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Album Certifications

Gold & Platinum Database SearchGold & Platinum Database

Artist   Title  Cert. Date   Label   Award   Description   Level   Format   Category   Gender

BEACH BOYS, THE15 BIG ONES09/01/76REPRISEGold ALBUMGROUP

BEACH BOYS, THEALL SUMMER LONG02/18/65CAPITOLGold ALBUMGROUP

BEACH BOYS, THEBEST OF THE BEACH BOYS04/12/67CAPITOLGold ALBUMGROUP

BEACH BOYS, THEBEST OF THE BEACH BOYS12/02/91CAPITOLMultiPlatinum2.0ALBUMGROUP

BEACH BOYS, THEBEST OF THE BEACH BOYS12/02/91CAPITOLPlatinum ALBUMGROUP

BEACH BOYS, THEBEST OF THE BEACH BOYS, VOLUME 212/10/76CAPITOLGoldALBUMGROUP

BEACH BOYS, THEBEST OF THE BEACH BOYS, VOLUME 202/05/92CAPITOLMultiPlatinum2.0ALBUMGROUP

BEACH BOYS, THEBEST OF THE BEACH BOYS, VOLUME 202/05/92CAPITOLPlatinumALBUMGROUP

BEACH BOYS, THEENDLESS SUMMER08/14/74CAPITOLGold ALBUMGROUP

BEACH BOYS, THEGOOD VIBRATIONS12/21/66CAPITOLGold SINGLEGROUP

BEACH BOYS, THEGOOD VIBRATIONS: 30 YEARS OF THE BEACHBOYS11/02/93CAPITOLGold ALBUMGROUP

BEACH BOYS, THEI GET AROUND02/22/82CAPITOLGold SINGLEGROUP

BEACH BOYS, THEKOKOMO01/10/89ELEKTRAGold SINGLEGROUP

BEACH BOYS, THEKOKOMO01/10/89ELEKTRAPlatinum SINGLEGROUP

BEACH BOYS, THELITTLE DEUCE COUPE12/21/66CAPITOLGold ALBUMGROUP

BEACH BOYS, THELITTLE DEUCE COUPE02/05/92CAPITOLPlatinum ALBUMGROUP

BEACH BOYS, THEMADE IN THE U.S.A.05/26/88CAPITOLGold ALBUMGROUP

BEACH BOYS, THEPET SOUNDS02/11/00CAPITOLGold ALBUMGROUP

BEACH BOYS, THESHUT DOWN - VOLUME 212/21/66CAPITOLGold ALBUMGROUP

BEACH BOYS, THESPIRIT OF AMERICA04/30/75CAPITOLGold ALBUMGROUP

BEACH BOYS, THESTILL CRUISIN'11/27/89CAPITOLGold ALBUMGROUP

BEACH BOYS, THESUMMER DAYS02/07/66CAPITOLGold ALBUMGROUP

BEACH BOYS, THESURFER GIRL11/15/65CAPITOLGold ALBUMGROUP

BEACH BOYS, THESURFIN' U.S.A.11/15/65CAPITOLGold ALBUMGROUP

BEACH BOYS, THETHE BEACH BOYS CHRISTMAS ALBUM04/06/82CAPITOLGoldALBUMGROUP

BEACH BOYS, THETHE BEACH BOYS IN CONCERT02/18/65CAPITOLGold ALBUMGROUP

BEACH BOYS, THETHE BEACH BOYS IN CONCERT10/04/74REPRISEGold ALBUMGROUP

BEACH BOYS, THETHE BEACH BOYS TODAY10/01/65CAPITOLGold ALBUMGROUP

BEACH BOYS, THETHE GREATEST HITS04/27/99CAPITOLGold ALBUMGROUP

BEACH BOYS, THETHE GREATEST HITS04/27/99CAPITOLPlatinum ALBUMGROUP

BEACH BOYS, THETHE GREATEST HITS04/27/99CAPITOLMulti Platinum2.0ALBUMGROUP

Best of the Beach Boys Vol. 1 went Platinum and Double Platinum 12/2/91

Best of the Beach Boys Vol. 2 went Platinum and Double Platinum 12/5/92

Kokomo single went Platinum 1/10/89

Little Deuce Coupe album went Platinum 2/5/92

The Greatest Hits went Platinum and Double Platinum 4/27/99

(You can find info on RIAA certification at http://www.riaa.com)

PET SOUNDS should have gone Gold sometime in 1967. TODAY! took seven months to go Gold, SUMMER DAYS took about a year, and BEST OF THE BEACH BOYS took nine months. So why didn't PET SOUNDS?

This is pure speculation, but I think part of the problem might well lie in the lawsuit that the group filed in the Spring of 1967 against Capitol. Up until that point, the label appears to have been almost religious in its RIAA certification of BB albums. Look at the certification dates from late 1965 on:

Oct. 1, 1965 -- TODAY!
Nov. 15, 1965 -- SURFIN' U.S.A.
Dec. 16, 1965 -- SURFER GIRL
July 6, 1966 -- SUMMER DAYS
Dec. 6, 1966 -- SHUT DOWN VOL. 2
Dec. 20, 1966 -- "Good Vibrations"
Dec. 21, 1966 -- LITTLE DEUCE COUPE
April 12, 1967 -- BEST OF THE BEACH BOYS

Given that it typically takes several months for a record to be awarded RIAA certification once the audit is submitted, what we have is a picture of Capitol being very aggressive in getting certifications through about February 1967. Then The Beach Boys sued Capitol (Feb. 28, 1967) and the certifications stopped. The next albums in line for RIAA recognition would have been PET SOUNDS and PARTY, yet nothing was done for either. Was this a political move on Capitol's part? Were the Capitol execs thinking, "They're suing us, so why bother?"

The only argument against this scenario is that I know Capitol's Randall Davis looked into getting PS certified back in 1982 and determined that Capitol didn't have enough provable sales to make it happen. But what I don't know is whether he was able to access all the sales reports going back to 1966. It's possible that he wasn't and that was the real problem; I just don't know. What I do know, however, is that when Mike Etchart learned last summer that PS had never been certified Gold, he was able to easily come up with the necessary numbers with an audit.

Brad Elliott

20 GOOD VIBRATIONS: THE GREATEST HITS (released in 1995) is one of the best-selling albums in Capitol's catalog. Get this: It was certified Double
Platinum in April 1999. That's TWO MILLION copies in less than four years!

Can anyone list all the BBs gigs where BOTH Al Jardine and David Marks were on stage?

From at least May through the end of August, 1963, Brian stayed at home while Al took his place on the road, with Dave still in the band. Have no idea how many gigs they did during that time, but I know they played Sacramento and Honolulu together, plus probably many others. And they also recorded together (sessions for the "Surfer Girl" album).

There were a few times over the years between 1963 and 1997 where Dave would join them onstage (he remembers playing with them in 1964, I've got a tape of a 1971 Boston show where he joins them for SURFER GIRL - he was attending the Boston Conservatory of Music at the time - and in the mid-'90s there were reportedly a few gigs where he sat in for Carl, ala the Baywatch "performance").

In 1997, my records show 20 shows in October and November, beginning with a stint at the Orleans in Vegas. This Vegas stint was the first I'd heard of Dave returning, but he claims to have returned in August...between Carl's last show in August and the Orleans gigs in October, my records show that playing at least 12 other shows (meaning the total for '97 gigs with both Al and Dave would be at least 32, if Dave did in fact return in August). If Dave and Carrianne are on this board, maybe they can tell us the location of his first '97 gig with the band? That would be helpful pinning down the date...

Then of course, Al played one gig with the band in '98...an American Cancer Society benefit in Carl's memory in Detroit...so that would apparently be the last time.

David Marks recently posted a list of cover tunes he remembers the band did live:

Lets Go Trippin
Silly Boy by the Letterman (I played drums on that so Denny could be out front)
Movin and Groovin and Ram Rod by Duane Eddie
Midnight Sun
Monster Mash
Sherry
Runaway and Ruby Baby by Del Shannon
Dick Dales version of Sloop John B
Louie Louie and What Did I Say - I sang leads on those
Thats My Desire

BB & Uncle Sam:

Brian - 4F deafness
Carl - C.O. status granted
Dennis - rejected due to psych. reasons
Al - marriage deferment
Mike - dependent child deferment
Bruce - dependent mother/only child deferment
Dave - stomach ulcer

A list with the instruments the BB played along their career (both live and in studio):

All vocalists, composers, arrangers and producers

BRIAN WILSON: mixer, engeneering supervisor, bass, keyboards (acoustic/piano, organ, moog bass, moog, piano organ, glockenspiel, string ensemble, emulator) harp, harmonica, chimes, bells, vibes, percussion, sound effects, drums, accordion, tambourine.

DENNIS WILSON: (arranger also on strings and horns) drums, percussion, tambourine, vibes, keyboards (organ, electric/piano), bass harmonica, guitar, ARP string ensemble, orchestra bells.

CARL WILSON: mix-down producer, guitars (lead, acoustic, 12-string, rhythm), bass, keyboards (synthesizer, electric/piano, moog synth, organ, mellotron), percussion, harp, bells, drums.

MIKE LOVE: saxophone, theremin, accordion, percussion, tambourine, sleighbells.

AL JARDINE: guitars (rhythm, acoustic, 12-string, lead), banjo, upright / bass, tambourine.

BRUCE JOHNSTON: (arranger also on strings) keyboards (electric/piano, harpsichord, organ), bass, acoustic guitar, field drum, bells.

CARL'S GUITARS

- Epiphone Casino (6 & 12 string models- right up to his last tour)
- Gibson ES-335 (70's through late 80's)
- Fender Jaguar (white & sea foam green- early 60's)
- Fender Telecaster (late 60's)
- Fender Stratocaster (60's [white] through '97 [black]
- Takamine acoustic (used in campfire scenes in BBs ENDLESS SUMMER special '89)
- Unidentified acoustic guitars from last few 90's tours.
- Gibson Les Paul ('81 solo performance on SOLID GOLD)
- Hofner Beatle Bass (GOK performance from unreleased LEI'D IN HAWAII, late 60's generally)
- Various Rickenbackers (360 6 & 12, blonde version of CWLE reissue)

Jeffrey Foskett posted a run-down on Carl's guitars. Jeff wrote:
<Carl played several guitars throughout the years. He started on a Fender Jaguar (the white solid body guitar.) In 1964, he purchased a Rickenbacker 12 String. It's the one he plays "I Get Around" on the Andy Williams Show. He had four Rickenbacker 12 Strings... all different. Two 360's, a 1993 (export) purchased in England, a 360DB (originally Fireglow [Red] and now Blonde and currently on display at the Rock and Roll Hall of Fame in Cleveland). He then played a Guild Starfire VI, (the guitar he used on prison tours). In 1968 he switched to the Epiphone 360TD Rivera 12. His favorite one had the headstock broken off and when the factory sent it back to him, it had a Gibson 12 String neck and hence people assumed it was a Gibson. He never played the Epiphone 360TD 6 String. He then played his favorite 6 String guitar purchased in Santa Monica from a friend of Ed Carter's for $300.00... a Gibson 335 Blonde in color. This guitar was unique because the headstock was
broken off of it too and Gibson replaced it with a 355 neck instead of a 335 neck... so people thought it was a Gibson 355. On his solo tour he played "Old Yeller"... one of the very first prototype Fender Stratocasters ever made. The nickname comes because the guitar was originally white but yellowed with age. Carl purchased it from a down and out friend in the mid-1970's. He sometimes played this guitar in the mid 1990's
Beach Boys. His favorite accoustic guitar was one custom made for him by David Russell Young. DRY was a very talented luthier and Carl and Alan each purchased a guitar from him. Carl's had a Butterfly on the headstock and Alan's had a Dragonfly. The guitars are safe and Justyn plays some of them live with his band IN BLOOM.>
One additional note -- Carl had two identical Epiphone 12-strings (right down to the Gibson headstock) he used on tour.

AL'S GUITARS

- Fender Stratocaster (white- early 60's through present)
- Gibson Les Paul (early 70's)
- Fender Telecaster (late 60's)
- Unidentified acoustic guitars (recent tours)

BRIAN'S BASSES

- Fender Precision (white- early 60's, black w/ tortoise shell pickguard-various other years)
- Hofner Beatle Bass- (LEI'D IN HAWAII rehearsal footage)
- Copy of Hofner Beatle Bass- (LEI'D IN HAWAII rehearsal footage- I have seen photos of both distinctly)
- Some modern looking thing- (silhouetted, seated BAYWATCH performance-looked kind of like an Alembic)

BRUCE'S BASSES

- Fender Precision (white-like BW's mid 60's, various at other times)
- 5 String Fender Precision (charcoal grey, very cool, from BAYWATCH)

Brian's songs have new owners as Universal Music Group has acquired Rondor Music which was made up of Almo and Irving Music. Sea of Tunes is part of Irving.

The Brother Records logo
is based on a piece of sculpture called "Appeal to the Great Spirit," cast in bronze in 1909 by Cyrus Edwin Dallin (1861-1944). The original stands in front of the Boston Museum of Fine Arts. Find a picture of the bronze here: [http://www.dallin.org/pages/spirit.html]. This is not to be confused with "End of the Trail," which is the original sculpture on which is based the cover of the SURF'S UP album. "End of the Trail" was created in plaster 1894 by James Earl Fraser (1876-1953), who, incidently, also designed the artwork for the "Indian-head" nickel--not that I'm old enough to remember the "Indian-head" nickel, mind you! Anyway, a bronze version was cast in 1929 and is on display in Waupun, Wisc., northwest of Milwaukee. Read more about it here:
Ø [http://www.centuryinter.net/waupun/New%20Pages/scueot.html]
When BeachBoy Carl Wilson was asked in 1975, he said the indian was chosen because Carl's grandfather believed there was a spiritual Indian 'guide' who watched over Brian, Dennis and Carl from the "other side". The choice of the logo was Brian's. Carl called the logo, "The Last Horizon".

The Honeys' first three sessions were cut at Capitol, not at Western. That's the 3/5/63 session for "Shoot The Curl" and "Surfin' Down The Swanee River" (produced by Brian and Nik Venet); the 5/15/63 session for "Raindrops" and "From Jimmy With Tears" (produced by Nik solo); and the 7/24/63 session for "Pray For Surf" and "Hide Go Seek" (another Brian-Nik co-production). After that, Brian moved the group to Gold Star.

As far as I can determine, The Honeys/Spring/American Spring never recorded at Western until the late 1970s. I found that very surprising!

Brad

Here is a quote from Darian Sahanaja who had the same experience (only worse) and talks about what he learned from it...

Darian: "But I was really into the Beach Boys at that time and I got a lot of crap from the neighborhood boys who were of course really into Zeppelin and Aerosmith and Grand Funk, and all the hard bands of the time - the Stones. And it didn't help that I was kind of wimpy as a boy too, and it got to the point they got so carried away they were physically beating me because I liked the Beach Boys. And that was like the main thing and they'd like do the falsetto stuff - "Wooo-ooo-ooo - you like that stuff!" And I remember thinking "Boy I could, I could really pretend that I don't like them" - or like - y'know submit to peer pressure, but I couldn't do it because I loved the music so much, I mean I'd go home and I would just sit in front of the stereo and put those records on and listen to them over and over. But the reason why it's so heavy - now - is because I realized way, way, way in retrospect that it was at that pivotal moment in my life that I started to become less and less concerned about what other people thought. And I think it really developed my attitude on life and my taste in things, and I think because of that I was just able to be just a little more free thinking about things. So on that level - I mean this is really heavy for me, that I'm working with the man who single-handedly influenced my life in that way with his music. "

There are two kinds of royalties paid --artist royalties and songwriter royalties. The former is handled by the record company that released the actual recording. The latter is handled by the publishing company that owns the rights to the song. In each case, the company is supposed to forward the proper contractually-determined share of any payment received to the artist or songwriter.

So, when a Beach Boys song is used in a movie or commercial, The Beach Boys get something (as the artist) and the songwriter gets something. In the case of payments for the actual recording, the payments go from the movie studio or advertising agency to the record company, and then a share is sent on to The Beach Boys. In the case of payments for the actual song, the payments go to the publishing company, and then a share is sent on to Brian (or whomever the writer is).

The correct sequence of songs performed by Brian at the Bridge School 1999 shows:
10/30
California Girls/In My Room/Surfer Girl/Add Some Music/Do It Again/Lay Down Burden/God Only Knows/Please Let Me Wonder/Help Me Rhonda/Surfin' USA/Good Vibrations/Love And Mercy

10/31
California Girls/In My Room/Surfer Girl/Do It Again/Add Some Music/Lay Down Burden/God Only Knows/Please Let Me Wonder/Help Me Rhonda/Good Vibrations/Surfin' USA/Love And Mercy/Good Vibrations(encore--chorus only)

Brian Wilson live shows

As you may or may not know, Darian is totally responsible for the vocals being sung like the original arrangements, The vocal parts were ALL there, Darian even sings those "impossible" half steps that Carl or Al sang on the records. You know, the counterpoint that made four or five voices sound like twenty. This is something the BBs haven't done in fifteen or twenty years. I digress. I called Darian as soon as I got my copy of the Roxy and had taken time to listen closely. Having been at both shows I had some questions. I told Darian that I liked it very much, but the only background vocals I was hearing clearly were Jeff's, Taylor's and his. He said that "others" had greater input at the mixdown and that he was quite displeased with the "disappearance" of the Mike, Dennis and Al parts. So to answer your question again, yes the parts were there live, just not on the disc. An additional piece of info, there were NO doubling of vocals done for the cd at all, that is Jeff singing WITH Brian, the only post show dubbing that was done were "punch ins" to correct missed lyrics and missed notes as in Brian's case, and missed notes and to strengthen backing vocals in all other cases. I am emphatically, quoting Darian (without his permission) who told me he was at all over dub and mixing sessions. Now I hope he's still talking to me.
Bob Hanes

Carl Wilson Walk 1998 Roxy setlist:

Father Ken Deasy -- Invocation
St. Agatha's Choir -- "Anointing" and "He Has Done Great Things for Me"
Michael Angeloff -- "Here and Now"
Billy & Desi -- "My Old Friend"
Robert Lamm -- "Like a Brother"
Terry Reid -- "Don't Worry Baby"
Stephen Bishop -- "On and On"
Gerry Beckley, with Brad Palmer and Jeffrey Foskett -- "I Need You"
Louise Harrison -- standup routine about the BBs/Beatles rivalry in the '60s
Van Dyke Parks -- "Orange Crate Art"
Brian Setzer -- "Little Deuce Coupe"
Joe Walsh -- "Friend Song"

Intermission: Guitar auction with John Stamos

The Righteous Brothers (backed by the Honeys, Wilsons, and Owen Elliott) -- "You've Lost that Lovin' Feeling"
The Honeys -- "I Can Hear Music"
Ricci Martin -- "Stop, Look Around"
Bobby Figueroa and friends (including a sharp horn section and members of El Chicano) -- "Nena"
Billy Hinsche -- "One More Night Alone"
Jackson Browne w/Venice -- "For a Dancer" and "Rock Me on the Water"
Geoffrey Cushing-Murray -- "Goin' South"
Jeffrey Foskett and Myrna Smith -- "Hold Me"
In Bloom -- "Out Of Darkness" and "Crazy Little Mouse"
The Jardines, Wilsons & Owen Elliott -- "Girl Don't Tell Me" and "Help Me Rhonda"

Carl Walk set list 2000

Producer/Musical Director: Billy Hinsche- Keyboards/Guitar/Vocals
Jeff Foskett- Guitar/Vocals
Bobby Figueroa- Drums/Vocals
Craig Copeland- Guitar/Vocals
Randell Kirsch- Bass
Tom Jacob- Vocals

Michael Angeloff- "Here and Now...Is Forever"
The Honeys- "Hide Go Seek", "Mama Said", "Surfin' Down the Swanee River"
Ricci Martin- "I Wonder Why" and "Angel of Love"
The Wilson's- "God Only Knows", "Caroline No", "Not Your Average Girl"
Blondie Chaplin & Ricky Fataar (Backing vox Carnie and Wendy Wilson)-"Sail On Sailor"
Robert Lamm- "Saturday In the Park", "Does Anybody Really Know What Time It Is?"
Christopher Cross(his own all female Backing band)- "Sailing" and "Ride Like the Wind"
Brian Wilson- "Lay Down Burden", "In My Room", "Surfer Girl", "Barbara Ann", Surfin USA" (Brian's Band- Jeff Foskett, Scott Bennett, Taylor Mills, Probyn Gregory, Nicky Wonder, Darian Sahanaja)

1970s and 1980s reissues

There was no remixing done on any of the 1970s and 1980s reissues. Andrew Sandoval located the original master tapes for each album and simply remastered from those. In most cases, the tapes he used were 3-4 generations better than those used to master previous releases of the albums. In a few cases (IN CONCERT and L.A. LIGHT ALBUM), he went back enough generations that he was able to locate masters that had longer song intros and/or fades (i.e. -- pre-final editing for vinyl time length constraints) and included those on the CDs. But he did *not* do any remixing. All mixes are the originals.
In case of the Sunflower album they found the original STEREO master (already mixed), and that was used for the first time.

"Jai Guru Dev" roughly translates as "hail to the divine teacher." "Godly master" may be better than "teacher" in conveying the meaning of "Guru." (It depends if the expression is being used in praise or worship.)

As I recall, the Beatles FAQ gives a decent enough translation but wrongly calls it a mantra, which it ain't.

I presume the Beach Boys and Beatles first heard the expression from Maharishi Mahesh Yogi, who uses it to give thanks to his teacher. However, "Jai Guru Dev" wasn't coined by Maharishi - it's a "generic" phrase that is widely used in the Indian tradition. And, All This is That and Across the Universe notwithstanding, it sounds pretty silly when used in pop songs.

Incidentially, the worst use of the phrase in a song may "TM" from Charles Lloyd's Wave album, featuring - not surprisingly - Mike Love, Alan Jardine and Carl Wilson ("In the AM ... and the PM ... whole lotta TM").

BTW there were two slightly different 1999 Tour Books. The first from the Joe Thomas era & the second from the post Joe Thomas era.

BB 1989 Europe Tour

2.9. Hannover, Germany
27.8.Neundorf-Egerkingen, Swiss
1.9. Waldbühne Berlin, Germany
2.9. Waldbühne Berlin, Germany
3.9. Loreley, Germany
6.9. Birmingham, UK
8.9. London, UK
10.9. Dublin, N-Irland
14.9. Stuttgart, Germany
16.9. Wien, Austria
19.9. Monaco
21.9. Marseille, France
22.9. Paris, France

30.6.1991 Göttingen, Germany

The BB did a concert in Germany, Septemeber 1996

Wendy released in Canada (on Capitol) 1996 two vinylsingles (limited). One with Little Honda b/w He Knows Me Too Well, the other one was with BB covers, too.

4.7.1988 - a 3 hour radio show about the BB was broadcasted and is available on cd and vinyl.

According to Melinda Wilson's posting on Brian's site:
Up until an hour before the show this song (Forever) was going to be
performed, but they needed to cut the show time and much to our sadness, this
beautiful tribute to Dennis was the song the producers decided would have to
go. No need to worry though, he will be doing it in concert this summer in
Japan. He so wanted to sing it for his brother. Melinda

Carl seems to have done only two really "in-depth" interviews during his career.
The first was an audio interview with Jim Ladd of Los Angeles radio station KZOK-FM back in 1975. Much of that interview was syndicated on Ladd's "Inner View" program, but a significant portion of it didn't reach syndication. Fortunately, tapes are in circulation of both the "Inner View" program and the original interview.
The second in-depth interview with Carl was by Geoffrey Himes in the September 1983 issue of "Musician" magazine. The article is subtitled "Carl Wilson recalls 20 years with and without Brian".
The Ladd interview is less historically-based and more a discussion of Carl's thoughts and ideas about music and lots of other topics.

There probably wasn't ever a truly definitive interview done with Dennis. Around the time of PACIFIC OCEAN BLUE, he did quite a few interviews, but most of them were very POB-centric. Some of the better ones were one that David Leaf did in his old "Pet Sounds" fanzine and one that appeared in the May 1977 issue of "Rock" magazine. But probably the very best interview done with Dennis, in terms of historical perspective and commentary, is another that was done during the POB promotional blitz. In the fall of 1977, Dennis was interviewed by disc jockey Gary T. of San Jose radio station KOME. He actually says very little about POB and instead talks about his relationship with his brothers and his dad, the legacy of the group and what making music means to him.

There's also a syndicated "Robert W. Morgan Special of the Week" from March 1978 for which Dennis was interviewed, as were most of the Beach Boys. For
whatever reason, Dennis opened up more than he usually did for such radio programs and made a number of interesting and extensive comments about the group and its history. This is the program in which Dennis talks about finding the "Fire" tapes.

Cocaine sesssions

In 79 and into the early eighties, Brian was once again, "strung out", on Coke and heroine. Brian would show up at Dennis' house looking to score and he and Dennis and a guy that took care of Denny's house, named Garvey Leon would write songs. Oh Lord, City Blues, Night Blooming Jasmine, Water Builds Up, and a few more I can't remember, oh yeah, Why Won't You Tell Me Why, and a real scarey piece I call, I Feel So Fine, came out of these "sessions". Garvey was not part of the drug scene that Denny and Brian indulged in. He was an old friend of Dennis' and basically took care of Dennis' property for him, while the Boys were on the road or while Dennis was off with Christine or whomever. The sessions are somewhat painful to listen to, but the songs are interesting.
Garvey and a guy named Chaney Ryan (Robert Ryan's son), had met Dennis when Dennis and Carol and, Carol's son, Scotty moved into a house, in hollywood, across the street from Robert Ryan. Garvey and Chaney would babysit Scotty. They were in high school and had a blues band, and were fond of jazz. Thus the influence on the material called the cocaine sessions.
BTW, it was a consorsium of actors and friends that had owned the Dakota Hotel, in NYC, years before Lennon moved in. Chaney, worked as a desk clerk there one summer, while in school at Harvard, where he was eventually thrown out (his words). The last time I saw him he was being given an honorary doctorate at Harvard in philosophy, and he found that quite funny! He was teaching philosophy at the University of Oregon. He is no longer at the U of O and I heard he was at Harvard, teaching!

Live WASHINGTON DC 11/19/67

This is the first live 1967 concert recording featuring the standard touring lineup (Bruce instead of Brian) to surface. AND it's from the first tour where The Beach Boys were augmented by additional musicians. Present on that tour were Ron Brown on bass and Daryl Dragon on additional keyboards (primarily organ). Bruce played electric piano on most songs.

Brian departed the concert stage for good in February 1965. After that, the BBs charted the following hits prior to "Kokomo":

Do You Wanna Dance - peaked at #12 in April 1965
Help Me Rhonda - #1
California Girls - #3
Barbara Ann - #2
Sloop John B - #3
Wouldn't It Be Nice - #8
Good Vibrations - #1
Heroes & Villains - #12
Darlin' - #19
Do It Again - #20
Rock & Roll Music - #5
The Beach Boys Medley - #12
Come Go With Me - #18
Wipeout (with The Fat Boys) - #12

Redwood recordings of "Darlin´" and "Time To Get Alone"
As for the Oct. 27 BB session (for which there is an AFM contract), my guess is that it was for finishing the track -- adding Carl's guitar, plus drums and percussion. Danny makes no reference to those instruments having been recorded during the Redwood session, but they're on the released BB version. (Although, curiously, the bass and drums seem to be on the same track of the multi-track tape, so the drums might have been recorded at the initial session, too. Strange that Danny didn't mention them, though.)

Now, as to the identity of the bassist: It couldn't have been Carol Kaye, as she's on record as never having done a session at Brian's home studio. My guess is the bassist was Ron Brown, who toured with the BBs in the fall of 1967 and also shows up on at least one session contract from that time. Being black, Brown might very well have been an ex-Motown player, or at least it's understandable why Danny might have thought so.

** But later, when Art asks if he has copies of the unreleased material [note - this was in 1991, so the TTGA track hadn't been released yet], Danny says "I only have TTGA, that we actually completed the vocals on." !?!?!! And yet, in the Rolling Stone article, he specifically said that Brian "dropped our voices and put theirs on" in clear reference to Darlin. Could he have been talking only of reference or otherwise "incomplete" vocals??? **

I'd bet on it! If Redwood had finished the vocals for "Darlin'," I'd expect a mixdown to have survived of the recording, just as one has of their version of "Time To Get Alone." The fact that nothing remains of Redwood's version of "Darlin'" says they probably only laid down reference or incomplete vocals, which were wiped when the BBs co-opted the song.
Brad

Al Jardine in the Goldmine interview (that was published in 2000) mentioned the tapes (although it sounded like he was talking about at least stereo tapes) being run concurrently and was told about it by Steve Desper. What Alan was referring to was something that was done during the late 1979/early 1980 KEEPIN' THE SUMMER ALIVE sessions, which Desper engineered. Afraid that the sessions might be among Brian's last (because of the terrible physical shape he was in), Carl and Bruce had Desper keep a 1/4-inch tape machine running throughout the sessions to preserve literally every moment of them for posterity. While only a few of the tapes seem to be logged in the Beach Boys' archive, somewhere there are 100s of 1/4-inch tapes documenting the KTSA sessions!
However, a mono 1/4-inch tape that was running during the vocal sessions has been booted -- on SOT 9, Disc 1. So, while you can't hear the vocals in stereo, you can hear them being recorded.

Posted by Matt J. on March 16, 2001:
Carl did smoke heavily through the early eighties.But, thankfully,he stopped & cleaned himself up-lucky for us. I remember converstions regarding all the new tobacco info that was coming out in the mid 90's & him being thankful he didn't smoke anymore. I don't think it would've helped his voice any & we might not have heard the same voice if he hadn't quit. When he was on the road with us that last year he estimated he'd smoked tens of thousands of cigarettes & as a result they may have started the cancer in his brain & lungs. His words. As a child I remember Brian coughing violently while singing, cigarette in hand or on the edge of the piano.
Getting back to Carl, he was a true professional & he expected the same from everyone around him. He taught me, by example, to put my heart & soul into my singing & to be professional in the way I prepare for a show,& to have a positive outlook("always have fun laddie")especially when everyone was run down. He was a good person-not perfect-but he had a good soul & he was always concerned for his band's well-being & making sure we were taken care of. His soul-ness really came out onstage when he was "on". I think that his music was his true form of expression & he let it all hang out onstage. Anyone who had the pleasure of hearing him perform knows what I'm talking about.Working with him & watching a master at work every day & working with his equally talented partners & their incredible band was an experience I'll always remember.They say that if you wanna get really good at a particular trade, like basketball for instance, you go & play with guys like Jordan, Barkley, Malone & the like. Those guys raise your game beyond the bounds of what you thought you could do, & that's what the Beach Boys did for me. It is an experience I'll carry forever.

Posted by Matt J. on March 14, 2001:
Hi Paul, Thanks for your opinion & your support. Dad has my complete support always as he does from fans like yourself. Yesterday I realised (after posting my response to reunion committe)that information of that kind of sensitivity can damage the musical experience for some fans, that it could cast a dark cloud on an already confusing & sometimes unpleasant situation. This board is for fans to discuss the bands & their music & I would rather promote that & not alienate some of you. That is the intended spirit of this board & the music. I will continue to support my father on my own time. Things will right themselves & dad will be fine. He's actually in very good spirits these days considering all that's going on. I think he looks at it as a challenge & definately wants to move forward on all fronts. He's very motivated to get back on the road. I called him this morning & told him to get on the site & check out the great comments & show of support he has on the guestbook. He'll really be surprised & touched by it.

Posted by Matt J on March 14, 2001:
To all of you who post on this board: In response to the questions regarding the pending lawsuit I have issued a gag order on myself! One of you mentioned that the music is the STAR and I couldn't agree more! In the end none of the personal issues with individual band members will tarnish what has been created. As you all know I am very close to the present situation which is literally inside my own home and my family's home. So I hope you can understand how this has effected me hence my overzealous responses on-line:) I have had the honor of working with the Boy's, individually and collectively and I cant slam that. Its been a life altering and learning experience that I will cherish for the rest of my life. I, like you all, grew up with this music and it's very close to my heart. Its been a lot of fun interacting with all of you and trying to answer your questions. So, with my gag order in mind I will be happy to answer any questions you have for me. Talk to you soon, Matt

Posted by Matt J. on March 12, 2001:

Unfortunately the 'boys won't be reuniting anytime soon. There needs to be some serious damage control initiated by BRI & Love before Al is going to be a part of the band again. He actually is a part of the band still(a co-founding member & sitting board member of BRI/The Beach Boys)but not a part of the current touring band (and not by his own choosing I might add)The info BRI & Mike has put out to you fans & the public is misleading to say the least. Hence all the infighting & ongoing confusion. Unless BRI is willing to settle & compensate Al for the lost touring income with The Beach Boys & the harrassment of his F&F buyers in '99 & '2000 this show will go all the way to court this summer or fall. In short, it's very personal because they're not allowing him to tour with the band he co-founded & they're blocking him from using the name Beach Boys,original Beach Boy, etc. for his current band. Sorry but that's the reality. As for touring with F&F we're working on getting gigs & hopefully we'll start to see some steady work as the year progresses. We just did a show in San Francisco last week & it was awesome. We really had a fantastic show.The band was strong & tight & the vocals were right on & sweet. Stay tuned.

Posted by Matt J. on March 13, 2001:
To reunion committee,
I really should tone down my comments regarding the current state of affairs. You all are fans of the music as it should be & not a part of the current state of affairs, as it should be. So, with that said I'd like to clear the air & then I'll stop. Reunion committee, you confuse mud slinging with what truly is happening. But, in your position you don't know what is happening so how can you call it mud slinging?? It's not pretty, it's not nice (especially for AL) BRI & Love have nothing to gain by saying anything regarding this issue. In fact it would be a public relations nightmare if the press wanted to run with this story. So of course they're not going to mention it. And the crux of it is, it would hurt everyone involved & put another negative slant on the group. It could hurt everyone's touring, record sales, etc. So, it's a stalemate on that issue. Hence, you haven't heard a peep from BRI/Love except to say publicly on 5-6 separate occasions that I know of(nat'l press release after Carl's passing, People mag-twice, on-line concert reviews) that Al left the group to start his own band, which is a crock. At their first board meeting after Carl's death Al fought to keep the band intact, not to have all touring funds funneled through Love's entertainment Co.(it went thru Brother Records since the 70's)), and to keep touring production & musical integrity the same as previous years(Love wanted to cut production costs, which were needed at the time because there were 4 bosses onstage-not 1 like there is now). You can imagine he rubbed Mike the wrong way, which he did. But he wanted the band to be the best it could be. Unfortunately, The current state of affairs was already underway, unbeknownst to Al when this board meeting took place. He fought them on it & tried to reason with them(As a peace offering they offered him a license to use the Beach Boys name, which he thought ludicrous--having 2 Beach Boys bands on the road at the same time!!-& BRI later renigged on the license agreement) As a result, things have degressed to the current situation, which is wrong--no two ways about it. The right thing, the honorable & correct thing to do would've been to buy Al out of the group & everyone go their separate ways. But Mike & BRI have resorted to starvation tactics & barrage Al's lawyer with mountains of paperwork while harrassing F&F buyers & F&F management, thus hampering the ability to book shows(that pratice stopped late last year)It's starting to turn for the better but it's been hard on dad. He still loves his group(he paid his dues) & to see things go the way they've gone has been a kind of death & re-birth for him. He's very motivated to move forward with his own band & also finish this business with BRI. I keep telling him jokingly that he should write all this down & sell the story as a rock & roll soap opera. It could be a kind of rock & roll Sopranos. It'd be Hilarious(at least from our perspective) Like I said- it ain't pretty but the truth is sometimes that way. But then again, maybe the truth is not important. You decide.

Posted by Matt J on March 12, 2001:
The San Francisco gig was a private show. All the band was there & it was, in my opinion, one of our better shows. The energy onstage & from the audience was really amazing. Lookin' forward to gettin' out there & touring on a regular basis. Don't know when that'll be--hopefully soon. I'll log on later with some more details reg. the show.

Posted by Matt J. on March 10, 2001:
Johnny te Lintello(?) was asking about the unplugged tour & if there are any future releases in sight. As far as I know there are no plans for any release of that tour. If it were up to the back-up band it would've been out years ago. That tour was the most fun I've EVER had onstage with the band. It bordered on a kind of zen-like experience. The harmonies were tight 'cuz we could all hear each other & the rhythm section & band were really on it. Kowalski,Hinsche,Cannata,Carter,Meros & myself)After that short tour we(the band) always suggested that we at least have a 4 or 5 song unplugged section in the middle of the set but it never happened (guess it didn't vibe well with the summer-type tours). We did perform S. girl & Hushabye as a kind of mini unplugged chunk in the set but it wasn't near the same energy/vibe as before. There is a 24 track tape floating around somewhere taped during rehearsals in Big Sur & is rough ( taped for the principles & band so we could all remember our parts,etc.).As I said it is rough but there are great moments on there along with talk in between songs, etc. Maybe some day it'll come out.

Posted by Bruce Johnston, February 26, 2001
A long black limo picked up my family for the 85 mile drive from Santa Barbara to the California Science Museum in Los Angeles. While driving down the coast, we all enjoyed viewing the rather large surf breaking on several beaches along the way. It was Tuesday afternoon and we were on our way to the NARAS Lifetime Achievement Awards. It would all take place at 6PM. As we got closer to Los Angeles, the traffic increased but we somehow got there on time.
I wore a suit (I looked as though I do my own taxes!) for this event and I'm glad that I did. Everyone else was dressed rather well. Mike Kowalski and Dawn were there..in fact, Elliot Lott, Jerry Schilling, Matt and Adam Jardine, the Jardine twins, Jonah Wilson, Justyn Wilson, Fred Vail, Carol Wilson (Dennis's first wife) and many more "connected" Beach Boy people showed up.
The president of NARAS, Michael Greene, walked up to the stage and began the hour long ceremony by handing out technical Grammys. The great Les Paul was there (over 85 years old!!!) for his Grammy and I got to meet him a bit later. Next, the Lifetime Achievement Awards were announced (this is not a Grammy). The artists to be receiving them were Tony Bennett, The Who, Sammy Davis, Bob Marley and The Beach Boys. The award winners were seated in the front row and it was very easy to come up to the stage. The speeches were really great and you did not have somebody holding up a q-card with the words "wrap it up!" because someone spoke too long. If this was part of the Grammy Telecast, they would move you right off the stage! Sammy Davis's wife came up as did Bob Marley's (and Ziggy as well). John Entwistle took the stage and apologized for having to put on his glasses to read his speech..."Thank-you"!!! Rather short but to the point. Tony Bennett looked great (at 75) and it was thrill to see him in person (I am a fan-what can I say).
Well, now it was our turn. Mike, Al and I went up on stage and said a few words as did Jonah, Justyn and Dennis's grandson (how time flies!!). Mike, Al and I stood together on stage for a few photos then we left with the awards. The Lifetime Achievement Awards are from Tiffanys...and it sure looks good at my house!
We went to the after-party and then back to Santa Barbara.
On Wednesday afternoon we were again driven down to Los Angeles to the Staples Center for the Grammys. Our family (Harriet, Ozzie, Justin, Ryan and I...we left 10 year old Max, at home.. anyway, he came the night before) got out of the limo just as Mike, Jackie and Brian (Love) arrived and we all walked in together. Mike and I did a few television interviews and our sons were included in the BBC-TV one. Ozzie and Justin thought that being on TV was great until they both realized that they might get caught skipping school if their English professors saw the Grammys over the weekend! (both boys attend university in England)
We were ushered to our seats (the boys were in another section) and Harriet and I were next to Al and Mary Ann, just one row back of Brian and Melinda. Mike and Jackie were close by, right across the aisle. I must say that the girls looked really great and the guys were not so bad in those tuxedos. It is rare to to see "formal" Beach Boys.
The Grammys were long, loud and fun. U2 sounded great live. Michael Greene announced the Lifetime Achievement Award winners and we all stood up but so did the audience! Fame is so fleeting these days. After the Grammys ended, the Loves and Johnstons spent several minutes talking with BB King as we all waited for our limos. We took the boys to the EMI Party (also the Loves) for a couple of hours and then our family drove back to Santa Barbara.
You must understand: Though the Grammys are wonderful..the Lifetime Achievement Awards on Tuesday was really the big night for The Beach Boys.
Your support of The Beach Boys over the years helped us to win the NARAS LIFETIME ACHIEVEMENT AWARD...Thank you so much!!!.

Posted by Matt J. on February 25, 2001:
Yeah, we've flaked a bit in regards to responding. But it doesn't mean we're unappreciative. Dad/Al is, as he says, up to his eyeballs in legal proceedings with BRI. The girls are doing great & Wendy has some solo stuff on the back burner. Carnie is so well publicized that you all know more than I do. Adam is working on his own music & starting his own Limo business in N. CA. As for me, I've been busy in my home studio working on original material, performing at the occasional F&F gig & working with David Marks & co. Our band is working on their own projects etc. & redy to go. I did have the honor of attending the Lifetime Achievement Grammy awards ceremony & it was awesome. Tony Bennet, who was awarded after Sammy Davis JR., talked about how exciting it was to witness & be in the music scene. He remembers first hearing about" this really talented black entertainer & that he was the talk of the town-NY)" So Bennet & his bandmates went to see Sammy Davis JR on opening night. He said this very well dressed afro american walked with authority out onto the stage, took the mike & said, "Good evening Ladies & Gentlemen. It's truly a pleasure to be able to perform for you tonight."And the all white audience was completely silent with shock/amazement. Bennet said that up to that point the white audiences were used to black entertainment being Yezza-no sir,etc & that they were shocked to be addressed en mass in such a professional & direct manner by a colored entertainer. The theater was completely silent. After the last act/set Davis got a standing ovation that bennett still remembers clearly. The Grammy/Achievement evening was very powerful in that the company was awsome. Not only was Bennett honored but Les Paul, Bob Marley & The Who. Ziggy Marley, who accepted with his mom, came back to his seat next to my girlfriend &, when he notices her looking at the award in his hands with "Bob Marley" engraved on it, puts it in her hands with a big smile. I was really surprised he did that, it was really nice. He was very proud for his father I could see. And speaking of proud, I thought that dad/Al really handled himself with a lot of class onstage. He mentioned how it was unfortunate that Brian wasn't there (& that he'd attend the following night) And that he really wished that Dennis & Carl could be there with them that night. He mentioned his mom(who was there)& the fact that she shelled out the 300.00 for rental instruments for "Surfin'"(because Brian,Dennis & carl had blown their spending cash while Audrey & Murray were in Mexico)and that the single may have never been made if not for that.He seemed to be the only one up there who spoke of the group as A BAND. He did a great job & the audience appreciated his heartfelt talk. That's the update for now. Enjoy & thank you all for your continued support & enthusiasm. I know we all really want this to work & F&F is a great group of people to be with--we're tight. Please keep your fingers crossed for( & with) us. Matt

Posted by Brian Wilson on December 12, 2000
Just thought I would check in and see how you all are doing. I hope you all are fine and I hope you get a chance to hear my new Christmas record called "On Christmas Day". About a week ago I went into the studio with my band and we recorded the instrumental part of the record and then they sang the background vocals. Then the following day I went in and put my lead vocal on, and from there we turned it into a CD that you should all be hearing very soon. This is a little Christmas present from me to you. Thanks again for your loyalty and support during all these years and I hope to see you in your home towns maybe sometime next year. I hope you enjoy the Christmas record as much as I enjoyed making it. L&M Brian

Glen Campbell on Brian Wilson

In an interview with Glen Campbell, he was asked if Phil Spector was a genius, Glen answered, " I think it's mostly legend, I don't really know Phil that well, obviously not since he didn't sustain it" Then Glen was asked if Brian Wilson was a genius, without a moment hesitation Glen said, "yes he is, ahh, yeah, he really is a genius, I don't know what happened, maybe he started out to young. Producings a hard gig. It drove him insane down there, drugs or somethin' " Then the interviewer asked, "I heard that while the Beach boys were out on tour, you and Hal Blaine and a bunch of session players would come in a Brian would cut tracks and when the Beach Boys got back, he'd have everything on it but their voices?" Glen replied, " yeah, but he did it both ways, it was for convenience really, they were as good a musicians as anyone in LA, it was just easier really, sometimes."

Comments from Brian Wilson:

• Playing in front of people again is an honor and when I get a standing ovation I can almost cry, because I'm so proud of myself when that happens. They go bananas. I had no idea I was going to be received that well, so I'm a pretty lucky guy. I didn't like touring in the early days of the Beach Boys, what I liked to do was to stay home and write. What happened last year was that my wife, my coproducer and I had a talk one day; and they said to me, "You know it's been ten years since you've done any touring." They really believed in their heart of hearts that I could do some successful tour. What I said was, "I disagree, I'm a has-been and nobody's going to want to see me," but they said I was wrong. I said, "How do you know my tour will even sell at all?" and they said, "Just you watch."

• I thought Don Was' film was a pretty good expose of who I was. Some of that stuff was really hell for me to talk about. "Do It Again"- that was the first time I really worked with my daughters since they were born, because I wasn't a really good dad. But that sounded great, and it healed some emotional wounds for all of us. I wound up producing a few things for them on their next album; it was quite creative and I really enjoyed it. But yeah, seeing that movie can be a little embarrassing. Because you know, I've led a really crazy life.

• regarding Stars & Stripes:
  I get asked all the time if I'll ever do another Beach Boys record, and the answer is no, I really don't think so. Carl's death shook us up enough that it screwed things up pretty good. I thought it was interesting to have the Boys put their voices behind some country singers, it was a good idea. But you know what the problem was? The God damn thing didn't fuckin' sell.

• I'll tell you why "Surfin'" was a hit: It was Mike Love's voice with us in the background. Basically it was a Mike Love record. His voice made us famous. So for that reason Mike Love should be given credit, because the Beach Boys wouldn't have been famous without his voice. We worked in some tiny little studios back in the old days; then we graduated up to a place in Hollywood called Western- man, that was a studio. It's the same place now, but it's changed names and ownership twice.

• regarding Imagination:
  These songs were all squeezed out of me, like a juicer. Like squeezing the juice out of an orange. The process wasn't so much hell, it just took a lot. Once you've committed to doing something, you're better off going through with it than you are backing out. Joe Thomas was my coproducer and when I collaborate with somebody, I'm looking for the kind of situation where we can first create lyrics that are actually saying something. And the music of course goes with that; you bounce things off each other until it starts to work. We started writing a song together the same day that we met each other, and that's never happened with anyone I've worked with before. Some of the songs have as many as 40 voices in them, and the voices are all mine. We tried stacking different parts together, putting them onto each other to see how it sounded. Then I'd sing each part maybe four or five times. So I could make a small choir from just one guy. "Lay Down Burden"- I wrote that for my brother Carl and that's a hard one to sing. But you need a little of that in every show; you've got to do something hard. It's a shitty feeling to be singing about losing your brother- someone said you never get over it; but that song was written because I needed to write about it. No other reason than that. "Happy Days" was different. That first part- that low part, "ba-ba-ba"... that was written back in 1970, but I didn't know what I was going to use it for. When we put the song together, we started with that part and made it graduate from one thing to another, and just gets better and better the whole time. The song gets better like my life got better, and that's the way it works. The next thing I want to do is a real rock and roll record. Something like the Imagination album, but with a rock beat.

• I can't believe that people are still so much into Pet Sounds. I know it's good music but I didn't think it was that current. So it surprises me that people would still think it sounds like current music. That must mean they think that it was ahead of its time. I'm not a guy who hears things in my head, so when I had all those musicians in the studio, I wasn't working out of things I heard in my head. I had all the parts written out, maybe 40 parts in each song, then once I had all the players in the studio I could hear what it sounded like. I listened to them play each part one by one, and that's how I did it. "Caroline No" was a song that I sang like a chick. I mean that in a nice way, I wasn't trying to sabotage what I do. But that was what my vocals were about; I was trying to put a lot of love into my voice. Pet Sounds was meant to be a very loving album all the way through. It was my way of putting love on the map.

• Boots (posted by Brian wilson at brianwilson.com on June 22, 2000)
  Hello Paul, I posted once on this subject, but maybe some of you guys missed it. Yeah it tears me up when I see Boots advertised on my site. As I said before, I feel it's kinda like you guys stealin from me or something. I know exactly what I want to come out with my name on it and when I see somethin out there that I rejected, it really hurts my feelings. It's like don't I have a say in what I choose to release? Anyway, in the last post I said I would let it slide this time, but please Paul don't make me take action. Bootlegging is stealing from me. I don't do that to you guys. Please respect me on this man. It is not a compliment when cats go behind my back and put stuff out I am not happy with. Enough said. Take care man. L&M Brian

• REM tribute song (posted by Brian Wilson at brianwilson.com on June 18, 2000)
  Dear Jo, I was blown away when I heard the song. Peter Buck has been a big fan and a huge supporter of my music. He told me his favorite BB album is Love You and that made me really feel good since I seem to agree with him on that one. Getting back to your question, no I never thought of doing it live, but it's a great idea and thank you for the thought. L&M Brian

• Hall of Fame Induction (posted by Brian Wilson at brianwilson.com on June 18, 2000)
  Well Alan, it was one of the biggest thrills of my life. I didn't have alot of time to think about it, because my wife didn't tell me he was going to do it until about two days before we left for NY. She knew it would knock me out, so to speak, and of course it did. I was so glad to see Paul, because it had been some time since we had spoken. He looks great and seems to be doing very well. By the way today is his Birthday, so those of you who go on Paul's site should send him a Happy Birthday message. Anyway, he said some wonderful things about me and my music. I never ever realized my music made him cry, What a trip, but that's what he said. I will always be greatful for his warm and gentle words and for all the beautiful music he's given the world. L&M Brian

• For those of you who do believe (posted by Brian Wilson at brianwilson.com on June 18, 2000)
  Dear Tracy, Sorry for the screw up, but I am just getting used to this computer stuff, so I am sure it will happen from time to time. As I was saying, you are correct, I do take the time to read the messages. You guys are my partners and I need to know what pleases you and what doesn't. As to any of you who know me well, you know that music has been my life and all of you are what keeps the music alive. That is why this internet trip is such a groove. I can reach many of you through my site just as I have been able to do through my music. I am sure there will be times when I will not be able to spend alot of my time answering messages, but for now let's just keep on trippin. L&M Brian

• "This Isn't Love" (posted by Brian Wilson at brianwilson.com on June 25, 2000)
  Yeah, I was kind of taken back when I heard what they did with the song too. After listening to it a couple of times, it just made me laugh and blew my mind a little. I thought they were going to use my version over the ending credits, but much to my surprise they didn't. Go figure. Oh well, that's why I put it on the Live CD so you guys could hear how Tony and I wanted it to sound. Thanks for your support. You have to admit though it was interesting. L&M Brian

• Patricks Memory (posted by Brian Wilson at brianwilson.com on June 24, 2000)
  Hi Patrick, Your memory blow my mind, but here's the real story. I did meet Sean around 96. I went to dinner with him in Chicago. Bruce did turn me on to Hawaii. It touched me, I am always flattered when someone copies my work. At that time I wanted to produce a Beach Boy album, but evidentally, they didn't have enough confidence in my ability to do that, so they set up this Sean O'Hagan meeting. He was a real sweet guy, but I didn't think I needed him to show me how to do the things I had already done 30 years earlier. With that in my I felt I needed to go do my own album and that's what I did. I love working with the guys, but when they lost confidence in my ability it was a bad trip for me. It happened in the 60's and I really didn't want to go down that road again. That's why I do my own deal now. No pressure, no one telling me what I can and can not do. There you have it. Thanks L&M Brian

• Studio Work (posted by Brian Wilson at brianwilson.com on June 24, 2000)
  Hi Jon, The wedding was beautiful. We had a great time. Carnie was so beautiful, it blew my mind. I am so proud of her. She's lost 130 pounds and looks great. As far as your question, things are very different today, just because of the expense of recording. Most record companies do not have the budgets to allow an artist the freedom I was used to in the 60's. I loved recording with a room full of live musicians. It was really a cool vib, because everyone fed off of one another, and you could really get a vib goin. Today, due to the cost of studio time it's almost impossible to do it that way. On Imagination, I had my own studio, so I took more time because a clock wasn't ticking. We did alot of overdubing on that album, instead of having a huge room full of musicians. I really liked it better in the 60's. Take care man, and thanks for the question. L&M Brian

• Your message and Carnie's Wedding (posted by Brian Wilson at brianwilson.com on June 25, 2000)
  Hey Patrick, Jean did give me your message. Thanks. Sorry I missed you on the phone. The wedding was the most beautiful wedding I think I have ever been to with, of couse, the exception on my own. Carnie and Rob's first dance was to "Warmth of the Sun". It brought a tear to my eye. My little girl Delanie was the wedding clown. She had everyone in stitches. Her and Daria were the flower girls. They were a trip. My dance with Carnie was to "Be My Baby". That was cool too. Anyway, Carnie is a very happy girl and I love her very much. One down and only three to go! Take care man. L&M Brian

• Mike Love Al Jardine (posted by Brian Wilson at brianwilson.com on June 25, 2000)
  Diva, First of all this site was not set up or intended to be a political forum for the BB's. I do not think it's cool to debate the issues you mention here on this site. Unfortunately, you have your facts wrong. The truth of the matter is that Al is suing Brother Records, and that my friend includes me. Brother records is only defending its position against Al's lawsuit. My suggestion to you, before you get too involved in this petition thing is that you contact Brother Records and find out the real reason Al is suing myself, Mike Love, Carl's estate and or course Denny's estate. Let's please try to keep my site a loving music trip. I have no intention of getting into this kind of bad vib again. Enough said. Take care man and be careful. Your facts are incorrect. As far as Mike's comments about me, it may or may not be true. I really don't care. I am at a place in my life that I'm very aware of who I am, and that's what's important to me. I wish both Mike and Al happiness and success. This is not a battle. It's too bad that people drift apart, but I believe it is just a part of the learning process, before we all meet our final destination. Thank you for understanding my position. L&M Brian

• My Base (posted by Brian Wilson at brianwilson.com on June 25, 2000)
  Hey Scott, To answer your question. Yes, I do still play base. As a matter of fact, I may have a little surprise for all of you who come out this summer. I play a Fender. Take care man. L&M Brian

• Letterman (posted by Brian Wilson at brianwilson.com on June 19, 2000)
  Hi Stephen, We haven't decided yet between Add Some Music and Please Let Me Wonder. What do you think? I'm leanin towards Add Some Music. The band wants to do Wonder. Let's hear what you guys think. OK? They don't usually let me talk with Dave, it's ok since that's not really my bag anyway. L&M Brian

• My Daughters (posted by Brian Wilson at brianwilson.com on June 19, 2000)
  Hello Tom, No, we did that a couple of years ago. They are working with China again and will record another album as Wilson Phillips. They are really jazzed about it. Glen Ballard is also involved, so I'm wishing them all the luck in the world on that one. They are great singers. L&M Brian

• Carnie's wedding (posted by Brian Wilson at brianwilson.com on June 19, 2000)
  Dear Sue, Nothing in this world could stop me from walking my beautiful daughter down the aisle this Friday. My little girls are going to be flower girls, can you imagine what a trip that will be? Melinda's worried that they will talk during the ceremony, but I think they'll be cool. We are all really excited. L&M Brian

• Beach Boys (posted by Brian Wilson at brianwilson.com on June 19, 2000)
  Dear Johnny, I really love being in control of my own destiny at age 58. The Beach Boys are and will always be a part of me. Now with both of my brothers gone, it's just not quite the same for me. Mike loves what he's doing. I think last year he did around 100 shows or more. That's not for me. I love doing what I am doing now, I don't feel that I am being pressured by the amount of shows that I would have to do with the guys. I do not want to be away from my family that much. What I am doing is perfect for me and my family. Who knows what may happen in the future, anythings possible, but I try to take each day as it comes and not worry too much about tomorrow. That seems to be working out great for me at the present. Actually, I'm really having fun singing some of Mike's low parts and for the first time in a long time, having fun is important to me. I love the Boys and wish them my best. L&M Brian

• Fathers Day (posted by Brian Wilson at brianwilson.com on June 19, 2000)
  Hello Carol, Thank, we had a great day, Melinda and the little girls took me to Arnie Morton's (my Fav) for dinner then we can home and opened gifts. Daria made me a hand print at school. At first I thought it was a cookie, it looked like a cookie, so I pretended I was go to eat it. She told me I was being a silly Daddy. What can I say, these kids have got me Carol. It was great seeing you last week. Keep in touch. Love ya, Brian

• Caroline No (posted by Brian Wilson at brianwilson.com on June 18, 2000)
  Dear Dan, I did rerecord this on my Live at the Roxy CD. Hope you like the new version with a longer intro and of course a more mature vocal. HA HA, I get a big kick out of all the fans that don't think my voice sounds the same now at almost 58 years old (on Tuesday) that it did in my twenties. Anyway, thanks for the post. L&M Brian

• My Kids (posted by Brian Wilson at brianwilson.com on June 18, 2000)
  Dear Ken, Happy Father's Day to you too man. I will be spend the day with my little girls Daria and Delanie. They have cooked up something special, it's supposed to be a surprise, but Daria's not too cool in keeping secrets. She's only three and it's kind of hard for her. She told me she made a hand print for me at school last week. Can't wait to see that. Delanie is only two so I doubt if she made anything, but who knows. My big girls are busy with Carnie's wedding. It's next Friday evening, so they are busy with last minute stuff that girls have to do. Anyway, I feel I am the luckiest man alive on a special day like today, because God has given me a second chance at fatherhood. Hope all of you Father's feel the same. L&M Brian

• Europe tour (posted by Brian Wilson at brianwilson.com on June 18, 2000)
  Dear Elisa, Depends upon the demand. This tour is extremely expensive to take on the road, so the demand has to be extremely high. I would love to bring Pet Sounds to Europe and I have people working on it. But in the end it all depends upon the demand. Many thanks for the interst. L&M Brian

• Carl and Dennis (posted by Brian Wilson at brianwilson.com on June 26, 2000)
  Hi Cindy, It's too painful still to talk much about either of them. You have to realize that in the past two years, my wife and I have lost her Father, my Mom, Carl, and her Sister Marsha. When the time is right for me I will, but these past couple of years have been overwhelming for both of us and we need our space and time to grieve in our own way. Thank you for respecting that. Do I need to say more than I love them dearly and miss them every single day of my life. Thanks, for understanding. L&M Brian

• Publishing label (posted by Brian Wilson at brianwilson.com on June 26, 2000)
  New Executive Music is the publishing Co. Brimel is the record label. L&M Brian

• Masterplan for Smile (posted by Brian in August 2000)
  Hi Leon, as I have posted recently, I have a Master Plan for Smile. I doubt if it will happen by your birthday. In this plan I made no mention of a CD. Everyone has just kind of jumped to that conclusion. I can not say anything else on the subject. I promise you, when it happens it will be a worth while project. In many interviews I have said that we junked the tapes. Of course, that is not true. It's an easy way for me to not have to revisit the Smile topic in every single interview I do. The tapes are in a safe place, so rest assured when the time is right, I will do right by Smile. Have a wonderful 50 and keep the faith man. L&M Brian

• (posted by Brian Wilson at brianwilson.com on June 20, 2000)
  To all of you out there who remembered my Birthday, a huge thank you. I spent part of the day in the studio singing backgrounds on a song I wrote with Tony Asher that Jeff Foskett has chosen to put on his next album. I had a really cool time. The Lakers blew my brain last night. Phil Spector sat right in front of Melinda and I, what a cool trip. Anyway, thanks and Love and Mercy Tonight. I'm off to my party! Brian

VDP speaks publicly for first time on Wonderful/Sail on Sailor authorship

Van Dyke Parks has revealed the details concerning his authorship of the songs Wonderful and Sail On Sailor. Here they are:

This is my first public comment on the authorship of these songs.

Once upon a time, Brian Wilson owned a house on Bellagio Dr.in Bel Aire, Cal., (built by Edgar Rice Burroughs). I visited him there one day, with a trusty Sony tape recorder in hand, hoped to resurrect an aborted attempt at commercially successful song collaboration. Let me back-track.

I was working at Warner Brothers' Records at the time, both in A&R and in my newly developed office of "Audio Visual Services". The CEO of the company was Mo Ostin, the Executive V.P., A&R was Lenny Waronker. My influence on Mr. Ostin is best shown by a corporate "org.chart" of that period, which shows that my only superior officer was Mr. Ostin himself. I'd pressured Mo to sign the beleaguered Beach Boys to the label, in spite of industry-wide reservations about the group's ability to deliver. When I went to Bellagio Drive to work on a song with Brian, the entire group was in Holland, working on a record aptly titled "Holland" for elivery to the label.

Mo and Lenny had held great expectations for that record. They suggested that my working with Brian might goad him to similar creative heights reached in "Smile". Mo and Lenny were astonished that Brian wasn't participating in the album effort, and feeling somewhat deceived, thought I should step forward, as I was in large part, the reason for their commitment to the group.

Having only gotten a partial song out of that one meeting with Brian, I put the tape away, and lay low. I wanted to avoid getting involved with the internecine group dilemmas once again.

"Holland" arrived at the Burbank offices, DOA. It was the consensus of everyone in A&R, Promotion, and distribution, that "Holland" was "unreleaseable". Knowing the company's enormous investment, and the high stakes involved, I got out the tape cassette from my session with Brian that evening on Bellagio Dr., gave it a listen, and delivered it to the company with my assurance that it would solve all their problems.

On the tape (I gave my only copy to David Berson, Mr. Ostin's assistant), it's clear from the contents that I authored the words (and the musical intervals to) "Sail On Sail On Sailor". It's also clear that I composed the chords to the bridge, played them, and taught them to Brian.

Ecstatic, Mr. Ostin immediately messengered this tape (or a copy of it) to Amsterdam, and the Beach Boys were instructed to slap words on the verses and deliver it, as a pre-condition for their album's release.

When the song was delivered back to WB, it was designated as the single for the album. My name appeared as co-author on that first issue copy, with Brian's. After Ray Kennedy's lawsuit (claiming authorship of the lyrics), my name and participation diminished, and in some ensuing cases, I've been given no royalties or credit at all.

I understand that there was a general "feeding frenzy" around the tune's lyrics, as the Beach Boys regrouped back in L.A. I have no idea how many people may have been at those final vocal sessions, now claiming additional credit. That's none of my business. All I can attest to is my seminal contribution to "Sail On Sailor", and the authorship of that famous chorus.

Recently, it came to my attention that I've never been given any royalties whatsoever for my co-authorship of the song "Wonderful" either. It's clear that "the mice are guarding the cheese" in this case as well! "Wonderful" is one of the finer efforts to survive my short-lived work with Brian during the "Smile" era. Public curiosity has driven me to scrutinize the royalty statements sent to me over the years. Having done so, I'm chagrined. Last year I stated my objections to the publisher (Irving/Almo) of "Wonderful" as well. Although I never signed a contract with this publisher for any of the related "Smile" songs, it's well-known that I alone wrote the words. I was assured by Irving/Almo that it was an oversight that would be corrected. It hasn't been (Viz: "Smiling Pets" Sony Records SRCS 325-Japan, release date 2/98).

Repeated questions about my role in these two compositions compel me to respond, as "history is written by the victors". I've always believed that honesty is the best course, and I'll be doing all I can to pursue this matter soon, to a just conclusion. I hope that the attorneys' fees don't outweigh the royalties involved. What can I say---it's a town full of heroes and villains!

VDP

Justyn Carl Wilson, Los Angeles, January 11 1999:
On behalf of my brother, Jonah, I'd like to send a most heartfelt "Thank You" to all of you who've cared enough to express your love and appreciation for our late father. He was, and will always be, our hero and greatest inspiration. I can assure you all that all of the beautiful words that have been written/spoken about him, before and after his passing, are all true. Our Dad had a purity about him that touched anyone he crossed paths with. And allthough he's recognized primarily for his musical efforts, he was, and will always be, so much more. When people who knew him personally speak of our Dad, the same few words always seem to pop up when they're describing him. Words like 'integrity', 'angelic' (in spirit and voice), 'honest', 'gentle', and others that may describe what a cool guy he was. More than anything, though, he was an example of what a human being should be; caring, loving, understanding, and forgiving. He understood that we're all just doing the best we can at any given moment, and that we should cut people some slack, and realize that we all learn and grow in our own time. He was always extremely patient and encouraging with us, and would always say just the right thing to make us feel okay about whatever we were going through at any given time. For my own selfish reasons, I've always wanted him to recieve more credit for all that he has done musically, but he never sought any of it. He never cared to be the one in the spotlight, but in my eyes, he has always shined the brightest - not in a flashy way, but in a spiritual and honest way. He treated everyone with the same high level of respect, and I'm sure that's a major reason why people loved him so much. He was above nobody, and felt that EVERYONE deserves to be treated with love and respect. He was one of a kind, and we will forever miss him. The only other thing I'd like to mention is how grateful our Dad was for all of the love and support he, and the group, got from the fans over the years. Time and time again he would express how much he appreciated all of it, and how blessed we are. Thank you all, once again, for sharing your own thoughts of him and what he meant to you. I know he'd thank you all personally if he could. The support genuinely warmed his heart, as your comments have done the same for me here in this time of healing. Take care, and God bless you all. Justyn Carl Wilson

Brian Wilson on April 8, 2002:
I think Dennis was a very talented songwriter. Some of his songs cut directly to your heart and soul. As for my Dad, now that I am older and can step away from the situation, I think his intensions were good, he just didn't know how to relate to his children. He had problems with his own father. I think he worked his butt off getting us our first break. When he sold my songs......well that's another story, but I do not believe a good agent would have done that. L&M Brian

Carnie Wilson Statement:
Interviewer: How did Wilson Phillips begin?
Carnie [Wilson]:
It began in 1986, the year I graduated from high school. Owen [daughter of Cass Elliot] called Chynna with the idea of getting all of the 1960s musicians' kids together to write a song, or record a song, and give the money to an antidrug association or an AIDS foundation. The four of us, me, Wendy, Chynna, and Owen thought it was a great idea. Chynna and Owen came over and we called Donovan's kids, Moon Zappa, and Garcia's kids, and others. Nobody wanted to do it except us. I was so surprised. I said, Hell, let's just do it. So the four of us started to sing Heart and Stevie Nix songs. Wendy and I taught Chynna how to sing harmony, and we all decided to form a group. But Owen was clearly a solo artist. She's now pursuing her own career.

Brian Wilson on July 6, 2001:
I am so glad to hear that you are enjoying the tour and liked Tribute show. And to answer the DVD question, yes there will be one with an extended version of the Tribute where more of the Pet Sounds material is included. Now, I think it is time I express to all of you, my feelings about the Beach Boys. I have chosen to move on with my life. After Carl died, and having to be involved in litigation and then more litigation.....I decided that making and sharing my music with the world is what I wanted to spend my time doing. It has been apparent through their actions, that has not alway been the case for my partners. We all have choices in life and Music has always been mine. I love my NEW band and when this tour is over, we will go to Japan in September for some dates and hopefully, God willing, come back and work on a new record. I hope this will give you all the clear picture as to my up coming plans. As far as the new poster above, starting rumors about me cancelling dates, that is simply not true. This tour will end on the 24th of July.....and til then, I am loving meeting some of you and am looking forward to some more kick butt shows. Take care and lots of Love and Mercy....Brian

Carl died. Brian, Mike and Al were the remaining, living corporate members of BRI. They met. Carl's heir(s), was Gina. She chose to let Carl's sons have his inheritance, they became the Carl Wilson estate, for the purposes regarding BRI. It was also decided in and around that time, that Mike would continue to tour and use the name the Beach Boys. Al, as far as he knew was going to go his own way, by choice. Brian was talked into touring. Al's plans were rerouted, he needed money, but was unwelcome and unwilling to tour with Mike. Al had so much fun recording with Daryl, and Matt and Adam and Carnie and Wendy and Desper, he even called Brian and asked him to come to the ranch and join them. Brian was rehearsing for his own first ever solo tour. Al went out as BBF&F. Brian when asked said he thought it was great that both Mike and Al were out there touring, and was happy to be touring himself. More exposer for his (Brian's) music. Mike sues Al, using BRI as his leverage, Mike was the only one licensed to use the words, Beach Boys in their name. Mike won. Mike and Brian offer to buy out Al's share of BRI.

The truth is that the legal situation between BRI and Al is keeping him from getting bookings because he's not allowed to use the "Beach Boys" name. And the other side of that coin is that neither could Mike and Bruce if they had to operate under the same restrictions! Remember in the first months after Carl died, when Mike and Bruce tried to tour under the name "America's Band featuring Mike Love"? They couldn't get any bookings, either, because nobody knew who they were and nobody associated Mike with the Beach Boys! Only after Mike and company began touring under the name "The Beach Boys" did they get bookings! That's the hard facts!!! Neither Mike nor Al are household words, and neither can get many bookings without using the name "Beach Boys" in some fashion.

However, Mike does not own outright BRI. Brian and Carl's heirs, and for the time being Al, still own their shares and Brian uses BRI for lots of his business. The Pet Sounds tour was booked through BRI, for instance. Melinda (so by default Brian) and Mike, entered into an arrangement to offer Al, 5 million (initially 1mil), to buy out his share in BRI, which Al feels is undervalued. I do too. For the record, Dennis' estate was bought out years ago and by arrangement, recieve only record sales royalties and dividends, they have no voting rights. Carl's heirs still have voting rights and exercise them. There are those close to the "game" that feel in Jonah and Justin would simply say, "enough" the attempt to buy out Al would evaporate. Who knows for sure?

Melinda is, at Brian´s request, his conservator, and as such she is REQUIRED, LEGALLY, to do business in his best interests. She is required to report to the courts what she is doing with Brain's money. The first conservator, a good man and a former judge, passed away. The man that replaced him, was, as they say, out of his depth.

Jan Berry and a friend visited Roger Christian in North Hollywood a few months before he died, as Jan needed to get Roger's approval for the new lyrics on some of Jan's remakes of songs Roger co-wrote (follow that?). It was a very depressing scene, as Roger wasn't very lucid and his apartment was a wreck. Roger was very gracious to Jan, signing the agreement without really even reading it, trusting Jan. Roger was clearly happy to see Jan, and Jan was dismayed by Roger's present condition. They were both shocked to learn of Roger's death just a few short months
after they were at his home to see him.

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