Endless Summer Quarterly feedback

[Mikie]

Questions that arise with the above acetate:

1. Were they really thinking of releasing a live album in January, 1973? This is more like a demo or an extended EP.
2. Did they hold off releasing another live album for almost a year so they could include more new material? They already had enough recent (live) songs in the can. They had just released a live album only 4 years earlier that included 2 of these songs.
3. Why only 10 tracks? See #2.
4. Why only 3 new songs? (actually 4 with the cover song). See #2.

The Heroes & Villains on the above acetate should be the same as the version released on the 'Endless Harmony' CD.

1 - yes, which is why they submitted this master. It was rejected. The 2 disc version very nearly was too.
2 - see above. Also, Live In London wasn't released Stateside until 1976. Previous live set was nine years previously.
3 - not a clue.
4 - see #3.

Regarding #2. Understood. But while "Live In London" wasn't available in every record store in the U.S., it was available as an import in the U.S. in some markets, (i.e. Tower). You could also order it in the U.S. It wasn't ubiquitous, but I remember picking mine up (gatefold cover) in the U.S. in the early 70's around the time I picked up the released "In Concert" album. 

[Ed Roach]

  Songs included on the original single LP In Concert Test Acetate: 

Side 1: 
1.Woudn't It Be Nice
2. Leavin' This Town
3. Heros & Villains 
4. Marcella 
5. Mess Of Help

Side 2:
1.Let The Wind Blow
2. Let's Get Together And Do It Again 
3. Wild Honey 
4. Fun, Fun, Fun 
5. Jumpin' Jack Flash 

   

Not to dodge this discussion that's taking place, but it's great seeing this acetate!  First time I ever entered what would become Brother Studios, it was still an adult movie theatre in the front, on 5th. Street.  The Boys had rented the back of the building, (which was pretty much the entrance for everyone once it was built), and used it as a warehouse for the studio & equipment that had returned from Holland.  Around the time they procured the lease & decided the studio would be built there, (a story too detailed to go into here, which of course culminates with a perfect Dennis Wilsonian anecdote), Carl had Steve Moffitt assemble the board on BB anvil cases, set up a 24 machine & some monitors, and set to work listening to recent tour tapes while construction was in progress.  This accounted for hours of listening pleasure that Dennis & I often sat in on.  It was from these sessions that this acetate, (which I haven't seen in over 40 years!), was pressed.  I imagine it was presented to, (& rejected by), Warner's, but it also was the inception of endless touring/recording that led to the IN CONCERT album

[Mikie]

Ed, did you take that cover shot of "In Concert"? My friends and I use get a few laughs about that cover - Dennis hanging his long mic stand/mic into the crowd of girls......

[Ed Roach]

Ed, did you take that cover shot of "In Concert"? My friends and I use get a few laughs about that cover - Dennis hanging his long mic stand/mic into the crowd of girls......

No, and there's a story behind that, too.  Dennis had a definite idea of the cover being this massive collage, with picture upon picture.  I toured with them constantly through those dates, and Dennis & I constantly worked on the collage.  When it came down to the wire, Dennis told me it was ultimately Carl's decision, and Carl told me he was sorry, but he was going with Ed Carreff, because he was a "professional", and really needed to money!  I asked Carl how he thought I was surviving, after spending about a year & a half on the road with them, getting nothing but per diem, but I could see his mind was made up.

At least I retained the rights to my work.  The only rights I ever had to relinquish were for the L.A. Light sleeve

[Ian]

My two cents on ESQ:  I have subscribed for a long time and I enjoy it.  But I do think it could be a lot more than it is.  I would like to see more commissioned articles that discuss various aspects of the BB story in more depth.  I mean it is nice to celebrate All Summer Long but basically all that you did was ask Mike Love a few questions (which wasn't hugely informative-he didn't even recall "Karen") and reprint Craig's excellent work.  But Craig's work wasn't newly done for the magazine-it is the same stuff that was up on his site for many years.  So we didn't learn that much about the album that we didn't know already.
I volunteered some years ago to write two articles on the BBs TV and Film work.  It would be cool to have occasional articles like this (but better!) by other writers.  Or some NEW writing by Craig.  Sometimes the mag seems to be just David Beard chatting with Mike and David Beard reviewing records.  It might be nice to have some other opinions in ESQ and some other writing.  That being said-the pictures you get from Capitol Records are always nice to see.   I agree with others that I am not that interested in Dean and Bamboo Trading Company (though I have come to admire some of Jan and Dean's 1960s music more than I once did).

[drbeachboy]

Ed, did you take that cover shot of "In Concert"? My friends and I use get a few laughs about that cover - Dennis hanging his long mic stand/mic into the crowd of girls......

No, and there's a story behind that, too.  Dennis had a definite idea of the cover being this massive collage, with picture upon picture.  I toured with them constantly through those dates, and Dennis & I constantly worked on the collage.  When it came down to the wire, Dennis told me it was ultimately Carl's decision, and Carl told me he was sorry, but he was going with Ed Carreff, because he was a "professional", and really needed to money!  I asked Carl how he thought I was surviving, after spending about a year & a half on the road with them, getting nothing but per diem, but I could see his mind was made up.

At least I retained the rights to my work.  The only rights I ever had to relinquish were for the L.A. Light sleeve

Ed, do you know why they used the In Concert pic? Did Dennis ever mention what he thought of it?

[metal flake paint]

I mean it is nice to celebrate All Summer Long but basically all that you did was ask Mike Love a few questions (which wasn't hugely informative-he didn't even recall "Karen") and reprint Craig's excellent work.  But Craig's work wasn't newly done for the magazine-it is the same stuff that was up on his site for many years.  So we didn't learn that much about the album that we didn't know already.

Perhaps I missed it, but I thought the All Summer Long sessionography was fairly recent as I've never seen it posted at his archives website.

[Andrew G. Doe]

Has there been an issue about the In Concert album? I'd love to see an issue about that album. It could go over the intended single album version, concert reviews from the period, what songs were recorded that didn't show up on the final product (and why), unpublished live photos from the period, interviews with Blondie and/or Ricky on those shows, etc. I'd also be interested to read Al's recollections of those shows.

Not to derail from the original subject matter, but I'll bet Carl Wilson would have been the best contact for those questions. Maybe Mike and Al know. Or maybe even Steve Moffitt.

Songs the Beach Boys performed live between Winter '72 until the album's release in November, 1973 that probably hit the cutting room floor:

Wild Honey *
Jumpin' Jack Flash *
You Need A Mess Of Help *
Do It Again *
Long Promised Road
I Get Around
California Saga
Surf's Up
It's About Time
River Song (performed at least twice)

*Songs proposed for the original single album of "In Concert".

  Songs included on the original single LP In Concert Test Acetate: 

Side 1: 
1.Woudn't It Be Nice
2. Leavin' This Town
3. Heros & Villains 
4. Marcella 
5. Mess Of Help

Side 2:
1.Let The Wind Blow
2. Let's Get Together And Do It Again 
3. Wild Honey 
4. Fun, Fun, Fun 
5. Jumpin' Jack Flash 

   

Sadly, it looks a whole bunch better than it plays, apparently.

[Ian]

Hmm....now I feel silly.  I could've sworn I'd seen it before. 

[Jon Stebbins]

Hmm....now I feel silly.  I could've sworn I'd seen it before.  

Don't feel too bad...at least some of C-man's ASL session info is in my Beach Boys FAQ book from a few years ago. That's probably where you remember it from. But the current ESQ version is complete and updated.

[bgas]

Has there been an issue about the In Concert album? I'd love to see an issue about that album. It could go over the intended single album version, concert reviews from the period, what songs were recorded that didn't show up on the final product (and why), unpublished live photos from the period, interviews with Blondie and/or Ricky on those shows, etc. I'd also be interested to read Al's recollections of those shows.

Not to derail from the original subject matter, but I'll bet Carl Wilson would have been the best contact for those questions. Maybe Mike and Al know. Or maybe even Steve Moffitt.

Songs the Beach Boys performed live between Winter '72 until the album's release in November, 1973 that probably hit the cutting room floor:

Wild Honey *
Jumpin' Jack Flash *
You Need A Mess Of Help *
Do It Again *
Long Promised Road
I Get Around
California Saga
Surf's Up
It's About Time
River Song (performed at least twice)

*Songs proposed for the original single album of "In Concert".

  Songs included on the original single LP In Concert Test Acetate: 

Side 1: 
1.Woudn't It Be Nice
2. Leavin' This Town
3. Heros & Villains 
4. Marcella 
5. Mess Of Help

Side 2:
1.Let The Wind Blow
2. Let's Get Together And Do It Again 
3. Wild Honey 
4. Fun, Fun, Fun 
5. Jumpin' Jack Flash 

   

Sadly, it looks a whole bunch better than it plays, apparently.

Yep. It's not the best sounding disc, what with warping of the metal base( no fixing that), scratching etc. Wish it wasn't so, but there it is.
 Maybe someone recorded it before they ruined it ? ( and now have the only clean version.... nahhh, nobody would do that, would they? )
Other than, of course, the master tapes in the vault. 

[ESQ Editor]

Ian, everything is written by me because I'm ESQ's in-house writer.  I welcome your contributions anytime.

Commissioning writers is a fantastic idea, but everyone who has written for ESQ knows that we have no budget.

I reached out to Bgas, Lee Dempsey, Peter Reum and Panyiotis in regard to doing a "collector's roundtable," and Bgas has already stated, "No interest."

Maybe something can come of it, but that certainly is not a good sign.

I, for one, would love to see it.  

[ESQ Editor]

ESQ is in a phase of change.  

It's my hope that it's for the better.  

As a fan I want to see Lee Dempsey, Ian Rusten, Jon Stebbins, Chris Woods, Peter Reum, Craig Slowinski and others contributing because the plain simple truth is it makes ESQ better…more varied.

Since Lee — as he has pointed out — controls the purse strings, I'll talk with him to see if there is some financial incentive that ESQ can offer.  If we do manage that, then the chances of a CD are really minimal.  That's not to say it can't happen, but anyone who writes or contributes to ESQ deserves something.

As it is, we are happy to give contributors comp issues.  

Today, ESQ is featured @ every BB concert that has a video screen setup (behind the stage).  The video presentation on the mag appears when people are taking their seats and — when applicable — @ intermission.  ESQ also has a full page ad featured in the current 2014 BB tour program.  

It is my hope that this exposure will help place ESQ on steady ground, affording us the opportunity to pay contributors.  We're not there yet.

[urbanite]

How about an article from Ed Roach?

[ESQ Editor]

How about an article from Ed Roach?

LOVE it!

[Mikie]

Ian, everything is written by me because I'm ESQ's in-house writer.  I welcome your contributions anytime.

Commissioning writers is a fantastic idea, but everyone who has written for ESQ knows that we have no budget.

I reached out to Bgas, Lee Dempsey, Peter Reum and Panyiotis in regard to doing a "collector's roundtable," and Bgas has already stated, "No interest."

Maybe something can come of it, but that certainly is not a good sign.

I, for one, would love to see it.  

Well, you reached out to me too, David, and I'd be more than happy to fill Bgas's shoes. You don't need him anyway - some of us have the same items in our collections as he does and we're also much better writers. Spoiled brat.....

[ESQ Editor]

Ian, everything is written by me because I'm ESQ's in-house writer.  I welcome your contributions anytime.

Commissioning writers is a fantastic idea, but everyone who has written for ESQ knows that we have no budget.

I reached out to Bgas, Lee Dempsey, Peter Reum and Panyiotis in regard to doing a "collector's roundtable," and Bgas has already stated, "No interest."

Maybe something can come of it, but that certainly is not a good sign.

I, for one, would love to see it.  

Well, you reached out to me too, David, and I'd be more than happy to fill Bgas's shoes. You don't need him anyway - some of us have the same items in our collections as he does and we're also much better writers. Spoiled brat.....

That's great Mikie.  I just heard from Peter Reum too.  He's "in."

[ESQ Editor]

This is a post about the 2012 breakup that ran on March 15, 2013.

http://www.examiner.com/article/mike-love-says-que-sera-sera-to-beach-boys-future

[Andrew G. Doe]

Either I missed that one entirely or (more likely) completely forgot I read it. Very nice.

[The Shift]

Was it in ESQ? I don't recall it either…

[c-man]

I mean it is nice to celebrate All Summer Long but basically all that you did was ask Mike Love a few questions (which wasn't hugely informative-he didn't even recall "Karen") and reprint Craig's excellent work.  But Craig's work wasn't newly done for the magazine-it is the same stuff that was up on his site for many years.  So we didn't learn that much about the album that we didn't know already.

Perhaps I missed it, but I thought the All Summer Long sessionography was fairly recent as I've never seen it posted at his archives website.

Correct, metal flake paint: while I had posted sessionographies of "Today!", "Summer Days" and the "Guess I'm Dumb" single, plus outtakes from those two '65 albums, I'd never posted an "ASL" sessionography anywhere. I was asked by Mr. Beard to compile one for this summer's ESQ, so it is indeed brand new.

[metal flake paint]

I mean it is nice to celebrate All Summer Long but basically all that you did was ask Mike Love a few questions (which wasn't hugely informative-he didn't even recall "Karen") and reprint Craig's excellent work.  But Craig's work wasn't newly done for the magazine-it is the same stuff that was up on his site for many years.  So we didn't learn that much about the album that we didn't know already.

Perhaps I missed it, but I thought the All Summer Long sessionography was fairly recent as I've never seen it posted at his archives website.

Correct, metal flake paint: while I had posted sessionographies of "Today!", "Summer Days" and the "Guess I'm Dumb" single, plus outtakes from those two '65 albums, I'd never posted an "ASL" sessionography anywhere. I was asked by Mr. Beard to compile one for this summer's ESQ, so it is indeed brand new.

And very much appreciated, too!

[HeyJude]

This is a post about the 2012 breakup that ran on March 15, 2013.

http://www.examiner.com/article/mike-love-says-que-sera-sera-to-beach-boys-future

This is purely, 100% only my impression, but that article reads very similarly to the piece that was printed in the concurrent ESQ issue. The takeaway I get from both of the pieces is, and again this is only my impression, essentially “it’s a bummer the reunion couldn’t continue and Mike couldn't agree to more shows, but Mike likes to run his cheaper, leaner touring operation, and he’s old and stuck in his ways, so what can we do about it?”  I appreciate the degree of insight this offers, and I can’t say any of these points are inaccurate. But in the discussion earlier in this thread concerning what is hard-hitting versus pulling punches, this still veers more towards treating the situation with kid gloves.

To me, this is what needed to be written (obviously, it would have a bit more of an editorial “voice” if printed in a magazine, etc.). This is Howie Edelson on this board, October 1, 2012:

Doesn't it suck that we're even having this conversation? This tour was unbelievable. Finally it was The Beach Boys. It was arguably the best they've been since '75. Brian's band with Totten and Cowsill -- this thing was an embarrassment of riches. Everybody was there nailing it. And it's over before it even began. It's heartbreaking is that it has to go back to what it was before April. Mike and Bruce's show is tight and professional, but Mike's voice is shot from never taking a break over the years and the show includes a FULL HOUR of someone else singing the tunes while Mike points at his temple and waves. Al's show has never gained enough traction to ever evolve past rehearsal/soundcheck levels, and Brian's gigs have devolved at times into "Weekend At Bernie's" territory. But somehow when they all get together -- and together with David, who's happy, healthy, and batting .1000 -- it amazingly all fits. The carry each other and reach incredible heights together. It was masterful.

The "timing" of the announcement is a moot point. I think a week into this tour everybody kinda looked at each other and thought, "Wow -- not only is this happening, but this is actually ART. This thing is what it was always SUPPOSED to be and always fell flat. It's not cheap, it's not lame." That this thing is running the risk of being a one-off is a sin. And I sincerely believe that despite a tour wrap set for England, the fact that this was the best live show running made everyone believe -- ESPECIALLY due to the fact that Mike Love has been pining to finally get Brian "back" for 15 years -- that this would be how it will play out (e.g. with panache and class and Brian Wilson for once wanting to be a Beach Boy.) Instead it's like a kid getting adopted by a rich family and being sent back to the orphanage after a year. Pointing out that that was always the plan doesn't mean anything in the grand scope of things. A choice was made and it was a poor choice. It was the wrong choice.

Here's more from Howie, September 30, 2012:

Most of us have known about these upcoming concerts for a while. Bruce Johnston gleefully told anybody who would listen as much. A lot of us have also known that this tour happened solely at the mercy of Melinda Wilson and Jackie Love and that come the final stretch of dates how THAT relationship played out would determine the future of the Beach Boys. Regardless of whether the Mike band had a bunch of dates booked, the "this tour had a specific end date" excuse really is bulls*** -- because EVERYONE IN AND AROUND THE TOUR knew that if the powers that if be said it's going to continue, it would. The fact than none of this "specific end date" or “our final tour” talk was brought up during their global round of recent interviews proves that either this was being kept away from the general public because it would sully the celebratory aspects of the reunion -- or no one was absolutely sure what was going to go down. And trust me – no one was sure. The prevailing attitude was “let’s just get through this tour.” Would Mike keep the side band for corporate dates and/or "off season shows" -- a lot of things were kept purposely ambiguous. I honestly believe that things are still up in the air about the future of the band. I personally believe there will be some type of middle ground met. I think we’re all in agreement that it could've been done more professionally and with far more class.

When I last spoke at length to Mike in late June, I pressed him hard about what 2013 would hold in store for the band and he made it seem that after the tour the principles would regroup to record at some point -- preferably on songs he and Brian co-wrote -- and discuss future dates. He stressed that the show was more expensive than he would have liked and that he actually regretted having to only play large venues. He had ample chances to say to me that it was permanently going back to the way it was before and he did not. He loved everything about the 50th tour from the song selection to his bandmates' performances -- but (my words) he resented having to lose money paying for such a big machine. Apart from that, he gave me ZERO INDICATION that this was a finite thing. Mike telling the audience at the CalSaga Grammy performance that the group would be opening for the Beach Boys next summer certainly seemed to indicate that the co-founders would be hitting the road again. (Two members of CalSaga told me that the announcement was actually news to them.)

While talking about the tour -- and specifically the "50 Big Ones Productions" headed by Joe Thomas -- Mike gushed that no one else could have pulled this thing together. When I asked him if BRI has ever thought of hiring someone "in house" to run operations like that year-round, he admitted they never have considered it. I offered up former manager Jerry Schilling's name.

The press release issued just prior to the Grammy show was needed to explain the situation before fans started buying tickets to shows and walk out pissed at seeing "imposters." It really wasn’t the d*ck move that the press are labeling it – but the timing was both comically and typically horrible. The fact that it was bereft of any emotion, class, good will, or respect for the co-founders is why this mess happened in the first place. It was ugly and it reeked of "the bottom line." And the thing that's so dispiriting about this is that this thing was truly magnificent. It really was. It rose to every occasion. The rock press coverage was astounding. For a band with zero presence on classic rock radio, they were covered as much -- if not more -- than McCartney and The Who's tours. A hit album and massive, massive exposure. They went from Frankie Valli to Mick Jagger OVERNIGHT. Even Bruce Johnston calling Barrack Obama an as shole couldn't cause a dent in the power of this reunion. But having "Mike Love Fires Brian Wilson" being one of the top tweets and trends online coupled with the Eagles calling Mike out for being an idiot, is press so bad I doubt the brand can fully recover. All that positivity, all that good will GONE in a day. Even the cynics are speechless. What a stupid avoidable mess.

Another from September 30, 2012:

The smartest thing that they could have done is announce that Mike is fulfilling his commitments through the end of the year (while simply but adequately explaining the BRI license agreement once and for all) while listing all the wonderful accomplishments of 2012.

Then on or around Thanksgiving, announce the box set as well as two Staples Center shows for December 30th and December 31st to wrap the 50th anniversary.

It's that easy.
It's beyond a no-brainer.
It's Showbiz 101.
How do these guys not know how to do this thing by now?

December 15, 2013:

The reunion tour should've just wrapped this week with gigs in China after having played a South American tour and second smaller North American and European return legs.
Great memories aside it was a botched affair. Its demise being one of the dumber episodes in the saga.
2014 should've seen them moving into their first Vegas residency for a ton of money.
The reason why the reunion ended had more to do with power than money and the number of dates.

These posts from Howie, along with a few others (including the one he reprinted earlier in the thread) are still the best writing on the demise of the reunion I've read.

[Andrew G. Doe]

This is purely, 100% only my impression, but that article reads very similarly to the piece that was printed in the concurrent ESQ issue. The takeaway I get from both of the pieces is, and again this is only my impression, essentially “it’s a bummer the reunion couldn’t continue and Mike couldn't agree to more shows..."

But Mike, and everyone else, had already agreed to more shows: 24 over the original 50, in fact, and everyone signed off on those, with part of the agreement being that this was it, no more (which fits in nicely with the "no more shows for Wilsons" email Ambha mentioned). Then, somewhere down the line, seemingly, Alan & Brian and/or his people decide they actually want to do more shows, despite signing off on not doing exactly that and despite knowing that Mike was booking shows for himself as far back as June. I agree the timing of the September announcement was at best unfortunate but don't forget, it was made at the express instigation of Brian's management. It's not as simple as "Mike didn't want to do any more shows". These are The Beach Boys - if you asked them for the time you'd get five different answers, probably. They don't do "simple". For me, the wonder of the C50 tour is that it happened at all, that it was as astonishingly good as it was and that all the principals played every single gig: I would have bet good money on the last item not happening. Hope I'm around when the definitive recounting of the events of 2012 emerges.

[Nicko1234]

There`s no doubt that Howie`s posts are harder hitting and they are very interesting to read but I wouldn`t say they are necessarily better examples of writing. Just different.

The ESQ article keeps things simple and to the point whereas Howie`s writing branches out more and, in places, I feel has a sense of `wish fulfillment` about it (not meant in a pejorative way). The comments about a Vegas residency for example...