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Re: First steps for a complete Beach Boys reunion....

Sat Mar 12, 2011 3:04 am

Did not know that..very cool! Even better that he's on my one of my favorite tracks.

DOINK, DOINK, DOINK..

Re: First steps for a complete Beach Boys reunion....

Sat Mar 12, 2011 3:24 am

IMETJB wrote:Did not know that..very cool! Even better that he's on my one of my favorite tracks.

DOINK, DOINK, DOINK..




Afaik he's playing the Banjo on that song.

Another article:

http://www.examiner.com/beach-boys-in-national/the-smile-sessions-box-set-to-see-release-this-summer

Re: First steps for a complete Beach Boys reunion....

Sat Mar 12, 2011 7:21 am

Absolutely incredible news! Gotta start saving because I want the whole enchilada...book, vinyl, cds...I've only been waiting for 44 years!!!!

Re: First steps for a complete Beach Boys reunion....

Sat Mar 12, 2011 3:46 pm

Now read this interview with Mark Linett. Very interesting !!



Beach Boys Engineer Mark Linett Talks 'Smile' Release

by Ed Christman, N.Y. | März 11, 2011 6:21 EST

While Mark Linett is a two time Grammy Award winning engineer and producer who has worked with the Red Hot Chilli Peppers, Jane's Addicition, Los Lobos and Randy Newman among others, he most closely associated with his work with the Beach Boys. For nearly 25 years, Linett has worked on the band's catalog and has produced the reissues of the entire Beach Boys catalog including the "Pet Sounds Sessions" and "Good Vibrations" box sets. He also works on Brian Wilson solo album including doing research in preperation for the 2004 release of "Brian Wilson Presents... SMiLE," for which Linett was nominated for a Grammy for best engineered recording. Here he chats about working on the SMiLE sessions, which he is producing in conjunction with long-time Beach Boy archivist Alan Body, for release later this year.

How long have you been working on the "Smile" project to get it ready for release?


In one sense I began working on it 25 years ago. I have been working with Brian Wilson and the Beach Boys catalog since 1987. We first took a quick look at the "Smile" material back in 1988 and then it was shelved again until Brian Wilson put out "Smile" in 2004. We started working on it about August or September of last year [and] doing our digital transfers last fall; even though the project hadn't been confirmed, it seemed likely. That way when the project did get a green light, we would be a way a head of the game. And we knew we would be dealing with roughly 50 separate recording sessions for the project and that doesn't even include the sessions for "Good Vibrations."

How much work have you put into it?

At this point I would say we have put in a couple of hundred hours going through the roughly 50 sessions because we want to present them in a form similar to what we did on the "Pet Sounds" box, where the sessions are condensed down to the most interesting and informative to get the fly on the wall bits to give a real sense of how this project was created.

The Beach Boys have a tremendous amount of material in their vaults. We do know of things that have gone missing over the past 40-odd years. Now that the project has the green light, we think we have a better opportunity to make sure there is nothing else out there that we haven't been able to locate because the project has never come to fruition. So one of the objects here is to make sure that everything that still exists can be a part of this project.

How much of this project was completed before it was abandoned?

We are still working on the sessions so we haven't begun assembling what would normally be considered an album, which in this case will only be a representation of where the project got before it was put aside by Brian and the group. All of the tracks were recorded. A lot of the vocals seem to not have been completed.

Brian spent a tremendous amount of time on "Heroes & Villains". [There's] even a slightly longer version of the one that was released as a single, which includes several extra sections doesn't even have to begin to encompass every variation of that song. And I should point out that the most interesting thing about "Smile" is that it took Brian's original concept, which he first used with "Good Vibrations,"-he would record the song in sections in different variations and then sort of like a jigsaw puzzle, assemble the final backing track before going on to vocals.

So Brian spent most of his time on "Good Vibrations" and "Heroes & Villains"?

"Good Vibrations," if memory serves, was recorded twice as a complete songs. After the first two sessions, he started to record pieces. They would do a verse, a chorus, a bridge at various sessions and in different ways. "Good Vibrations" was extremely complicated, I can't remember exactly how many sessions were actually used to create the final backing tracks but it was quite a few - I think there were in excess of 20 backing track sessions that were considered for that song.

I am always astounded that if you listen, as I have, to the entire recorded output on that song; and then look at what was assembled as the final backing tracks and some of the experiments that didn't get used-it was an amazing accomplishment. I am just amazed that not only was he able to put that together, but of course it was so influential and successful at the same time. And originally, the song was much more of you would describe a Wilson Pickett kind of R&B number in the chorus and that ultimately didn't get used. When he got to "Smile," "Heroes & Villains" took that a step further and recorded enormous amount of different pastiches of themes both vocally and instrumentally.

What will the changes in studio technology bring to "Smile" today?

[Brian] was doing this with very primitive technology that we now do on a daily basis with digital recordings, reusing sections and moving them around. Its interesting to surmise if he had the current technology what might have happened. It would have been so much easier to do these experiments.

The advantage that we have now is digital editing that we didn't even have in 1996 when we were editing for the "Pet Sounds" boxset; it was still on tape with razor blades. So it goes a lot faster but there is still about 20 times as much material [on "Smile"]. But that almost makes it 20 times as interesting to present that much material.


"Smile" is one of the most bootlegged albums of all time. What will be new for the listener?

For most of them, the whole thing will be new. The Beach Boys have an enormous amount of material from their whole career and [since] we have been actively doing an archive project for about 10 years, there are things that we have discovered that the bootleggers missed.

And the other important thing is bootleggers tend to present every single take... We are obviously going to use the best versions and there are things that we can do that was just technologically impossible when those bootlegs were made in the 1980's.

For example, we can put Brian's vocal back into "Surf's Up," which was a group track in the 1970s [on the "Surf's Up" album]. Brian recorded a basic track with a full band for part one. And he also recorded a sort of a demo version, its just him double-tracked and a piano track. What the band did was they used the part one backing track and tried to fly Brian's vocal into that, but the technology at the time really made that impossible. So what happened was that Carl sang the [lead] vocal and overdubs were added [forthe Surf's Up album version]. And for the second half, they used Brian's piano vocal piece and added very few additions.

With the technology we have today, its much much easier to take Brian's vocal for part one and put it onto the backing track. I have done it and its quite nice. Now we have the ability to shift time things very easily so those synchronizations can be accomplished.

Will there be one complete version of the album in the way it was presented 2004 and will that album serve as the guide line for the "Smile" Sessions track listing?
We have gaps, we have missing vocals. We aren't missing any music which is heartening. All the songs were recorded. Most of it is there. I can't be sure that we won't still come up with something because we do know that there were other things recorded, but the tapes are no longer in the group's possession. And unfortunately they may have been destroyed years ago.

We have some rough mixes from 1966, which will probably become part of the quote album. There seems to be less of that than you might expect. That also leads to believe, it really wasn't close to being finished when it was put aside to go to the next project.

If you take Brian's 2004 version as a blueprint, [it will have] all of that music, all of the significant parts and even the little segue ways. For the most part, that project was heavily researched by myself and others to make sure Brian had available all the parts that had been recorded back in 1966 and 1967. Some lyric additions were made in 2004 that hadn't been completed before the project was abandoned. That's some of the questions that we have to do deal with. How will we are going to present those few pieces. But there really aren't too many. The biggest one is the song that became Blue Hawaii, which started out as a thing called "Loved to Say Dada," which is sort of the water section of the piece. That had background but no lead vocal.

What will you do. Will you add vocals?

Don't know yet. The general consensus appears to be not to do any recording just because this is a historic piece, but its a little premature because we are still trying to get 30 hours worth of sessions down to some kind of playable length. Even at that, it will be at least 3 CD to represent the sessions.

But will you attempt to present it as an album in a certain song order?

Oh sure, we will present it probably on a single CD, and the vinyl will have to be three sides; I am not sure what the fourth side will encompass at this point. When we did Brian's version in 2004, it had to span 3 sides to fit. And there is another indication of I just don't know. I don't know if he was going to eliminate songs; it was surely never proposed than more than a single album to Capital at that time. Fortunately we don't have that restriction anymore; the CD will allow us 80 minutes which is more than enough. But we will certainly going to present the whole piece as close to it as was envisioned, or as is envisioned, as possible. Obviously, [it will be] with input from Brian as from everybody else.

Will it be in mono or stereo?

At this point I would probably say mono because that's the way Brian intended it, although the sessions will be presented in stereo. One other consideration, with some of the bonus space, we ight present at least some of the album, the stack of tracks version in stereo.

Were the Beach Boys on the tracks or was it mainly the legendary L.A. session musicians, the Wrecking Crew?

The tracks are, by and large, the Wrecking Crew. Carl is on some of the sessions; Dennis is on a few of them. And of course the vocals, there are numerous vocal sessions that are all the Beach Boys, depending on who is taking the lead, sometimes its Carl, sometimes it Dennis, sometimes its Brian. Most of the significant vocal sessions are group sessions and Brian seem to have gone back to the idea of doing the vocals with the group around one mike as opposed to doing the lead separate from the background, especially with "Heroes and Villains."

Will Paul McCartney be on the album?

If Paul McCartney is on "Vegetables," it is that version. This is one of those stories that has been told over the years and you would really have to ask somebody who was there to confirm whether Paul was there. Yes, there are two versions of "Vegetables," well there are three if you count the "Smiley Smile" version; and certainly one that will appear on the album version as well as the special version is that one Paul McCartney purportedly is participating in the vegetable crunching.

That is another point. There is versions of these songs that were not used. Brian re-recorded some of these songs again. It's clear which versions were meant for the album, but towards the end of the project he started thinking that some of these needed to be re-recorded and got as far as cutting tracks for two or three of them. And those will also be presented. There are a few extras., the song, "You're Welcome," which was the b-side of "Heroes & Villains" doesn't seem like that was ever going to be a part of the album; it didn't wind up being part of Brian's 2004 version, so that will be included in the sessions.

We are acting as the producers. But until we got something pretty well laid out, we are not going to get a whole lot of feedback from anybody. Some of these questions are hard to answer because not only haven't we assembled them yet, then this has to be played for Brian and the other members of the group and see what kind of input they have. Just because Brian did it the way he did it in 2004, [who knows if] he won't say we'll lets add, "You're Welcome," it will be a nice throwdown.

So how will you go about assembling the sessions portion of the project?

The boxset will present hopefully all of the [50] recording sessions [which comprise 30 hours] but do it in a condensed form so what the listener hears is like being the fly on the wall; so the listener hears the most important and most interesting parts musically and also the interaction between Brian and the group and the musician.

Re: First steps for a complete Beach Boys reunion....

Mon Mar 14, 2011 8:29 pm

The official press release:

http://thebeachboys.com/




THE BEACH BOYS’ LEGENDARY ‘SMiLE’ ALBUM SESSIONS TO BE RELEASED THIS YEAR BY CAPITOL/EMI

Never-Before-Released Original 1966-’67 Album Sessions Compiled for 2CD and Digital Packages and Deluxe, Limited Edition Box Set

Hollywood, California - March 14, 2011 – Between the summer of 1966 and early 1967, The Beach Boys recorded, in several sessions, a bounty of songs and drafts for an album, SMiLE, that was intended to follow the band’s 1966 masterpiece, Pet Sounds. The sessions were ultimately shelved, and The Beach Boys’ SMiLE has never been released. With the full participation of original Beach Boys Al Jardine, Mike Love, and Brian Wilson, Capitol/EMI has collected and compiled the definitive collection, ‘The SMiLE Sessions,’ for worldwide release this year in multiple physical and digital configurations.

The SMiLE Sessions presents an in-depth overview of The Beach Boys' recording sessions for the enigmatic album, which has achieved legendary, mythical status for music fans around the world. The SMiLE Sessions will be released in 2CD and digital album packages and a deluxe, limited edition box set.

Co-produced by Mark Linett and Alan Boyd, all of The SMiLE Sessions’ physical and digital configurations will include an assembled album of core tracks, while the box set delves much deeper into the sessions, adding early song drafts, alternate takes, instrumental and vocals-only mixes, and studio chatter. The SMiLE Sessions invites the listener into the studio to experience the album's creation, with producer, singer and bassist Brian Wilson's vision leading the way as he guides his fellow Beach Boys, singer Mike Love, drummer Dennis Wilson, lead guitarist Carl Wilson, rhythm guitarist Al Jardine, and newest member Bruce Johnston (who'd replaced Brian Wilson in the touring group during 1965), through the legendary sessions.

"I'm thrilled that The Beach Boys' original studio sessions for SMiLE will be released for the first time, after all these years,” says Brian Wilson. “I'm looking forward to this collection of the original recordings and having fans hear the beautiful angelic voices of the boys in a proper studio release.”

“One of my favorite songs from the SMiLE sessions is ‘Wonderful’,” says Mike Love. “The song truly lives up to its title, as do many of the tracks on SMiLE. Cousin Brian was at his creative peak during those sessions. I’m unaware of anything that comes close in pop music.”

“I recently played some of my personal acetates from the SMiLE sessions and they held up really well,” says Al Jardine. “We would come home from touring and go straight into the studio to record. Brian couldn't wait to show us his latest ideas. We were recording SMiLE and Pet Sounds material simultaneously, so the tracks and vocals all have the same great quality. Most of the vocals were done at Columbia Studios in Hollywood, across the street from Western Studios, where most of the tracking was done.”

“For me, it's always been about the way Brian Wilson brilliantly composed and 'voiced' his amazing chord progressions and melodies,” says Bruce Johnston. “SMiLE really made me smile!”

“Personally, I loved it,” the late Carl Wilson said in 1994 of the SMiLE sessions (from the Don Was-directed documentary, Brian Wilson: I Just Wasn’t Made For These Times).

“In my opinion it makes Pet Sounds stink - that's how good it is,” the late Dennis Wilson told a journalist in 1966 of the planned SMiLE album.

What Brian Wilson brought to the table, in his effort to maintain The Beach Boys' position among the top rock 'n' roll bands of the day, was beyond what anyone could have expected. Beginning with “Good Vibrations,” then into SMiLE, Wilson had begun to construct songs in a modular form, crafting individual sections that would later be edited together to form a coherent whole. In several intense bursts of creative energy, Wilson, drawing on the talents of the finest studio musicians in Los Angeles and utilizing the best studio facilities available on any given day, laid down dozens and dozens of musical fragments, all designed to fit together in any number of possible combinations. No one had done this in pop music, and Wilson had just created “Good Vibrations,” The Beach Boys’ best-selling record in a long string of hits, by using this method. His next endeavor would be an album-length version of this unique and luxurious songwriting parlance: SMiLE.

In 1965, Brian Wilson had met an up-and-coming session keyboard player and songwriter, Van Dyke Parks. Noticing Parks' conversational eloquence, Wilson felt that he could help to volley The Beach Boys’ songwriting into the wave of broader-messaged and socially-conscious rock 'n' roll that would come to define the '60s. They were soon collaborating on keynote songs for SMiLE, including “Heroes and Villains,” the band’s follow-up single to “Good Vibrations.” Wilson and Parks would also co-write “Surf's Up,” “Vegetables,” “Cabin Essence,” “Do You Like Worms,” “Wonderful,” “Wind Chimes,” and other bits and pieces of the SMiLE tapestry. Parks also introduced Beat-Pop artist Frank Holmes to create album sleeve art and a booklet interpreting the album’s James Joyce-mode lyrics.

The reason SMiLE did not see a release in early 1967 had more to do with back room business that obscured the creative side of the program than anything else. In late 1966, The Beach Boys formed Brother Records, initially to produce outside artists. Soon, however, The Beach Boys would become embroiled in a court action with Capitol Records with the goal to become the top-selling artists on their self-owned, independent label. The group withheld “Heroes and Villains” and announced they would instead release “Vegetables” – recorded with the band’s own money in April of '67 – on Brother Records. By July of 1967, Capitol Records and The Beach Boys had come to terms, with Capitol agreeing to distribute the band’s Brother Records, and it was agreed that SMiLE was no longer to be the band’s next album.

The SMiLE Sessions’ global release date, complete track lists, and artwork will be unveiled soon.

“Surf's up, aboard a tidal wave, come about hard and join the young and often spring you gave. I heard the word, wonderful thing ... a children's song... ”
– from “Surf's Up” (Brian Wilson/Van Dyke Parks)

Re: First steps for a complete Beach Boys reunion....

Fri Mar 18, 2011 6:55 pm

http://www.clashmusic.com/feature/beach-boys-behind-the-hits




Love talks to ClashMusic
Interview Posted by Robin Murray Tue, 15/03/2011
Click To View the Fullsize Image/s

“It’s a remarkable landmark, to do something for fifty years. The nice thing about it is that our music is still appreciated by multiple generations, I mean children, teens, young adults, adults, seniors there’s a heck of a lot of people from a lot of age groups who like the Beach Boys music. I think the subject matter, originally anyway, is pretty youth oriented so for the older people it brings back memories and for the younger people it’s like experiencing a ‘Surfin’ Safari’ if you will. It’s a truly remarkable thing.”

It’s older, maybe even a little rough around the edges. But this is unmistakeably the voice of Mike Love, the voice which wrapped itself around countless hits from The Beach Boys. Soundtracking the adolescence of an entire generation, the California group seem to define a time and place as expertly as a Polaroid. Truly ageless music, albums such as ‘Pet Sounds’ continue to inspire anyone who aspires to do something beautiful within the confines of pop music.

Beginning as a vocal quartet indebted to the sounds of doo wop, The Beach Boys soon married this to R&B rhythms. A fan of black music – in fact, one of the few white faces at a predominantly African-American high school – Mike Love gave the group added grit. “We loved the blend of The Everly Brothers, my cousin Brian became obsessed with a group called The Four Freshman” he explains. “But all the doo-wop harmonies we were exposed to on the radio, those were a combination of influences on the radio which led to us becoming very focussed on the harmonies becoming integral to whatever we did.”

The band’s relentless rehearsal sessions resulted in some of the most beautiful harmonies laid to tape. With advancing technology, it’s difficult to imagine four young Californians struggling in a cramped room with one microphone. Powered by the imagination of Brian Wilson, the Beach Boys music became ever more ornate, until the protracted sessions for ‘Smile’ nearly split the group. An outspoken critic at the time, Mike Love now has a fond, respectful view of what his cousin was attempting to achieve. “Take the ‘Pet Sounds’ album – the song ‘Wouldn’t It Be Nice’. We must have done close to thirty passes in a particular section of the recording. In fact I began to call my cousin Brian ‘dog ears’ as he could hear things that other human beings couldn’t, apparently. We would do a pass with the four part harmonies in one section of the song and it would sound great to everybody but Brian would say ‘do it again’. There is, in fact, a box set released by Capital years ago which had a CD which contained just the vocals. That was remarkable, when you hear those songs, just the vocals, it is truly remarkable.”

One of the many sonic tricks employed by Brian Wilson was the mixing of different textures. Throwing different elements into the pot, the songwriter was able to create lush tapestries of sound despite the restrictions of the studio. Mike Love explains that this interest began very early on in the band’s career. “The vocals I have to give credit to our cousin Brian’s skill as an arranger, he was a brilliant arranger. Of course, cousin Carl, Al Jardine and myself harmonised together. We took it very seriously” says the singer. “It wasn’t just about the notes involved but also about blending together at the same time. In the very early days of forming the group I would sing the bass part, Brian would sing the falsetto part, cousin Carl would sing a part but then that extra part it became hard to find someone who could sing the note. Finally, Al Jardine stepped in and fit the bill. That was the blend in the group which made that distinctive sound we became known for.”

It’s difficult to listen to The Beach Boys without being drawn into a particular time and place. Sure, the lyrics might pin a song such as ‘Surfin’ Safari’ down to California but the sheer sound of the record reeks of days spent by the beach, watching your adolescence pass by. Reminded of an anecdote, Mike Love explains that the lure of the surf was never far from the minds of The Beach Boys. “A matter of fact our song ‘Do It Again’ – in the later 60s period – we went to Brian’s house, literally got him out of bed and went down to the beach, walked along the sand, went back to the house and sat down at the piano and wrote the song ‘Do It Again’ in a matter of minutes” he says. “But that was literally reminiscing about all the great times, great weather, great girls, great environment that had to do with the surfing, Southern California culture. Not only did we literally go to the beach and come back and write that song, those songs could transport you to another time in life, another place in life.”

Unusually for many groups of the time, The Beach Boys refused to be lured into politics. While some musicians became caught up in America’s problems, the band remained outside of contemporary struggle. “The specific point of view for the Beach Boys music has always been positive. We knew that there were a lot of negative things going on in the world – whether it was economics, personal relationships or the war in Vietnam or integration issues – there’s plenty of issues in life which are problematic and pretty rough but we always felt that to create music which takes your mind away from problems and becomes a sort of sonic oasis. A place in music where people can play an album, play a CD, play a single and enjoy life”.

Set to return to the UK this summer for a one off show, Mike Love will lead a new version of The Beach Boys through the band’s golden back catalogue. Containing original members, close friends and even his son the line up is dedicated to preserving the spirit of those original recordings. With their 50th anniversary now looming, fans have been speculating about a possible re-union which could even include Brian Wilson. “Well, y’know, I just had a conversation last night and due to follow up today with a producer who wants to do a 3D documentary as well as a performance including the Beach Boys. We’re even talking about having some guest artists involved in the performance, celebrating our 50th. There are lots of conversations that are taking place. I’ve had a couple with my cousin Brian about getting into the studio and working together again, which would be a lot of fun I think. There have been many suggestions. I think the Grammy awards next year may have a 50th anniversary recognition for the Beach Boys, and there’s one or two other big events that we have been talking about” explains Mike Love. “There’s been a couple of outreaches too. I think you’ll see some pretty good stuff in 2012 and beyond centred around the Beach Boys 50th. There’s been a lot of conversation but I can’t tell you that on such and such a date we’re going to play here, tour there. We’re working on it but hopefully we’ll be able to announce the main things that we’ll be doing pretty soon.”

Pausing once again, Mike Love reflects on the timeless nature of The Beach Boys music. “It’s pretty cool, because the music of the Beach Boys in many cases will be very pleasing to hear as it reminds you of a different time in life, a different place in life or if you haven’t yet experienced that much life. If you’re a very young person it might give you something to look forward to, or imagine. Imagine what it would be like to go on a ‘Surfin’ Safari’ – or even ‘Wouldn’t It Be Nice’: ‘wouldn’t it be nice if we were older, then we wouldn’t have to wait so long’. Those songs could be nearly forty years old since you first heard ‘em but they bring you back to that time and place when you were in love with that person in the sixth grade. That’s the beauty of music.”

The Beach Boys will be performing on Thursday 7th July as part of the Epsom Live! music nights. For ticketing information please call 0844 848 0197 or visit www.epsomdowns.co.uk.

Re: The Beach Boys' 50th anniversary thread

Thu Mar 24, 2011 8:59 pm

http://alumni.ucla.edu/events/spring-sing/2011/gershwin-awards.aspx


Brian will receive the Gershwin-award

Re: The Beach Boys' 50th anniversary thread

Tue Mar 29, 2011 9:05 pm

And another award for Brian Wilson this year:

Brian Wilson to Receive the Chairman’s Award at 2011 NARM Convention

Marlton, NJ – March 28, 2011 – NARM, the music business association, announced today that Brian Wilson, one of the most iconic and influential musicians in the history of popular music, will be the recipient of the Chairman’s Award for Sustained Creative Achievement at the 2011 NARM Music Business Convention Awards Dinner Finale to take place at the Hyatt Regency Century Plaza Hotel in Los Angeles on Thursday, May 12.

“Since his first recordings with The Beach Boys, Brian Wilson’s influence on the evolution of rock music has been profound,” said Rachelle Friedman, Chairman, NARM Board of Directors. “He is undoubtedly one of the most important modern composers, and his work continues to resonate with people all around the world.”

Past recipients of the NARM Chairman’s Award include Cyndi Lauper, Daryl Hall & John Oates, BB King, Chicago, Carlos Santana, Garth Brooks, Billy Joel, Lena Horne, Frank Sinatra, Stevie Wonder, Smokey Robinson, Barbra Streisand, Liza Minnelli, and Fleetwood Mac.

Wilson was barely out of his teens in 1961 when he began to create some of the most beloved records ever, earning nine consecutive gold albums with his family group The Beach Boys, which featured such classics as "Surfer Girl," “In My Room,” “I Get Around,” “Don’t Worry Baby,” "Fun, Fun, Fun," “Help Me Rhonda” and "California Girls,” just to name a handful of the more than two dozen Top 40 hits Brian co-wrote, arranged, produced, and performed on with the band.

In 1966, Wilson produced three records in that landmark year that forever changed the course of popular music. The first was Pet Sounds; considered by many to be one of the greatest albums ever made. The album reached #10 on the American charts and featured four hit singles, including two Top 10 hits, a reworking of the folk standard “Sloop John B” and “Wouldn’t It Be Nice.”

Brian’s second studio masterpiece in 1966 was a track that he first cut during the Pet Sounds session, “Good Vibrations.” Released that fall, the song is considered a milestone in recording history, demonstrating the breadth of Wilson’s musical vision as well as how the recording studio could be both an artist’s garret and a key instrument in creating his art. The song was the Beach Boys’ first million-selling, worldwide #1.

Wilson then began to work on his third major production of ‘66, a new collaboration with an inspired poet, studio musician and burgeoning songwriter, Van Dyke Parks, on the recording titled SMiLE. Brian was nearly done with SMiLE when a combination of circumstances forced him to shelve it. For nearly 40 years, SMiLE became the most famous unfinished, unreleased album ever.

Yet, throughout the years, even as Wilson battled his personal demons and rode the roller coaster of professional ups and downs, he continued to produce intimate musical gems and continued to make beautiful music. In 1988, Wilson finally released his first solo album, which featured “Love and Mercy,” the beautiful “message” song that often ends his concerts, vintage compositions (“Melt Away,” “There’s So Many,” “Baby Let Your Hair Grow Long”) as well as his first extended piece since the SMiLE era, a “modular” suite called “Rio Grande”.

Wilson returned to the stage in 1999. In February 2004, Brian Wilson Presents… SMiLE was revealed to the world in a week of dramatic “dream-fulfilling” concerts at London’s Royal Festival Hall, and after a brief tour, Brian and his band recorded an all-new studio version of the songs. Brian Wilson Presents… SMiLE was released in September 2004. It topped many “Album of The Year” lists, went gold in the UK and earned Wilson his first Grammy Award. In 2007, Wilson received America’s highest artistic tribute, The Kennedy Center Honor.

In 2008, Brian Wilson released That Lucky Old Sun, an album Rolling Stone magazine praised as “Brian’s strongest new work in years.” A musical love letter from Southern California, That Lucky Old Sun shimmers with sun-dappled choruses and arrangements that swell and swirl as if carried by the Pacific tides. The album is narrated in transitional interludes spoken by Wilson as ‘That Lucky Old Sun,’ the storyteller. Cameos on life and the heartbeat of Los Angeles, the narratives propel the album’s musical story.

Released last August, Brian Wilson Reimagines Gershwin is an album of George and Ira Gershwin classics that has garnered rave reviews. In an unprecedented meeting of two musical geniuses, separated by 70 years, Brian Wilson Reimagines Gershwin makes history with “The Like in I Love You” and “Nothing But Love” – two new songs Wilson crafted from previously unpublished music by Gershwin. With imaginative arrangements of some of the most widely known and recorded music in history, the album features Wilson’s trademark stacked vocal harmonies and orchestrations that made Wilson a towering and revered figure in popular music.

The Beach Boys’ original SMiLE album sessions have never been released. With the full participation of original Beach Boys Al Jardine, Mike Love, and Brian Wilson, Capitol/EMI has collected and compiled the definitive collection, The SMiLE Sessions, for worldwide release this year in multiple physical and digital configurations. The SMiLE Sessions’ global release date, complete track lists, and artwork will be unveiled soon.

Brian Wilson will perform Brian Wilson Reimages Gershwin on a cross-country tour of Canada and select U.S. cities in June, followed by European dates.

Registration for the NARM Convention is open now, and special rates for first-time independent retailers, individual members, and music business students are offered. The four-day event includes a Music Business Crash Course presented in collaboration with the American Association Of Independent Music (A2IM), an Entertainment & Technology Law Conference, a Townhall meeting for Artist Managers, a Musical Celebration sponsored by UMGD, special interest and genre-specific group meet-ups, an opening keynote interview with songwriter, producer and President of Creative at BMG North America Billy Mann, the Digital Think Tank update with keynote interview by Roger McNamee of Elevation Partners, special networking receptions sponsored by WEA, Rocket Science, and Sony Music Entertainment, and more.

All registrants of the NARM Convention are invited to attend the Awards Dinner Finale. Honorees at the event will include American Idol with an Outstanding Achievement Award celebrating the show’s 10th season; legendary songwriters Ken Gamble and Leon Huff for the Outstanding Achievement Award for Musical Collaboration; artist and advocate Annie Lennox for the Harry Chapin Humanitarian Award; John Marmaduke, Chairman of the Board, President & CEO of Hastings Entertainment with the Presidential Award for Sustained Executive Achievement; and Rachelle and Joe Friedman, founders of New York retail icon J&R Music & Computer World, with the Independent Spirit Award. Additional award recipients will be announced in the coming weeks.


About NARM:
Established in 1958, NARM (National Association of Recording Merchandisers) is the trade association for the business of music, providing the central platform for the discussion of industry-wide concerns, spearheading the implementation of initiatives to promote music commerce, and advocating for common interests. Members include companies and individuals from all aspects of music distribution, including physical, digital, and mobile outlets as well as gaming, applications, merchandise, video and more. NARM members have access to a variety of conferences, virtual seminars, networking opportunities, information and education resources. NARM is a non-profit organization based in Marlton, New Jersey. Visit us at www.narm.com.

NARM’s Annual Convention is the nexus of commerce and content, bringing together ALL aspects of the business for four of the most important days on the music industry calendar. The 2011 NARM Convention & Crash Course will take place Monday, May 9, through Thursday, May 12 at the Los Angeles Hyatt Regency Century Plaza.

Re: The Beach Boys' 50th anniversary thread

Sat Apr 09, 2011 3:15 pm

http://www.lehighvalleylive.com/entertainment/index.ssf?/base/living-1/1302321918239821.xml&coll=3


The Beach Boys' Mike Love discusses group's 50th anniversary and return to Easton's State Theatre
Saturday, April 09, 2011
By DUSTIN SCHOOF
The Express-Times

After five decades in the music industry, The Beach Boys singer Mike Love says he's still picking up good vibrations.

"It's remarkable how long we've been doing it," Love, 70, says over the phone from his home in California. "There is nothing greater for an artist -- I don't like that term so much for a singer or musician -- there's nothing better for a guy or girl who likes to sing or play an instrument to be able to do that I'm blessed to have a career last so long."

The group will bring its 50th anniversary tour Sunday to the State Theatre Center for the Arts in Easton.

"It's a nice theater," Love says. "It really is a nice community. We've always done well there. There is a good group of people who show up and seem to like what we do, which is why they keep coming back."

The group will be joined by actor and frequent collaborator, John Stamos. Stamos has been behind the kit for The Beach Boys on numerous occasions since 1985. Stamos also directed the band's music video for their song, "Hot Fun in the Summertime" and provided vocals on the song, "Forever," off the group's 1992 album, "Summer in Paradise."

"He brings a lot of energy, he's a really good drummer," Love says of the "Full House" star. "He's a showman. He's very theatrical, duh, and he's a huge Beach Boys fan and he loves to come out and we love to have him. I'll tell you what, the girls sure like it when he comes out."

Catching the wave

Love says he is still surprised that what started out as a hobby blossomed into a career that has been filled with hit albums, singles (36 Top 40 hits in the United States alone) and other accolades.

"It makes you want to do the best job you can, to replicate those original songs to the best level you're able to," Love says. "We have a great band. Bruce Johnston has been with us since '65. We have a lot to be thankful for and grateful for and appreciative of. It's all really nice to be able to contemplate 50 years doing this."

The Beach Boys released their debut album, "Surfin' Safari," on Oct. 1, 1962. The album contained the title track and "409" and featured what would become the band's signature harmony-driven style -- influenced, Love says, by doo-wop and groups such as the Everly Brothers and The Four Freshman.

"In high school (founding member and Love's cousin, Brian Wilson) became obsessed with The Four Freshman and broke them down and taught us all the parts," Love says.

Themes of cars and surfing became prevalent early on, which Love attributes to the group's success and global popularity.

"We identified the subject matter of what was going on in southern California," Love says. "We were the first to make songs with lyrics about surfing and the flip side of our single records back in the day, in the '60s, were car songs. So we identified things going on in southern California. The lifestyle, we put in the music. It caught on incredibly around the world."

The band would go on to release a string of hit albums throughout the 1960s. Songs such as "I Get Around," "Fun, Fun, Fun," "Surfin' USA," "Surfer Girl," "Little Deuce Coupe" and "California Girls" would become staples on radio stations around the world.

"It's been amazing. We've had records in Spain and all over the place," Love says. "I used to look at the foreign charts and go, 'Wow. 'Surfing USA' is No. 1 in Israel. Go figure."

The Beach Boys' critical and commercial acclaim culminated with "Pet Sounds" in 1966. The album -- which included "God Only Knows" and "Wouldn't It Be Nice" -- was praised by critics and is widely considered one of the best and most influential pop albums of all-time.

"'Pet Sounds' was a groundbreaking album," Love says. "The tracks were beautiful."

It was during this time Love recalls being invited to a UNICEF gala in Paris in 1967. Marlon Brando, Elizabeth Taylor, George Harrison and John Lennon were among those in the audience, Love says.

"Afterward Marlon Brando said to me, 'Do you want to go get breakfast?' I thought yeah, but where do you want to go?" Love says, with a laugh. "It was just a phenomenal embassy party George Harrison was there with girlfriend at the time, Patty Boyd."

Love also recalls a trip to India in which Paul McCartney played him the main riff to what would become The Beatles' hit "Back in the USSR" -- the Fab Four's response to the Beach Boys' "California Girls." Love says he liked the guitar lick but offered McCartney a suggestion.

"I suggested talking about girls in the middle of the song, which he did," Love says.

Love says there was a tremendous amount of respect between the two groups, despite both vying for chart positioning throughout the '60s.

"It was like a friendly competition," Love says. "There was a mutual admiration. I know Paul McCartney sat in on a session Brian was doing called 'Vegetables.' It was a silly song way, it was out there, but it's fun. There was some great interplay and competition and rivalry."

Rolling along

In the years since, the group has faced a number of setbacks and tragedies -- including the deaths of Love's cousins, founding Beach Boys members Dennis Wilson in 1983 and Carl Wilson in 1998; Brian Wilson's erratic behavior in the late '60s and subsequent mental health issues; legal squabbles with founding member/guitarist Al Jardine (Love and Jardine eventually reconciled, with Love appearing on Jardine's 2010 solo album, "A Postcard From California") and the departure of Brian Wilson as full-time member in 1988.

"We've been very fortunate (we've) come across our share of challenges like anybody else."

But Love is grateful that the group continues to draw fans spanning multiple generations.

"Audience appreciation of what you're doing counts up for a heck of a lot," Love says, with a laugh. "Here you are 45 to 50 years later and children like it as well as adults as well as seniors To have a couple thousand people come together and enjoy your stuff is incredible and a blessing."

Love says he remains close with Wilson. The two recently attended a Los Angeles Lakers game to watch Love's nephew, Kevin Love, a forward for the Minnesota Timberwolves.

"Our relationship goes back to the level of DNA," Love says. "We've known each other all our lives, really. The chemistry there transcends a lot of things."

Love says he's discussed the possibility of recording new music with Wilson. But he says nothing has been set in stone regarding a full-blown reunion tour with Wilson and Jardine.

"It will be nice to see if we can take it up where we left off, especially in light of the 50th anniversary," Love says. "We're supposed to have a meeting next week to see what's up, so that's a likelihood, but nothing's been calendared."

This year will also see the long-awaited, completed release of "Smile." The album was originally intended to be the follow-up to "Pet Sounds." But it was abandoned and shelved due to Brian Wilson's declining mental health at the time.

"Smile" will contain two discs of completed Beach Boys material that was thought to be lost by fans (although many of the completed tracks have circulated as bootlegs).

"I'm very interested in listening to it," Love says. "I know one thing for sure: the tracks are amazing. We did a lot of hard work (on it)."

Exposed Editor Dustin Schoof can be reached at 610-258-7171 or dschoof@express-times.com. Talk about entertainment at lehighvalleylive.com/forums.

Re: The Beach Boys' 50th anniversary thread

Fri Apr 22, 2011 9:39 pm

The "Don't fight the sea" single was released on 19th. Here are ordering informations:

http://www.examiner.com/beach-boys-in-national/the-beach-boys-rise-to-the-occasion?CID=examiner_alerts_article

Re: The Beach Boys' 50th anniversary thread

Wed Apr 27, 2011 9:49 pm

Smile being released on july 12th ?

http://www.directcurrentmusic.com/dc-music-news-feed/2011/4/26/the-beach-boys-legendary-60s-smile-sessions-finally-set-for.html

Re: The Beach Boys' 50th anniversary thread

Wed Apr 27, 2011 11:12 pm

I'll believe it when I am holding the disc in my hands.

Re: The Beach Boys' 50th anniversary thread

Tue May 10, 2011 6:34 pm

From the Evening Standard:

Brian Wilson has revealed that he plans to retire from touring after his London concerts this year.

The singer also said he still suffers from the hallucinations and stage fright that led to him become a recluse in the late Sixties and early Seventies at the height of the Beach Boys fame.

Wilson, 68, admitted that life on the road was "very hard work" for him and that his dates at the Royal Festival Hall in September were likely to be his last in London. "I'm always afraid just before I go on stage because I'm not sure how the concert's going to work.

"As I get older it gets harder for me. But when I'm sitting down at the keyboard and my band's behind me, I can do it." When asked if he had contemplated retirement, he replied: "Oh God yes. Another year, maybe. This could be the last time I play here. I'm going to miss it but I'm getting a little bit old for touring."

Wilson has suffered from hearing voices in his head since the Sixties when he also fought drug addiction and depression. He said: "What the voices say is still pretty much the same, negative things, 'You're going to die', or, 'You better watch out', life-threatening kinds of things. Performing helps, but I'll still have the voices there when I'm on stage. They're always with me."

Wilson will perform tracks from Smile, Pet Sounds and his recent album Brian Wilson Reimagines Gershwin at the Royal Festival Hall for three nights starting on September 16. He added: "London is my favourite city in the whole world. I love the people here. I think the people appreciate the music a lot better than Americans do, they're a lot more sensitive to the music than Americans are."

Re: The Beach Boys' 50th anniversary thread

Fri May 13, 2011 7:22 pm

Snuck into the NARM finale dinner last night and caught the tail end of the proceedings which included Brian's segment. During the video introduction summarizing his entire career, they included a product preview of the Smile box set. There are going to be several versions of the package: 2 CD Deluxe version, digital download version and the mega huge box set which includes LPs, books, photographs and CDs. Over 200 hours of session tapes. The box will be quite substantial.

They also mentioned that a "50 Year Celebration" was going to begin later in the year...not sure what events they have planned but apparently there was going to be some products and/or events to commemorate the Beach Boys' 50th anniversary.

Re: The Beach Boys' 50th anniversary thread

Sun May 15, 2011 11:51 pm

IMETJB wrote:They also mentioned that a "50 Year Celebration" was going to begin later in the year...not sure what events they have planned but apparently there was going to be some products and/or events to commemorate the Beach Boys' 50th anniversary.



Well, at least Brian's talking about reunion-plans now (but he also said that the UK-tour this year might be his last):

Iain Lee: “I’ve got to ask the question… it’s the kind of question I hate asking but I have to. There are rumours that you are going to play with the Beach Boys again. Is that gonna happen?”

Brian Wilson: “Maybe next year, we might do our 50, 50th anniversary tour.

IL: So it’s a possibility?

BW: Yeah. Very good possibility.

IL: Well, that’s very exciting. Do you get on with the other guys now?

BW: Yeah, I like the guys. Mike’s a little intense to be around but you know… Jardine’s pretty cool.





Whole thing for free downloading here:
http://bit.ly/d6XS4G



And Brian's appearance on Later with Jools Holland:

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Re: The Beach Boys' 50th anniversary thread

Mon May 16, 2011 6:33 pm

Brian Wilson has hinted that the Beach Boys could reunite in the recording studio for their 50th anniversary.

"I'm considering it," the songwriter told BBC 6 Music. "I don't know yet, but I am considering it."

"Nothing's really holding me back," he added. "I just don't know if I want to be around those guys, you know? They're zany guys. They're crazy."

Wilson last worked with the Beach Boys on the 1996 album Stars and Stripes Volume One, which he co-produced.

The record featured country versions of the band's best-known songs, including I Get Around and Little Deuce Coupe.

The Beach Boys were Brian, his brothers Dennis and Carl, cousin Mike Love and friend Al Jardine. They formed in 1961 in California and are considered to be one of the most inventive bands of the 1960s.

Renowned for their close harmonies, surfing fixation and Brian Wilson's groundbreaking use of recording studio techniques, they scored hits with the likes of Good Vibrations, California Girls and Surfin' USA.

Wilson was considered one of the greatest songwriters of his era, but succumbed to psychological problems in the 1970s and 80s.
The Beach Boys The Beach Boys in 1979 (clockwise from top left): Brian Wilson, Al Jardine, Dennis Wilson, Carl Wilson, Mike Love

After a long recovery, he has in the last decade forged a solo career - finishing off the long-abandoned sessions for The Beach Boys' Smile album, and overcoming his stage fright to tour records like That Lucky Old Sun.

He is currently promoting an album of George Gershwin covers, Brian Wilson Reimagines Gershwin.

The record also contains two "new" songs, in which the 68-year-old completes two unfinished Gershwin piano compositions.

"They [Gershwin's estate] sent us over 104 unfinished Gershwin songs," he explained. "They wanted us to narrow it down to two, and then take it and try to write a song around the chords.

"I grew up to him. He's one of my main music heroes. I was three years old and my grandma played it for me on her hi-fi set.

"She made me lie down on the floor by the speakers, and she played Rhapsody In Blue real softly to me."

Wilson added that the Gershwin project had given him space to rejuvenate his creative impulse.

"About five years ago, I wrote 18 songs in one month," he told 6 Music. "18 good ones, not throwaways. 18 good songs."

"It's slowed way down. I exhausted my creativity. The need to make music isn't in me yet.

"I need for that need to come back in me"

Re: The Beach Boys' 50th anniversary thread

Sat May 21, 2011 3:52 pm

Al on Record Store Day

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Re: The Beach Boys' 50th anniversary thread

Fri Jun 24, 2011 7:27 pm

http://latimesblogs.latimes.com/movies/ ... smile.html


EXCLUSIVE: There are few 20th century music figures as compelling as Brian Wilson. The former Beach Boys producer-singer had a profound effect on a generation of artists and a rich and complicated personal life even by pop-icon standards. Now it looks like his tale will be dramatized on the big screen.

"The Tree of Life" producer Bill Pohlad and veteran television writer and producer John Wells (“ER,’ “The West Wing”) have teamed to develop a drama based on Wilson's personal and professional story. They've acquired life rights from Wilson and his wife, Melinda, and hired Oren Moverman, the Oscar-nominated screenwriter behind the offbeat Bob Dylan film "I'm Not There," to write a script.

(Wilson was the subject of a documentary, the black-and-white "I Just Wasn't Made for These Times" directed by musician and record producer Don Was in the mid-1990s.)

Wilson's arc is too complex to describe in a few neat sentences, but the short version, if you're not familiar with it, is this: Barely out of his teens, the Southern Californian burst on the music scene as the creative driving force of the Beach Boys. That band produced hits such as"Surfin' U.S.A.," "I Get Around" and "California Girls." Their 1966 album "Pet Sounds," with its unconventional instruments, harmonies and sound effects put together by Wilson, is widely regarded among pop's most important records.

But things went downhill from there, particularly after an ambitious project called "Smile" was scrapped in 1967. Wilson grappled with all sorts of demons throughout the 1970s and 1980s, including substance abuse and a mental illness.

During that time, he also came under the care of a controversial and Svengali-like doctor named Eugene Landy, who was credited with both rehabbing the musician and ruining him further. Wilson would eventually return to health and has cut several new albums in recent years. He's on tour and celebrated his 69th birthday Monday.

While the filmmakers have yet to decide which periods of Wilson's life their as-yet-untitled movie will focus on, they say they will home in on specific eras instead of retracing the musician's entire life. "I have no interest in making a biopic," Pohlad told 24 Frames. "What's fascinating to me is to look at the different elements in his life, like that super-creative period when he was doing 'Pet Sounds' and the later part when he was redeemed." The Landy era could be a subject as well, Pohlad said.

While filmmakers are far from hiring actors, Pohlad said he could imagine a number of possibilities, including the idea that different stars could be brought on to play Wilson (at various points in his life, not in the vein of "I'm Not There," where multiple actors portrayed different Dylan phases).

Rights to many of Wilson's songs have been secured — producers are working closely with Wilson and wife Melinda — but Pohlad said the tunes will inform the story, not dominate it. "We're not thinking about this as the hit parade — that would be the biopic thing," he said.

Pohlad is no stranger to based-on-real-life stories, having produced films such as "Fair Game" and "Into the Wild." Moverman, meanwhile, seems to be honing a specialty in portraying complicated musicians — in addition to writing "I'm Not There," he is developing a film at Universal about Kurt Cobain. (Moverman made his directorial debut in 2009 with the well-regarded military drama "The Messenger.")

While music biopics along these lines have been successful — James Mangold's Johnny Cash tale "Walk The Line" comes to mind — producers see the Wilson movie less as a music picture than as a kind of tuneful "A Beautiful Mind," exploring the intersection of genius and madness.

"You don't have to know the music here in the same way you didn't have to know the math in 'Beautiful Mind,' " Pohlad said. "What we want to do is let you experience the story in a personal way."

— Steven Zeitchik

Re: The Beach Boys' 50th anniversary thread

Wed Jul 20, 2011 10:40 pm

Ok, in short:

Brian, Al, Mike and Bruce re-recorded "Do it again" in may. And if that wasn't the sessions didn't go too well (someone sarcastically mentioned that that means they really are doing it again). On the other hand, Mike mentioned at a press conference before a concert a few days ago that he is writing lyrics to new Brian-songs. So, let's wait and hope they won't even also blow their last chance. But it's the Beach Boys.... they are gonna blow it..... Anyway...Do it again I guess.....

Re: The Beach Boys' 50th anniversary thread

Thu Jul 21, 2011 7:48 am

Back in 1995, after the lawsuits, Entertainment Tonight had a feature on Brian and Mike getting together again to write songs, but to my knowledge, nothing ever came of it.The BB's DID record a couple songs Brian wrote with Andy Paley, Soul Searchin' and Still a Mystery, but they couldn't agree to do a full album of new songs. Instead, Mike roped Brian into his lame "Stars and Stripes" project.

Re: The Beach Boys' 50th anniversary thread

Sun Jul 24, 2011 3:19 pm

Lonely Summer wrote:Back in 1995, after the lawsuits, Entertainment Tonight had a feature on Brian and Mike getting together again to write songs, but to my knowledge, nothing ever came of it.The BB's DID record a couple songs Brian wrote with Andy Paley, Soul Searchin' and Still a Mystery, but they couldn't agree to do a full album of new songs. Instead, Mike roped Brian into his lame "Stars and Stripes" project.




They were working with Andy Paley and Don Was. The idea of working with Sean O'hagan came up but Brian wasn't interested.
They recorded Soul Searchin', You're Still A Mystery and a small part for Dancin' The Night Away. When Carl at one point walked out of the sessions it was over and heading for Stars&Stripes.

There were even some non-Brian songs planned for that album. Carl's "Walk don't run" for example. And also this:
The new issue also includes breaking news and information on Al Jardine's physical CD of A Postcard From California (being released soon on Waterfront Entertainment / Robo Records), with a previously unearthed bonus track that includes Carl Wilson. The song is called "Waves of Love," and dates back to 1994. The exclusive story behind the recording is in the new ESQ.

http://www.examiner.com/beach-boys-in-national/summer-2011-edition-of-endless-summer-quarterly


BTW David Marks just sat in with Mike and Bruce for a good part of a show they did a few days ago.

Re: The Beach Boys' 50th anniversary thread

Wed Jul 27, 2011 10:27 pm

Brian's been in the studio yesterday but no one seems to know what he ws recording except for himself....probably...

Anyway, Mike talks about a new album:
http://www.billboard.com/news/mike-love-beach-boys-planning-new-album-1005295392.story#/news/mike-love-beach-boys-planning-new-album-1005295392.story

And Brian about Smile, reunion and a new album:

http://www.dailyherald.com/article/20110727/entlife/707279991/

Re: The Beach Boys' 50th anniversary thread

Thu Jul 28, 2011 3:22 am

But do we have a firm release date for SMiLE yet?

Re: The Beach Boys' 50th anniversary thread

Thu Jul 28, 2011 9:37 pm

johngael wrote:But do we have a firm release date for SMiLE yet?



Nope. I guess it'll be september, but what do I know....

Re: The Beach Boys' 50th anniversary thread

Fri Jul 29, 2011 6:31 am

Wow. July, then August, now September. I have a bad feeling about this...