Most embarrassing Beach Boys moment caught on tape?

[Emily]

Did she know she would walk out to a room of smirking suits?
I hardly think it's analogous to a professional musician being hired to perform on a recording.
Does anyone know who she was? Are there interviews with her?

[KDS]

Did she know she would walk out to a room of smirking suits?
I hardly think it's analogous to a professional musician being hired to perform on a recording.
Does anyone know who she was? Are there interviews with her?

I'm not saying it's right or wrong, Emily, but it was a completely different time.  Free love, and all that jazz. 

[Emily]

Did she know she would walk out to a room of smirking suits?
I hardly think it's analogous to a professional musician being hired to perform on a recording.
Does anyone know who she was? Are there interviews with her?

I'm not saying it's right or wrong, Emily, but it was a completely different time.  Free love, and all that jazz. 

I know this is an unpopular position here, which I think is a shame, but even then plenty of women were pointing out that 'free love' amounted to many women feeling a lot of cultural pressure to have sex with men they didn't particularly want to have sex with.  You can read Marianne Faithfull's autobiography for one example, but there are many. I'm not saying this woman didn't want to have sex with Dennis Wilson, she most likely did; but she also very likely felt pressure to do it under conditions she didn't understand or fully anticipate until it had happened.

[KDS]

Did she know she would walk out to a room of smirking suits?
I hardly think it's analogous to a professional musician being hired to perform on a recording.
Does anyone know who she was? Are there interviews with her?

I'm not saying it's right or wrong, Emily, but it was a completely different time.  Free love, and all that jazz. 

I know this is an unpopular position here, which I think is a shame, but even then plenty of women were pointing out that 'free love' amounted to many women feeling a lot of cultural pressure to have sex with men they didn't particularly want to have sex with.  You can read Marianne Faithfull's autobiography for one example, but there are many. I'm not saying this woman didn't want to have sex with Dennis Wilson, she most likely did; but she also very likely felt pressure to do it under conditions she didn't understand or fully anticipate until it had happened.

I honestly think that has this woman really felt exploited, then she and her lawyers would've come out of the wood work by now to try and cash in. 

[CenturyDeprived]

Did she know she would walk out to a room of smirking suits?
I hardly think it's analogous to a professional musician being hired to perform on a recording.
Does anyone know who she was? Are there interviews with her?

I'm not saying it's right or wrong, Emily, but it was a completely different time.  Free love, and all that jazz. 

I know this is an unpopular position here, which I think is a shame, but even then plenty of women were pointing out that 'free love' amounted to many women feeling a lot of cultural pressure to have sex with men they didn't particularly want to have sex with.  You can read Marianne Faithfull's autobiography for one example, but there are many. I'm not saying this woman didn't want to have sex with Dennis Wilson, she most likely did; but she also very likely felt pressure to do it under conditions she didn't understand or fully anticipate until it had happened.

I honestly think that has this woman really felt exploited, then she and her lawyers would've come out of the wood work by now to try and cash in. 

Wasn't she a sex worker that was located at the spur of the moment down on Sunset? I could imagine that the event may have just been par for the course if that was her profession at the time. Who knows if she even heard the final product, or knew what song or what media whatsoever it would have eventually been used for.

[KDS]

Did she know she would walk out to a room of smirking suits?
I hardly think it's analogous to a professional musician being hired to perform on a recording.
Does anyone know who she was? Are there interviews with her?

I'm not saying it's right or wrong, Emily, but it was a completely different time.  Free love, and all that jazz. 

I know this is an unpopular position here, which I think is a shame, but even then plenty of women were pointing out that 'free love' amounted to many women feeling a lot of cultural pressure to have sex with men they didn't particularly want to have sex with.  You can read Marianne Faithfull's autobiography for one example, but there are many. I'm not saying this woman didn't want to have sex with Dennis Wilson, she most likely did; but she also very likely felt pressure to do it under conditions she didn't understand or fully anticipate until it had happened.

I honestly think that has this woman really felt exploited, then she and her lawyers would've come out of the wood work by now to try and cash in. 

Wasn't she a sex worker that was located at the spur of the moment down on Sunset? I could imagine that the event may have just been par for the course if that was her profession at the time. Who knows if she even heard the final product, or knew what song or what media whatsoever it would have eventually been used for.

If she did, she could've used it to raise her......um...rates.

[Stephen W. Desper]

COMMENT:  First let me say how sorry I am to hear that Prince has passed on. He was a multi-talented musician and fantastic song writer. His passing was too early, yet he leaves us with 39 albums and some great songs still in the vault. God Bless.I have written a couple of times about the Dennis All I Want To Do segment. So here are some comments to again address your concerns. Please try to find my previous descriptions if you need more detail. It's out there.

Capitol Tower is located on Vine Street, between Hollywood Blvd. and Sunset Blvd. At the time of this session the City of Hollywood had taken a stance to rid both Boulevards of all the hookers that were hanging out there. So when they did their sweep of the prostitutes, they all moved to the street between Hollywood and Sunset, named Selma. You may recall Wally Hiders was on Selma. Anyway, the back door of Studio One at Capitol opened out to Vine which was a short 1 1/2 block walk down to Selma. Now Dennis was well aware that this street would yield many prospects for his idea. So he told me his idea, walked out the back door and soon was back with a chick. He had told her what was going on, her role, her pay, that she must sign a release, and that she would only come in the back door and then afterward leave the same way. This is what happened. She and Dennis did the performance, she signed a release, was paid in cash, and left out the back door. Her name is on the release which is in Capitol files somewhere. Who knows. Emily please understand that no one was taken advantage of, in fact, the hired girl was paid a very handsome sum for the time she spent doing what she did every day. Dennis' idea was to finish the song with this sex act being in-time or in-tempo with the song, so both of them wore headphones and heard the song so that thrusts could be in tempo with the song, and verbal reactions would be in time with the song's tempo. There was an overdub by the way, so Dennis had double the morns and gowns that he wanted. He later told me he interviewed several gals, and found the one who he thought would produce the best verbal reactions or vocalization while being pleasured. Only I saw the girl when I got her signature on the release. She was a modest little lady, quite pleasant, but quickly left. She was paid in advance of the session. None of the executives know who she was or saw her. If you consider prostitution a profession, then this was all handled in a professional way. In hindsight, I suppose you could have hired an actress to make some sexy sounds and used those, but Dennis wanted it to be real, so it was. ~swd

[Alan Smith]

Wasn't the song in question "All I Want To Do" (although there are also banging sounds on the "Do It Again" fade).

[You Kane, You Commanded, You Conquered]

Wasn't the song in question "All I Want To Do" (although there are also banging sounds on the "Do It Again" fade).

Yep, although both songs have someone hammerin' away in the fadeout 

[Stephen W. Desper]

Wasn't the song in question "All I Want To Do" (although there are also banging sounds on the "Do It Again" fade).

COMMENT:  Thanks Alan Smith, you are so right. I have corrected my mistakes. Too many songs to keep track of ...

PS:  The "banging sounds" at the end of Do It Again are from the "fire tapes" or the session wherein Brian had all the musicians playing construction equipment.  ~swd

[Emily]

Thank you, Mr. Desper, for clarifying and for taking my concerns seriously. I appreciate it.

[Uncle Jesse]

Hey Mr. Desper while we're on the subject of Do it Again, may I ask you why the guys decided to include the "Workshop" ending in Do it Again?  It just seems so odd and I've always wondered why they included it.

[Stephen W. Desper]

Hey Mr. Desper while we're on the subject of Do it Again, may I ask you why the guys decided to include the "Workshop" ending in Do it Again?  It just seems so odd and I've always wondered why they included it.

COMMENT to Uncle Jesse:  It was Carl's idea. At the time he was involved in reviewing all the so-called "fire tapes" and it was keen in his thinking. So I really can't say what his motive was other than he told me that he thought we should use it because we had it ... and why not, rather than just put it back in the vault. I know it makes little musical sense, but Carl thought "workshop" being a famous segment unto itself might never find an outlet, so rather than letting it wither on the shelf and never be heard by the fans, gave it an everlasting place as the closing tag of a soon to be published song. No gain, no harm. ~swd

[Alan Smith]

Go, Carl!!!  Personally, I've always enjoyed the fade, originally (ie, as a young teen not knowing a thing about Smile and it's myriad pieces) thinking akin it was a collection of clocks - thus evoking the passing of time similar to themes addressed in the lyrics.

Still evocative stuff and a good link to SD's metallic processed drum sound in the intro - an added dimension to a kick- ass number.

[Cool Cool Water]

 It was Carl's idea. At the time he was involved in reviewing all the so-called "fire tapes" and it was keen in his thinking. So I really can't say what his motive was other than he told me that he thought we should use it because we had it ... and why not, rather than just put it back in the vault. I know it makes little musical sense, but Carl thought "workshop" being a famous segment unto itself might never find an outlet, so rather than letting it wither on the shelf and never be heard by the fans, gave it an everlasting place as the closing tag of a soon to be published song. No gain, no harm. ~swd

Very interesting! Thanks for sharing that information, Stephen!

[Stephen W. Desper]

Thank you, Mr. Desper, for clarifying and for taking my concerns seriously. I appreciate it.

COMMENT to Emily:
I thought I should further clarify the events of that day for you since you may not have read other posts on this subject that were posted over a year or more ago.
Just to set the scene, The studio used that day at Capitol is their largest and can house a symphonic orchestra, to give you an idea of the size. We were there to add some percussion (I think) and thought we would be using Studio D, one of the smaller rooms, but it was already in use so they put us in the big room. Since events turned out as they did, Dennis found himself in an ideal spot to realize the idea he had been considering for some time.
I won't restate what I wrote before, but when I wrote that Dennis told me what he wanted to do -- I'll describe it from there. He went off to find a girl, a street girl. Meanwhile, I went to the back of the studio and moved four string risers out and close to the control room window. These risers are about 18" high by 4 feet by 8 ft. Large enough to accommodate two string players. I upended three risers to form a visual barrier between the control room window and the studio. Then I took a dozen quilted packing blankets (like movers use), which are used in the studio for isolation, and placed them on the remaining forth riser that was left in a flat position and behind the barrier risers. It served as a bed, and was actually rather comfortable. So when viewed from the control room, nothing could be seen but the upturned risers sticking up eight feet high by 12 feet wide. This provided complete privacy -- visual privacy.  Then I found four large production booms (like you find on movie sets) and mounted four Newmann microphones on them. I suspended them about three feet above the bedding surface. Two headphones were placed on the bedding surface. When Dennis returned all was ready. I kept the mics off while he and the girl dis-robbed. He wanted to be naked with her and not do this in a sleazy way by lifting up a skirt or something like that. After a ten-minute "warmup," Dennis peered around the end riser and caught my attention, signaling he was ready to start. I spoke over the studio talkback speaker "put your headphones on and the music will start in about ten seconds." After ten seconds I started the tape and away we went -- or Dennis went.  So the dignity of all concerned was respected -- at least as much as possible while still getting the sounds required. Just so you know.  ~swd

[CenturyDeprived]

Thank you, Mr. Desper, for clarifying and for taking my concerns seriously. I appreciate it.

COMMENT to Emily:
I thought I should further clarify the events of that day for you since you may not have read other posts on this subject that were posted over a year or more ago.
Just to set the scene, The studio used that day at Capitol is their largest and can house a symphonic orchestra, to give you an idea of the size. We were there to add some percussion (I think) and thought we would be using Studio D, one of the smaller rooms, but it was already in use so they put us in the big room. Since events turned out as they did, Dennis found himself in an ideal spot to realize the idea he had been considering for some time.
I won't restate what I wrote before, but when I wrote that Dennis told me what he wanted to do -- I'll describe it from there. He went off to find a girl, a street girl. Meanwhile, I went to the back of the studio and moved four string risers out and close to the control room window. These risers are about 18" high by 4 feet by 8 ft. Large enough to accommodate two string players. I upended three risers to form a visual barrier between the control room window and the studio. Then I took a dozen quilted packing blankets (like movers use), which are used in the studio for isolation, and placed them on the remaining forth riser that was left in a flat position and behind the barrier risers. It served as a bed, and was actually rather comfortable. So when viewed from the control room, nothing could be seen but the upturned risers sticking up eight feet high by 12 feet wide. This provided complete privacy -- visual privacy.  Then I found four large production booms (like you find on movie sets) and mounted four Newmann microphones on them. I suspended them about three feet above the bedding surface. Two headphones were placed on the bedding surface. When Dennis returned all was ready. I kept the mics off while he and the girl dis-robbed. He wanted to be naked with her and not do this in a sleazy way by lifting up a skirt or something like that. After a ten-minute "warmup," Dennis peered around the end riser and caught my attention, signaling he was ready to start. I spoke over the studio talkback speaker "put your headphones on and the music will start in about ten seconds." After ten seconds I started the tape and away we went -- or Dennis went.  So the dignity of all concerned was respected -- at least as much as possible while still getting the sounds required. Just so you know.  ~swd

Stephen, thanks for all the info.

Was there a reason why the sounds captured from this section are largely buried and barely audible in the mix? I am assuming that was a creative choice made in order for the true nature of the sounds to slip under the radar of the record company? I'd imagine if they were louder, it could have been a problem for releasing?

And do you think it was Denny's intention for the sounds to be a hidden "easter egg" for only his (and his friends/bandmates) to know about? Or was he perhaps hoping that this would be a subliminal sound that the detail-oriented listener might discover on their own upon close listening?

Finally, do you recall how the other band members and other people in the know within the BB organization reacted to these sounds being on the song?

[You Kane, You Commanded, You Conquered]

Thank you, Mr. Desper, for clarifying and for taking my concerns seriously. I appreciate it.

COMMENT to Emily:
I thought I should further clarify the events of that day for you since you may not have read other posts on this subject that were posted over a year or more ago.
Just to set the scene, The studio used that day at Capitol is their largest and can house a symphonic orchestra, to give you an idea of the size. We were there to add some percussion (I think) and thought we would be using Studio D, one of the smaller rooms, but it was already in use so they put us in the big room. Since events turned out as they did, Dennis found himself in an ideal spot to realize the idea he had been considering for some time.
I won't restate what I wrote before, but when I wrote that Dennis told me what he wanted to do -- I'll describe it from there. He went off to find a girl, a street girl. Meanwhile, I went to the back of the studio and moved four string risers out and close to the control room window. These risers are about 18" high by 4 feet by 8 ft. Large enough to accommodate two string players. I upended three risers to form a visual barrier between the control room window and the studio. Then I took a dozen quilted packing blankets (like movers use), which are used in the studio for isolation, and placed them on the remaining forth riser that was left in a flat position and behind the barrier risers. It served as a bed, and was actually rather comfortable. So when viewed from the control room, nothing could be seen but the upturned risers sticking up eight feet high by 12 feet wide. This provided complete privacy -- visual privacy.  Then I found four large production booms (like you find on movie sets) and mounted four Newmann microphones on them. I suspended them about three feet above the bedding surface. Two headphones were placed on the bedding surface. When Dennis returned all was ready. I kept the mics off while he and the girl dis-robbed. He wanted to be naked with her and not do this in a sleazy way by lifting up a skirt or something like that. After a ten-minute "warmup," Dennis peered around the end riser and caught my attention, signaling he was ready to start. I spoke over the studio talkback speaker "put your headphones on and the music will start in about ten seconds." After ten seconds I started the tape and away we went -- or Dennis went.  So the dignity of all concerned was respected -- at least as much as possible while still getting the sounds required. Just so you know.  ~swd

Stephen, thanks for all the info.

Was there a reason why the sounds captured from this section are largely buried and barely audible in the mix? I am assuming that was a creative choice made in order for the true nature of the sounds to slip under the radar of the record company? I'd imagine if they were louder, it could have been a problem for releasing?

And do you think it was Denny's intention for the sounds to be a hidden "easter egg" for only his (and his friends/bandmates) to know about? Or was he perhaps hoping that this would be a subliminal sound that the detail-oriented listener might discover on their own upon close listening?

Finally, do you recall how the other band members and other people in the know within the BB organization reacted to these sounds being on the song?

I'm pretty sure it was meant to be an easter egg. I think I recall that somewhere, maybe the liner notes, it said "turn up the volume for an x-rated surprise" or something along those lines.

[Emily]

Once again, Mr. Desper, thank you. Perhaps you'd be surprised how rare it is for this sort of concern to be taken seriously, so perhaps you won't understand how much I appreciate that you did. You've eased my concerns, and made me much more comfortable with the song and Dennis Wilson in the process.

[CenturyDeprived]

Thank you, Mr. Desper, for clarifying and for taking my concerns seriously. I appreciate it.

COMMENT to Emily:
I thought I should further clarify the events of that day for you since you may not have read other posts on this subject that were posted over a year or more ago.
Just to set the scene, The studio used that day at Capitol is their largest and can house a symphonic orchestra, to give you an idea of the size. We were there to add some percussion (I think) and thought we would be using Studio D, one of the smaller rooms, but it was already in use so they put us in the big room. Since events turned out as they did, Dennis found himself in an ideal spot to realize the idea he had been considering for some time.
I won't restate what I wrote before, but when I wrote that Dennis told me what he wanted to do -- I'll describe it from there. He went off to find a girl, a street girl. Meanwhile, I went to the back of the studio and moved four string risers out and close to the control room window. These risers are about 18" high by 4 feet by 8 ft. Large enough to accommodate two string players. I upended three risers to form a visual barrier between the control room window and the studio. Then I took a dozen quilted packing blankets (like movers use), which are used in the studio for isolation, and placed them on the remaining forth riser that was left in a flat position and behind the barrier risers. It served as a bed, and was actually rather comfortable. So when viewed from the control room, nothing could be seen but the upturned risers sticking up eight feet high by 12 feet wide. This provided complete privacy -- visual privacy.  Then I found four large production booms (like you find on movie sets) and mounted four Newmann microphones on them. I suspended them about three feet above the bedding surface. Two headphones were placed on the bedding surface. When Dennis returned all was ready. I kept the mics off while he and the girl dis-robbed. He wanted to be naked with her and not do this in a sleazy way by lifting up a skirt or something like that. After a ten-minute "warmup," Dennis peered around the end riser and caught my attention, signaling he was ready to start. I spoke over the studio talkback speaker "put your headphones on and the music will start in about ten seconds." After ten seconds I started the tape and away we went -- or Dennis went.  So the dignity of all concerned was respected -- at least as much as possible while still getting the sounds required. Just so you know.  ~swd

Stephen, thanks for all the info.

Was there a reason why the sounds captured from this section are largely buried and barely audible in the mix? I am assuming that was a creative choice made in order for the true nature of the sounds to slip under the radar of the record company? I'd imagine if they were louder, it could have been a problem for releasing?

And do you think it was Denny's intention for the sounds to be a hidden "easter egg" for only his (and his friends/bandmates) to know about? Or was he perhaps hoping that this would be a subliminal sound that the detail-oriented listener might discover on their own upon close listening?

Finally, do you recall how the other band members and other people in the know within the BB organization reacted to these sounds being on the song?

I'm pretty sure it was meant to be an easter egg. I think I recall that somewhere, maybe the liner notes, it said "turn up the volume for an x-rated surprise" or something along those lines.

This makes me wonder if there aren't any other as yet undiscovered "easter eggs" of this sort, or of other sorts, that are buried on other BB songs.

[You Kane, You Commanded, You Conquered]

This makes me wonder if there aren't any other as yet undiscovered "easter eggs" of this sort, or of other sorts, that are buried on other BB songs.

Listen closely during the fadeout in I Know There's An Answer and you'll hear Mike berating Brian for fucking with the forumla 

[SMiLE Brian]

 

[Lonely Summer]

 

[The LEGENDARY OSD]

 

[Cam Mott]

"Wrinkles" and "Mt. Vernon and Fairway".  That moments, but, oh well.