grin)>>

Dukes was shot in Georgia for the first five episodes of season 1 only.

For the rest of the series, Warner Brothers moved them to the Burbank lot, with location work in Valencia, Santa Clarita and Placerita Canyon.

<<in the background of some Adam-12 rear projection footage of driving around Hollywood…  or perhaps Ponch and Jon passing by Brother Studios in Santa Monica in a CHiPs episode. Wishful thinking? Or is it possible?>>

Actually, those shows rarely used rear projection.  Most of the time they did actually drive-bys with camera mounts for the car interiors.  Adam 12 did a lot of their car interiors driving up and down Cahuenga Blvd. in North Hollywood, bordering Burbank, as well as some Toluca Lake shots.  They usually combined these in earlier seasons with neighborhood sets on the Universal lot.  A lot more freeway stuff in Chips, as I recall.

After the Dukes of Hazzard moved from Georgia to Burbank in the middle of the first season, they shot a lot around Newhall, Santa Clarita and Placerita Canyon.  Ahd they also did a lot of rear or side projection during car chases.

One of the best vintage shows I've seen for 1960s Hollywood is HONEY WEST... but a lot of those shows were based at studios and used the backlots almost exclusively.  For example, MAN FROM UNCLE was a globe-hobbing series but rarely left the MGM backlot, except for occasional chase scenes on Mulholland or in Griffith Park.

The Peter Sellers film I LOVE YOU ALICE B TOKLAS has sequences in the valley, in Culver City, on Sunset Blvd at night, at Venice Beach and at Leo Carillo Beach (which is also where the Beach Party films were shot - as well as Paradise Cove).

 

I can remember at shows in the late 70s... 77-79... the mix sounded off, or muddled, on the first two to three songs.... California Girls... Sloop John B... things would finally start to mesh around Darlin' or Little Deuce Coupe (77 tour) and Shortnin' Bread (79 tour).  These were at a mix of venues... Mississippi River Festival, Champaign-Urbana arena (indoor), SIU Arena... it sounded as if the mix was being done on the fly, without benefit of sound check.

--------------------------------------------------------------------------------

Interview with Dean…
https://www.mixcloud.com/Good_Vibes50/good_vibes_dean_torrence/

Great interview... funny and eye-opening.  This is quite an excellent excellent radio show, with A list guests and always a revelation or two.  Looking forward to the weekly drops.

I would love to hear Dennis' take on Sail On Sailor, if it exists.

For me, this book is exactly what it was intended to be... a sit down with Dean and a chance to hear some stories and get a real flavor of the time, a real you-are-there sense of time, place and emotion.  It's not meant as a historical account of their entire career, but rather a literary opportunity to time travel, to feel the joy, the fun and, ultimately, the emotion of what that ride was like.  If you want the history, day by day, moment by moment, project by project, get and read Mark's excellent book, the Jan & Dean Record.  As for the periods Dean skipped, I can only imagine many of those moments were too painful to revisit.  Particularly the period between April 1966 and early 1968.  We know the history already; everything we could possibly wonder about is already covered in Mark's book.  Why return and dredge over that trauma?  It's easy to forget Dean was only 26 when Jan crashed into that truck.  He did everything he could to keep things going in the hope that Jan might recover... and didn't get a hell of a lot of appreciation for it at the time.

The book is the story Dean wanted to tell.  It takes you back to the joy of the early days.  And the ending is incredibly touching and redemptive.  I can't recommend it enough.

Oh... and I have a sneaking suspicion that fantasy story Dean tells Dennis on the plane... just might be true...

Carl is also very audible on bg vocals for Peggy Sue... which could have been cut at MIU or during sweetening sessions the following year.  These backgrounds are not present on the '76 15 Big Ones version of the song.  I also hear him on She's Got Rhythm.

Josh -

I'll add to that list... a couple of Phil Spector tracks...

DO I LOVE YOU (The Ronettes)
BLACK PEARL (Sonny Charles & the Checkmates)

<<I am quite fond of the dj reservice 3'18" version. Had Caribou released it, it might have done better chartwise.>>

Has this surfaced anywhere?  I really love the 4:30 version and I've been told this edit is even better.

Liked it then; liked it now.

<<Sure we know.  The Byron Preiss book researchers were asked if they could get Brian a copy of This Could Be the Night by the Modern Folk Quartet (co-written and produced by Phil spector).  They did (it was on Phil Spector Rarities Vol 5, an album released in the UK) and they were asked by Diane if there was anything they wanted in return.  They asked for a Smile tape.  To their surprise, a tape arrived in the mail which has become known as the "Fire tape."

Supposedly Dennis assisted Diane in getting the tapes from the archive and copying them for the Preiss guys.>>

Just a note of historical order... The Byron Preiss book was published in 1979.  The 1983 version was a reissue with additional material.  So this would mean Preiss had access to this material in 1978.  And given the fact that the Smile tracks were not the only unreleased material he described - I've always assumed that A.) this book was authorized, or semi-authorized, and he had full access to the vaults when writing it.

<<I've been waiting patiently for several days, but it seems no one has anything to report about Gina Martin Wilson's life post Carl.  We still see/read things about Carl's first wife, Annie, but never a word about Gina.  Are Tony S and yours truly the only board members who would like to know more about the woman who was a loving partner to Carl in the last 15-plus years of his life?>>

Again, I think Gina Martin has more than earned her right to privacy.  She doesn't owe fans a damned thing.

Personally, as she is a member of the Martin family, I think she's more than earned her right to privacy.

If I'm not mistaken, the British issue of Sunflower contained the mono single mix of Cottonfields.  Perhaps this is why it's listed as partial mono?

Speaking for the 1977-1980 period, I think the primary source for this kind of information, at least for me, was David Leaf, through his Pet Sounds fanzine and later his California Myth book.  We got a track by track rundown/review of Adult Child in 1977 from Pet Sounds, when it was still in the pipeline as an official release. His book listed various other tracks still in the vault as of the end of 1977.  Byron Preiss apparently had unprecedented vault access for his book, which shed more light on what was available and what was in the works for MIU.  By the time MIU came out, it was pretty obvious that Hey Little Tomboy, Come Go With Me, Peggy Sue and My Diane were at least two years old, both from all these sources and the fact that Tomboy had been on Leaf's review of Adult Child.  I remember also calling Warner / Reprise a lot in 77-78... and getting conflicting tracks lists on the next Beach Boys album (as well as conflicting titles). And Leaf also previewed what might turn up on that one.

LA Light was also given a major preview in Pet Sounds, with a lengthy Bruce Johnston interview and coverage.  From that, we knew Good Timin', Angel Come Home and Shortnin' Bread had been around in some form for a while, plus Ten Years' Harmony and the two tracks Jim Guercio wanted to include from the Smile era (Do You Like Worms as the opener and Can't Wait Too Long as the closer).  San Miguel ha surfaced by this point in fan circles.  And Lady Lyndaa had been on a short list since it started showing up in set lists in 1977. along with Country Pie.  As I've said before, many of us assumed Country Pie and Lady Lynda would be the lead off singles from LA Light.

But in summary, in those days, Pet Sounds, Marty Tabers' fanzine, occasional blurbs in RS Random notes or Circus magazine, BBFUN, and scuttlebutt on the fan circuit (I remember endless speculation from 1977 on about just when California Feelin' was going to show up on an album) were the primary sources.

<<Lady Lynda from LA lasted at least until 1980, right? It was played at Knebworth>>

Lady Lynda stayed in the set list through 1981.

Those were all hits at about the same time in 1970... Elvis had a huge hit with Wonder of You.... Three Dog Night's Mama Told Me... etc,

<<Don't you mean 1988?>>

No. 

<<That is indeed fascinating. Did the list by any chance involve BW finishing Smile as a solo artist?>>

Leaf talks about Brian being allowed to record and release whatever he wants, regardless of standard commercial expectations, and among other things, live solo performances of Pet Sounds, Adult Child and Smile, among other things.

California Myth was actually first published in 1978 - so it's almost 40 years old.

One of the fascinating sections of the book is at the end, where David Leaf lays out his wish list for what might be the best kind of future for Brian, from a professional standpoint.  Beginning in 1998, all of it, pretty much, came true.