I Know There´s An Answer

last updated 03.09.2003

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Christin / Living Doll
Christine was given a lyrical re-write and became "Living Doll," the tune that came with those Barbie dolls back in the late 1980's.

"Soul Searching" & "Still A Mystery":
Carl wasn't singing over the "Soul Searching" track that we've come to know and love! Brian and Andy had done their own track as a demo, but Don Was, for some reason, insisted on re-recording the song from scratch with his crew of players (eventually recruiting Andy Paley to come back and play some parts) and it was the Don Was-produced track that The Beach Boys worked on. Unhappy with the results of that session, Andy and Mark Linett later attempted to put Carl's vocal back onto the original track that Brian and Andy had produced. They didn't quite finish; there are still some backing vocal parts that weren't transferred, and they never got around to completely finessing the placement of Carl's vocal (if you've ever wondered why Carl sounds just a teensy bit out of sync here and there, that's why!). That's the version that's circulating on tape. I don't think Carl ever got to hear it.
"Still A Mystery" features a Don Was track.

Dick Reynolds is the arranger who worked with Brian's idols, the Four Freshman, and did the orchestration for the "How Deep Is the Ocean"/"Stella by Starlight" session. His vocals on those two songs are nothing more than guide vocals laid down for tempo purposes; they weren't intended for release.

Teeter-Totter-Love -- written for and recorded by Jasper Dailey, the photographer who was at many of the Smile sessions. Brian didn´t even make Daileys´ acquaintance until October 1966 (through Murry). The song was rec. in Feb. 1967.

1980 Knebworth, England
The 1980 Knebworth, England live recording of "Darlin'" says there were "later overdubs" made. Carl's lead vocal from the actual live performance was kept, but his guitar and the group's backing vocals were replaced in the studio. These overdubs were made in 1980 by Bruce Johnston (producer) and Stephen Desper (engineer).

I'll Always Love You
"I'll Always Love You" a Barry Mann-writen ballad from Mann's 1975 RCA album, SURVIVOR (co-produced by Bruce Johnston). Carl sings lead and it's gorgeous!

There´s an unreleased Rich Sloan "Boogie Woogie" tape from ca. 1959 in the vaults.

Brian produced two songs for an unknown group. One was called "High Octane" (an instrumental) and the other was written by Brian called "Heartbreak Lane" (with lyrics). But the group rejected the lyrics of this song and cut both as instrumentals.

Beach Girl is an old Survivor Titel (written by Brian/ Bob Norberg), first called "A Joyride Cruise"

Before lyrics were written, many songs had working titles (many of them were just spontaneously written down): I/We Don't Know = Cal. Girls ; I Don't Have A Title Yet = I Know There's An Answer ; Carol Kaye = Little Girl I Once Knew ; I Hate Rock And Roll = Let Him Run Wild ; Even Steven = Busy Doin' Nothin'

"Lori" was a rewrite of the earlier Wilson/Usher song, "Number One" (heard on the B-side of the Rachel & the Revolvers single), which was itself a rewrite of one of the first Wilson/Usher songs, "Visions."

The TRIO Project
In an early 1997 interview with Robert Lamm, he stated that the album was almost finished and ready to be released in the fall.
Carl about the TRIO project in 1995. He said that was "for the purpose of writing". That it was a songwriting exercise, not intended as a functioning group. Carl about their song on the Harry Nilsson tribute album: "Gerry was a friend of Harry's. And Gerry is my friend. I didn't know Harry".

Alone on Christmas Day aka Christmas Day
A demo-like recording from the 1977 MIU/Christmas sessions. Left off ULTIMATE CHRISTMAS at the request of one of the Beach Boys, who thought it too unpolished for release.

Walkin'
The track billed as "Walkin'" on a couple of bootlegs is not; rather, it's "Hey There Momma." There really is a track called "Walkin'," started in the summer of 1968 and considered for SUNFLOWER, but it's never been bootlegged.

Only Over You
Written by Christine McVie
(from the album "Mirage" from 1982 - The credits included the phrase "Special thanks for inspiration to Dennis Wilson")
I've got it on excellent authority that "Only Over You" is actually a Christine/Denny composition with (post relationship) rewritten lyrics by Christine!
Jon Stebbins

COUNTRY PIE
There is a tape of the song in the Beach Boys' vault (probably a live version)

MYSTERY TRACK...
It's called "Clangin'" or "Clang." An incomplete version of the song does exist on tape. It's probably best described as an alternate conception of "Ding Dang."
How does this compare to the "Clang" segment that ends "Fantasy is Reality/Bells of Madness" on the Trio album?
It is derived from a section of the unreleased "Clangin'."

Won't You Tell Me
Probably a song by Murry and Brian. It was on the Sunrays "Vintage Rays" 3 cd set, and was cut by Rick Henn as a demo for Murry Wilson to give to the Beach Boys, cut at Sunset Sound on 8/24/71, and also features Dennis on backing vocals/assistant on arrangement.

"Shortenin' Bread"
The ADULT CHILD version of "Shortenin' Bread" appears to have used a basic track that was cut for American Spring in 1973. However, it was finished during the ADULT CHILD sessions, which followed the LOVE YOU sessions in the spring of 1977.

Hey There Mama
A leftover from the 15 BIG ONES/LOVE YOU period or maybe even to one of the rare 1975 sessions Brian did. Used as the instrumental track for "(I Saw Santa) Rockin' Around the Christmas Tree," released on ULTIMATE CHRISTMAS.

The Compilation "Summer Dreams" : #2 in England, the single released for that album Wouldn't It Be Nice b/w I Get Around #58

There actually are THREE Celebration albums! There was a follow-up to the Pacific Arts album that was done in connection with a label deal Mike set up with some German investors. The record was actually recorded and pressed, but only a handful of copies got out before the whole deal went south. However, for the diehard Celebration completists like yourself, here's the information:
DISCO CELEBRATION
ADC Records LS 4052
Copyright 1979 AMREC Enterprises
Produced by Ron Altbach for LoveSongs Productions, Inc.
Side One
1. Disco Symphony (Love-Altbach) 8:00
2. You Can Count on Love (Love-Altbach) 8:34
Side Two
1. California Girls (Wilson-Love) 4:38
2. Party Girl (Love-Altbach) 5:03
3. First Love (Fauerso) 4:10
The basic group on this album is Kevin Brandon (bass), Jerry Donahue (guitar), Kin Calkins (drums) and Paul Fauerso (keyboards). Suzanne Wallach sings lead on "Disco Symphony" and "Party Girl." Fauerso sings lead on "You Can Count on Love" and "First Love."
"California Girls" is essentially an instrumental, by a completely different band: Charles Lloyd (sax), Ed Carter (guitar), Wells Kelly (bass) and Mike Kowalksi (drums). There's a bunch of keyboards and synthesizers on the track, too; my guess is they probably were played by Ron Altbach.
And where's the Lovester? Well, there's a section in the middle of "California Girls" where there's a bunch of backing vocal-type singing (oohs and aahs) and the Lovester can clearly be heard among the singers. Other than that, he's not heard anywhere on the album!
And you think the first two Celebration albums were bad? This one is so Gawd-awful retchingly terrible that it makes the Pacific Arts album seem like PET SOUNDS!
Lest you think I'm making all this up, I have a copy in my collection. I'm not proud of it, but I really do.
Surf's up?
Brad

there was an unreleased album that Bruce Johnston jokingly referred to once as "The Fading Rock Group Revival." However, it predated LANDLOCKED by a year or more. It was supposed to be the group's last studio album for Capitol, after 20/20; it would have come out in the Spring of 1970 if plans had held. Instead, the album was never delivered and Capitol got LIVE IN LONDON instead.

Bruce jokingly referred to the album as "The Fading Rock Group Revival" during an interview with a British journalist in 1970, but Capitol files indicate a more likely title was REVERBERATION. It was to have been a 10-track album consisting of (not in the correct running order):
Break Away
Celebrate the News
Cottonfields (single version)
Loop De Loop
San Miguel
Deirdre
All I Wanna Do
Forever
Got To Know The Woman
The Lord's Prayer

However, after Warner Bros. rejected the ADD SOME MUSIC album that the group submitted for release as their first album for that company in early 1970, the group cannibalized the planned Capitol album, taking four of the tracks for inclusion on SUNFLOWER. Brad

The original reference to that title was in the liner notes for DCC's LOST & FOUND album. Critic Robert Levinson recalled how in 1966, when he was writing a weekly rock & roll column for the Los Angeles Examiner, he got to interview Brian. He talked about going out to Brian's house while "the group was ... on the Billboard charts with 'Sloop John B.'" According to Levinson, Brian "began to describe the next Beach Boys album scheduled for release. It was called 'Remember the Zoo,' (and rockologists are invited to jump in with the title under which it was released, replete with pet sounds now and then)."

Personally, I don't find that the story rings true. "Sloop John B" wasn't released until March 23, 1966 and didn't make the Billboard Hot 100 until April 5, which means Levinson couldn't have interviewed Brian until probably some time in mid-April. Internal memos found in Capitol's files show that the album already was titled PET SOUNDS by February 23. The other thing to remember is that PS was released May 16. There's just no way that you can be undecided about the title of an album only a month before release. By that time, you've already got to have the cover artwork finalized and ready to go to the printer! It's just not possible to wait that late in the game to decide an album title and still meet your shipping schedule nationwide, especially not back in the mid-1960s. Brad

When Brad Elliott was at Capitol in 1983 to do the RARITIES album, given free reign of Capitol's various vaults and tape storage locations. At that time, Capitol only had two set of multitrack master tapes in their possession: the SURFIN' SAFARI Lp tapes (which were recorded at Capitol) and the LIVE IN LONDON tapes. There was *next to nothing* stored in Capitol's vaults except the finished single and album masters for released product. RARITIES was the sum total of what was found in Capitol's vaults at the time. "Land Ahoy" came from the SURFIN' SAFARI three-track tapes. The live version of "All I Want To Do" came from the LIVE IN LONDON 8-tracks. Brad found one mono mixdown tape of several outtakes from WILD HONEY -- that's where "With a Little Help," "The Letter" and the alternate version of "I Was Made to Love Her" came from. The alternate "Good Vibrations" ripped off from a set of syndication reel-to-reels for the 1976 "Best Summers of Our Lives" radio special. And everything else on the album had been released somewhere previously by Capitol!
Several studios were called to see what could be find there. The big find was the mono and stereo mixdown tapes (no multitracks) from the sessions from the Fall of 1965 that produced the tracks for "Stella by Starlight" and "How Deep Is the Ocean." Unfortunately, the heavily orchestrated style of the two tracks just wouldn't allow them to fit them on the same album with anything else they had. As for the third track from that session, "Three Blind Mice" - at the time, it seemed pretty irrelevant.
Besides that tape, about the only other things that turned up from outside studios were the original multitracks from the "I Get Around" track session and a mixdown of Brian's production of "Endless Sleep" (without even an identifying note as to who the singer was -- it was years before it was identified as Larry Denton).
The Beach Boys original deal with Capitol allowed them to control their sessions and tapes (unusual for the time) and this is why almost all of the BB's mult-track masters and out takes are not and have never been at Capitol.

Good Humor Album
It's hard to say whether they're there or not. Let's put it this way -- there's not anything clearly labeled "Brian's Humor Album, circa 1967" or "Humor Album -- Taxi Driver" or "Animal Noises Party" or anything like that. So, at first glance, it would appear they are not there, but you also have to realize that there are a lot of mismarked and inadequately marked tapes -- and all of those haven't been gone through! So there's really no way to tell at this point.

The MIU ALBUM at one time was going to be titled CALIFORNIA FEELING, but the title track was never recorded at MIU (at least not by The Beach Boys) and wasn't going to be included.

As for the rest of the tracks of the California Feeling Bootleg Album, this brief guide should help you make sense of the album:
California Feeling -- from the L.A. LIGHT ALBUM sessions, fall 1978
Brian's Back -- Mike Love solo, recorded fall 1978
We're Together Again -- recorded in 1968 for 20/20
Our Team -- from the MIU sessions, fall 1977
How's About A Little Bit -- from the MIU sessions, fall 1977
I'm Begging You Please -- Brian solo demo, from the L.A. sessions, fall 1978
Santa Ana Winds -- from the earliest sessions for L.A., summer 1978
Looking Down The Coast -- from the L.A. sessions, summer/fall 1978
Lazy Lizzie -- Brian demo, recorded late 1976
California Dreamin'-- original version of the song, recorded 1982
Skatetown USA -- recorded Spring 1979
Sherry, She Needs Me -- 1965 track with a 1976 Brian vocal
River Song -- early mix, circa 1973, of a PACIFIC OCEAN BLUE track
Stevie -- recorded late 1980, produced by Dennis
Marilyn Rovell -- from the LOVE YOU/NEW ALBUM sessions, late 1976
We Gotta Groove -- circa 1976
Carry Me Home -- HOLLAND outtake

Alan tried to cut a solo LP in the early eighties, but never finished it, and more recently it appears that the Jardines project has been put on the back burner indefinitely. The 1980's project was, according to Alan, something he might do with Mike, a concept album about the environment; titles mentioned were -

Poly Peptide ("about a molecule" - he later denied having said this)
10,000 Years Ago (perhaps the Dennis track ?)
Earthquake Time (dating back to 1975, I recall)
Loop De Loop ("with different lyrics")
Santa Ana Winds/Monterey
Canyon Summer (a song he offered to Coppertone Suntan in 1973 as a commercial).

Brian and Russ Titelmann wrote only two songs together: Guess I´m Dumb and Sherry She Needs Me.

Dave Marks & The Marksmen recording session: "Car Party" & "Leaves" are songs written by Murry.

James Guercio was the Beach Boys manager from 73 to 75. They recorded on his ranch named CARIBOU and Dennis recorded a lot of POB there,too.

The first time Steve Desper can remember Daryl Dragon working in the studio with Dennis was in January 1970 when Daryl arranged the strings for Dennis' song "Lady."

Sheri (of Bob & Sheri) was a girlfriend of Bob Norberg's named Cheryl Pomeroy. Sharon Marie was a young hispanic woman by the name of Sharon Marie Esparza. Ginger Blake obviously was wrong; they very definitely were not the same person.

Rachel of Rachel & the Revolvers indeed was Betty Willis, but she was simply a minor R&B vocalist on the LA music scene. Brian's and Gary's venture into the depths of Watts in search of a black female vocalist was a bust, and they turned instead to Willis, an established session singer.

Reggie Dunbar::
ANY chance Reggie Dunbar wasn't really Murry Wilson? WHY did they make up a name like that? Why did they make up a name at all?
Damn good question! Wish I had a damn good answer! It couldn't have been to disguise Murry's involvement with the song, because he's given co-production credit right on the label (unless it's a case where Capitol slipped up and the production credit was supposed to be to Reggie Dunbar, too). Unfortunately, with both Murry and Audree gone, I don't know that we'll ever find out. However, on the off chance that he might know, I'll ask Rick Henn. Of course, there's always Brian, but he's generally not real receptive to questions about ancient trivia.
And another thought.....no matter who Reggie really was, I wonder where the royalty checks go now?
The songwriting royalty checks go to Bri-Mur Publishing, which is still in existence. Bri-Mur is a funny little company. It only holds five copyrights that I know of -- "Break Away," "Soulful Old Man Sunshine," "Shyin' Away" and two unreleased Dennis Wilson songs from 1971, "Behold the Night" and "It's New Day." At one time, Bri-Mur had a piece of both "Cool Cool Water" and "Surf's Up," but both of those are now listed exclusively as being owned by Brother Publishing. I have no idea where Bri-Mur sends Murry's royalty checks.- Brad

Chuck Britz, 23 Aug 2000
I am deeply saddened to report the passing of legendary engineer Chuck Britz, who worked with Brian and the Beach Boys on most of their records from 1962 to 1967 . Chuck died Monday evening in northern California after battling cancer for the past year.Chuck was an extremely talented and gifted engineer who once told me that he stopped making records (in the late 70¹s) because ³I couldn¹t stand all that overdubbing². That¹s Chuck you hear on the Pet Sounds boxset interacting with Brian and the Wrecking Crew, and making some of the greatest sounds ever recorded. (listen to Brian joking with Chuck on the session for the intro to ³You Still Believe in Me²)
Donations can be made in Chuck¹s name to the American Cancer Society, and condolences can be sent via e-mail to his family at: cdbritz@dcsi.net
Thank you....... Mark Linett

Myrna Smith
she was (is) married to his manager, Jerry Schilling (sp?). I pretty much assume the two met when Schilling was doing Elvis and she sang in the Sweet Inspirations behind Elvis.
Myrna was married to Carl's manager, Jerry Schilling, at the time.
She was at the Carl Wilson memorial concert at the Roxy in '98, singing "Hold Me" with Jeff Foskett. They did a fantastic job on it, too. I don't think she's married to Schilling any more, though.

Carnie married Steven Port (*1966) at their home in Connecticut on Sept. 2nd 1995.

Bob Norberg is a retired commercial pilot, living in L.A. Used to fly for TWA.

He was the BB road manager for years. Matt Sheppard died on Sept. 27 2001 or 2002 to cancer.

Terry Sachen, the BB's ex-road manager and lyricist for "Hang On To Your Ego" passed away a few years ago (90s).

Alan´s departure:
Alan did at least two private shows with the Beach Boys in May of 1998 and, of course, the Roxy Carl Tribute show in October with BBF&F prior to the Shrine appearance.
It is a FACT that Alan was forced out of the touring group in 1998. I can also say that if certain parties had been able to get their way, he would have been forced out of the Beach Boys' corporation as well. That was the plan. Actually, Mike does not get "exclusive use" of the Beach Boys name. The agreement between Mike, Alan and Brian allowed any of the three of them to use the group name in connection with whatever band they put on the road.

<< I think Carl B told one of the Walk-goers two Walks ago that they haven't heard from Shawn and Gage in years and years....they had completely dropped out of sight. Sad. >>
A few years ago, Shawn was diagnosed with liver cancer and was waiting for a liver transplant. The last I heard, she was doing fine. I didn't know the whereabouts of Gage, though. I too some great pictures of him when he was a little tyke, smiling with his Uncle Carl. I was looking at the photos earlier today, which made me think of him.

Manager Stephen Love was partly responsible for the "Brian´s Back" campaign in 1976.

Gold Star Studios at Santa Monica Boulevard and Vine in Hollywood has been torn down and is now a strip mall.

Those Manson vocal sessions were produced by Dennis, possibly with Greg Jacobson. The session sheets have not turned up (apparently deliberately buried way deep!), but it appears that it was mostly session players on the tracks. Carl may have been part of the session, but the rest of the BBs, if present, were not participating -- although there is considerable evidence that both Brian and Mike hung around with Manson for at least some brief period of time. Carol Kaye recalls meeting Manson in the hallway outside Capitol Studios; he was accompanied by Terry Melcher and Brian, but NOT Dennis.
Brad

The Brian & Almo lawsuit a couple years ago:
Brian settled for $10 million from Irving/Almo, but left the rights to the songs with the company.

Nov. 1969: Murry sold Sea of Tunes without Brian´s permission for 700.000 $ to Irving Almo Music, part of A & M Records. BB manager around this time was Nick Grillo.

When Al was suspended in '92, it was due to a cranky spell on his part,possibly a by-product of the hearing problem that he was experiencing (and maybe still is). The group entered the "Summer In Paradise" sessions without him, and he almost didn't make it on the album. In Mike's historic Goldmine interview later that year, he sheds a little more light on the situation without really nailing it on the head:"...we had a rough time the last couple of years communicating. He's definately been on a bummer for many years based on some things that have happened to him historicially. Different that what happened to me with Brian with respect to the writing but a similar effect on him emotionally...Al has this thing where he'll obsess on something that happened 20 years ago. It's hard for him to let go...We got to the point where we didn't want to be in the same room or stage with him because he was so negative about things...once we were able to get into a forum, an area where he was able to unload some of that, we could empathize with some of it, not all of it, and air our points of view and it resolved all that stuff". According to Mike, that "forum" was group therapy with psychiatrist Howard Bloomfield. Mike went on to say that when Al joined the sessions, Mike told him he made a good song great (especially true in the case of STRANGE THINGS HAPPEN, probably the highlight from that much-maligned disc; Al's vocal there is stronger and un-characteristically punchy).

Carl was the only one who wound up being eligible for the draft. Alan had a marriage deferment, Mike had dependent children, Bruce was supporting his widowed mother, and both Dennis and Brian were 4-F. (Brian for his ear and Dennis for either his feet or some injury, not sure which).

The well known photo from a gig published in the El Camino 60´s yearbook shows (from left to right): Bob Borrows, BW, Keith Lent, Bruce Griffin. It was their first and only performance.

The interviewer on the 1988 Words & Music Promo CD about Brian´s Solo Album is David Leaf.

In the BB tape vaults are recordings of BB gigs from the following years:
1964,1965,1966,1967,1968.1969,1972, I973, 1976, I978, 1980, f981, I982, I984,1985, I987, l988,1989, I993,1995.

About the group's 1967 lawsuit against Capitol Records:
The lawsuit (alleging a royalty nonpayment of at least $225,000) was dropped in mid-1967. In LLVS (p. 132), there's a July 18 clipping that reports that. However, the suit that the group brought in April 1969 against Capitol appears to be a continuation or revival of the same complaint. That suit, which was reported as stemming from a 1967 audit of Capitol's books, alleged a royalty deficiency of at least $622,618.72 and also demanded unpaid producer's fees of $1,418,827.92 for Brian. In March 1972, Jack Rieley announced that the legal problems between the group and Capitol had been resolved: "We settled out of court for a large sum of cash -- the exact size of which we're not prepared to disclose -- and the rights [for 10 years] to the last five albums for Capitol, which they didn't exploit sufficiently in America, although they did well in Europe. That's Pet Sounds onward."
In 1969, the Beach Boys filed a $2 million lawsuit against Capitol Records to recover royalties and producers' fees for Brian Wilson. It was settled out-of-court in early 1972. The specific terms of thesettlement were not revealed, but there was money paid to the BBs, according to Jack Rieley at the time.

Dec. 2, 1998 Brian Wilson receives a Lifetime Achievement Award from the National Academy of Songwriters

The group that played the Super Bowl in '98 was OFFICIALLY billed as "A Tribute To The Beach Boys Featuring Mike Love, Bruce Johnston, David Marks, Glen Campbell, Dean Torrance, and John Stamos".

Brian's Docu was show for the first time at the Sundance Film Festival, Park City, Utah 25.1.1995.

27.8.1995 was the premiere of the docu "IJWMFTT" at the Disney Channel in the USA.

Mini-series called "The Beach Boys: An American Family"
Did some scenes at Point Dume which was filling in for The Strand and Paradise Cove. T-Bird set on fire scene and beach scenes. Filmed at Fosters Freeze in Glendora which was set in several different years of the '60s and at a gas station where Mike's girl friend Franny comes in while he is working and tells him that she's pregnet. Did a wedding scene at the Rovell's house and some scenes at Capitol records coming up.

Beach Boys 25th Anniversary Show
The day before the taping, they rehearsed in a large room in the basement of the hotel. The whole show was shot in a single day. They shot "live to tape," which means they did it in real time without stopdowns or retakes. Because the group wanted all the lyrics on cue cards, one guy was stationed at stage left and Bron was at stage right. A third guy was doing the tosses and teases to commercials on smaller cue cards and he moved around, depending where they wanted the shot.
Bron said after the concert there may have been some retakes and "pick-ups" of things the producers felt needed to be redone but he doesn't recall there being a lot of them, "not more than a couple." The show was not shot over a period of days; the crew call was four or five days for set-up and look-see, rehearsal and show. Bron says all the shooting occurred on that one day.
Before and after the concert day, there were some pre-taped segments shot (the catamaran, something done on the lawn behind the hotel, the volleyball thing). The day after the show, some more of the "insert" segments were taped. But the show was done once with a couple of pick-ups where deemed necessary.
The concert was recorded from Hawaii on December 12, 1986 but the TV special was aired on ABC on March 13th, 1987. There are a couple of versions, for example, a version without interviews and a different songs order.
They did some songs twice : they did "Surfer Girl" as medley with "Surf City" and "Surfin'USA" and another time with some special guest. The same for some other songs.
From L. Klobas

"Good Vibrations" Video:
We've seen a good chunk of it before -- in "The Beach Boys: An American Band" - with the FIRE music dubbed in. Actually, the only "discrepancy," if you want to call it that, was the labeling of the film (by both Leaf and the AB folks) as a "Fire" promo. It was shot (and shown, as Andrew recalls) for "GV" -- and certainly done at least a month prior to the "Fire" session in late November. Of course, the obvious question is: Was the film inspired by Brian's plans for "Fire," or vice-versa? Brad

The Beach Boys appearance on Home Improvement (or Tool Time to many of us) was aired in January '97 (probably Carl's last TV appearance, before he became ill). The Beach Boys' appearance on TJ Hooker was in the Fall of '82. They did indeed use footage from their July 4th 1980 D.C. concert, with the added close up of Carl edited in. The You Again appearance described by Doug was from the Fall of '86. Their first appearance on Full House was late '88 (they used footage of the Boys performing KOKOMO with Brian at the L.A. Coliseum in November of that year, in addition to the living room footage Doug described). Mike Love appeared on Full House by himself in (I think) Spring of 1991, performing BE TRUE TO YOUR SCHOOL in a telethon plot. The Boys (without Brian) appeared again in a two-parter from the Spring of '92 (actually, I think it was just Mike and Bruce, plus a video of Stamos' version of FOREVER which featured Carl, but not Al). There was also their 1995 appearance on Baywatch...for that, their lineup consisted of Mike, Al, Bruce, and Dave Marks, with Brian and Carl both appearing in the SUMMER OF LOVE video at the beginning of the episode.
November, 1976 Saturday Night Live (NBC)- In addition to Love is a Woman and Back Home, both backed by the SNL band/chorus, Brian also sang Good Vibrations solo at the piano.

Last year, when AMC acquired the rights to "Endless Harmony" for a handful of showings, they also asked for some "interstitials," short pieces that they could play between features on their Saturday night "American Pop" showcase. I prepared about an hour's worth of material for them, including a recut of the 1997 "Pet Sounds Sesions" film, some of the "T.A.M.I. Show" numbers, and several music videos - "Good Timin'" from 1979, Ed Roach's complete original promo film for "River Song," the 1966 "firehouse" film (directed by Brian) for "Good Vibrations," and a few other things. I think AMC strung all of the pieces together as a show at one point, and they may have also played these odd little "Beach Boys' Historical Minutes" that we originally put together for Capitol Records. They'll probably keep running these videos for awhile.
Alan Boyd

The interview in question was filmed in '94 (or maybe even in '93, but I think the captions said '94) for the Time/Life video series on the History of Rock 'n' Roll. The three of 'em performed versions of SURFER GIRL and GOD ONLY KNOWS for the camera.

"Die Beach Boys Und Der Satan". Essentially, it was a one-hour documentary by Christoph Dreher made in 1997. It was, of course, the footage of Brian at home that caught my interest the most. This dated from December 1996 and Brian was interviewed at his piano where he played and sang a verse and chorus from Love and Mercy and then some strikingly familiar boogie-woogie riffs straight from the Shortnin' Bread theme. In tantalising fashion, the camera occasionally zoomed in on some scraps of paper bearing very rough drafts of works in progress. Through deft use of the pause button on my VCR I was able to note the following draft lyrics from a song entitled The Same Old Streets:

The same old streets
The same old stores
Never stoppin' to walk inside the doors
Hey, pull over there I see a chair
Look inside the window
Right ___ over there

There were a few other odd couplets:
So hard waiting and anticipating
And god knows
Will you be ours?
We wish you were here
We feel you're so near
How could we still be marchin'
Marchin' down the (hall?)