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Author Topic: Jack Reilly  (Read 31547 times)
Charles LePage @ ComicList
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« Reply #50 on: October 30, 2006, 02:47:26 AM »

i saved those way back when also. of course it was many a computer ago. i know i put them on floppy discs. i will try to find them. if i do i will pass them on also.

Thank you, sir!
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« Reply #51 on: October 30, 2006, 06:56:25 AM »

found this on amazon while looking for "western justice"..... posted january 18th, 2003

Reviewer: A music fan
I wrote a story a whole lot of moons ago, a story about power, prejudice, globalization and excess in the western world. It read like a diary and much of it consisted of music, ten songs to be exact. The songs and fictional diary were meant as a warning, a kind of prophetic warning, of what would happen if western nations did not abandon horrific policies that would inevitably, one day, lead to retribution. The project was called Western Justice.
Back then, a man named Roel Kruize ran EMI Records in The Netherlands, and he took the project seriously, electing to record it in the elaborate manner I proposed. There would be a full symphonic orchestra, good pop musicians and a children's' choir in the recordings. Western Justice would appear as an album accompanied by a book-form insert containing the diary and color photographs.

A sensitive artist by the name of Harm Botman was invited to do the illustrative photos. Harm's brother Machiel was eager to do some of the vocals, which made sense because of his dedicated enthusiasm for the project. John Leckie, already a respected recording engineering who later went on to become a legendary music producer, agreed to engineer the extensive recording sessions. A fine musician, Gerard Stellaard, was enlisted to do the arrangements.

Much of the recording was done in EMI's studios in Heemstede, The Netherlands. Additional recording and all mixing was accomplished at Abbey Road studios in London. During the process, an eleventh song was added to the list, composed by Machiel Botman.

In the end, my own doubts about my vocal performances caused me to mix the vocals deeper and deeper into the lush instrumental tracks. Someone said I was doing a "graveyard mix" because of my penchant for burying those vocals.

In many ways, it was a spectacular project. Harm Botman's photographs were truly brilliant, Machiel Botman added youth and innocence to the recordings, Gerard Stellaard's arrangements were very good, the musicians made my songs sound beautiful, the diary booklet was set according to my exact wishes, right down to the choice of type style.

Roel Kruize, who went on to become a top executive for EMI internationally, has now chosen to release Western Justice as a CD, complete with the diary and all. In a message that touched me to the core, Roel has written to say, "Western Justice as philosophy became timeless. The gap has further widened, and therefore Western Justice can still contribute" to understanding the crisis and our world today.

Indeed, the world has become a much more frightening place. America is in the clutches of a junta bent on war while, around the world, there is increasing alienation at Washington's ever greater hunger to display raw power, Western Justice maye be a parable for our times.

- Jack Rieley

« Last Edit: October 30, 2006, 06:57:19 AM by Steve Mayo » Logged

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« Reply #52 on: November 01, 2006, 12:41:05 PM »

  Away from Jack Rieley's deepening paranoia.......I just read the 2 part threads that were posted from back in 1996 and was quite impressed by Rieley's "contributions" and insightfulness.
  Does anyone of you know how to contact him and see if he'd be interested  in coming back on board here after a 10 year absence??
It seems pretty unanamous that everybody misses Dennis Wilson.Jack had some woderful words of praise for Denny.
Cheers,
Bri
« Last Edit: November 01, 2006, 12:42:36 PM by Big Bri » Logged
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« Reply #53 on: November 01, 2006, 12:57:49 PM »

Has this site been mentioned here already?
 http://www.western-justice.com/
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« Reply #54 on: November 01, 2006, 04:11:16 PM »

I think we should take alot of what Jack wrote on those messeges with a grain of salt too. Jack was known as a master manipulator, and over the decades i think he realized it looks good to bash the Love side of the band (he calls them the Losers) and praise the Wilson side. When the truth is SU has more Love and Jardine material than any record besides Carl and the passions (another album Reilly was around for) Holland is a little better.
Another little known fact was it was Van Dyke Parks idea to call the album SU and include the song. the reasoning was it would sell 200,000 more copies with SU included and Warner Brothers had called Van Dyke asking about the Smile materisl he had worked on.




But the truth was Reilly was on any side that helped keep him around.
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« Reply #55 on: November 01, 2006, 07:19:15 PM »

Jack was known as a master manipulator(...)

Man, those Jack - Brian meetings must have been a clash of titans. Aces and bluffs flying all around.  Grin
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« Reply #56 on: November 01, 2006, 08:58:50 PM »

I think we should take alot of what Jack wrote on those messeges with a grain of salt too. Jack was known as a master manipulator, and over the decades i think he realized it looks good to bash the Love side of the band (he calls them the Losers) and praise the Wilson side. When the truth is SU has more Love and Jardine material than any record besides Carl and the passions (another album Reilly was around for) Holland is a little better.
Another little known fact was it was Van Dyke Parks idea to call the album SU and include the song. the reasoning was it would sell 200,000 more copies with SU included and Warner Brothers had called Van Dyke asking about the Smile materisl he had worked on.




But the truth was Reilly was on any side that helped keep him around.

I can see that. First of all, I think it is unfair to suggest that the Wilsons were all good and the Love/Jardine/Johnstons were all bad. The Wilsons music was better then the LJJ music, but here are some exceptions. These of course are subject to my personal opinion.

Not so good Wilsons' songs: 'All I Want to Do', 'Got to Know the Woman' and 'Trader'

Not so bad Love/Jardine/Johnson songs: 'Don't Go Near the Water', 'Disney Girls' and 'Looking At Tommorow' and 'California Saga'

However, the two songs that I truly hate from this period (Student Demonstration Time and He Comes Down) are "songs of Love"
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« Reply #57 on: November 01, 2006, 09:05:46 PM »

Did you seriously just list 'Trader' as a not so good Wilson song? What the f*** are you smoking?
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« Reply #58 on: November 01, 2006, 11:13:23 PM »

However, the two songs that I truly hate from this period (Student Demonstration Time and He Comes Down) are "songs of Love"

Think you'll find a Wilson credit on the latter... and I do believe it's Brian's.
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« Reply #59 on: November 02, 2006, 07:59:11 AM »

Yeah, He Comes Down is a great tune...Demo Time...not so much.

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« Reply #60 on: November 02, 2006, 09:45:37 AM »

Whan I first got Surf's Up as a second generation tape dub back in 1990, I liked it a lot, and saw it was a early 70s update of the other album by them that I had, Pet Sounds. I didn't know how thay had got there, the backload of tracks that were piling up in brother shelves, and the Dennis tracks that were left out. Student Demonstration Time didn't bother me then, I considered it a 'change of pace' / 'back to the roots' track in the middle of a mostly mellow mid-tempo album. Overall, "Take a Look at Your Feet" was the dud track IMO. But what bothered me the most about Surf's Up was the positioning of "Till I Die" and "Surf's Up". When you listen to them for the first time, they sound kinda similar, and I thought throwing them there back to back as the closing tracks was a mistake. Bad sequencing IMO.
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« Reply #61 on: November 02, 2006, 12:55:47 PM »

Agreed, sequencing for Surf's Up isnt that great. The worst goes to 20/20 though. I have my own tracklist for that album and it flows *so* much better. Thank goodness for playlists!
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« Reply #62 on: November 02, 2006, 08:07:57 PM »

I like Student Demo Time. The lyrics are kind of iffy but the performance itself is great. Dennis really cooks on it.
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« Reply #63 on: November 03, 2006, 08:36:18 AM »

Fact is, Student D T was the first, and maybe only, song that got the FM stations to play anything from that album. It is in my top 3 albums.
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« Reply #64 on: November 03, 2006, 09:15:14 AM »

Fact is, Student D T was the first, and maybe only, song that got the FM stations to play anything from that album. It is in my top 3 albums.

that is what i have been saying here for a long time. fm radio was very different back then. all those songs fit well in the time period they were recorded in. sdt & feel flows got lots of college fm airplay back here also. i used to listen to wcfl out of chicago (am) at night. they played don't go near the water a lot.
some songs/lyrics may not age well but in 1971 they fit the times. like taking a photo today what you are wearing and 35 years later laugh your ass off at the style of clothes you worn back then. one has to remember the era when this stuff was 1st put out.
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« Reply #65 on: November 04, 2006, 08:52:15 AM »

I've heard several people say they aren't a big fan of 'Take a load off'. When I first heard it, I didn't like it either and thought it was kind of cheesy. But it has grown on me as a song that I think would fit well on Friends. 
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"Over the years, I've been accused of not supporting our new music from this era (67-73) and just wanting to play our hits. That's complete b.s......I was also, as the front man, the one promoting these songs onstage and have the scars to show for it."
Mike Love autobiography (pg 242-243)
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« Reply #66 on: November 04, 2006, 12:32:40 PM »

In early1985 I won a contest on a radio station and part of it was I could play any Beach Boy song of my choosing. Well, I played Take a Load Off. It was a mid-day thing and it went over big. People were calling in asking who in the world was that, The Beach Boys? That's why I picked that song. Side note: I brought in a sealed Surf's Up album that day and before they opened it, they asked me if I was sure.
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« Reply #67 on: November 04, 2006, 09:07:37 PM »

I like the production on Feet not the lyrics though.
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« Reply #68 on: November 05, 2006, 02:19:40 AM »

I like Feet and agree it would be good on Friends which was a bit too short anyway - so it goes on my extended "Friends" cd.
The lyrics of Student Demonstration Time made me wince back then, as well as now.  It's a great track but lyrically was a seriously misguided attempt to make the Beach Boys more current.  In fact it had the opposite effect. 
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« Reply #69 on: November 05, 2006, 02:47:14 AM »

From my point of view, the sequencing on Surf's Up makes BW's appearance on that album even more poignant and mysterious. Though that record might probably not be perfect as a whole, it has basically intrigued me for years.
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« Reply #70 on: November 05, 2006, 09:21:05 AM »

I do like the idea of using the bull-horn on Demo Time. Don't know if had been done before but when you think of the protest songs of the time it was quite inspired. Dylan may have kicked himself that he didn't think of it.
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« Reply #71 on: November 05, 2006, 10:58:08 AM »

Totally disagree that SDT had a negative effect on the Beach Boys. Didn't you read how it became popular on FM radio when it came out? And being in college at the time, I know firsthand that it opened people's eyes and ears big-time. Some for the first time. Sorry.
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« Reply #72 on: November 05, 2006, 12:00:55 PM »

I do like the idea of using the bull-horn on Demo Time. Don't know if had been done before but when you think of the protest songs of the time it was quite inspired. Dylan may have kicked himself that he didn't think of it.

R. Dean Taylor - "Indiana Wants Me"
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« Reply #73 on: November 05, 2006, 01:21:30 PM »

I do like the idea of using the bull-horn on Demo Time. Don't know if had been done before but when you think of the protest songs of the time it was quite inspired. Dylan may have kicked himself that he didn't think of it.

R. Dean Taylor - "Indiana Wants Me"

Yeah, but that was just a sound effect at the end.  There was no singing through the bullhorn like there was on SDT - wait - that wasn't really a bullhorn . .  .
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« Reply #74 on: November 06, 2006, 12:30:24 AM »

Possibly I was thinking about "Just Gotta See Jane". One of the two has a distorted lead vocal.
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