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Post by E on May 9, 2020 3:19:07 GMT -5
Please!
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Post by SMiLE-Holland on May 9, 2020 12:32:27 GMT -5
... working on it ...
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Post by SMiLE-Holland on May 9, 2020 15:31:20 GMT -5
Halfway there now... just to warm you up a bit, here's a small segment where Carl talks about the creation of Mess Of Help:
Veronica 192 magazine, April 1st 1972:
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Post by Autotune on May 9, 2020 21:58:52 GMT -5
So... how’s Brian’s ear these days? It seems like it has been a non-issue for the past 30 years?
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Post by Joshilyn Hoisington on May 10, 2020 0:34:15 GMT -5
Halfway there now... just to warm you up a bit, here's a small segment where Carl talks about the creation of Mess Of Help:
Veronica 192 magazine, April 1st 1972:
kunt u de nederlandse tekst beschikbaar maken? Ik moet mijn Nederlands oefenen.
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Post by SMiLE-Holland on May 10, 2020 9:36:31 GMT -5
Halfway there now... just to warm you up a bit, here's a small segment where Carl talks about the creation of Mess Of Help:
Veronica 192 magazine, April 1st 1972:
kunt u de nederlandse tekst beschikbaar maken? Ik moet mijn Nederlands oefenen. Ik bewonder je interesse in de Nederlandse taal. Er zijn makkelijker te leren talen. Here's a cutout from the scans: Succes !
When I've finished the translation, as always I'll post the complete scans of the article as well.
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Post by Joshilyn Hoisington on May 10, 2020 9:46:04 GMT -5
Thanks! Great practice!
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Post by SMiLE-Holland on May 13, 2020 8:09:10 GMT -5
Some remarks regarding this interview:
- Based on the mentioning of the Grand Gala we can date this interview to February 26 th, or perhaps the 27 th. The group (or part of it) was in London for a press conference on the 28 th. - It’s remarkable to notice that Carl apparently had the idea that outside the U.S. the Pet Sounds album didn’t get the praise it deserved either, naming The Netherlands as an exception. U.K, anyone? - Carl makes interesting choices of his favourite Sunflower songs. - What about that Brian Wilson instigated jam with Doug Dillard (on banjo)? So that’s how Mess Of Help came to be? - I had to re-check the cover of the C&tP album just in case I had missed those little inside jokes – I was pretty sure they weren’t there IIRC… and indeed they weren't... - So Carl also specifically mentions a song called “One Arm Over My Shoulder”. Until now the only title we thought was used was ‘Marcella’, and the only mentioning of an alternative title was done by Keith Badman. - Carl says in this interview that both Blondie and Ricky are full members of the group. Would that mark Feb. 26 th as the real date that they were official BB members? It’s a few days earlier than the Feb. 28 th press conference in London where it was also announced. - Late February the European tour in 1972 was in the planning stage. Carl specifically mentions 3 concerts in The Netherlands: Amsterdam, Rotterdam and Groningen. For those who have checked Ian Rusten’s book or Andrew’s website: the Amsterdam gig didn’t make the list at the end. I’ll get back on that later on with a few other articles, where May 12 th and 14 th were scheduled for (possible) Dutch performances as well. - Regarding the festival in Puerto Rico: Carl probably referred to the Mar y Sol Pop Festival (also referred to as Mar y Sol Festival or simply Mar y Sol – Sea and Sun). A rock festival that took place in Manatí, Puerto Rico, about thirty miles west of San Juan, on April 1-4, 1972. But they didn’t attend that festival. That it was considered isn’t that strange though as the BB were also scheduled to perform at the Fiesta Del Sol Festival on Puerto Rico on November 21 st 1971. This was in fact the original name of the same festival, of which the planning started early 1971, but the date for the festival was postponed several times (hence the notation ‘cancelled’ on Andrew’s Bellagio 10452 website). More info on: en.wikipedia.org/wiki/Mar_y_Sol_Pop_Festival, where the Beach Boys aren’t mentioned at all. It is safe to assume that the idea to perform there, as mentioned in this interview from Feb. 26 th, was dropped as suddenly as it was proposed. - BB music for a series of alternative children’s animation: yet another example of a beautiful idea from Jack Rieley that didn’t come to fruition…
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Post by SMiLE-Holland on May 13, 2020 8:36:10 GMT -5
And speaking of that European tour in 1972. Today it was 48 years ago they performed in Rotterdam. And on the 11th they took the stage in the Martinihal in Groningen. There's a good amount of info an pictures on the Ahoy concert. Several reviews made the local and national newspapers at the time. And an audiorecording of the concert (that is, most of it) floats around on the internet. But little is known on the Groningen concert. I was able to find exactly one review which contained - again - exactly one picture of the concert.
I already mentioned I'm going to share some info on the announcements of the Dutch concerts as well as some pictures and reviews. In the meantime here’s some pictures. Martinihal, Groningen, May 11th 1972 From left to right: Daryl Dragon, Ricky Fataar, Billy Hinsche, Carl Wilson, Mike Love, Al Jardine (just the hat), Blondie Chaplin, Ed Carter, Dennis Wilson. Not visible left of the percussion but probably also present is Dennis Dragon. And an unknown guy up front (behind Ed Carter)
Ahoy Hal, Rotterdam, May 13th 1972
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Post by Mikie on May 13, 2020 12:21:52 GMT -5
Klaas, that's great stuff! Thank you for translating the article - it was worth the effort! That was a real good read.
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Post by Autotune on May 13, 2020 12:23:19 GMT -5
Thank you SMiLE-Holland for translating that very interesting interview.
BTW, does anybody know what the “So Tough” in the album’s name means?
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Post by Cam Mott on May 13, 2020 13:57:36 GMT -5
As I remember, where I was from, it was a superlative like "boss" or "fab".
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Post by Will/P.P. on May 13, 2020 15:07:20 GMT -5
Thank you, Klaas. The Carl interview was excellent and informative.
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Post by AGD on May 13, 2020 15:28:04 GMT -5
Fascinating interview, which, if nothing else, clearly demonstrates that Carl is a very poor source for accurate info ! What he says about Pet Sounds is, frankly, laughable, and his comments on Reprise, after they'd initially rejected Sunflower - and would within less than 18 months reject two more - are questionable. Nightmare !!
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Post by John Manning on May 13, 2020 17:20:20 GMT -5
Many thanks Klaas, that’s a great read. Any inconsistencies on Carl’s part aside, I find it a fascinating interview purely because of its historical context.
Inversely hope “Beatrice …” surfaces in a future release, along with some examples of what Carl describes here as songs going through different incarnations, in terms of speeds they’re played at.
Assume that show filmed by ABC at Central Park was the Carnegie Hall show that was teased a few recent years ago as a potential future release? Never broadcast back then?
Great job Klaas, thank you so much again.
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Post by craigslowinski on May 13, 2020 23:59:12 GMT -5
Assume that show filmed by ABC at Central Park was the Carnegie Hall show that was teased a few recent years ago as a potential future release? Never broadcast back then? No, it would be "Good Vibrations From Central Park" in June '71, from which the footage of them performing songs like "Heroes And Villains", "Okie From Muskogee", and "Forever" comes. The Carnegie Hall show you mention is from November '72, and wasn't filmed, just audio-recorded.
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Post by AGD on May 14, 2020 4:24:18 GMT -5
"Tells that all kinds of jokes will appear on the cover of that new album. “We’ll mention in detail all the names of the sound equipment we used. And between all those names we’ll also casually put F-111. That’s an airplane type. I wonder how many people will notice that. Additionally we’ll print the phone number of the White House. That seems like fun to us.”" Carl, bless him, is forgetting that the spoof tech info was already printed on the Surf's Up lyric sheet along with the entirely accurate info on the Sunflower back cover. Sunflower:
Original Release Technical Notes: This album was recorded at the studios of Brother Records and utilizes the most advanced recording techniques in the industry today. All original recording was done on a special 3M 16-track tape recorder, supplied by Wally Heider Recording Inc., of Hollywood, using 2-in wide tape. Microphones used include: Neumann U67, U87, KM-85, RCA DX77, DX44, EV 666, and RE-15. A custom-built 30 position mixing console, manufactured by Quad-Eight Corporation, provided extreme flexibility and special effects for this album.
Tape to disk transfer was done at Artisan Sound Recorders, Hollywood, using the latest Model Neumann computer Controlled mastering lathe, equipped with a Neumann SX-68 helium-cooled, dynamic feedback cutterhead. The songs on this record were recorded in true stereophonic sound; they are not 16 monophonic signals placed somewhere between the right and left speakers blended together with echo, but rather total stereo capturing the ambiance of the room and the sound in perspective as heard naturally by the ear. Although more difficult to perfect, this type of recording is far more satisfying to hear, as will be demonstrated upon playing this album.
Surf's Up:
Original Release Technical Notes: Original recording was done on Brother Records’ cassette tape recorder at 30 i.p.s. on 2 inch-wide tape with four long lasting flashlight batteries. The following microphones (with built-in remote switch) were used. U2 Boat mike, F111 Throat model and DC456-1414. A 30-position toy-mixing console was used to transfer the original recording to my Brother 2-track recorder.
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Post by Emdeeh on May 14, 2020 8:48:30 GMT -5
Or Carl could have been talking about the Surf's Up album at that point and something got mixed up in translation at Veronica's end.
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Post by SMiLE-Holland on May 14, 2020 13:35:29 GMT -5
Or Carl could have been talking about the Surf's Up album at that point and something got mixed up in translation at Veronica's end. Perhaps... but either way, it’s a good joke. 🙂
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Post by SMiLE-Holland on May 14, 2020 13:51:24 GMT -5
Fascinating interview, which, if nothing else, clearly demonstrates that Carl is a very poor source for accurate info ! What he says about Pet Sounds is, frankly, laughable, and his comments on Reprise, after they'd initially rejected Sunflower - and would within less than 18 months reject two more - are questionable. Nightmare !! Interesting that you say that, as I had that in my list of remarks at first. But decided to leave it out, as it wasn’t the first time in the 1970-73 period that Carl was harsh towards Capitol (for fair reasons btw), but praised Warner to no end. And in a way that’s strange, as - whatever you think of Capitol’s treatment of the Beach Boys during the 60’s - I can’t remember them demanding changes of the delivered product. We know PS raised some eyebrows (but BW stood firm), but did we ever see any problems releasing Smiley Smile, Wild Homey, Friends and 20/20? Did Capitol simply give up the group? Warner though gave them a hard time on the release of Sunflower, Surf’s Up and Holland. Did Carl actually appreciate Warner’s critical judgement of the offered albums, trying to get the best result out of them? Or was the anger towards Capitol that big that Carl decided to leave out that part of the relationship with Warner? O, and what surprises me most is the fact that C&tP-ST was released very quick and as far as I can tell without a struggle with Warner, although of the 1st four Warner albums C&tP imo is the weakest one (although I do like it’s rawness, mind you). So I do dare to say that Warner’s critical eye on the BB album did push them to get the best out of them.
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Post by Mikie on May 14, 2020 14:28:17 GMT -5
Yeah, Warners not only second-guessed Sunflower, Surf's Up, and Holland, but also rejected the "In Concert" '73 release. I wonder what Carl felt about Warner's bundling Pet Sounds with the Carl & The Passions album in the States. The C&TP album took a back seat to Pet Sounds and didn't get the attention for the material as it deserved.
I'm sure Carl still hung onto his disdain for Capitol while maintaining a positive attitude towards their new label. After Capitol, he probably felt that any major label that was willing to take on the Beach Boys was worth their weight in gold and was not going to talk sh*t about them in public, no matter what he felt about their balking at their initial early 70's releases.
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Post by Mikie on May 14, 2020 17:02:50 GMT -5
Isn't it possible that despite rejecting albums, the folks at Warner's just generally had a more creatively constructive/personable relationship with their artists than Capitol did..? Warners was interested in good sales and expected The Beach Boys to hold their own (assuming a productive Brian as part of the contract) in a large catalog of hip, creative artists, both established and up and coming. Listening to the BB boots with their original weak submissions, Warner's obviously made the right choices and The Boys adjusted accordingly. Adding Sail On Sailor and Surf's Up to their respective albums were darn good suggestions by the record company, I'd say! Same with an entire extra album of live material to add to "In Concert" made those releases stronger.
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Post by sneakypete77 on May 15, 2020 10:04:34 GMT -5
Thank you KJ for another great post in this epic thread of yours. It was heartening to see Carl so obviously proud of their Sunflower album, and his choice of songs from that set was just perfect IMHO.
Some remarks regarding this interview: - It’s remarkable to notice that Carl apparently had the idea that outside the U.S. the Pet Sounds album didn’t get the praise it deserved either, naming The Netherlands as an exception. U.K, anyone?
Yeah, I'll have a go. Pet Sounds spent a mere 17 out of 18 consecutive weeks in the top 4 of the UK album chart following it's release, as a precursor to them being named as top band in the world at the NME poll awards a few months later. Yes, it was a pretty shit year for them over here when you think about it . But, you have to appreciate that Carl was in The Netherlands, being interviewed by a Dutch reporter, so of course he's going to focus on saying the right things for that particular audience. I don't think he was being disrespectful at all towards any other European fans, but merely being his usual professional self, given his location at the time.
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Post by WillJC on Jun 20, 2020 9:23:22 GMT -5
Thought this might be of interest to some people - I dug up an old transcription of the Mount Vernon home recording on Get the Boot where Brian's running through the story and some of the tunes to a journalist. Puts some noteworthy context to it once you figure out what they're saying. This is back in the US with recording in the past tense (the reporter is American which should've been a giveaway), probably September-October, Carl has Brian's copy of the fairy tale to do some extra work on it, and it sounds like they've just finished playing Funky Pretty. Marilyn puts on Mama Said at one point and Brian complains about his piano tuner. He muddles up the story in places, but the order of the musical fragments makes more sense here than on the record.
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Post by Mikie on Jun 23, 2020 22:15:57 GMT -5
and that mystery guy on Lazy Lizzie. What mystery guy on Lazy Lizzie? Brian Wilson?
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