|
|
Post by esqeditor on Jan 28, 2023 0:43:43 GMT -5
SPRING 2023, Issue #141: Revisiting Brian Wilson’s relationship music
Richard ‘Dickie’ Maier’s interview provides an intimate telling of a friendship born out of kindness that flourished during some of Brian’s greater challenges; an evaluation of Brian Wilson’s unfinished music and where it might have taken him if he had remained untarnished by the music industry and unsettling life events; David Beard and Ian Rusten further the discussion with Jon Parks of the what, when, where, and who as it relates to The Beach Boys tour history. Plus, an insightful discussion with Mark Linett and Alan Boyd about the recent box sets, and what might be next – if they have their way. Individual issues will be available for purchase beginning Friday, March 3.  CLICK HERE TO SUBSCRIBE
|
|
|
|
Post by drbeachboy (Dirk) on Feb 16, 2023 17:03:18 GMT -5
I just received the Spring 2023 edition of Endless Summer Quarterly this afternoon. There is a great interview with Jon Parks and a very interesting interview with Alan Boyd and Mark Linett regarding the likelihood of future projects, along with comments regarding Feel Flows, Sounds of Summer and Sail On Sailor 1972. Looking forward to diving in to the remaining articles and then re-upping my subscription, which ended with this issue.
Good reading, everyone.
|
|
stuart
Grommet
Posts: 38
Likes: 74
|
Post by stuart on Feb 16, 2023 22:46:57 GMT -5
I’m afraid to open the issue just so it lasts longer than a few minutes
|
|
|
|
Post by esqeditor on Feb 20, 2023 0:49:30 GMT -5
What'd you think of Richard Maier Q&A and Brian article?
|
|
|
|
Post by celticsurfer on Feb 23, 2023 1:03:37 GMT -5
I really liked reading all the interviews. But the question of that legendary psychiatric hospital sojorn is omitted. That event is surely essential to understand Brian's withdrawal in 68. Deep depression, changes in his life like Carnie's birth? It's strange that all the insiders/viewers of that time do not explain it. I don’t want details but to understand that event which looks capital.
|
|
|
|
Post by John Manning on Feb 23, 2023 3:41:22 GMT -5
Really, really enjoyed the interview with Mark Linett and Alan Boyd. Whenever ESQ talks to those two, I find myself salivating at the thought to what brilliant releases will come next!
First, it’s great to know that they’re still pushing for the 1964 Keep An Eye On Summer and the 1968 Friends/20/20 material to get a proper physical release. Mark’s absolutely correct when he says the digital releases don’t resonate with audiences (well, the audience in this specific part of Yorkshire) in the same way as a proper physical release does. If Mark and Alan are listening, I’d love to see the rest of the Sunshine Tomorrow material gets it’s due as a physical release too: best, bundle the material together as a four-disc (or more) box. This is an era during which The Beach Boys produced a wealth of outstanding music, which deserves to get a proper showing.
The guys shared some fascinating tidbits about the Sail on Sailor release – discovering session material at the end (or beginning!) of other reused tapes; the facts about the VDP “hypnotism” session; the unused material they’d hoped would appear as a download but didn’t (as far as anyone knows); the hopes of a release for the second Flame album.
Slightly surprised that there was no firm word on what project might come next. Loved the speculation about the 15 Big Ones—MIU era – I’m one of those who’d love to see each handled separately, with as much bonus matter as can be excavated. I’d be even more excited by an expanded In Concert album, preferably each gig released in full rather than simply acing the best performances from each cherry-picked for a smaller set (though I recognise the commercial restraints… while at the same time suspecting a thoughtfully priced set would do really well).
The Carnegie gig on this set is surely their best live release yet? Full marks to Mark and Alan for putting that out, I’m utterly thrilled by it. Good to learn the detail about the best songs being utilised though – again – I hope we get to hear both sets from each gig (physical, obvs!) one day, flaws and all.
I was a little dismayed at the inference that vinyl production has been transferred to Czechoslovakia for seemingly no other reason than because it’s too toxic an industry for California. If our Czech cousins are being poisoned in the name of vinyl releases, then it’s maybe time to switch to CD/SACD/DVD-A/Blu-Ray-A… whatever – and I’m sure they have their own issues.
It struck me that there was no mention in the interview of Howie Edelson, and his role in putting the set together. Was that deliberate? Is his role being exorcised from history? Or has he simply moved on, perhaps to Macca or The Boss projects?
Footnote: I haven’t bought the set yet. I’ve been streaming it on Apple Music, which my partner subscribed to. Currently between jobs and the price was set much too high for my means. But as soon as the price either tumbles or my situation improves, I’ll be buying.
Thank you Mark and Alan for bringing yet another treasure trove to our ears, and to David for another fascinating interview.
|
|
|
|
Post by celticsurfer on Feb 23, 2023 8:41:09 GMT -5
To complete the Mark and Alan interview, in 1974 they also recorded a lot of concerts and in 1975 the Beachago tour. Enough material along with the 1973 tour for a boxset.
And David, do you plan an interview with Marilyn about the 1972 Spring album sessions ? That album deserves a special issue and re-release with sessions on digital or physical supports.thanks in avance.
|
|
|
|
Post by esqeditor on Feb 26, 2023 21:41:52 GMT -5
I really liked reading all the interviews. But the question of that legendary psychiatric hospital sojorn is omitted. That event is surely essential to understand Brian's withdrawal in 68. Deep depression, changes in his life like Carnie's birth? It's strange that all the insiders/viewers of that time do not explain it. I don’t want details but to understand that event which looks capital. Thanks for the feedback. Like you, I wanted to better understand it so I could appreciate Brian's struggle from a humane perspective. When no one opens up about it (on or off the record) it's clear it's too sensitive, but Brian's struggles can be heard in his music at that time, just like any other period in his recording career. |
|
|
|
Post by esqeditor on Feb 26, 2023 21:43:34 GMT -5
To complete the Mark and Alan interview, in 1974 they also recorded a lot of concerts and in 1975 the Beachago tour. Enough material along with the 1973 tour for a boxset. And David, do you plan an interview with Marilyn about the 1972 Spring album sessions ? That album deserves a special issue and re-release with sessions on digital or physical supports.thanks in avance. I would love to tackle an American Spring/Spring issue of ESQ. There's some great stuff coming this year. |
|
|
|
Post by esqeditor on Feb 27, 2023 1:06:40 GMT -5
Really, really enjoyed the interview with Mark Linett and Alan Boyd. Whenever ESQ talks to those two, I find myself salivating at the thought to what brilliant releases will come next! First, it’s great to know that they’re still pushing for the 1964 Keep An Eye On Summer and the 1968 Friends/20/20 material to get a proper physical release. Mark’s absolutely correct when he says the digital releases don’t resonate with audiences (well, the audience in this specific part of Yorkshire) in the same way as a proper physical release does. If Mark and Alan are listening, I’d love to see the rest of the Sunshine Tomorrow material gets it’s due as a physical release too: best, bundle the material together as a four-disc (or more) box. This is an era during which The Beach Boys produced a wealth of outstanding music, which deserves to get a proper showing. The guys shared some fascinating tidbits about the Sail on Sailor release – discovering session material at the end (or beginning!) of other reused tapes; the facts about the VDP “hypnotism” session; the unused material they’d hoped would appear as a download but didn’t (as far as anyone knows); the hopes of a release for the second Flame album. Slightly surprised that there was no firm word on what project might come next. Loved the speculation about the 15 Big Ones—MIU era – I’m one of those who’d love to see each handled separately, with as much bonus matter as can be excavated. I’d be even more excited by an expanded In Concert album, preferably each gig released in full rather than simply acing the best performances from each cherry-picked for a smaller set (though I recognise the commercial restraints… while at the same time suspecting a thoughtfully priced set would do really well). The Carnegie gig on this set is surely their best live release yet? Full marks to Mark and Alan for putting that out, I’m utterly thrilled by it. Good to learn the detail about the best songs being utilised though – again – I hope we get to hear both sets from each gig (physical, obvs!) one day, flaws and all. I was a little dismayed at the inference that vinyl production has been transferred to Czechoslovakia for seemingly no other reason than because it’s too toxic an industry for California. If our Czech cousins are being poisoned in the name of vinyl releases, then it’s maybe time to switch to CD/SACD/DVD-A/Blu-Ray-A… whatever – and I’m sure they have their own issues. It struck me that there was no mention in the interview of Howie Edelson, and his role in putting the set together. Was that deliberate? Is his role being exorcised from history? Or has he simply moved on, perhaps to Macca or The Boss projects? Footnote: I haven’t bought the set yet. I’ve been streaming it on Apple Music, which my partner subscribed to. Currently between jobs and the price was set much too high for my means. But as soon as the price either tumbles or my situation improves, I’ll be buying. Thank you Mark and Alan for bringing yet another treasure trove to our ears, and to David for another fascinating interview. I hadn't noticed Howie's name missing from the discussion until you pointed it out. Mark and Alan reviewed the Q&A before it went to press. Nothing intentional at all. |
|
|
|
Post by celticsurfer on Mar 16, 2023 9:02:51 GMT -5
I sent a mail to you a few minutes ago. Esqeditor email address.
|
|
|
|
Post by Mopp on Mar 19, 2023 8:28:32 GMT -5
To complete the Mark and Alan interview, in 1974 they also recorded a lot of concerts and in 1975 the Beachago tour. Enough material along with the 1973 tour for a boxset. And David, do you plan an interview with Marilyn about the 1972 Spring album sessions ? That album deserves a special issue and re-release with sessions on digital or physical supports.thanks in avance. I would love to tackle an American Spring/Spring issue of ESQ. There's some great stuff coming this year. Even beyond Spring, there's a ton of material from the Honeys that never saw the light of day after Shyin' Away that could warrant coverage. Marilyn's two unreleased singles, the country recordings, some nebulous pre-Rhino Honeys recordings, the One You Can't Have remake intended as a 12" B-side, an unknown single to follow up It's Like Heaven. |
|
|
|
Post by boogieboarder on May 4, 2023 23:27:31 GMT -5
I just finished reading the excellent premier article "Revisiting Brian Wilson's relationship music 1967-1968" by David Beard in the Spring 2023 Issue. At the end of the article he suggests what he calls a "hypothetical album in lieu of what ultimately became 20/20 or the proposed last Capitol album - a conceivable, mixed album of vocal and instrumental recordings rooted in a relationship - similar to Pet Sounds." He lists 13 songs, along with their sources, for a playlist. I decided to make that exact album, and burn it to a CD for my listening pleasure. If anyone else wants to do this, I'd just like to point out (for accuracy), that one of the sources listed for a song is incorrect: "Honey Get Home" can actually be found on 1967: Sunshine Tomorrow, not Wake the World: The Friends Sessions as stated in the article. By the way, I titled my CD We're Together Again, after the opening song.  |
|
|
|
Post by drbeachboy (Dirk) on May 5, 2023 7:01:05 GMT -5
20/20 was not the album or timeframe for what we call “The Last Capitol Album” or “Reverberation”. The referred to proposed album that was banded, but never submitted to Capitol in May-June 1970. The proposed album track listing is:
Cottonfields (Single)
Loop de Loop
All I Wanna Do
Got To Know The Woman
When Girls Get Together (Instrumental)
Break Away
San Miguel
Celebrate The News
Deirdre
The Lord’s Prayer
Forever
It has more in common with Sunflower than 20/20.
|
|
|
|
Post by boogieboarder on May 6, 2023 17:07:33 GMT -5
I just finished reading the excellent premier article "Revisiting Brian Wilson's relationship music 1967-1968" by David Beard in the Spring 2023 Issue. At the end of the article he suggests what he calls a "hypothetical album in lieu of what ultimately became 20/20 or the proposed last Capitol album - a conceivable, mixed album of vocal and instrumental recordings rooted in a relationship - similar to Pet Sounds." He lists 13 songs, along with their sources, for a playlist. I decided to make that exact album, and burn it to a CD for my listening pleasure. If anyone else wants to do this, I'd just like to point out (for accuracy), that one of the sources listed for a song is incorrect: "Honey Get Home" can actually be found on 1967: Sunshine Tomorrow, not Wake the World: The Friends Sessions as stated in the article. By the way, I titled my CD We're Together Again, after the opening song. View AttachmentI listened to this today, and it seems like everything in it except the opening tune sounds depressing, or emotionally negative. The lyrics are depressing, Brian sounds depressed on the vocals, and even the music is down. There’s nothing wrong with that. Some of Frank Sinatra’s great albums are called “suicide” albums, and it’s well documented that he had relationship problems that caused him difficult times. (In The Wee Small Hours, No One Cares, and Frank Sinatra Sings for Only The Lonely.) If Brian had completed and released all these tracks, it certainly would not have been perceived as a fun-in-the-sun Beach Boys album. It’s more like a sequel to SMiLE called frOwn. I can see the cover now, a frown shop.  |
|
|
|
Post by esqeditor on May 7, 2023 4:17:51 GMT -5
I really liked reading all the interviews. But the question of that legendary psychiatric hospital sojorn is omitted. That event is surely essential to understand Brian's withdrawal in 68. Deep depression, changes in his life like Carnie's birth? It's strange that all the insiders/viewers of that time do not explain it. I don’t want details but to understand that event which looks capital. I address this in the letters section of the Summer 2023 edition of ESQ. |
|
|
|
Post by esqeditor on May 7, 2023 5:25:45 GMT -5
I just finished reading the excellent premier article "Revisiting Brian Wilson's relationship music 1967-1968" by David Beard in the Spring 2023 Issue. At the end of the article he suggests what he calls a "hypothetical album in lieu of what ultimately became 20/20 or the proposed last Capitol album - a conceivable, mixed album of vocal and instrumental recordings rooted in a relationship - similar to Pet Sounds." He lists 13 songs, along with their sources, for a playlist. I decided to make that exact album, and burn it to a CD for my listening pleasure. If anyone else wants to do this, I'd just like to point out (for accuracy), that one of the sources listed for a song is incorrect: "Honey Get Home" can actually be found on 1967: Sunshine Tomorrow, not Wake the World: The Friends Sessions as stated in the article. By the way, I titled my CD We're Together Again, after the opening song. View AttachmentI listened to this today, and it seems like everything in it except the opening tune sounds depressing, or emotionally negative. The lyrics are depressing, Brian sounds depressed on the vocals, and even the music is down. There’s nothing wrong with that. Some of Frank Sinatra’s great albums are called “suicide” albums, and it’s well documented that he had relationship problems that caused him difficult times. (In The Wee Small Hours, No One Cares, and Frank Sinatra Sings for Only The Lonely.) If Brian had completed and released all these tracks, it certainly would not have been perceived as a fun-in-the-sun Beach Boys album. It’s more like a sequel to SMiLE called frOwn. I can see the cover now, a frown shop. View AttachmentYou nailed it. It's a well-known fact that Brian was depressed, which is why he pulled away prior to the release of 20/20. That was the entire point of the article. I love the connection you made with those wonderful Sinatra albums. I never thought of them as suicide albums though. For me, it boils down to expressionism, and Brian was never about 'fun in the sun,' so I can't think of a reason why he suddenly would be. And even though the musical output outlined in the article resonates with a deep sadness, there's beauty in that sadness just like "The Warmth Of The Sun," "Caroline, No," and "In My Room" (just to name a few). So, the intention was to present an era of music in a collective form to gain a better and truer sense of what Brian was experiencing as a person and how he conveyed it through his music. Thanks for posting. |
|
|
|
Post by AGD on May 8, 2023 2:59:50 GMT -5
I really liked reading all the interviews. But the question of that legendary psychiatric hospital sojorn is omitted. That event is surely essential to understand Brian's withdrawal in 68. Deep depression, changes in his life like Carnie's birth? It's strange that all the insiders/viewers of that time do not explain it. I don’t want details but to understand that event which looks capital. I address this in the letters section of the Sumer 2023 edition of ESQ. That's the special cuneiform edition...  |
|
