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Post by Al S on Mar 27, 2019 6:01:02 GMT -5
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Post by filledeplage on Mar 27, 2019 7:58:01 GMT -5
Is there a digital edition? I have not subscribed (which makes me a terrible, terrible BB fan) but the photog story looks interesting as well as 20/20, which I love anyway.  |
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Post by John Manning on Mar 27, 2019 10:22:02 GMT -5
I really like that cover. Gonna try pinch the style for my own mag!
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Post by E on Mar 27, 2019 11:48:11 GMT -5
I really like that cover. Gonna try pinch the style for my own mag! Like a much smarter (and more aesthetically appealing) version of the Record Collector's style |
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Post by John Manning on Mar 27, 2019 14:05:53 GMT -5
I really like that cover. Gonna try pinch the style for my own mag! Like a much smarter (and more aesthetically appealing) version of the Record Collector's style Yes! Good spot. Knew it reminded me of summat. |
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Post by Emdeeh on Mar 27, 2019 15:43:37 GMT -5
I look forward to reading it!
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Post by Al S on Mar 27, 2019 16:30:59 GMT -5
Is there a digital edition? I have not subscribed (which makes me a terrible, terrible BB fan) but the photog story looks interesting as well as 20/20, which I love anyway. No at this stage re the digital edition - I think, but don’t quote me, or recall, again don’t quote me, that Mr Lee Dempsey once possibly indicated that moving an independent niche publication to a digital platform was even less cost effective than a traditional print run/mailout. The subscription service is pretty cool, and the content has been absolutley fantastic for the last couple of volumes/years - David’s interviews really cover some intersting ground and the tid-bits he gets are worth the edition costs. I’m not a big fan of the Kokomo years, but the detail the ESQ team undercovered and presented around the inception, recording and marketing processes around this period were fascinating. Also, ESQ’s letters to the editor section promotes and focuses on the fans - it fascinating stuff to read the “small” but vast stories that roll in. |
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Post by Al S on Mar 27, 2019 16:39:05 GMT -5
I really like that cover. Gonna try pinch the style for my own mag! Lol, Lakeland Roller |
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Post by Mikie on Mar 27, 2019 16:48:47 GMT -5
Better renew my prescription. I think mine ended with the special Brian Wilson issue.
Filledeplage, I encourage you to pick up these issues. Good stuff.
These guys need the support so they can continue printing glossy color covers!  |
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Post by leedempsey on Mar 27, 2019 17:45:43 GMT -5
Wish we could figure out a financial model that would allow us to publish a digital rights management-protected online version and keep it secure for our paid digital subscribers, and still publish the hard copy version for the collectors that want it that way — and make a profit. The models I’ve looked at are geared toward publications that have tens of thousands of subscribers— not ESQ’s 1,000-ish subscribers.
Lee
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Post by John Manning on Mar 27, 2019 19:09:41 GMT -5
Wish we could figure out a financial model that would allow us to publish a digital rights management-protected online version and keep it secure for our paid digital subscribers, and still publish the hard copy version for the collectors that want it that way — and make a profit. The models I’ve looked at are geared toward publications that have tens of thousands of subscribers— not ESQ’s 1,000-ish subscribers. Lee Id like to think it could be done on trust but, given the fact that the sharing of commercially available music is rife, I think you’re wise to be cautious! If some fans can’t be trusted with their heroes’ output, what chance would a fanzine have?! |
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Post by Cam Mott on Apr 2, 2019 7:57:04 GMT -5
Another excellent issue by all.
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Post by Emdeeh on Apr 2, 2019 8:57:33 GMT -5
I read this one all the way through in one sitting!
👍
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Post by Al S on Apr 4, 2019 1:30:11 GMT -5
I read this one all the way through in one sitting! 👍Great news! I can’t wait. Still camping by the mailbox, and nights are getting cold down here... |
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Post by John Manning on Apr 4, 2019 2:57:11 GMT -5
Agree - great issue, helped by the fact that it’s based on great music! Would love to hear more from Linett and Boyd on their archaeological sifts through the vaults!
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Post by filledeplage on Apr 4, 2019 7:27:06 GMT -5
Agree - great issue, helped by the fact that it’s based on great music! Would love to hear more from Linett and Boyd on their archaeological sifts through the vaults! Amen on the vaults. 🙏🏻 |
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Post by Al S on Apr 6, 2019 18:20:31 GMT -5
Arrived Friday pm so got to spend the weekend indoors.
Hope to embark on reading 2 later today, another stellar issue - the tidbit quotient of late has been quite high
ie, the general stories/subjects covered are obviously familiar BUT the little reveals or added detail from either the band or people who were actually “there” are fantastic.
For example, Bruce was the vocal arranger on I Can Hear...I thought it was entirely Carl’s baby end to end; perhaps that an indication of my general ignorance (hereditary condition) but news as far as I’m concerned.
Speaking of Bruce, if David or Lee are reading, I see he got a contributer credit this issue; what was it that Bruce chipped in?
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Post by craigslowinski on Apr 8, 2019 19:21:15 GMT -5
Salty - please see my responses below in bold...
For Walk on By, Brian is listed for piano and organ, but there's no organ on there. Other instrumentation not listed is acoustic guitar, drums and tambourine, I'd assume played by Carl and Dennis based on the SoT session clip. For All I Wanna Do, only piano, organ and sitar are listed, but to my ears the instrumentation consists of Rock-Si-Chord, 12-string electric guitar, bass, drums and sitar (no piano or organ). I could have sworn there was an organ on "Walk On By", but listening to it now, I realize the sound in question is simply the billowy voices of the Beach Boys! As for the other instruments - you got me there! (I also think there may be an electric bass, best heard for a couple of notes after the actual performance stops). In the case of "All I Wanna Do" - you also got me there! Obviously a case of not listening closely enough, and simply going off memory - no doubt the result of a rapidly approaching deadline!
Also in regards to the dates at Valentine (especially around the end of May), are we sure the basic tracks were done there and not just overdubs? The basic tracks for Walk on By, We're Together Again and Do It Again all feature Brian's detuned grand piano and the idea that it'd be transported to another studio in Hollywood for a few sessions just doesn't feel right. All indications are that the basic tracks for those tunes were definitely recorded at Valentine (despite what the AFM sheets for those sessions say), using a 4-track machine. I guess they either transported Brian's piano to that studio, or detuned a piano there.
There are also some dates for All I Wanna Do, Ol' Man River v1 and some others that contradict the notes that came with the ICHM set (along with incorrect writer credits on those two). I don't know which dates are right, but I do remember reading that the A Capella OMR was found on the end of the 8-track reel for I Went to Sleep. Well, as much as I'd like to, I can't take the blame for the incorrect songwriter credits - someone else added those! The first version of "Old Man River" is from June 5th, with Brian on organ, and otherwise a cappella (previously included on the MIC box set). The later version is from June 10th. Both were recorded at Brian's house. The notation indicating it being from May 26th at Valentine is a case of bad copy/pasting on my part (I obviously carried it over from the previous entry, and forgot to update it!). Similar case with the early "All I Wanna Do" - the info was carried over from the "Rendevous" entry, thus the wrong date.
Last one - for the second Ol' Man River Bruce is listed for possible organ and Paul Tanner is listed for electro-theremin, neither of which are present. Surely Paul Tanner is on trombone, right...? Given that was his main gig before being The Theremin Guy. It'd neatly explain the gap in the credits there. Aha! on Paul Tanner - I actually didn't know (or had forgotten) about his trombone-playing chops, and assumed that he was contracted to play electro-Theremin but that it didn't survive to the final take. Good to know! I gave Bruce the "possible" organ credit 'cause he's listed on the sheet - so either his organ playing is buried in the mix, didn't survive to the final take, or he contributed something else (maybe hanging out and providing production assistance - I didn't get to hear the full session tape, so I couldn't say).
THIS is why I'm so reluctant to do a physical sessions "book" - I've seen errors way more embarrassing than this in officially published sessionographies by other artists (some even accompanying otherwise flawless officially released box sets), and I'd much rather just "publish" the fruits of my labor online - where it can be quickly corrected if need be!
Thanks Salty!
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