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Author Topic: Terry Melcher  (Read 9561 times)
Tony S
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« Reply #25 on: July 24, 2019, 08:37:10 AM »

I've never ever had an inkling that it was anybody other than Carl singing those lines. Always sounded like Carl to me. I just went back and listened again to those lines several times, and while I still believe it is Carl, I think there is at least a small possibility that it is Terry as Jude says, "trying to sound like Carl". To Jude's point I don't know how Terry's voice sounded in the 80's, but there is a hint of familiarity to his 60's sounding voice to a small degree. Again, if it is Terry, I think it was his attempt to sound like Carl, maybe at a time when Carl was unavailable. Though to my ears, it is still very likely Carl Wilson until I hear one of the principles say something different.
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« Reply #26 on: July 24, 2019, 08:43:13 AM »

if one listens to (Brians production of) WHY DO FOOLS FALL IN LOVE? by California Music (mid-'70s) where Terry Melcher sings the line "Get back, Loretta" you'll understand the same voice heard on SNJ

HEY LITTLE COBRA was just brought up (because Terry sings on it) and that's a song when it comes on an oldies station I can't resist singing along with, the inane hot rod lyrics are such a joyous challenge (to remember extemporaneously), "The stingrays and jags are so far behind I took my cobra out of gear and let it coast to the line".  Then I burst into laughter, foolish fun
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« Reply #27 on: July 24, 2019, 08:45:27 AM »

I just gave several tracks additional listens. I listened to the “Symphonic Sounds” version of “Kokomo” for the first time in eons. I will actually say Melcher’s voice there (presumably recorded circa 1997, or some time around the mid 90s) sounds pretty similar to Melcher’s 60s voice. It does indeed have the same, kind of weird (in my opinion) low-voice effect. Hard to describe, but it sounds a bit like when you record a voice and then slow it down.

In any event, that 90s reference indicates Melcher’s voice maintained that same aspect from the 60s.

Going back and listening to both the album and single mixes of “Somewhere Near Japan”, I’d say the lines in question sound much more like 80s Carl than it does any iteration of Melcher. Melcher’s voice is such that I could absolutely buy that it’s him singing those lines on SNJ. But with no other context than what I’m hearing and a comparison to these other extant examples (and my knowledge of Carl’s voice, which I’m obviously *very* familiar with as many are here), I still think it’s quite plausible that it’s Carl singing those lines.

Keep in mind that there are other examples of non-band members singing lead vocals (or lead vocal parts) on BB sessions and then, due to politics (and other reasons), being replaced by a BB voice. “Honkin’ Down the Highway” is one obvious example. Didn’t Bruce mention in an interview that they had to add Carl to “Kokomo” and replace Melcher? As in, the label/studio and/or the band felt (rightly so in my opinion) that it made more sense to have a band member singing.

Again, I’m open to all ideas. I’d find it intensely fascinating to learn it was Melcher all along singing multiple lead lines on SNJ. But I’m curious if there is any info to chew on beyond “it sounds like Terry Melcher to me.” Certainly, Melcher co-writing, producing, and in some cases singing backing vocals makes it immediately very *plausible* that it’s him singing those lead lines. But I also know the band, even by the late 80s when they clearly weren’t “in the game” as much when it came to new recordings, could still make things quite political and it would be weird to have someone else, even a close band associate, singing lead lines that Carl could.

The only other info to chew on is live recordings of SNJ, which are far from conclusive. I will say that listening to live 1990 takes on the song, Carl sounds pretty similar to the studio recording. Either Melcher was doing a good Carl impression, or Carl later did a pretty good Terry Melcher impression.
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« Reply #28 on: July 24, 2019, 08:49:04 AM »

I forgot in my earlier post describing the tre movie "Charlie Says"  that the composer credit for the music heard in the soundtrack is.....Andy Paley
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« Reply #29 on: July 24, 2019, 08:54:56 AM »

I forgot in my earlier post describing the tre movie "Charlie Says"  that the composer credit for the music heard in the soundtrack is.....Andy Paley

I hear Terry's voice in the choruses of "Strange Things Happen". He's credited with vocals on the album, so I'd say that's one that he definitely sang on. Maybe "Hot Fun", too.
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« Reply #30 on: July 24, 2019, 08:55:05 AM »

I've never ever had an inkling that it was anybody other than Carl singing those lines. Always sounded like Carl to me. I just went back and listened again to those lines several times, and while I still believe it is Carl, I think there is at least a small possibility that it is Terry as Jude says, "trying to sound like Carl". To Jude's point I don't know how Terry's voice sounded in the 80's, but there is a hint of familiarity to his 60's sounding voice to a small degree. Again, if it is Terry, I think it was his attempt to sound like Carl, maybe at a time when Carl was unavailable. Though to my ears, it is still very likely Carl Wilson until I hear one of the principles say something different.

Melcher singing lines because other members weren't available (or, in the case of "SIP" later on, seemingly actively didn't want to be there) seems quite plausible. Certainly, it has been established in some cases he sang sort of demo/guide vocals on stuff like "Kokomo."

But Carl sings on "Somewhere Near Japan", so I think it seems even stranger to have Melcher singing some guide vocals, but then bring Carl in to only fill in *some* of those lines.

To be clear, the "my engine's all burned out" lines are not completely solo vocals. There is a harmony running along side it. The only scenario that makes sense in terms of leaving Melcher on those lines is that he sang the lines during some initial sessions, and they later felt it wasn't prominent enough to stick out to fans when released and so they just left it.
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« Reply #31 on: July 24, 2019, 08:58:11 AM »

I hear Terry's voice in the choruses of "Strange Things Happen". He's credited with vocals on the album, so I'd say that's one that he definitely sang on. Maybe "Hot Fun", too.

I think the band, via sleeve credits and some interviews, have indicated Melcher sings some backing vocals on some stuff. There are a ton of non-BBs on backing vocals on tracks here and there. Foskett, Baker, Matt Jardine, and going farther back there's Becher, Toni Tenille, and a bunch of others.

But non-members singing full lead vocal lines is much rarer, and there's also some scattered precedents where the band deleted non-band member lead parts and replaced them with BB lead lines.
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« Reply #32 on: July 24, 2019, 09:37:54 AM »

No way that is Melcher on SNJ.  As mentioned above, he sings Carl's Kokomo lines on the Symphonic Sounds album and, in addition, sings the "ooh I got it bad" line on the Euro version of SIP (which never made sense because Carl is on the re-recorded chorus).  In both cases he is very distinctly different from (and, to these ears at least, very inferior to) Carl Wilson.
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« Reply #33 on: July 24, 2019, 06:50:41 PM »

Consider that only two people have ever produced (and co-wrote) a Beach Boys single that hit #1 on the charts: Brian Wilson and Terry Melcher.

That's a credit worth noting.
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« Reply #34 on: July 24, 2019, 08:11:31 PM »

I hear Terry's voice in the choruses of "Strange Things Happen". He's credited with vocals on the album, so I'd say that's one that he definitely sang on. Maybe "Hot Fun", too.

I think the band, via sleeve credits and some interviews, have indicated Melcher sings some backing vocals on some stuff. There are a ton of non-BBs on backing vocals on tracks here and there. Foskett, Baker, Matt Jardine, and going farther back there's Becher, Toni Tenille, and a bunch of others.

But non-members singing full lead vocal lines is much rarer, and there's also some scattered precedents where the band deleted non-band member lead parts and replaced them with BB lead lines.

What does Toni sing on?
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« Reply #35 on: July 24, 2019, 09:37:22 PM »

Those two lines on SNJ absolutely sound like Carl. It's possible Terry is the second voice on those lines, but I'm having a hard time believing that's not Carl.

I might be going too far down the hypothetical road here, but I wonder how history would have changed if Terry, instead of Bruce, joined the band in 1965. I've personally never felt like Bruce's voice is very Beach Boy-y. It always stands out in a somewhat jarring way to me as part of the blend. Terry might not be as good of a singer, but I feel like his voice would have blended less noticeably.

I know Bruce originally was added to replace Brian's falsetto, but that never really came to fruition. It also seems as though Terry was busier than Bruce in those years, so it's all moot anyway.
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« Reply #36 on: July 25, 2019, 01:46:06 AM »

I hear Terry's voice in the choruses of "Strange Things Happen". He's credited with vocals on the album, so I'd say that's one that he definitely sang on. Maybe "Hot Fun", too.

I think the band, via sleeve credits and some interviews, have indicated Melcher sings some backing vocals on some stuff. There are a ton of non-BBs on backing vocals on tracks here and there. Foskett, Baker, Matt Jardine, and going farther back there's Becher, Toni Tenille, and a bunch of others.

But non-members singing full lead vocal lines is much rarer, and there's also some scattered precedents where the band deleted non-band member lead parts and replaced them with BB lead lines.


What does Toni sing on?

"Everyone's In Love With You".  Also, it sounds like her on "Cuddle Up".
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« Reply #37 on: July 25, 2019, 01:48:35 AM »

Those two lines on SNJ absolutely sound like Carl. It's possible Terry is the second voice on those lines, but I'm having a hard time believing that's not Carl.

I might be going too far down the hypothetical road here, but I wonder how history would have changed if Terry, instead of Bruce, joined the band in 1965. I've personally never felt like Bruce's voice is very Beach Boy-y. It always stands out in a somewhat jarring way to me as part of the blend. Terry might not be as good of a singer, but I feel like his voice would have blended less noticeably.

I know Bruce originally was added to replace Brian's falsetto, but that never really came to fruition. It also seems as though Terry was busier than Bruce in those years, so it's all moot anyway.

Bruce was added to replace Brian's falsetto onstage, which DID come to fruition, at least on some songs (Al continued to sing the falsetto line on some songs, Bruce on others).  But Bruce DID sing the falsetto part on the opening cut of his very first album with the Beach Boys.  Smiley
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« Reply #38 on: July 25, 2019, 06:39:07 AM »

I listened to "Somewhere Near Japan" yet again last night (single mix and album mix), and it sure sounds to me like *Carl* on all of those lead lines in question. As was mentioned in a previous post, Melcher might be the second quieter harmony vocal on those lines (though I would guess most likely not; that part is a higher part that sounds more like it could be Carl, or possibly Bruce, or, if he's on that track, Foskett maybe?). But that second harmony voice is buried enough and indistinct enough that I would buy it's Melcher.

But the prominent, full-voiced lines in question sound 100% like Carl to me, and unlike extemporaneous examples of Melcher's voice. 

It sounds like pure late 80s Carl Wilson. If that's Melcher doing that, it's the one and only example I've ever heard of Terry Melcher sounding inexplicably identical to Carl Wilson.
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« Reply #39 on: July 25, 2019, 06:49:56 AM »

I just had a listen - both to Somewhere Near Japan and the Melcher vox on the Symphonic Sounds version of Kokomo. Count me on the side of those who think Carl did the vocals on SNJ.
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« Reply #40 on: July 25, 2019, 06:56:36 AM »

Discussion of the 1989 tracks also reminds how weirdly minimal and selective the sleeve credits on the "Still Crusin'" album are. It's almost like someone at the last second called around to the guys in the band and snagged the credits they could, but didn't get much, and what they got was still vastly incomplete.

1. STILL CRUISIN’
(Melcher/Love)
Copyright © 1989 by Daywin Music, Inc. administered by Careers Music, Inc./ Clairoudient Music Corporation (BMI) All Rights Reserved. Used by Permission.
Produced by Terry Melcher
Engineered and Mixed by Keith Wechsler
Recorded at The Red Barn, Big Sur, CA;
4th Street Recording, Santa Monica, CA
From “Lethal Weapon 2”

2. SOMEWHERE NEAR JAPAN
(Phillips/Melcher/Love/Johnston)
Copyright © 1989 by Phillips-Tucker Music / Daywin Music, Inc. administered by Careers Music, Inc./ Clairoudient Music Corporation / Bruce Johnston Music (BMI) All Rights Reserved. Used by Permission.
Produced by Terry Melcher
Engineered and Mixed by Keith Wechsler
Recorded at The Red Barn, Big Sur, CA;
4th Street Recording, Santa Monica, CA

3. ISLAND GIRL (I’m Gonna Make Her Mine)
(Alan Jardine)
Copyright © by Jardine Music (BMI) All Rights Reserved. Used by Permission.
Produced by Alan Jardine, A Red Barn Production
Engineers: Billy Moss, Don Weiss
Recorded at The Red Barn, Big Sur, CA; Vintage Records
Mixed at Capitol Records
With Special Thanks to Leslie Ann Jones and the E-MERGEN-C
Vocals by Carl Wilson, Alan Jardine, Mike Love
Synth programming by James Grunke
Additional Background Vocals: Matt Jardine, Adam Jardine, Jeff Foskett


4. IN MY CAR
(Wilson/Landy/Morgan)
Copyright © 1989 by Beach Bum Music / Beachhead Music, Inc. (BMI/ASCAP) All Rights Reserved. Used by Permission.
Produced by Brian Wilson and Eugene E. Landy (for “Brains And Genius”)
Mixed by Brian Wilson and Mark Linett
All Keyboards and Synthesizers played by Brian Wilson
Music and Vocal Arrangements by Brian Wilson
Programming and Computers by Michael Bernard
Guitar: Joseph Brasler
Drums: Vinnie Colautia

Recorded and Mixed at Sunset Sound in Los Angeles
Engineered by Mark Linett
Production Coordination by Andrew Dean
Assistant to Brian Wilson: Kevin S. Leslie
Brian Wilson plays Young Chang Pianos

5. KOKOMO
(Phillips/Love/Melcher/McKenzie)
Copyright © 1988 by Walt Disney Music Company / Wonderland Music Company, Inc. / Honest John Music / Clairoudient Music Corporation / Daywin Music, Inc. / Phillips-Tucker Music (ASCAP/BMI) All rights administered by Walt Disney Music Company and Wonderland Music Company, Inc. All Rights Reserved. Used by Permission.
Produced by Terry Melcher
Engineered and Mixed by Keith Wechsler
Recorded at 4th Street Recording, Santa Monica, CA
Mastered at Precision Lacquer by Stephen Marcussen
From “Cocktail”

6. WIPE OUT*
(The Surfaris)
Copyright © 1963, 1987 by Miraleste Music Co. / Robin Hood Music Co. (BMI) All Rights Reserved. Used by Permission.
Produced by Albert Cabrera and Tony Moran (Little Rascals)
In association with The Beach Boys
Co-Produced by Darren Robinson and Damon Wimbley
(With The Fat Boys)

7. MAKE IT BIG
(Melcher/House/Love)
Copyright © 1989 by Daywin Music, Inc. administered by Careers Music, Inc./ Clairoudient Music Corporation (BMI) All Rights Reserved. Used by Permission.
Produced by Terry Melcher
Engineered and Mixed by Keith Wechsler
Acoustic Guitar: Carl Wilson, Al Jardine
Recorded at The Red Barn, Big Sur, CA;
4th Street Recording, Santa Monica, CA
From “Troop Beverly Hills”

And then the only other recording data we get is this at the end:

Additional Background Vocals: Matt Jardine, Adam Jardine, Suzie Renner, Jeff Foskett

Recorded at 4th Street Recording, Santa Monica, CA
Sound Solutions, Santa Monica, CA
Soundworks, New York, NY
The Red Barn, Big Sur, CA
Ryan Recording, Carmel, CA

So, out of the seven non-oldie songs on the album, the only vocal or instrumental credits we got were lead and backing vocal credits on "Island Girl" (though incomplete in not mentioning that Brian is also on backing vocals on that one), musician credits on "In My Car" (but ironically *no* credits for Carl and Al adding lead vocals), and *only* acoustic guitar credits for Carl and Al on "Make It Big" (wtf?), and then tagged on "Additional Background Vocal" credits not pertaining to any specific song.
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« Reply #41 on: July 25, 2019, 07:53:23 AM »

I think Melcher has a distinctive enough voice on a number of his tracks. As I've said, I'm not familiar with the changes his voice may have displayed by the 80s. Those lines in "Somewhere Near Japan" don't sound much at all like Melcher's (in my opinion rather dull and monotone) lead vocals from his 60s tracks.

But am I really the only person who thinks it sounds like Carl singing "my engine's all burned out..., etc." on "Somewhere Near Japan"?

Yes, the timbre of those lines is somewhat different from Carl's other lines. But those other lines are higher notes. The "my engine's.." lines are in a lower register, much more in the mid-range.

I'm open to those lines being Melcher, but if they are, it's Melcher doing a pretty good Carl impression. In the 30 years since that song came out, I don't think I've ever heard much of anyone suggest it's Melcher singing those lines. He very well could be, but I'm guessing most fans have assumed all these years it's Carl, which suggests to me that many agree it sounds enough like Carl to allow many to assume it *is* Carl.

I very much thought it was Carl on that line, Jude.

Also, I'm in agreement that at best his '60s vocals were workmanlike at best. I remember being kinda disappointed when I finally got The Best of Bruce & Terry and realzied that there were not too many Bruce Johnston lead vocals, instead a bunch of nondescript Melcher leads (and maybe a few nicer ones).

And at the same time, while I can see how "Hey Little Cobra" was a hit, it is hard to see how Melcher's lead vocal was good enough to make it that high on the charts. He just had such a bland voice. Listening to him, really does show you how lucky we are as fans with The Beach Boys. Brian, Mike, Carl, Dennis, Al, Bruce and Blondie all have (or had in Carl and Dennis' case) super distinct yet wonderful voices. And in addition, Ricky Fataar and David Marks both have good voices too, though a bit less distinct than other Beach Boys members. And especially in Dave's case, he was really only a kid in his first go-round with the group, so we've really never been able to hear an adult David Marks on a Beach Boys tune. In fact I'm still unsure whether he is vocally on the That's Why God Made The Radio album. The credits say no, but I've heard those may be wrong.
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« Reply #42 on: July 25, 2019, 08:58:55 AM »

Discussion of the 1989 tracks also reminds how weirdly minimal and selective the sleeve credits on the "Still Crusin'" album are. It's almost like someone at the last second called around to the guys in the band and snagged the credits they could, but didn't get much, and what they got was still vastly incomplete.

1. STILL CRUISIN’
(Melcher/Love)
Copyright © 1989 by Daywin Music, Inc. administered by Careers Music, Inc./ Clairoudient Music Corporation (BMI) All Rights Reserved. Used by Permission.
Produced by Terry Melcher
Engineered and Mixed by Keith Wechsler
Recorded at The Red Barn, Big Sur, CA;
4th Street Recording, Santa Monica, CA
From “Lethal Weapon 2”

2. SOMEWHERE NEAR JAPAN
(Phillips/Melcher/Love/Johnston)
Copyright © 1989 by Phillips-Tucker Music / Daywin Music, Inc. administered by Careers Music, Inc./ Clairoudient Music Corporation / Bruce Johnston Music (BMI) All Rights Reserved. Used by Permission.
Produced by Terry Melcher
Engineered and Mixed by Keith Wechsler
Recorded at The Red Barn, Big Sur, CA;
4th Street Recording, Santa Monica, CA

3. ISLAND GIRL (I’m Gonna Make Her Mine)
(Alan Jardine)
Copyright © by Jardine Music (BMI) All Rights Reserved. Used by Permission.
Produced by Alan Jardine, A Red Barn Production
Engineers: Billy Moss, Don Weiss
Recorded at The Red Barn, Big Sur, CA; Vintage Records
Mixed at Capitol Records
With Special Thanks to Leslie Ann Jones and the E-MERGEN-C
Vocals by Carl Wilson, Alan Jardine, Mike Love
Synth programming by James Grunke
Additional Background Vocals: Matt Jardine, Adam Jardine, Jeff Foskett


4. IN MY CAR
(Wilson/Landy/Morgan)
Copyright © 1989 by Beach Bum Music / Beachhead Music, Inc. (BMI/ASCAP) All Rights Reserved. Used by Permission.
Produced by Brian Wilson and Eugene E. Landy (for “Brains And Genius”)
Mixed by Brian Wilson and Mark Linett
All Keyboards and Synthesizers played by Brian Wilson
Music and Vocal Arrangements by Brian Wilson
Programming and Computers by Michael Bernard
Guitar: Joseph Brasler
Drums: Vinnie Colautia

Recorded and Mixed at Sunset Sound in Los Angeles
Engineered by Mark Linett
Production Coordination by Andrew Dean
Assistant to Brian Wilson: Kevin S. Leslie
Brian Wilson plays Young Chang Pianos

5. KOKOMO
(Phillips/Love/Melcher/McKenzie)
Copyright © 1988 by Walt Disney Music Company / Wonderland Music Company, Inc. / Honest John Music / Clairoudient Music Corporation / Daywin Music, Inc. / Phillips-Tucker Music (ASCAP/BMI) All rights administered by Walt Disney Music Company and Wonderland Music Company, Inc. All Rights Reserved. Used by Permission.
Produced by Terry Melcher
Engineered and Mixed by Keith Wechsler
Recorded at 4th Street Recording, Santa Monica, CA
Mastered at Precision Lacquer by Stephen Marcussen
From “Cocktail”

6. WIPE OUT*
(The Surfaris)
Copyright © 1963, 1987 by Miraleste Music Co. / Robin Hood Music Co. (BMI) All Rights Reserved. Used by Permission.
Produced by Albert Cabrera and Tony Moran (Little Rascals)
In association with The Beach Boys
Co-Produced by Darren Robinson and Damon Wimbley
(With The Fat Boys)

7. MAKE IT BIG
(Melcher/House/Love)
Copyright © 1989 by Daywin Music, Inc. administered by Careers Music, Inc./ Clairoudient Music Corporation (BMI) All Rights Reserved. Used by Permission.
Produced by Terry Melcher
Engineered and Mixed by Keith Wechsler
Acoustic Guitar: Carl Wilson, Al Jardine
Recorded at The Red Barn, Big Sur, CA;
4th Street Recording, Santa Monica, CA
From “Troop Beverly Hills”

And then the only other recording data we get is this at the end:

Additional Background Vocals: Matt Jardine, Adam Jardine, Suzie Renner, Jeff Foskett

Recorded at 4th Street Recording, Santa Monica, CA
Sound Solutions, Santa Monica, CA
Soundworks, New York, NY
The Red Barn, Big Sur, CA
Ryan Recording, Carmel, CA

So, out of the seven non-oldie songs on the album, the only vocal or instrumental credits we got were lead and backing vocal credits on "Island Girl" (though incomplete in not mentioning that Brian is also on backing vocals on that one), musician credits on "In My Car" (but ironically *no* credits for Carl and Al adding lead vocals), and *only* acoustic guitar credits for Carl and Al on "Make It Big" (wtf?), and then tagged on "Additional Background Vocal" credits not pertaining to any specific song.

Wow, Jude, that's fantastic! As incomplete as the credits on your copy of Still Cruisin' are, they are VASTLY more complete than those on my copies! I bought the CD upon release and the LP a very short time later (days or weeks)...my CD contains only the one thin insert with pleasant graphics and the barest of composition and production credits. The LP contains even less, with a generic white paper inner sleeve. Call yourself fortunate to have what you have!
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« Reply #43 on: July 25, 2019, 09:24:50 AM »

Wow, Jude, that's fantastic! As incomplete as the credits on your copy of Still Cruisin' are, they are VASTLY more complete than those on my copies! I bought the CD upon release and the LP a very short time later (days or weeks)...my CD contains only the one thin insert with pleasant graphics and the barest of composition and production credits. The LP contains even less, with a generic white paper inner sleeve. Call yourself fortunate to have what you have!

While I do have these credits in my collection somewhere, as I remember scratching my head at stuff like only "acoustic guitar" credits on "Make It Big", I grabbed these from this link:

http://albumlinernotes.com/Still_Cruisin_.html

I have "Still Cruisin'" on CD, but I think I first purchased it on cassette back in 1989. I suspect the original "foldout" liner notes for the cassette are where I remember seeing these credits. I'll have to dig my CD copy out (purchased I would guess at some point in the 90s; it's a stock Capitol US CD release) and see if it has the full liner notes or just the single sheet fold.
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« Reply #44 on: July 25, 2019, 10:14:26 AM »

Thanks, Jude. Nice to see this included:

And Special Thanks to the Beach Boys Band for Still Cruisin’ with us after all these years – Ed Carter, Bass/Vocals; Mike Kowalski, Drums; Billy Hinsche, Piano/Vocals; Michael Meros, Keyboards/Organ; Jeff Foskett, Guitar/Vocals; Matthew Jardine, Percussion/Vocals.
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« Reply #45 on: July 25, 2019, 10:25:06 AM »

Discussion of the 1989 tracks also reminds how weirdly minimal and selective the sleeve credits on the "Still Crusin'" album are. It's almost like someone at the last second called around to the guys in the band and snagged the credits they could, but didn't get much, and what they got was still vastly incomplete.

1. STILL CRUISIN’
(Melcher/Love)
Copyright © 1989 by Daywin Music, Inc. administered by Careers Music, Inc./ Clairoudient Music Corporation (BMI) All Rights Reserved. Used by Permission.
Produced by Terry Melcher
Engineered and Mixed by Keith Wechsler
Recorded at The Red Barn, Big Sur, CA;
4th Street Recording, Santa Monica, CA
From “Lethal Weapon 2”

2. SOMEWHERE NEAR JAPAN
(Phillips/Melcher/Love/Johnston)
Copyright © 1989 by Phillips-Tucker Music / Daywin Music, Inc. administered by Careers Music, Inc./ Clairoudient Music Corporation / Bruce Johnston Music (BMI) All Rights Reserved. Used by Permission.
Produced by Terry Melcher
Engineered and Mixed by Keith Wechsler
Recorded at The Red Barn, Big Sur, CA;
4th Street Recording, Santa Monica, CA

3. ISLAND GIRL (I’m Gonna Make Her Mine)
(Alan Jardine)
Copyright © by Jardine Music (BMI) All Rights Reserved. Used by Permission.
Produced by Alan Jardine, A Red Barn Production
Engineers: Billy Moss, Don Weiss
Recorded at The Red Barn, Big Sur, CA; Vintage Records
Mixed at Capitol Records
With Special Thanks to Leslie Ann Jones and the E-MERGEN-C
Vocals by Carl Wilson, Alan Jardine, Mike Love
Synth programming by James Grunke
Additional Background Vocals: Matt Jardine, Adam Jardine, Jeff Foskett


4. IN MY CAR
(Wilson/Landy/Morgan)
Copyright © 1989 by Beach Bum Music / Beachhead Music, Inc. (BMI/ASCAP) All Rights Reserved. Used by Permission.
Produced by Brian Wilson and Eugene E. Landy (for “Brains And Genius”)
Mixed by Brian Wilson and Mark Linett
All Keyboards and Synthesizers played by Brian Wilson
Music and Vocal Arrangements by Brian Wilson
Programming and Computers by Michael Bernard
Guitar: Joseph Brasler
Drums: Vinnie Colautia

Recorded and Mixed at Sunset Sound in Los Angeles
Engineered by Mark Linett
Production Coordination by Andrew Dean
Assistant to Brian Wilson: Kevin S. Leslie
Brian Wilson plays Young Chang Pianos

5. KOKOMO
(Phillips/Love/Melcher/McKenzie)
Copyright © 1988 by Walt Disney Music Company / Wonderland Music Company, Inc. / Honest John Music / Clairoudient Music Corporation / Daywin Music, Inc. / Phillips-Tucker Music (ASCAP/BMI) All rights administered by Walt Disney Music Company and Wonderland Music Company, Inc. All Rights Reserved. Used by Permission.
Produced by Terry Melcher
Engineered and Mixed by Keith Wechsler
Recorded at 4th Street Recording, Santa Monica, CA
Mastered at Precision Lacquer by Stephen Marcussen
From “Cocktail”

6. WIPE OUT*
(The Surfaris)
Copyright © 1963, 1987 by Miraleste Music Co. / Robin Hood Music Co. (BMI) All Rights Reserved. Used by Permission.
Produced by Albert Cabrera and Tony Moran (Little Rascals)
In association with The Beach Boys
Co-Produced by Darren Robinson and Damon Wimbley
(With The Fat Boys)

7. MAKE IT BIG
(Melcher/House/Love)
Copyright © 1989 by Daywin Music, Inc. administered by Careers Music, Inc./ Clairoudient Music Corporation (BMI) All Rights Reserved. Used by Permission.
Produced by Terry Melcher
Engineered and Mixed by Keith Wechsler
Acoustic Guitar: Carl Wilson, Al Jardine
Recorded at The Red Barn, Big Sur, CA;
4th Street Recording, Santa Monica, CA
From “Troop Beverly Hills”

And then the only other recording data we get is this at the end:

Additional Background Vocals: Matt Jardine, Adam Jardine, Suzie Renner, Jeff Foskett

Recorded at 4th Street Recording, Santa Monica, CA
Sound Solutions, Santa Monica, CA
Soundworks, New York, NY
The Red Barn, Big Sur, CA
Ryan Recording, Carmel, CA

So, out of the seven non-oldie songs on the album, the only vocal or instrumental credits we got were lead and backing vocal credits on "Island Girl" (though incomplete in not mentioning that Brian is also on backing vocals on that one), musician credits on "In My Car" (but ironically *no* credits for Carl and Al adding lead vocals), and *only* acoustic guitar credits for Carl and Al on "Make It Big" (wtf?), and then tagged on "Additional Background Vocal" credits not pertaining to any specific song.

Interesting how much they used 4th Street Recording in Santa Monica, CA around this time.

Did the band ever record there again before or since, or was it just a one-off place they recorded at for songs from the Still Crusin' album?

I say interesting because it's just a few blocks away from the band's previous studio that they owned in Santa Monica (which I believe by that time was long sold off), so it seems they were sticking with an area by the beach that they were familiar with, and perhaps enjoyed the surroundings of.
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« Reply #46 on: July 25, 2019, 11:23:11 AM »

Something I don't understand, and I'm bringing it up because I want to understand more perhaps: What do people have against Terry Melcher anyway?

Some of the posts above seem to mention his shortcomings as a vocalist, his pedestrian or "stock" production style, whether or not he sang an insignificant line on a BB's tune...

Yet here is a guy who could have quit producing music entirely after 1967 and to his credit as a producer he'd have two of the best remembered singles of the entire 1960's, two songs as in The Byrds' "Mr Tambourine Man" and "Turn Turn Turn" which to many are as representative to an entire generation and era as "In The Mood" or "White Christmas" was to the WW2 generation and "Johnny B Goode" or "Heartbreak Hotel" are to the 1950's. Two number one singles for The Byrds, with Terry Melcher at the production helm, and he barely gets a mention in the "Echos From The Canyon" doc and the focus here is on his shortcomings?

Then factor in his work with Paul Revere and The Raiders, "Kicks" and "Hungry" were among the band's biggest hits and songs which brought a raw garage-proto-punk sound to The Raiders that still hold up as exciting and well-produced records to this day. Those songs via The Raiders' popularity on TV got into the ears of millions of kids watching those weekend shows and appearances on TV, hearing that psychedelic and raw fuzz guitar break after the chorus of "Hungry" that just oozes 60's LA psychedelia and garage rock.

So he goes to work mostly for his mother Doris Day, producing her TV show (which was relatively successful in its day though it was anachronistic to a degree), working on her music, and doing work for her charities. Then he releases a few solo albums of his own here and there, etc.

Fast forward to the 80's...He joins up with The Beach Boys, who needed *something* to really come back into the public. They were floundering to be kind about it, Brian was locked in with Landy, etc.

Melcher shows up, gets Roger McGuinn on board, and produces California Dreamin for the band, which gets them on MTV and scores a top-10 adult contemporary single. McGuinn's Rickenbacker adds countless cool factor points to the track, it's sublime and perfect.

Fast forward again, the band despite having several songwriters and with Brian still locked into whatever sham deal Landy cooked up regarding songwriting needed material. Melcher reached out to John Phillips, gets a few originals from Papa John, and gets something for the band to do on the upcoming film Cocktail. He produces and co-writes Kokomo, gets it placed in the film and on the official Cocktail soundtrack, and voila...The band is back with a number one hit single and video on heavy rotation on MTV, with the "Cocktail" tie-ins front and center.

The Beach Boys didn't even have a label deal when "Cocktail" came out, never mind a pool of original material to pull from. It literally brought them back and got Capitol interested in them again.

Thanks in large part to Terry Melcher and his production along with his connections both in the film industry and in the music industry.

And note too Brian Wilson's statement to Billboard when Terry passed away, and see the praise and respect one of the greatest music producers of all time had for this man.

So it begs the question, what do people seem to have against Terry Melcher? He has as much, or should have as much "cred" as he earned and as he's due for producing two monster if not era-defining singles for the Byrds, and for his other work leading up to doing the impossible and bringing the Beach Boys back into commercial success, label interest, MTV airplay, and a general rescue from the deep vast ocean of obscurity they were treading water in prior to "Cocktail" becoming a blockbuster.

What gives?



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« Reply #47 on: July 25, 2019, 11:41:12 AM »

Just to add a bit to GF's post directly above - even prior to Melcher's production of "California Dreamin'" for The Boys, he was partly responsible for getting them back on the airwaves and on MTV a year earlier, with "Getcha Back". Although officially produced by Steve Levine, Terry cowrote the song, and according to Levine, was a kind of unofficial producer. For one thing, he prodded Brian into singing that fantastic falsetto line, when probably nobody else could have.
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« Reply #48 on: July 25, 2019, 11:46:06 AM »

Something I don't understand, and I'm bringing it up because I want to understand more perhaps: What do people have against Terry Melcher anyway?

Some of the posts above seem to mention his shortcomings as a vocalist, his pedestrian or "stock" production style, whether or not he sang an insignificant line on a BB's tune...

Yet here is a guy who could have quit producing music entirely after 1967 and to his credit as a producer he'd have two of the best remembered singles of the entire 1960's, two songs as in The Byrds' "Mr Tambourine Man" and "Turn Turn Turn" which to many are as representative to an entire generation and era as "In The Mood" or "White Christmas" was to the WW2 generation and "Johnny B Goode" or "Heartbreak Hotel" are to the 1950's. Two number one singles for The Byrds, with Terry Melcher at the production helm, and he barely gets a mention in the "Echos From The Canyon" doc and the focus here is on his shortcomings?

Then factor in his work with Paul Revere and The Raiders, "Kicks" and "Hungry" were among the band's biggest hits and songs which brought a raw garage-proto-punk sound to The Raiders that still hold up as exciting and well-produced records to this day. Those songs via The Raiders' popularity on TV got into the ears of millions of kids watching those weekend shows and appearances on TV, hearing that psychedelic and raw fuzz guitar break after the chorus of "Hungry" that just oozes 60's LA psychedelia and garage rock.

So he goes to work mostly for his mother Doris Day, producing her TV show (which was relatively successful in its day though it was anachronistic to a degree), working on her music, and doing work for her charities. Then he releases a few solo albums of his own here and there, etc.

Fast forward to the 80's...He joins up with The Beach Boys, who needed *something* to really come back into the public. They were floundering to be kind about it, Brian was locked in with Landy, etc.

Melcher shows up, gets Roger McGuinn on board, and produces California Dreamin for the band, which gets them on MTV and scores a top-10 adult contemporary single. McGuinn's Rickenbacker adds countless cool factor points to the track, it's sublime and perfect.

Fast forward again, the band despite having several songwriters and with Brian still locked into whatever sham deal Landy cooked up regarding songwriting needed material. Melcher reached out to John Phillips, gets a few originals from Papa John, and gets something for the band to do on the upcoming film Cocktail. He produces and co-writes Kokomo, gets it placed in the film and on the official Cocktail soundtrack, and voila...The band is back with a number one hit single and video on heavy rotation on MTV, with the "Cocktail" tie-ins front and center.

The Beach Boys didn't even have a label deal when "Cocktail" came out, never mind a pool of original material to pull from. It literally brought them back and got Capitol interested in them again.

Thanks in large part to Terry Melcher and his production along with his connections both in the film industry and in the music industry.

And note too Brian Wilson's statement to Billboard when Terry passed away, and see the praise and respect one of the greatest music producers of all time had for this man.

So it begs the question, what do people seem to have against Terry Melcher? He has as much, or should have as much "cred" as he earned and as he's due for producing two monster if not era-defining singles for the Byrds, and for his other work leading up to doing the impossible and bringing the Beach Boys back into commercial success, label interest, MTV airplay, and a general rescue from the deep vast ocean of obscurity they were treading water in prior to "Cocktail" becoming a blockbuster.

What gives?



I agree completely with what you're saying. It's a bit of a head-scratcher.

I think a good part of why perhaps BBs fans don't give him enough credit is because that whole late 80s/early 90s era of BBs tunes aren't considered terribly great (even though I'd bet that a good deal of what's actually good about them is largely due to Melcher). But that's more of a nerdy niche thing for music fans to even be terribly aware of Melcher's BBs work. It doesn't really explain why Melcher didn't get more credit in the Echo in the Canyon film, for example.

I do find it odd that some artists and/or producers in the industry get a ton of credit and accolades, while others tend to get left out. A lot of times, I think that's due to people being put off by something personally with the artist/producer in question (Phil Spector... let's face it, if he weren't a creep, there'd be sold out Hollywood Bowl nights with entire orchestras playing his work... and sad to say it, Mike Love is also someone whose legit good work is often not brought up enough IMO at least in part because people don't like to praise someone who brags too much, and/or rightly or wrongly is perceived to be a bully)...

But with Terry, who as GF stated had a major role in some very pivotal productions, I just don't quite know what gives with him not being more well-respected or well-known. Maybe he wasn't good-looking enough, or enough of a standout personality, and he seemed to prefer to let his music do the talking. Phil Spector and Brian Wilson were of course known not just for their music, but for some over-the-top stuff they did, either with flashy wardrobes/wigs, or other various eccentricities.  Terry - who I must confess I don't know all that much about - at least on the surface seemed to prefer to have a more low-key type of existence, and maybe because he didn't have more big hits between the mid 60s and the late 80s, all of that might be part of an answer to GF's question.
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« Reply #49 on: July 25, 2019, 12:25:05 PM »

Just wanted to say that the comments regarding the relative "blandness" of Terry's singing voice were only made in the context of comparison to Carl's obviously stellar singing voice, and pertain to which of the two might be singing those lines in "SNJ".  Smiley
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