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Author Topic: Question for Mr. Desper - Recording Brian in Western 1980 with Chuck Britz  (Read 2051 times)
Rebel
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« on: May 28, 2020, 06:50:37 PM »

I was reading 'Catch a wave: the ride, fall, and redemption of the Beach Boys' by Peter Carlin (2006). On page #232 the entire page is devoted to The Beach Boys (well, at least Carl) + Marilyn converting Western studios to look like how Brian would have remembered it in the 1960's. Including putting up plywood to hide 'modern' equipment. Going so far as to source an old four-track Ampeg recorder, Urei tube console, and original Altec 604e speakers.

They even went so far as to supposedly drag Chuck Britz out of retirement to show up to mix for his old chum Brian!

Mr. Desper commented in the book. It says Brian was 38 which would have been 1980 and sessions for School Day (Ring! Ring! Goes the Bell), and Sunshine took place. We also know that (Old R&B standard )"Stranded in the Jungle" and oldie "Jamaica Farewell" were attempted.

My question to Mr. Desper is: Can you shed any additional information on this session? Mood and atmosphere? Was it merely one go? Or multiple days? How was Chuck? And Carl?

Were "Stranded in the Jungle" and "Jamaica Farewell" completed?

What session crew members were there? I'm curious to know if it was newer cats or some old studio birds from the heyday.

Was Brian just trying to get the sessions over with or was he at least calling for additional takes, more this, more that, etc - Like how we hear on other early session outtakes where he is clearly in control and knows what he wants.


I know this was a long time ago, so understandable if you don't recall too much. I've Googled around and couldn't find much info on this/these session(s) so hoped you'd be in the neighborhood and could pop in.

Also if anyone else wants to kick in, come on!


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c-man
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« Reply #1 on: May 28, 2020, 07:16:51 PM »

Pretty sure Chuck wasn't retired yet - he'd engineered several sessions for the Boys the year before, and would do more the following year. Was still working when AGD interviewed him in '85.
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« Reply #2 on: May 28, 2020, 08:01:47 PM »

Thank you for the response! I appreciate any tidbits on this era. Just quoting the book - which claimed.. Quote.. "Chuck Britz, always Brian's most trusted engineer, even agreed to come out of retirement to run the vacuum tube mixing board they'd managed to dig up for the sessions."

I had no clue Chuck was working well into the mid 80's! Is there anything we know he produced/worked on?
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All Summer Long
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« Reply #3 on: May 28, 2020, 08:36:00 PM »

All I can offer (that I had saved from c-man’s original post(s) is that Dennis Budimir (guitar) and Mike Meros (keyboards) played on these sessions.
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Emdeeh
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« Reply #4 on: May 29, 2020, 05:31:00 AM »

I recall reading somewhere (years ago) that the track for "Jamaica Farewell" wound up being used for "Sunshine."
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c-man
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« Reply #5 on: May 29, 2020, 06:12:46 AM »

I recall reading somewhere (years ago) that the track for "Jamaica Farewell" wound up being used for "Sunshine."

It was actually the track for "Little Girl" - however, not the version cut in July, but rather a Bruce-produced remake cut on 24-track at Rumbo the following November.

The existing documentation indicates a July 23rd session for "Little Girl" and "Jamaica Farewell", and a July 24th session for "School Days" (and, apparently, "Stranded In The Jungle"). Musicians listed on the AFM contracts for both days are Dennis Budimir and Tim May (guitars), Don Randi and Mike Meros (keyboards), Ray Pohlman (bass), and Hal Blaine (drums). Kind of a scaled-back production Brian-wise (no horns or additional percussionists).
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Joshilyn Hoisington
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« Reply #6 on: May 29, 2020, 07:30:26 AM »

Pretty sure Chuck wasn't retired yet - he'd engineered several sessions for the Boys the year before, and would do more the following year. Was still working when AGD interviewed him in '85.

I have no idea exactly when Chuck retired, but I do know that he mostly got out of the tracking side of engineering pretty early.  He may have reduced his work doing sessions by that point, and by the 80s, he was working in the transfer room at Hanna Barbara, presumably dubbing and setting things up for the screen.

He got out of tracking early because the excessive amount of overdubbing made possible by 16- and 24- track drove him nuts.
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