Thread for various insignificant questions that don't deserve their own thread!

[Emily]

Thanks. So no firing.

[HeyJude]

Thanks. So no firing.

No, not in any logistical sense. I suppose Al (and the others outside of Brian and Mike) could argue that their contact wasn't renewed; they wouldn't be able to say "I was fired" but they could say "I wasn't re-hired."

So if one goes to work for a company as a contractor with a fixed period of service, say six months, with an indication that it's possible but not guaranteed that their contract might be renewed, that would be something more analogous. I think Al was just too optimistic and perhaps a bit naïve about the chances that Mike would love the reunion so much that he'd keep going.

[NateRuvin]

Why does Bruce cover the logo on his keyboard?

http://www.gannett-cdn.com/-mm-/fe37852be2d986d6785619a23291a3bb139423c2/c=0-0-4295-2426&r=x329&c=580x326/local/-/media/2016/04/29/StGeorge/StGeorge/635975352171369576-STG0501-beach-boys-01.jpg

[Stephen W. Desper]

Why does Bruce cover the logo on his keyboard?

http://www.gannett-cdn.com/-mm-/fe37852be2d986d6785619a23291a3bb139423c2/c=0-0-4295-2426&r=x329&c=580x326/local/-/media/2016/04/29/StGeorge/StGeorge/635975352171369576-STG0501-beach-boys-01.jpg

COMMENT to NateRuvin: 

When logo's are covered on instruments, it's likely that the player is using backline or rented gear who they don't have a sponsorship or endorsement deal with. It's typically in their agreement with companies they do have deals with that they can't be seen using competitors gear in public.

It seems you're not the only person asking that question. ~swd
 

Reference:  http://ourworshipsound.com/2015/01/05/three-reasons-to-disguise-your-keyboards-identity/

THREE REASONS TO DISQUISE YOUR KEYBOARD'S IDENTITY

   January 5, 2015 By Peter Thompson

Normal people go to concerts to take in the performance.  Musicians, however, make the performance almost a secondary consideration.  The real reason we’re there?  To find out what kind of gear the band is using, of course!

I’m exaggerating some, but scoping out the instrument brand and model situation is of utmost importance the minute a gear-head enters a venue.  What keyboard is that?  What kind of guitar amp is he going with?  The drums?  What are those extra microphones for?  (And my favorite…) Ooh, I see a laptop on stage – wonder what they’ll do with that!

Checking out the music gear is often more exciting to people like me than the opening act. But you know what’s frustrating?  When keyboard players cover up the brand names on their instruments.  Argh, it makes me so mad! I have a right to know! (Again, exaggerating.)

Even worse, I suppose, is someone who understands the frustration of not being able to see the keyboard brand and still tapes up the back of his own keyboard.  God help that guy…

[guitarfool2002]

This brings up an interesting question. In 2012 as the 50th anniversary tour was being promoted, then as it started to actually kick off with live shows and appearances, there were some well publicized tie-ins with Gibson guitars. There are still discussions archived here about that. There were even NAMM tie-ins and the like, and at various times it felt like Gibson was on board somehow with either a sponsorship or an endorsement deal. I remember seeing BB's guitarists who had been "Fender guys" for decades suddenly playing Gibsons.

Then, strangely, they went back to Fender. Al with his usual white Strat (which Fender also had done as a signature build model for Al), David with his Fender Jaguars in several different finishes...it felt more like what people expected to see them playing.

I never saw or heard an explanation on how or why the Gibson deal played out as it did, and whether Gibson pulled out or if the band made a call, or if there was no deal to begin with.

Al played a Gibson Les Paul at various times through the years, but he had a specific Fender Strat with his name, so that one didn't make sense when Gibson started to appear alongside the BB's promotions.

[Robbie Mac]

This brings up an interesting question. In 2012 as the 50th anniversary tour was being promoted, then as it started to actually kick off with live shows and appearances, there were some well publicized tie-ins with Gibson guitars. There are still discussions archived here about that. There were even NAMM tie-ins and the like, and at various times it felt like Gibson was on board somehow with either a sponsorship or an endorsement deal. I remember seeing BB's guitarists who had been "Fender guys" for decades suddenly playing Gibsons.

Then, strangely, they went back to Fender. Al with his usual white Strat (which Fender also had done as a signature build model for Al), David with his Fender Jaguars in several different finishes...it felt more like what people expected to see them playing.

I never saw or heard an explanation on how or why the Gibson deal played out as it did, and whether Gibson pulled out or if the band made a call, or if there was no deal to begin with.

Al played a Gibson Les Paul at various times through the years, but he had a specific Fender Strat with his name, so that one didn't make sense when Gibson started to appear alongside the BB's promotions.

Brian, I believe had an endorsement deal with Gibson around the time of BWPS.

[Stephen W. Desper]

COMMENT:

At one time Brian and perhaps the entire band had promotional ties with BALDWIN. They gave Brian his white organ. Baldwin certainly makes its share of performance keyboards. Perhaps that deal is still active -- or some consideration thereof.  ~swd

[guitarfool2002]

This brings up an interesting question. In 2012 as the 50th anniversary tour was being promoted, then as it started to actually kick off with live shows and appearances, there were some well publicized tie-ins with Gibson guitars. There are still discussions archived here about that. There were even NAMM tie-ins and the like, and at various times it felt like Gibson was on board somehow with either a sponsorship or an endorsement deal. I remember seeing BB's guitarists who had been "Fender guys" for decades suddenly playing Gibsons.

Then, strangely, they went back to Fender. Al with his usual white Strat (which Fender also had done as a signature build model for Al), David with his Fender Jaguars in several different finishes...it felt more like what people expected to see them playing.

I never saw or heard an explanation on how or why the Gibson deal played out as it did, and whether Gibson pulled out or if the band made a call, or if there was no deal to begin with.

Al played a Gibson Les Paul at various times through the years, but he had a specific Fender Strat with his name, so that one didn't make sense when Gibson started to appear alongside the BB's promotions.

Brian, I believe had an endorsement deal with Gibson around the time of BWPS.

Yes, I remember that too. Brian later made some appearances at things like the NAMM convention at the Gibson booth and performance areas, my memory might be off but those were around 2012 as well. It seemed like the whole C50 tour as far as guitars was going to be Gibson too, but soon enough Al and Dave were back to Fender.

Not quite related and a half-century earlier, but it's fascinating to read accounts of the near-war that erupted over guitar and amp makers trying to snag endorsement deals with the Beatles. Having Lennon show up on TV playing that Rickenbacker 325 was like winning the lottery for Rickenbacker, and everyone wanted a piece of that fortune from '64 onward. That's why if you watch the Let It Be movie, most of the gear including the PA and monitors on the roof are brand new Fender models from that year, Fender silverface amps on the roof as well. Harrison's rosewood Telecaster was flown to the UK personally and hand-delivered in addition to the shipments of all new Fender gear, then after George used it during Let It Be, he gave it away to Delaney Bramlett!

[guitarfool2002]

COMMENT:

At one time Brian and perhaps the entire band had promotional ties with BALDWIN. They gave Brian his white organ. Baldwin certainly makes its share of performance keyboards. Perhaps that deal is still active -- or some consideration thereof.  ~swd

I've thought that as well, and have a photo that was part of a discussion about this a few years ago.

Baldwin was one of the companies who had tried to buy Fender when Leo Fender was selling the brand, but they lost out to CBS who took over around 65-66 and started to make changes to the Fender amps by the time the 1967 line came out. This is why collectors and players specify "CBS" or "pre-CBS" for mid-60's Fender gear. I actually have a CBS era Bandmaster head and cab, from '67 but still a blackface with the blackface circuitry. Then by '68 Fender/CBS transitioned to the silverface amps, and in some cases changed the circuitry and the parts used on the board, and the tone changed too. Even more confusing, some silverface models still used the blackface circuitry! A friend had a Super Reverb silverface, from this transition period, and it was basically blackface guts with silverface shell and graphics. Brilliant amp.

So Baldwin, I think, was pushing to land an endorsement from the Beach Boys and lure them away from Fender who they had just lost to CBS, where the group was still doing radio and print ads for the Fender/CBS brand. If any band was associated with Fender, it was The Beach Boys, and Carl was one of the few prominent guitarists in the 60's to actually endorse the Jaguar.

Consider this photo, August 1967 in Hawaii. Brian is at the Baldwin Theatre Organ which they had gifted him, and Al is playing a rather unusual and rarely seen Baldwin 712 red electric 12-string. How and why would Al end up with this odd Baldwin guitar instead of a Fender or a Rickenbacker 12-string? It would make sense if it were another part of Baldwin's attempt to land the Beach Boys as endorsers.



That red guitar, the 712, later ended up in Carl's guitar collection. Or maybe it was given to Carl originally, as Fender had earlier given him a prototype Fender Electric XII, and Al ended up with it in Hawaii since Carl was playing that Hofner bass.

Landing an endorsement deal in the 60's translated into big bucks for the instrument makers. Bit of trivia - One of the first players to prove this was Les Paul, with Gibson obviously. Another lesser considered name was Buddy Merrill, who sold more Fender Strats in the 50's than Buddy Holly because Buddy would be seen playing Fenders every week with Lawrence Welk when he was a teenager. Merrill on Welk's show gave Fender a major sales boost, and Fender stayed with him and his replacement Neil LeVang for years to get their guitars on TV.

[Stephen W. Desper]

COMMENT:  Fun to see that instrument again. I've wiped it off, removed coke cans from the key sides, and certainly recorded it many times. Even fixed it on a few occasions. Brian loved playing it --


Anyone able to get tickets to see Brian and Alan's performance with the Boston Symphony Orchestra next Saturday evening?  Lucky you if so. 

~swd

[Rob Dean]

COMMENT:  Fun to see that instrument again. I've wiped it off, removed coke cans from the key sides, and certainly recorded it many times. Even fixed it on a few occasions. Brian loved playing it --


Anyone able to get tickets to see Brian and Alan's performance with the Boston Symphony Orchestra next Saturday evening?  Lucky you if so.  

~swd

Mr Desper, when we read comments like that (about the Baldwin) it sure is an honour to have you on this board.

Can you please buy a Delorean and kindly take us all on a 'Back To The Future' ride    

[Stephen W. Desper]

Can you please buy a Delorean and kindly take us all on a 'Back To The Future' ride    

COMMENT to Rob Dean:  Don't know of any Time Machine Delorean's for sale in my neighborhood, but I can tell you that I will be taking you back in time with Part Two of my book ... now at 170 pages on the recording of Surf's Up album. Working on rendering now. It should generate many questions and span much discussion, to which I will be adding "comments" on this thread as always. Thanks for your kind words. ~swd

[CenturyDeprived]

Can you please buy a Delorean and kindly take us all on a 'Back To The Future' ride    

COMMENT to Rob Dean:  Don't know of any Time Machine Delorean's for sale in my neighborhood, but I can tell you that I will be taking you back in time with Part Two of my book ... now at 170 pages on the recording of Surf's Up album. Working on rendering now. It should generate many questions and span much discussion, to which I will be adding "comments" on this thread as always. Thanks for your kind words. ~swd

Stephen, what are your own personal thoughts about the Surf's Up outtakes, 4th of July + Wouldn't it Be Nice (to Live Again), in terms of how the album was affected by their absence? Obviously, the omission of those songs was an issue that was a creative/personal choice by the band (specifically Carl and Denny), but at the time, did you regret that those songs were not added to the album? As much as I adore that album in its current form, I think the album would have been even more over-the-top awesome had those songs been included all along, and I think Denny's legend would have been even more elevated (especially had  Wouldn't it Be Nice (to Live Again) been released at the time).

[Stephen W. Desper]

Stephen, what are your own personal thoughts about the Surf's Up outtakes, 4th of July + Wouldn't it Be Nice (to Live Again), in terms of how the album was affected by their absence? Obviously, the omission of those songs was an issue that was a creative/personal choice by the band (specifically Carl and Denny), but at the time, did you regret that those songs were not added to the album? As much as I adore that album in its current form, I think the album would have been even more over-the-top awesome had those songs been included all along, and I think Denny's legend would have been even more elevated (especially had  Wouldn't it Be Nice (to Live Again) been released at the time).

COMMENT to CenturyDeprived:  The songs on the album were chosen because they were finished. 4th' was only a backing track, recorded for a paper I gave at a Hollywood AES meeting on quad recording. The Carl lead was a scratch lead (not meant for release.) At this stage there is no production value to the song, cliché drums, and the only BG is Dennis' multiple overdubs as a harmonic pad. It simply was not finished -- and never was. It may have been released, but never finished. 'Live Again was pulled from the album by Dennis who thought other writers should contribute songs to the album, since he had so many on Sunflower. He wanted to keep it "in the can" until the album following SU or for a solo work. As it is now, it's all Dennis. Unless the Beach Boys at the time would have re-worked it to include their harmonies, putting it on SU would not have represented the group. I think Denny really wanted to keep it for a solo slot. Therefore, the album was not affected by these songs one way or the other. But as I said, they are representative of Dennis, not the Beach Boys. ~swd

[CenturyDeprived]

Stephen, what are your own personal thoughts about the Surf's Up outtakes, 4th of July + Wouldn't it Be Nice (to Live Again), in terms of how the album was affected by their absence? Obviously, the omission of those songs was an issue that was a creative/personal choice by the band (specifically Carl and Denny), but at the time, did you regret that those songs were not added to the album? As much as I adore that album in its current form, I think the album would have been even more over-the-top awesome had those songs been included all along, and I think Denny's legend would have been even more elevated (especially had  Wouldn't it Be Nice (to Live Again) been released at the time).

COMMENT to CenturyDeprived:  The songs on the album were chosen because they were finished. 4th' was only a backing track, recorded for a paper I gave at a Hollywood AES meeting on quad recording. The Carl lead was a scratch lead (not meant for release.) At this stage there is no production value to the song, cliché drums, and the only BG is Dennis' multiple overdubs as a harmonic pad. It simply was not finished -- and never was. It may have been released, but never finished. 'Live Again was pulled from the album by Dennis who thought other writers should contribute songs to the album, since he had so many on Sunflower. He wanted to keep it "in the can" until the album following SU or for a solo work. As it is now, it's all Dennis. Unless the Beach Boys at the time would have re-worked it to include their harmonies, putting it on SU would not have represented the group. I think Denny really wanted to keep it for a solo slot. Therefore, the album was not affected by these songs one way or the other. But as I said, they are representative of Dennis, not the Beach Boys. ~swd

Thanks so much for the insight, Stephen. Was 4th of July basically written/recorded as a test of sorts, with the intention primarily being for the Hollywood AES meeting? Or was that just a pre-existing song being utilized for that purpose?

I think I've read posters on this board surmise that there are actually other audible BB voices (other than Denny's) singing on Wouldn't it Be Nice (to Live Again), and I think I hear other Boys on the track too, but not mixed very prominently; it is certainly a very Denny-heavy song vocally.

[♩♬🐸 Billy C ♯♫♩🐇]

Who is the backing vocalist on WIBMTLA that sounds like Nlondie? Did he guest on the song before officially joining the band?

[JK]

Who is the backing vocalist on WIBNTLA that sounds like Blondie? Did he guest on the song before officially joining the band?

I reckon it's Carl you're hearing. Seems only he and Brian sang backup. Maybe Mr. Desper can clarify.   

[Stephen W. Desper]

Who is the backing vocalist on WIBNTLA that sounds like Blondie? Did he guest on the song before officially joining the band?

I reckon it's Carl you're hearing. Seems only he and Brian sang backup. Maybe Mr. Desper can clarify.   

COMMENT:  There are many songs, great songs, that Dennis wrote and started to record, but never finished because new ideas would come along. These two songs are indicative of Denny's morning sessions where he (Dennis) sang all the parts and played many of the instruments. He would laydown all the vocal parts expecting to replace them with Beach Boy voices. The tracks were samples (not samplings) for the guys to use at a future time for what to sing. Future times never came. Support of Dennis from the group was superseded by their own self-absorption in their own creations. Dennis made the mistake of using the studio at the time when no one was around. Thus, he had all the time he wanted to record, but no personnel (except me) to work with. By the time the rest of the group came into the studio, Dennis was off at the beach with his tapes sitting on the shelf not being heard. Unfortunately Dennis never wrote things down, he used the tape recorder as his sheet music working out little segments of his songs. He taught himself much of what he was musically and the rest came by osmoses from his brothers. If he had been more involved with the group and stayed in the studio when they were all assembled there, I'm certain his talents would have become more integrated into the group, but as it was, Dennis remained the undiscovered Beach Boy talent until quite late. There's a lot of unproductive time spent in studios as other people do things or technical stuff has to be done. Dennis' restless nature did not give him the patience to wait around for things to happen. So he preferred to work alone at his own pace, but that independence is not the thing a group is made of. Dennis was not that much of a team player. Once he recorded his ideas, he turned them over to Carl or Brian to finish. He would pop in once in a while to see what had been done, but finishing something was not in his nature. Thus, you-all can project other group voices onto Dennis' sample tracks all you wish, but I know Dennis was quite capable of singing all the parts and some in the style of others. And, by the way, that vamp and flute noodling at the end of 'Live Again is not suppose to be part of the song. As does happen at times, the musicians are just grooving at the end -- venting out pent-up creative juices. Back in the days of their creation these songs never got to the point of mixdown, so this song, when it was mixed without guidance some forty hears after-the-fact, included the ending.
Good Listening, ~Stephen W. Desper

[JK]

Thank you very much, sir. Now we know. :=)

[HeyJude]

This brings up an interesting question. In 2012 as the 50th anniversary tour was being promoted, then as it started to actually kick off with live shows and appearances, there were some well publicized tie-ins with Gibson guitars. There are still discussions archived here about that. There were even NAMM tie-ins and the like, and at various times it felt like Gibson was on board somehow with either a sponsorship or an endorsement deal. I remember seeing BB's guitarists who had been "Fender guys" for decades suddenly playing Gibsons.

Then, strangely, they went back to Fender. Al with his usual white Strat (which Fender also had done as a signature build model for Al), David with his Fender Jaguars in several different finishes...it felt more like what people expected to see them playing.

I never saw or heard an explanation on how or why the Gibson deal played out as it did, and whether Gibson pulled out or if the band made a call, or if there was no deal to begin with.

Al played a Gibson Les Paul at various times through the years, but he had a specific Fender Strat with his name, so that one didn't make sense when Gibson started to appear alongside the BB's promotions.

I believe Jon Stebbins posted a few details about the Gibson/Fender switch back around the beginning of the tour in 2012. I don't think he explained the machinations of how the sponsorship deal was dispensed with, or whether there were any repercussions because of it, but he did explain that Dave and Al made a unified decision after some amount of rehearsals that the all-Gibson thing wasn't working out and they just went back to Fender because that's what they wanted.

I recall some folks pointing out back in 2012, seeing stuff like the weird all-Gibson thing at the Grammy show, that the band must have made some sort of endorsement deal with Gibson. I recall posing a question back at that time of whether we might still see Al or Dave play any Fender instruments for at least a portion of the show (e.g. "Marcella" sounds fine, maybe better, on a Les Paul, but "I Get Around" or "Surfin' USA" do need a Fender), and a certain well-known British Beach Boys author/expert INSISTED that we would NEVER see a single Fender instrument on stage at all during C50. The implication being that the endorsement deal literally precluded the guys from playing non-Gibson instruments. Which is pretty lame across the board for a number of reasons.

When the band ended up switching pretty much EXCLUSIVELY back to Fender, I went back to that thread and pointed that out. No response was forthcoming.....

The different guitars and brands obviously all have their place, and for me personally I'd probably take Gibson guitars over Fender if someone *made* me pick one over the other. But for the Beach Boys, playing all Gibsons (new shiny Les Pauls; not even old vintage ones) not only *looked* weird, but was not the right sound for what they were doing for a lot of the C50 sets. Again, on some stuff it doesn't make a big difference. But on that early-era material, it needs that Fender bright twang.

Back quickly to the switch to Fender, what would be interesting to know is if, after dumping the Gibson endorsement deal, did they get a Fender endorsement deal rather than just get some Fender guitars themselves? Al was playing a new Jaguar or Jazzmaster or two during that tour, as was Dave it appeared. Al didn't just dig out his white Strat original or reissue; they seemed to have a little cache of new Fender instruments as a result of that switch. I wonder if Fender took that opportunity to reinforce *their* connection to the Beach Boys.

[wantsomecorn]

Has anyone ever recorded a cover of Cabinessence with the unused lyrics?

[shebelongs]

Anyone know about all the session members on Sweet Insanity and their contributions? For instance, there's a guy belting his soul at the end of The Spirit of Rock and Roll. Who would that be? I recently acquired a really good transfer of the cassette so a lot of details and intricacies musically, and in the mix have opened up to my ears, even if it's still a big, mushy sounding album.
https://www.discogs.com/Brian-Wilson-Sweet-Insanity/release/2883919 What was, say, Paula Abdul's role in the album? Make a Wish, maybe? How about Jeff Lynne, or Tom Petty? I'm sure most of the mentioned people have minor roles, but I'm dying to find out their specific places.

[c-man]

Anyone know about all the session members on Sweet Insanity and their contributions? For instance, there's a guy belting his soul at the end of The Spirit of Rock and Roll. Who would that be? I recently acquired a really good transfer of the cassette so a lot of details and intricacies musically, and in the mix have opened up to my ears, even if it's still a big, mushy sounding album.
https://www.discogs.com/Brian-Wilson-Sweet-Insanity/release/2883919 What was, say, Paula Abdul's role in the album? Make a Wish, maybe? How about Jeff Lynne, or Tom Petty? I'm sure most of the mentioned people have minor roles, but I'm dying to find out their specific places.

Yes, the officially released promo cassette lists the "guest artists" and the "guest musicians"...the really famous ones are singing in the all-star chorus of "Spirit Of Rock & Roll". I've also dug up a few AFM contracts from those sessions. I've listed all of the names below, along with a few notes.

GUEST ARTISTS
Paula Abdul
Glen Campbell
Belinda Carlisle
Toni Childs
Cliff DeYoung
Bob Dylan
John Lodge
Jeff Lynne
Andy Paley
Tom Petty
David Lee Roth Band
John Stamos
Don Was
Rob Wasserman - Clevinger upright bass
Tim Weisberg - Flute/Piccolo ("Smart Girls")
"Weird Al" Yankovic - Accordion

GUEST MUSICIANS
Michael Bernard -
Greg Bissonette - Drums ("The Spirit Of Rock & Roll")
Matt Bissonette - Bass ("The Spirit Of Rock & Roll")
Jon Clarke - Oboe (various AFM)
Paulinho DaCosta - Percussionist (Brazilian)
Elliot Easton - Guitar
David Fish -
Steve Hunter - Guitar ("The Spirit Of Rock & Roll")
Fred Katz - Cello ("Smart Girls")
Hyman Katz - Flute
Almopho Lima (Liminha) -
Stan Lynch - Drums ("Couuntry Feelin'")
Colin Sean Mahony - Trombone ?? (if Sean Mahony of NYC's Jesters Of Jive)
David Marks - Guitar ("The Spirit Of Rock & Roll")
Scott Page - Saxophones ("Smart Girls")
Steve Rentschler - Trumpet
John Reynolds - French horn (various AFM)
Tony Selvage - Violin, Saw (various AFM)
Ricardo Silveira - Guitar (Brazilian)
Fred Staehle - Wingertree ("Smart Girls")
Brett Tuggle - Keyboards ("The Spirit Of Rock & Roll")

[CenturyDeprived]

Anyone know about all the session members on Sweet Insanity and their contributions? For instance, there's a guy belting his soul at the end of The Spirit of Rock and Roll. Who would that be? I recently acquired a really good transfer of the cassette so a lot of details and intricacies musically, and in the mix have opened up to my ears, even if it's still a big, mushy sounding album.
https://www.discogs.com/Brian-Wilson-Sweet-Insanity/release/2883919 What was, say, Paula Abdul's role in the album? Make a Wish, maybe? How about Jeff Lynne, or Tom Petty? I'm sure most of the mentioned people have minor roles, but I'm dying to find out their specific places.

Yes, the officially released promo cassette lists the "guest artists" and the "guest musicians"...the really famous ones are singing in the all-star chorus of "Spirit Of Rock & Roll". I've also dug up a few AFM contracts from those sessions. I've listed all of the names below, along with a few notes.

GUEST ARTISTS
Paula Abdul
Glen Campbell
Belinda Carlisle
Toni Childs
Cliff DeYoung
Bob Dylan
John Lodge
Jeff Lynne
Andy Paley
Tom Petty
David Lee Roth Band
John Stamos
Don Was
Rob Wasserman - Clevinger upright bass
Tim Weisberg - Flute/Piccolo ("Smart Girls")
"Weird Al" Yankovic - Accordion

GUEST MUSICIANS
Michael Bernard -
Greg Bissonette - Drums ("The Spirit Of Rock & Roll")
Matt Bissonette - Bass ("The Spirit Of Rock & Roll")
Jon Clarke - Oboe (various AFM)
Paulinho DaCosta - Percussionist (Brazilian)
Elliot Easton - Guitar
David Fish -
Steve Hunter - Guitar ("The Spirit Of Rock & Roll")
Fred Katz - Cello ("Smart Girls")
Hyman Katz - Flute
Almopho Lima (Liminha) -
Stan Lynch - Drums ("Couuntry Feelin'")
Colin Sean Mahony - Trombone ?? (if Sean Mahony of NYC's Jesters Of Jive)
David Marks - Guitar ("The Spirit Of Rock & Roll")
Scott Page - Saxophones ("Smart Girls")
Steve Rentschler - Trumpet
John Reynolds - French horn (various AFM)
Tony Selvage - Violin, Saw (various AFM)
Ricardo Silveira - Guitar (Brazilian)
Fred Staehle - Wingertree ("Smart Girls")
Brett Tuggle - Keyboards ("The Spirit Of Rock & Roll")

This is such a fascinating list. Thanks so much c-man for your efforts. I randomly met "Weird Al" Yankovic a few months ago, but I completely forgot to ask him about working with Brian. Wish I had.

Also - is this David Marks' only appearance in the studio with a BB member aside from his teen years (and pre-TWGMTR/NASCAR)?

[jeremylr]

Can anyone shed any details on when/where this photo of Glen Campbell and Al was taken? It was included in the booklet of "A Postcard from California." And should anyone have a higher resolution please share. Thanks!