The Stephen Desper Thread

[Amazing Larry]

Speaking of early-70s Dennis songs, Mr. Desper, I was wondering if you could tell us anything about the Dennis Wilson & Rumbo (the Captain) 45 "Sound of Free" b/w "Lady", that was released in Europe in December, 1970.

Sound of Free: http://www.youtube.com/watch?v=xizNyCM97zA
Lady: http://www.youtube.com/watch?v=AnrB96pqLsQ


I was also wondering if you could comment on the song "4th of July", which saw the light of day on the 1993 boxed set: http://www.youtube.com/watch?v=H3JJXbF9_Ow


Any insight would be greatly appreciated!

COMMENT:

Sound of Free -- No comments

Lady -- Dennis and I worked on this song many morning sessions at the house studio when no one else was around. It took a lot of time to get the vocal sound you hear. Several microphones were auditioned -- and combinations of mics. Then the singing took days of takes until Dennis was satisfied. He was looking for the approach to singing this love song that he felt was sincere and came across that way. The vocal was sung to a piano scratch track Dennis laid down first. Actually this was one of the first songs which he recorded after he taught himself how to play the piano, so the playing was a little ruff. One of the comments left on the youtube.com video of this song said this was a remix. That is not true. I think people just make things up like this -- I read crap like this all the time, other people read it and think it's factual, then this misinformation becomes common knowledge and it goes on and on. You guys are the victims of your own folly.

This is my mix. Dennis did not like to hear his voice and always buried it so far down you could not hear the words. Listen to many of his songs -- you can't hear him singing, and that is by Dennis’ hand. Well on this mix I told him I was mixing him up or I would erase the whole thing when he wasn't looking. I actually got pissed at him. I told him it was too beautiful a song and vocal -- ". . . just get over yourself, Dennis. There are too many people who should hear you sing!"  It was at my suggestion that the vocal start out dry and go wet with the guitar's entrance. I also recognize other nuances in balances that only the mixer would remember. And that is the sound of the home chamber with a Type ‘A’ Professional Dolby unit inserted into the output of the chamber's mic preamps, set to resolve the signal. What that technique does is to extend the delay time of the chamber -- almost double its "acoustic size." On the track all you hear is that stupid cheap rhythm machine, an accessory on the Baldwin organ -- that was the track! That and a bass guitar was it!

To everyone else this song was "just Dennis fooling around in the studio."  No one took Dennis or his attempts seriously. It was Dennis at play. But behind the scenes, Daryl was working with Dennis, teaching him about the piano. Of course Dennis played the song for Daryl. Daryl took the song home with him and wrote all the string arrangements -- but no one cared, or even knew.

Some time later, maybe a week or two later, we were to have a huge string session at A&M studios main studio. It was mostly to score one of Bruce's songs, but also two others. Bruce had made friends with Michaela Columbia (spelling incorrect) whom he had met in Paris. Michaela was a big-time arranger -- a bigger than life character who know how to play the part -- who arrived in a limo with a flowing cape and large rim hat. Very Ta Ta Ta. Now he was a talented guy (his girlfriend was a striking French model - Wow!) and he had several big-selling albums under his belt. A celebrity in Europe at the time. Bruce was impressed and had convinced him to arrange the violin parts for The Nearest Far Away Place (I think it was) plus some minor sweetening parts for two other songs Carl was working on, while he was in Hollywood working on a movie sound track. This was a big session. Thirty 1st violins, 20 2nds, a dozen violas, six cellos or so and the same number of string bass. A lot of money was being spent. A&M studios was a prestigious place -- 1st class. We booked a huge studio with a conductor’s podium; the orchestra, positioned in a semicircle about the podium.

I mounted the tape for ‘Nearest and got a monitor mix. Then proceeded to work with the A&M studio engineer to get a balance from the thirty or so microphones out in the studio as the string players practiced their parts under the direction of Michaela. Bruce and Carl were a little nervous, this being their first big string date without brother Brian around. Dennis and Daryl had shown up too, bringing with them the multi-track for Lady, but with low expectations to do any recording. We had only three hours to track ‘Nearest and to sweeten two other songs. In session work that is pushing the clock, but Michaela was quite good and on top of all the parts and balance of the orchestra. The session went without any hitches. Bruce was elated with the arrangement and Carl too. We actually finished in two hours and forty five minutes. Everyone was standing in the control room complimenting their work while I could see the musicians starting to pack up. 

From the corner of my eye I could see Dennis and Carl in a short conference. Dennis came over to me and said, “Let’s go.” Daryl was already in the studio passing out his prepared parts on manuscript papers. Dennis was in shorts and Daryl was wearing blue jeans and a white T-shirt with his boat captain’s cap and dark glasses, looking a little out-of-place for that scene. We had ten minutes left in the session. Go one minute over and you just bought another three hours in a session block of time with all these musicians – thousands of dollars in overtime. But Lady was a short song. Remember these are studio ‘cats.’ These players are amazing. They can sight-read once and play anything perfectly. That’s why they get the big bucks.

I played the multi-track – first few bars of Lady with Dennis singing and the piano track and bass. That was it. Took 30 seconds to get a monitor mix. The string section microphones were already balanced. Meanwhile there was a lot of talking going on behind me. No one was really that interested in whatever it was that Dennis was doing. And actually he was just quietly sitting at the producer’s desk watching out the studio window. Daryl climbed to the podium and raised his hands. The musicians did a quick tuning. No big deal in the control room as everyone just kept on with whatever they were so interested in discussing. I rewound the tape and started playing and recording strings on four tracks, again from the top. In a few bars the violins started playing. Almost at once the control room went silent. Everyone turned. All attentions were now fixed on the lush sound never before heard, as Daryl conducted in a style befitting any seasoned leader. As Lady played on, and the arrangement unfolded into something completely unexpected I could hear comments like “wow” and “beautiful” being murmured from behind me. With the ending of the song came applause, and then lots of comments and attention to Dennis. It now reminds me of that time when Susan Boyle surprised everyone that night on Britians Got Talent - 2009.

Immediately Michaela moved toward Dennis asking, who is that arranger. Dennis turned around with that sheepish grin he can make, (that little “are you talking to little ‘ol me” look of innocence he does) and responded, “Oh, that’s my friend Daryl Dragon, he’s a graduate of Julliard. His father is conductor of The Glendale Symphony Orchestra, Carmon Dragon.”  Michaela insisted, “I must meet him” – spoken with a French accent in English. In the studio Daryl was matter-of-factly retrieving his manuscripts from all the musicians who are now packing up and telling him what a great arrangement he had just conducted, and how it “made the song.” Michaela swiftly move into the studio proper, I could see him extending his hand to Daryl and making swooping gestures as they exchanged words.

Personal observation . . .   I would say that this is the point in BB history where Dennis “came of age.” This was his turning point with the other guys. From this session on, he was recognized as a real writing talent, and not just a drummer with little more to contribute. This was the fork in the road, the change in direction, his time of acceptance into the creative fold.

Back in the control room, Dennis, now joined by Daryl, were being congratulated for the beautiful song that had just immerged from this session. All of a sudden the spotlight shifted from Michaela to Dennis. The praises and congratulations were all flowing toward the 'two 10-minute wonders' that had managed to squeeze the biggest surprise of all from the session and created a stunning yet simple love song.

The final mix was done at the house studio. We eliminated the piano because it was not really necessary and the strings sounded best on their own. As to why the song was never release here, I do not know. It has always been in my own library and one of my favorite Dennis originals. I have mixed it many, many times in concert.

4th of July – Thanks for bringing that video to my attention. I often wondered whatever happened to this song. When Dennis and I were working on it, it had no title. He, Dennis, had laid down the tremolo background track sound for this song, which was just that, an idea for chord changes and a sketchy lead. It was one of the many songs that Dennis started but never finished. I assume Jack R. worked with Dennis to write lyrics and finished it. I’ve never heard Carl sing the lead, only Dennis sing what he thought might be the lead or melody. From what I hear, a lot more work went into the song after it was in the tape vault for years. The flute and overdub of same, if I remember correctly, was played by Daryl’s sister, Kathy – a once-upon-a-time girl friend of mine. She was a student of the flute and happily played the part for the song. However, her playing could well have been replaced. I really don’t know about that or much of anything more with this song.

Good Listening,   ~Stephen W. Desper

Are you sure you're not thinking of Tears In The Morning? The size of the string section sounds more like Tears than 'Nearest.

[Stephen W. Desper]

That would be Lady, which was released in a remix on the 2009 compilation Summer Love Songs:
http://www.youtube.com/watch?v=vKOItN0JiSc&feature=youtube_gdata_player

Thank you so much for your writing and memories... I felt like I was there, and at such a pivotal point in Beach Boys history, like you say... Phew. I wish you could write about every session you ever attended in detail like that!!

COMMENT:  With all due respect for Mark's re-mix, it is just that; Mark's re-mix . . . no Dennis. Copy part of the string section, move it forward. This removes the intimate feeling that Dennis wanted to establish in this song he wrote to his wife. This is a love song with a man advancing a statement of his love to a woman, in a simple and personal way. It's not to be strings setting the stage for a grand pronoucement. Overdubbing a second vocal or taking one of the vocal tracks that were not used on the multi-track and adding it to the original -- either way, using two vocals removes the one-to-one feel of the song, that is, a man singing to his lady. The title is "Lady"  not Ladies . . . the words are "I love you so," not we love you so. The remix makes less sense to me than the original. That was the beauty of the original; simple, direct, intimate. Not trying to be an overly elaborate production, but rather to mimic a closeness wherein the two become one. Even Daryl's arrangement comes on with a simple line and then builds with the wording of the song. But strings from the start don't allow for any birth of love to flow and grow in feeling and intent. The original is Dennis -- all the way. An honest bearing of inner soul to his lady in rhyme and rhythm. The newer version misses the mark that Dennis wished to establish and mimics nothing, rather becomes a gimmick. The dual lead vocals seems distant. Listening to the original, you can almost see Dennis looking you in the eye as he reveals his deepest feelings, but the re-mix takes all that away . . . it is no longer personal. It's just a production without a soul.  In my opinion. 

~swd

[Stephen W. Desper]

Are you sure you're not thinking of Tears In The Morning? The size of the string section sounds more like Tears than 'Nearest.

COMMENT:  Oh, Details, details.  It could have been, but it seems to me that it was an earlier song. I've done quite a few string dates. I get them confused. The point of the story is not about the first 165 minutes, it was about the last 15 minutes. Maybe there were only 15 violins and four cellos, OK big deal. I can't even remember the name of the French arranger, but don't let that take away from this pivotal point in Dennis' past -- that is what I wished to convey in my story telling.    ~swd

Addendum:

Looking back in my notes, it was Deirdre (another lady) and the arranger was Michel Colombier, and the date was horns and strings, but Lady was to use only the string players.  Now I think that is right.  But I'm not going to go back and correct my story because it doesn't matter. The story is about Dennis and Daryl and how they won everyone's heart on that session date with the song, Lady.

[Mitchell]

That makes a lot of sense... remixes are fine to hear things a different way but it's unfortunate that the original isn't readily available to all Beach Boys fans, as Runnersdialzero said.

How did Dennis feel about Spring's covers of Lady and Forever?


Also, I'm very excited about the new edition of your book!

Thanks again!

[blank]

Awesome story, Stephen!  Thanks for that.  I ought to read your book soon, especially if it's got more stories like that!

[superunison]

That was awesome.... I could read these posts all day.  Anxiously awaiting the next edition of your book Stephen!

[Amazing Larry]

Are you sure you're not thinking of Tears In The Morning? The size of the string section sounds more like Tears than 'Nearest.

COMMENT:  Oh, Details, details.  It could have been, but it seems to me that it was an earlier song. I've done quite a few string dates. I get them confused. The point of the story is not about the first 165 minutes, it was about the last 15 minutes. Maybe there were only 15 violins and four cellos, OK big deal. I can't even remember the name of the French arranger, but don't let that take away from this pivotal point in Dennis' past -- that is what I wished to convey in my story telling.    ~swd

Addendum:

Looking back in my notes, it was Deirdre (another lady) and the arranger was Michel Colombier, and the date was horns and strings, but Lady was to use only the string players.  Now I think that is right.  But I'm not going to go back and correct my story because it doesn't matter. The story is about Dennis and Daryl and how they won everyone's heart on that session date with the song, Lady.

Sorry about that Stephen. Just my OCD getting the best of me once again.

[runnersdialzero]

Awesome read, thanks Mr.Desper. Kind of disappointing that the end of the story is "And then it was released on an obscure single, remained unavailable for years and years, and was released with a very different mix a few years ago while the original is still difficult to come by."

   

COMMENT:

To which song are your comments directed? In your post are you quoting me?  If so, where did I say what you state between the quotation marks?  If not, perhaps you are posting on the wrong thread.   ~swd

Oh no, sorry, I meant your post about "Lady" was pretty fascinating stuff, it's just sad that the whole story ends with the song being as obscure as it is, especially the original mix.

[Don Malcolm]

Thanks, Mr. Desper, for the story of Dennis's "Lady" and his coming of age. I loved your characterization of Michel Colombier, whom I was privileged to meet in a Hollywood recoring studio in the 80s--as you say, tres Francais!! He had a very prolific career as a film composer and remained based in L.A. until his death in 2004.

Pardon me if this has been asked before, but what type of interaction did you have with Jack Reiley? Was it sufficient enough for you to form any impressions of him and the type of impact he was having (or, at least, attempting to have) with the band in the 1970-71 time frame?

[Alex]

Are you sure you're not thinking of Tears In The Morning? The size of the string section sounds more like Tears than 'Nearest.

COMMENT:  Oh, Details, details.  It could have been, but it seems to me that it was an earlier song. I've done quite a few string dates. I get them confused. The point of the story is not about the first 165 minutes, it was about the last 15 minutes. Maybe there were only 15 violins and four cellos, OK big deal. I can't even remember the name of the French arranger, but don't let that take away from this pivotal point in Dennis' past -- that is what I wished to convey in my story telling.    ~swd

Addendum:

Looking back in my notes, it was Deirdre (another lady) and the arranger was Michel Colombier, and the date was horns and strings, but Lady was to use only the string players.  Now I think that is right.  But I'm not going to go back and correct my story because it doesn't matter. The story is about Dennis and Daryl and how they won everyone's heart on that session date with the song, Lady.

Seems like some of us here can be sticklers about the specific dates and minutiae, and while that stuff is important, I don't really see the point in any of us hounding you about that stuff when the Dennis-and-Daryl-knocking-out-a-beautiful-arrangement-in-10-minutes part of the story is just that amazing. Yes, the writers and historians have every right to make sure their dates, facts, details, etc. are correct, but it just seems a little out of place in my mind to be arguing over which Bruce songs were tracked at that session just immediately after reading about something as awesome as a first-hand witnessing of Dennis' breakthrough as a serious songwriter within the BBs. If I were going to fret over the how to spell the arranger's name, which specific Bruce song was worked on, how long Dragon's conductor's baton was, whether Dennis had a beard or not at that session, I'd start a separate thread where we could argue, speculate, fact-check, butt heads, and obsess to our hearts' content without distracting from the main focus of the story.  

That aside,  I want to say thank you for all of the postings, recollections, stories, recording advice, etc. There's nothing like hearing/reading it from someone who was there at the front lines.

[Peadar 'Big Dinner' O'Driscoll]

Wow, great story. Would have been a crime for a song of the standard of the Nearest Faraway place to get in the way of recording those beautiful string arrangements for Lady IMO

[Stephen W. Desper]

Wow, great story. Would have been a crime for a song of the standard of the Nearest Faraway place to get in the way of recording those beautiful string arrangements for Lady IMO

COMMENT:  Thanks, But see Post #1352, the addendum.   ~swd

[The Shift]

If there was a Thread of The Year award, I think this would be the hands-down winner. Most entertaining, illuminating and informative thread on this board.

Many thanks, sincerely, SWD.

[halblaineisgood]

I moved my stereo near the computer, and finally listened to CCW today. 
What can I say? It was like the crummy sounding bedroom that I listened in, was absolutely cancelled out.. .. something like that. I'm usually preoccupied with this, whether a room is good or bad, whether I should attempt to knob twiddle my way out of the problem or not,  but here I didn't need to resort to any of that. It sounds silly, but I felt like I was on a raft. I was quite immersed.
M r  D e s p e rThank You !

[Stephen W. Desper]

I moved my stereo near the computer, and finally listened to CCW today. 
What can I say? It was like the crummy sounding bedroom that I listened in, was absolutely cancelled out.. .. something like that. I'm usually preoccupied with this, whether a room is good or bad, whether I should attempt to knob twiddle my way out of the problem or not,  but here I didn't need to resort to any of that. It sounds silly, but I felt like I was on a raft. I was quite immersed.
M r  D e s p e rThank You !

COMMENT:  I'm happy it worked out for you. The other study-videos should provide equal results too.

Don't move your stereo back yet. In just a couple of days a new study-video will be made available. You'll also want to hear that over your stereo.  Stay tuned !   ~swd

[halblaineisgood]

.

[Wrightfan]

That version of Heroes was absolutely amazing. I felt like I was there in the studio in the mid 60's!

Wonderful job Mr. Desper!

[Jim V.]

Hey Mr. Desper, I've enjoyed your informative background stories on Beach Boys material.

Now I have a question about a song which has been mentioned a bit here and there, but about which nothing much is known. That song is called "Burlesque", and it's apparently written by Brian and (maybe??) Jack Rieley. Do you remember working on that song? Any info on it you'd care to give us? That has always been an intriguing title, and I figured if anybody knew about it, you might.

[Stephen W. Desper]

Hey Mr. Desper, I've enjoyed your informative background stories on Beach Boys material.

Now I have a question about a song which has been mentioned a bit here and there, but about which nothing much is known. That song is called "Burlesque", and it's apparently written by Brian and (maybe??) Jack Rieley. Do you remember working on that song? Any info on it you'd care to give us? That has always been an intriguing title, and I figured if anybody knew about it, you might.

COMMENT:  I know nothing of a song by the title "Burlesque" and can only tell you that Jack R. use to write songs with Brian as a form of therapy. This song could be one of those many that were really nothing except exercises to help Brian, but I am only speculating.     ~swd

[Stephen W. Desper]

COMMENT:

Once in a while something comes along that deserves acknowledgement for its excellence.  It has nothing to do with the Beach Boys, rather the BG's -- and since the Beach Boys all like the BG's, I'll use that as a feeble connection to justify this post.

I've always been fascinated with synchronized-editing -- where action is edited to fit music.

Here is Stayin' Alive that is DJ edited -- so it plays longer -- and then sync-edited to many classic film dance numbers.

It is an excellent example of this technique and I highly recommend it to your viewing pleasure.

Stayin' Alive sync-edited  >>>  http://www.youtube.com/watch?feature=player_detailpage&v=mz3CPzdCDws

~swd

[rab2591]

Mr. Desper,

Sonically, your Heroes and Villains mix is the greatest song I've ever heard. This is like re-discovering the song all over again...which really put a smile on my face this evening! Thank you so much for taking the time to put all of this together (and explaining how you did it!)!

My volume is cranked and I'm on my fifth listen of this song tonight. Thanks again!

[pixletwin]

Love Rita with Astaire at 0:58.

[Jim V.]

Hey Mr. Desper, I've enjoyed your informative background stories on Beach Boys material.

Now I have a question about a song which has been mentioned a bit here and there, but about which nothing much is known. That song is called "Burlesque", and it's apparently written by Brian and (maybe??) Jack Rieley. Do you remember working on that song? Any info on it you'd care to give us? That has always been an intriguing title, and I figured if anybody knew about it, you might.

COMMENT:  I know nothing of a song by the title "Burlesque" and can only tell you that Jack R. use to write songs with Brian as a form of therapy. This song could be one of those many that were really nothing except exercises to help Brian, but I am only speculating.     ~swd

Thank you so much for answering Mr. Desper. Now, expounding upon that, you feel that Jack tried to write with Brian as a form of therapy? I know by the mid '70s Dr. Landy used songwriting as a form of therapy, but I didn't know about this. I always seemed to think Mr. Rieley fancied himself a decent lyricist, and wanted to attach those words to the music the Wilsons were making. And truthfully, I like most of his lyrics.

Anyways, back to Brian writing in the early '70s. Was it your opinion back then that the band desperately wanted new material from Brian? Or were they happy with how much he contributed?

[Stephen W. Desper]

Hey Mr. Desper, I've enjoyed your informative background stories on Beach Boys material.

Now I have a question about a song which has been mentioned a bit here and there, but about which nothing much is known. That song is called "Burlesque", and it's apparently written by Brian and (maybe??) Jack Rieley. Do you remember working on that song? Any info on it you'd care to give us? That has always been an intriguing title, and I figured if anybody knew about it, you might.

COMMENT:  I know nothing of a song by the title "Burlesque" and can only tell you that Jack R. use to write songs with Brian as a form of therapy. This song could be one of those many that were really nothing except exercises to help Brian, but I am only speculating.    ~swd

Thank you so much for answering Mr. Desper. Now, expounding upon that, you feel that Jack tried to write with Brian as a form of therapy? I know by the mid '70s Dr. Landy used songwriting as a form of therapy, but I didn't know about this. I always seemed to think Mr. Rieley fancied himself a decent lyricist, and wanted to attach those words to the music the Wilsons were making. And truthfully, I like most of his lyrics.

Anyways, back to Brian writing in the early '70s. Was it your opinion back then that the band desperately wanted new material from Brian? Or were they happy with how much he contributed?

COMMENT:   Jack Rieley met Bruce first, I believe. They struck up an acquaintance during which Jack told Bruce that he was a recipient of a Pulitzer Prize in literature -- which impressed Bruce and gave Jack the "in" he needed to meet everyone else. Several years later it came out that the prize idea was a stretch and not actually true, but Jack was in by then. So I would say that Jack always "fancied himself as a decent lyricist" and used the prize story as proof. As you know, Brian is more interested in the music. Throughout his career a lyricist has always been behind his greatest hits. At this time Brian was not working with anyone, and Michael was off meditating. So along comes JR and fills a need. It did help spark Brian's creative attitude --- and certainly JR was taking advantage of the situation for some (like 10%) monetary gain. However, I think if you look into the heart of the man, you will find a genuine caring for Brian on his part. He did spend an awful lot of time with Brian and put up with Brian's mental problems, trying to keep him interested in one song project or another.

The band was interested in anything Brian was writting, but frankly some of it was not that good. The other members of the band were musically maturing and could write music too, so now Brian had to accept the fact that "his band" was coming out, was blooming into its own flower -- the same Wilson tree, but with different branches; same voices, different harmonies.   If you look back at this history from today's perspective, first Brian wrote and produced while everyone else sang what he wrote. Then as Brian was working on his next masterpiece, SMiLE, drugs took their toll, he lost consentration and focus. Because they were maturing, he lost his band. He was no longer the producer; they were. Brian had a mental breakdown. The drug stupor, loss of control, pressure to make a hit, -- all proved too much for his sensitivities, so he became a recluse and began the healing process including coming to grips with the changes reality was presenting, changes to himself and to his relationship with his band. Meanwhile, the music business and contractual commitments continued to require The Beach Boys to make albums and try to make hit songs. During this time Jack Rieley provided a cushion for Brian to rest upon as he continued his internal fight to regain his past abilities and prove himself again.  He finally did by forming a new band, continued to write -- actually finishing what he started all those years ago -- got back into touring . . . and we are all very proud of this man in many ways.

~swd

[Dr. Tim]

So here is a follow-up question for you about one of the tricks you described in the Brian's Home Studio thread.  I figured I would ask it again here.  I will take my answer "off the air", as talk-show callers say.   The second example was:

"Use one Pultec to overdrive a second Pultec. An early form of "fuzz guitar" sound. Give body, by driving the low end into harmonic distortion. Only possible with tubes. "

Is this how you got the whopping guitar sound on Student Demonstration Time?  I have always loved the sound of that track - though I know Brian didn't as he says in the Surf's Up CD booklet - and 10cc stole that guitar sound for their first two albums for Jonathan King's UK label.