Thursday This And That

Man, THIS sure sounds like a fun night out ... I would LOVE to see all these acts performing together ... how cool that Tony Burrows is doing shows now ... think of all the bands he was associated with back in the early '70's!!!  (I know we have a lot of Tony Burrows fans on the list ... hopefully this will turn into more of a tour than a one-off performance so others around the country will have the chance to see him, too.)  kk

Hi Kent,
I just wanted you to know that our new and improved website, www.theairplaychannel.com, is up. We've added some new interviews and hope to shoot some more soon. We just posted our first trivia quiz. We'll randomly select one of the people with the highest score and they'll win a DVD of "Airplay". Comments are welcome. We'd also really appreciate it if you guys would like our Facebook page, "Airplay: The Rise and Fall of Rock Radio".  I'm hoping to get a schedule of where and when it's airing. We really appreciate the support you've given us.
Thanks,
Carolyn Travis  
Always glad to help.  As you know, I love this film and am happy to help spread the word.  Please do send us a list of airdates and we'll be happy to pass it along to our readers.  Thanks, Carolyn!  (kk)  

Kent, 
I really enjoyed seeing the 50 year old KRLA chart ... a lot of memories there.  At that time, I was playing 'good music' doing the all-niter on KKOP-FM in L.A.  I listened mostly to KRLA during my awake hours and have to tell you it was a magical summer.
The year before, right after I left active duty with the USAF, I got a job in a local factory to tide me over until I could adjust to civilian life.  Working in the mail room was Randy Nauert, who moonlighted as the bass player with the local surf band, The Challengers.  Once he found out my DJ experience in Texas and AFRTS, we became fast friends.
Fast forward to the summer of '65.  I was grabbing a late bite to eat at the local "Bob's Big Boy" just before I had to start my shift at the station.   While I was sitting there, in walked Randy and the rest of the band.  They joined me in my booth so I sat and listened as they talked about the gig they had just finished.
As I was leaving, Randy mentioned that they were playing at the "Orange County World Teen Fair" the next weekend and I should be there.  That sounded good to me so I made my plans.
I showed up about 7:45 and caught the last 20 minutes of their set.  I also found out they would be the back-up band for the various headliners that would be appearing that evening.  When Randy saw me in the crowd, he waved at me to come up to the stage and when I got there, he invited me to join him backstage.  I accepted, and that visit was to be one of the most memorable of my life.
In addition to The Challengers, I was able to hang out with The Dixie Cups ("Chapel Of Love"), Jay and The Americans, Sam The Sham and The Pharaohs and (best of all) The Righteous Brothers.  I didn't say anything, just shook some hands and listened to the conversations.  It was about 30 minutes of Rock And Roll Heaven.
50 years have gone by since that memorable night, but hardly a day goes by that I don't recall that special moment and give thanks that I was there.  I still exchange E-Mails with Randy once in a while and I thank him most every time for that thrill.
Thanks for your good work ... "Keep On Truckin'" and doing it right!!!
Jim (Southern) Pritchard

‘FAMILY REUNION’ AT THE OL’ BALL GAME FOR BLACK MUSIC MONTH

 

Sound of Philadelphia legends come together to salute The O’Jays and Jean Carne

at the 12^th Annual Phillies African-American Heritage Celebration.

L-R: Dexter Wansel, Kenneth Gamble, Eddie Levert, Eric Grant, Jean Carne, 

Walter Williams, Leon Huff, Billy Paul. Photo Credit: Mitchell Leff 

SOUND OF PHILADELPHIA LEGENDS COME TOGETHER TO SALUTE THE O’JAYS AND JEAN CARNE AT PHILLIES AFRICAN-AMERICAN HERITAGE CELEBRATION

PHILADELPHIA – Forty years after releasing the Family Reunion album on the iconic Philadelphia International Records, Rock & Roll Hall of Fame Inductees The O’Jays were a primary catalyst behind a family reunion of their former label mates June 5 at the 12^th Annual Phillies African-American Heritage Celebration, hosted by fellow Rock & Roll Hall of Famers and “Sound of Philadelphia” architects Kenneth Gamble and Leon Huff at Citizens Bank Park in honor of Black Music Month.   

Gamble & Huff presented The O’Jays and R&B and jazz legend Jean Carne with the Phillies Gamble & Huff Community Partnership Award and were joined in the celebration by fellow PIR greats Billy Paul (“Me & Mrs. Jones”), producer Dexter Wansel, and pop-R&B songwriter Bunny Sigler, who sang the National Anthem. Ms. Carne performed her PIR hit single, “Don’t Let It Go to Your Head.”

With Gamble & Huff, The O'Jays emerged at the forefront of Philadelphia soul with "Back Stabbers" (1972), and topped the Billboard Hot 100 the following year with "Love Train". Numerous other hits followed for PIR, topped by “For the Love of Money,” “I Love Music,” and “Use Ta Be My Girl.” The O'Jays were inducted into the Vocal Group Hall of Fame in 2004, and The Rock and Roll Hall of Fame in 2005. 
Gamble & Huff's Philadelphia International Records became the birthplace, incubator and launching pad for the Philly Soul sound aka “The Sound of Philadelphia (TSOP),” a unique blend of R&B rhythms, sweet soul vocals, deep funk grooves, pulsing horn charts and lush string arrangements with melodic structures combining elements of pop, jazz and world music. With a stable core of artists led by The O'Jays, Harold Melvin and the Blue Notes, Billy Paul, MFSB and the Three Degrees, Gamble & Huff co-founded Philadelphia International Records and began creating monster hits from nearly the first day of its inception in 1971. They continued to record, collaborate and produce major hits with a galaxy of stars from the pop, rock, soul and jazz universes, including Michael Jackson and the Jacksons, Elton John, Lou Rawls, Teddy Pendergrass, Patti LaBelle, the Spinners, the Stylistics, the Delfonics, Dusty Springfield, Jerry Butler, Wilson Pickett, LaBelle, Archie Bell & the Drells, the Soul Survivors, Laura Nyro, the Trammps, McFadden & Whitehead, Phyllis Hyman, the Dells and many more.    

Gamble & Huff created and are credited for launching one of the most celebrated and historic songwriting partnerships that spawned into a sophisticated sound lovingly crafted in the studio by some of the 20th century's most influential producers and studio teams -- including Kenneth Gamble and Leon Huff, Thom Bell, Linda Creed, Gene McFadden and John Whitehead, Bunny Sigler, Dexter Wansel, Bobby Martin, MFSB Orchestra, Baker, Harris and Young, Joe Tarsia (Sigma Sound) and others – Philly Soul set the stage for disco, smooth jazz, adult contemporary music and more. Gamble & Huff began celebrating their 50th Anniversary this year. The celebration will continue in 2016 with the projected release of their Autobiographical Book and the launch of their Theatrical Play on their historic Life Story and creation of one of America’s great music catalogues, known as “The Sound of Philadelphia.”   

Here's a satisfying anniversary worth celebrating ...  

We’ve been celebrating the fact that The Rolling Stones epochal hit “(I Can’t Get No) Satisfaction,” the band’s first U.S. #1, was released 50 years ago.  It soon became the band’s signature song and, of course, occupies a special place on their current Zip Code Tour set list: it’s the finale.

We thought it would be fun to share the Billboard Hot 100 from the week it first entered the chart. There aren’t many, if any, artists whose hits are chronicled here who are still at after all this time but, of course, “Satisfaction” and the Stones aren’t like anything that’s come before or since.

Scroll down past the chart for news of ABKCO’s release of a special limited edition “I Can’t Get No) Satisfaction 12” single that will be released on the 50th anniversary of the original record going to #1.

THE ROLLING STONES’ “(I CAN’T GET NO) SATISFACTION” IS 50 - ABKCO TO REISSUE SINGLE ON SPECIAL 12” VINYL FORMAT JULY 10

Released during the first week of June in 1965, “(I Can’t Get No) Satisfaction” by the Rolling Stones proved to be a monumental single, not just in terms of airplay and chart position (their first U.S. #1), but also in terms of shaping popular music. The song that, according to Newsweek, contains the “five notes that shook the world” has proven itself timeless. A half-century later, the Rolling Stones played the song as their finale on the opening night of their Zip Code Tour of North America 2015.   

The idea of writing a song around a riff (a repeating sequence of notes), rather than a vocal melody or chord progression, though not unprecedented at the time, had yet to take rock music by storm. “Satisfaction” was the storm. Over the course of the next several years, the shift in focus towards the riff took hold, and can be still heard in popular music today.  

On July 10, ABKCO Records will celebrate the golden anniversary of “Satisfaction” by releasing a limited edition, numbered 12-inch version of the single on 180-gram vinyl. While the smash hit comprises the entire A-side, the B-side consists of both original U.S. and UK “Satisfaction” flip sides: “The Under Assistant West Coast Promotion Man” and “The Spider and the Fly,” respectively. The record is housed in a sleeve featuring award-winning photographer David Bailey’s shot of the group, recreating the original 7-inch single artwork.  Mastered by Carl Rowatti at Trutone Mastering Labs and cut from the original mono master tapes, the 45-rpm 12-inch format makes this a true audiophile pressing, allowing for wider grooves that yield louder levels, broader range, deeper bass and better high frequency response.

London Records (the Stones’ U.S. label at the time) released “Satisfaction” in the first week of June, less than a month after the track was recorded at RCA Studios in Hollywood, CA on May 12, 1965. By June 12, the single had entered both the Billboard and Cashbox charts. Over the course of the next month, “Satisfaction” shot straight to the top, hitting #1 in Record World on July 3, where it held its position for three weeks; Billboard and Cashbox followed suit, declaring it #1 on July 10, where it stayed for four weeks. Sales-wise, “Satisfaction” was an unparalleled success – it became the group’s first RIAA-certified gold record on July 19, 1965.

The UK version of the “Satisfaction” single, released by Decca on August 20, 1965, would become the band’s fourth #1 single in their home territory. The track made its LP debut on July 30 of that year, when it was included on the U.S. version of Out of Our Heads. ABKCO Films’ much-lauded documentary The Rolling Stones Charlie is my Darling – Ireland 1965 features the band’s first ever performance of “Satisfaction” to a paying audience, played Dublin’s Adelphi Theatre on September 3 of that year. (See link below)

The iconic guitar riff that opens the song was composed by Keith Richards who recorded the sequence of notes on a home tape recorder while in a dreamlike state in the middle of the night when the band was on tour in the U.S.  After listening to his own recording and devising the song title “(I Can’t Get No) Satisfaction,” he played the riff for Mick Jagger by the pool at the Gulf Motel in Clearwater, FL in early May, 1965. Jagger immediately composed the lyrics. 

Having scrapped a version of “Satisfaction” that was recorded at Chess Studios in Chicago on May 10, the group re-recorded the song at RCA Studios in Hollywood, CA on May 12. It was this version that would take over the airwaves and shoot up the charts the following month.

Textured by the aid of a Maestro Fuzz-Tone pedal, Richards’ riff was originally intended to be replaced by a horn section, but the recording sounded complete to producer/manager Andrew Loog Oldham and engineer David Hassinger. Jagger’s lyrics, simultaneously expressing sexual frustration and disdain for consumerist messages, would strike a nerve with the mostly young, rock ‘n’ roll buying public. Ironically, the only two people in the Stones’ camp who were initially against turning “Satisfaction” into a single were Mick Jagger and Keith Richards.

“The Under Assistant West Coast Promotion Man,” credited to Nanker Phelge (a pseudonym used on compositions written by the entire band), is a lighthearted jab at George Sherlock, an employee of London Records at the time, who accompanied the group on their first U.S. tour. The Stones saw Sherlock as a vain, toupee-topped, seersucker suited music biz flunky who was ultimately harmless. In later years, Sherlock expressed pride in having been the subject of the song. Loosely based on Buster Brown’s hit “Fannie Mae,” it is the lyrical content that gives the tune historic importance; the prodding of authority figures through song was almost unprecedented at the time. In the UK, Decca decided to instead use the country-blues composition “The Spider and the Fly” (also by Jagger/Richards) as the B-side to “Satisfaction,” the company assuming that the abundance of American references on “The Under Assistant West Coast Promotion Man” may have gone over the heads of British listeners.

Pressed by Quality Record Pressings in Salina, KS, and limited to 10,000 numbered copies in North America, ABKCO’s “(I Can’t Get No) Satisfaction” 12-inch single will be released a half-century to the day after the landmark song dominated U.S. charts and helped transform the course of pop music history.

Pre-order link: http://smarturl.it/Satisfaction50th  

ROLLING STONES’ “(I Can’t Get No) SATISFACTION” 12-inch

Side A:  (I Can’t Get No) Satisfaction

Side B:  The Under Assistant West Coast Promotion Man / The Spider and the Fly

ABOUT ABKCO -  ABKCO Music & Records is one of the world’s leading independent entertainment companies.  It is home to iconic music catalogs that include compositions and recordings by Sam Cooke, The Rolling Stones, Bobby Womack, Eric Burdon, The Animals, Herman’s Hermits, Marianne Faithfull, The Kinks as well as the Cameo Parkway masters by such artists as Chubby Checker, Bobby Rydell, Clint Eastwood, The Dovells, ? & The Mysterians, Charlie Gracie, The Tymes and Dee Dee Sharp. Soundtrack releases include the 2015 Academy Award, GRAMMY and BAFTA winning soundtrack to Wes Anderson’s Golden Globe winner The Grand Budapest Hotel, 2013 Academy Award nominated Moonrise Kingdom, the 2010 Academy Award nominated Fantastic Mr. Fox, and The Darjeeling Limited, Edgar Wright’s The World’s End and Scott Pilgrim vs. the World, Independent Spirit Award Winner Safety Not Guaranteed, the international blockbuster Fast Five, Boardwalk Empire Volumes 2 & 3: Music from the HBO Original Series, the soundtrack to the first season of the hit Showtime series Californication and through ABKCO’s Little World Records imprint, American Girl:Isabelle Dances into the Spotlight. Releases on ABKCO’s SAR label include albums by L C Cooke, The Soul Stirrers, Johnny Taylor and the Valentinos.  ABKCO is active on many fronts including the release of critically lauded compilations and reissues from its catalog, film and commercial placement of its master recordings and music publishing properties in all media. ABKCO Films most recent release is Alejandro Jodorowsky’s The Dance of Reality. The renowned cult director’s classics El Topo and The Holy Mountain, fully restored and remastered to HD, were shown at the 2006 Cannes Film Festival (Classics section) and at the prestigious 44th New York Film Festival. Other releases include the 2014 GRAMMY Award winning The Rolling Stones Charlie is my Darling – Ireland 1965. In 2003 ABKCO won a GRAMMY® for the DVD release of Sam Cooke – Legend and the following year released the DVD of The Rolling Stones Rock and Roll Circus to universal acclaim. Upcoming releases include a restoration of the Spaghetti Western Blindman starring Ringo Starr.  ABKCO Films is in pre-production on a biopic on the life of Sam Cooke.

More Stones news ... 

AVAILABLE FOR THE FIRST TIME, EXCLUSIVE LIMITED EDITION CLEAR VINYL + ALBUM ART LITHOGRAPHS  OF THE ROLLING STONES 12 X 5, LET IT BLEED AND 'GET YER YA-YA’S OUT!'  

First Release By Spotlight Gallery, A New
Business From The Parent Company Of Time Life  
Fairfax, VA (June 10, 2015) –Time Life, today announced the release of three Limited Edition Clear Vinyl + Album Art Lithographs from the iconic and acclaimed Rolling Stones albums  – ABKCO Records’ 12 X 5, Let it Bleed and ‘Get Yer Ya-Ya’s Out!’  
Only 2,500 of these hand-numbered and embossed museum-quality lithographs signed in the plate by Rolling Stones members will be available through a special license granted by ABKCO Music & Records, Inc. 

These highly valuable collectible LP and lithograph sets, each with a Certificate of Authenticity, will be available at www.spotlightgallery.com on a first-come, first-served basis.  The lithographs are printed on acid-free, 100# Opus dull cover stock measuring 20” x 24” with an image area of 16” x 16.” 

It should be noted that no additional copies will be produced after the initial press run is exhausted and the signature plates will be destroyed. The printing plates contain the facsimile signatures of the band’s personnel at the time each album was recorded: Mick Jagger, Keith Richards, Charlie Watts, Brian Jones and Bill Wyman on the 12 X 5 and Let It Bleed lithographs, and Jagger, Richards, Watts and Wyman on ‘Get Yer Ya-Ya’s Out!’ 

Time Life will debut Spotlight Gallery and The Rolling Stones Clear Vinyl + Album Art Lithograph Collections with receptions in Los Angeles and New York.  The Los Angeles event will be hosted by Chris Carter, heard weekly on Sirius XM’s Radio’s Chris Carter’s British Invasion and on KLOS. The event takes place at Mr. Musichead Gallery, 7420 W. Sunset Blvd., in the heart of Hollywood’s “Rockin Row” on Thursday, June 18 from 7 to 10 PM and will be preceded by a VIP reception at 6:30.  The New York event is set for Thursday, July 9 at the ARChive of Contemporary Music, 54 White Street in Soho. Jonathan Clarke, whose Out of the Box show is heard on Q104.3 will host the event. Both the Los Angeles and New York launch receptions will provide an onsite opportunity to purchase The Rolling Stones Clear Vinyl + Album Art Lithograph Collections.  Both events will feature custom cocktails curated by Pura Vida Tequila. 

12 X 5, the Rolling Stones’ second full-length U.S. release, in October 1964, combines tracks from the band’s earlier U.K. EP Five by Five (recorded at Chess Studios in Chicago) with additional material, including the smash hit singles “It’s All Over Now” and “Time Is on My Side.” 12 X 5 is dominated by the Stones’ takes on R&B and the blues, which would shape and inform the hard blues/R&B wing of the British Invasion in ensuing years. This “Clearly Classic” vinyl edition is sourced from the album’s original mono mix. The album’s cover, thought to be a visual riposte to Meet the Beatles, was shot by David Bailey. One of the most celebrated fashion/celebrity photographers of all time, Bailey was appointed a Commander of the Order of the British Empire for his “services to art” and was awarded the Royal Photographic Society’s Centenary Medal and Honorary Fellowship “in recognition of a sustained, significant contribution to the art of photography.”  

The thoroughly cohesive and highly regarded Let It Bleed is considered by many to be the Rolling Stones’ best album. Tracks include “Midnight Rambler,” “You Got the Silver” featuring Keith Richards’ first lead vocal, the apocalyptic-themed “Gimme Shelter,” the band’s faithful take on Robert Johnson’s country blues “Love in Vain,” and the epochal “You Can’t Always Get What You Want.” The Let It Bleed album cover art is by Robert Brownjohn, the American-born graphic designer known for creating the title sequences of such films as Goldfinger and From Russia with Love. The Let It Bleed cover features a Dadaist LP-shaped cake created by cookbook author Delia Smith, the design inspired by the album’s original title, “Automatic Changer.” Let It Bleed’s innovative imagery has resonated over the years since its release in late 1969. The cover art was a recent addition to the design collection of New York’s Museum of Modern Art and was the subject of a commemorative postage stamp issued by Great Britain’s Royal Mail in 2010.  

‘Get Yer Ya-Ya’s Out!’ The Rolling Stones in Concert holds the distinction of being the first live album by any artist to reach No. 1 on the U.K. charts. Recorded at New York City’s Madison Square Garden on November 27 and 28, 1969, the featured concert was part of the U.S. tour during which the group was introduced for the first time as “the greatest rock and roll band,” as heard at the start of the album. Ya-Ya’s is considered the Stones’ finest live album and includes concert versions of the hits “Jumpin’ Jack Flash,” “Street Fighting Man” and “Sympathy for the Devil,” but is most notable for a nine-plus-minute version of “Midnight Rambler” with extended harmonica solos by Mick Jagger, widely considered the greatest recorded version of the song. Shortly after the album’s release, rock critic Lester Bangs noted in his Rolling Stone review, “It’s still too soon to tell, but I’m beginning to think Ya-Ya’s just might be the best album they ever made. I have no doubt that it’s the best rock concert ever put on record.” The album’s cover was shot by David Bailey in February 1970 and the original design is by John Kosh (art director for over 100 album covers, including The Beatles’ Abbey Road, The Who’s Who’s Next, the Eagles’ Hotel California, and Rod Stewart’s A Night on the Town) and features an atypically exultant Charlie Watts holding two guitars alongside Jack, a donkey burdened with some of his drum kit and a guitar. It has been suggested that Bob Dylan’s song “Visions of Johanna,” which includes the line “jewels and binoculars hang from the head of the mule,” was the inspiration for the Ya Ya’s cover concept.  

The Rolling Stones Limited Edition Clear Vinyl + Album Art Lithographs will be available for purchase now at www.spotlightgallery.com or by calling 1-877-914-3040, where future distinguished entertainment collectibles will also be presented.

About Spotlight Gallery  www.spotlightgallery.com

Spotlight Gallery features a selection of distinguished entertainment memorabilia and collectibles from renowned music icons, legendary artists, and acclaimed performers from stage and screen.  Each item is a piece of history to be treasured for a lifetime by any collector, art enthusiast, or fan.  Spotlight Gallery is owned and operated by Spotlight Collectors Gallery®.

About Time Life www.timelife.com

Time Life is one of the world's preeminent creators and marketers of unique music and video products and has extensive experience partnering with leading artists and performers in the entertainment industry. The company specializes in creating distinctive multi-media collections that evoke memories of yesterday, capture the spirit of today, and can be enjoyed for a lifetime.

Time Life and the Time Life logo are registered trademarks of Time Warner Inc. or an affiliated company. Used under license by Direct Holdings Americas Inc., which is not affiliated with Time Inc. (NYSE:TIME) or Time Warner Inc. (NYSE:TWX). More information is available at www.timelife.com.

All of the above courtesy of Bob Merlis, Merlis For Hire  (kk)

Kent,

I just discovered your great blog, which overflows with information, enthusiasm, and passion.

I host a weekly radio show in Central Florida, on WPRK 91.5 FM.  Below is a link to a two-hour interview with Colin Blunstone and Rod Argent of The Zombies (within a four-hour program devoted to the group).  Recorded in-studio on their 2014 US tour, I think you'll enjoy.  It was nice to read Dennis Tufano's kind raves about the group on your blog (and his is an underrated voice, isn't it?).

Best to you. 

-- John Riley

Host, Magic Transistor Radio

WPRK 91.5 FM

Winter Park, FL

www.wprk.org

https://archive.org/details/ZombiesWPRKInterviewWithRodArgentAndColinBlunstone

We were fortunate enough to catch Argent and Blunstone when they opened for Burton Cummings a couple of years ago at The Arcada Theatre.  (See our review below)

http://forgottenhits60s.blogspot.com/search?q=zombies

GREAT show ... and one I felt very fortunate to see.

Thanks for the kind words about Forgotten Hits ... mention us on your program sometime!!!  (kk)  

re:  SMILE:   
From FH Reader Clark Weber ...  
We who have taught, or love children who have been taught, know this is funny!  
From the diary of a Pre-School Teacher:   

My five-year old students are learning to read.  
Yesterday one of them pointed at a picture in a zoo book and said,  
"Look at this! It's a frickin' elephant!"  
I took a deep breath, then asked ... "What did you call it?"
"It's a frickin' elephant! It says so on the picture!"
And so it does ...

 

" A f r i c a n Elephant "

Hooked on phonics! Ain't it wonderful?

Love And Mercy Movie Review (Part 2)

Yesterday we ran a few reviews of the new Brian Wilson film "Love And Mercy", reportedly released with the full cooperation of both Brian and Melinda Wilson, as submitted by a few of our readers.  (Reviews continue to come in ... so please feel free to submit yours for future publication.)

Today, we'll tell you what WE thought after seeing this highly anticipated film.  (I'm told we're one of the few negative reviews out there ... but we've ALWAYS called 'em as we see 'em ... and we're not about to stop doing that now, just because we love this music but felt short-changed at the theater this past weekend.)

FORGOTTEN HITS REVIEW:  Love And Mercy (the brand new Brian Wilson biopic) 
Review in a Word:  DISAPPOINTING  

Once again, we have spent the last several months in anxious anticipation of the brand new Brian Wilson biopic, "Love And Mercy".  As soon as the official release date was announced, we jumped on it in Forgotten Hits to let folks know that this film was finally going to see the light of day with a wide Stateside release.  

And, once again, we were terribly disappointed by the results.  

I suppose I should have known going in that the main focus of the film was going to be concentrated on the relationship between latter day "unstable" Brian and his Svengali therapist, Dr. Eugene Landy ... but I also assumed that some clarity would be established along the way between not only the necessity of this relationship but also all of the details and event leading up to its inevitable implementation.  Let's face it ... not everybody out there is privy to the "warts and all" details that make up The History Of The Beach Boys ... and all their trials, tribulations and shortcomings.  Without some essential background foundation being laid, how else could the film reach the mass appeal necessary to capture the largest possible audience?  

My immediate reaction was that everyone from the most casual Beach Boys fan to those who closely followed their career and bought all the records was going to feel in some way cheated because of the way the film glossed over all of those early, hit-making years to focus instead on "train wreck Brian", rather than the musical genius he really was, forging his way to the top during the most creative, innovative and competitive era of music we've ever seen.  Quite honestly, I felt cheated in this regard, too.  

Instead of grasping the complete story, (whether through poor editing or just grossly misplaced assumptions by the folks putting this whole thing together) anyone not up to speed with every detail and nuance of Brian's various breakdowns and idiosyncrasies will be totally lost and find themselves scratching their collective heads, feeling somewhat left behind with that which made the final cut.  (I realize there's only so much story you can tell in two hours ... but SOMETHING could have been done to "set up" certain events and key characters.)  I also wasn't particularly fond of the way the movie kept cutting back between '60's Brian and '70's Brian rather than simply letting the story unfold through its own sequence of events.

That being said, I also felt that any number of pivotal life events were not satisfactorily explored or explained.

EXAMPLES: The Wrecking Crew was VITAL to Brian Wilson's recording process once he quit the road to concentrate on the recording duties of his band's next releases ... and they are featured several times in studio sequences (primarily surrounding the "Pet Sounds" sessions.)  If you know anything at all about these folks (and, until recently, few did) you can easily pick out bassist Carol Kaye (as she was typically the only female to be regularly involved in these sessions.)  A couple of others, like Hal and Al are referred to by first name in the film ... but unless you sit through the entire listing of end credits (or aren't privy to the details that made up these sessions), the casual viewer would have absolutely NO idea that these guys were Hal Blaine and Al DeLory, two more key players in creating The Beach Boys' sound.  The band's reaction to Brian making these records without them while they were out on the road performing live shows is also never fully explored.

Likewise, despite a poolside confrontation between Mike Love and lyricist Van Dyke Parks, responsible for some of Brian's most "out there" compositions, he is NEVER referred to by name in the film, again assuming (I guess) that even the most casual viewer will be able to pick him out of a line-up on legacy alone ... his name isn't mentioned once until the closing credits when the actor portraying him is listed as Van Dyke Parks.  Meanwhile, lyricist Tony Asher (a far less colorful character) IS referred to by name in conjunction with his composition "God Only Knows".  (Asher worked with Brian extensively on the "Pet Sounds" album, also contributing lyrics to "Caroline, No", "Wouldn't It Be Nice" and several others.  In fact, Tony wrote the original lyrics ... not used ... for "Good Vibrations".)  Despite all of this, it is Van Dyke Park who looms larger in Beach Boys folklore ... yet he isn't identified or recognized in any fashion during the film at all.  Go figure.  

HUGE chapters and events in Brian's life are glossed over in a single sentence in a single scene ... such as his father Murry selling "Sea Of Tunes", the publishing company they cofounded, which held the rights to all of Brian's compositions, for $750,000 ... a MAJOR example of 

A) the lack of Murry's managing skills running the band ... and knowing and understanding what was best for them ... and 
B) The elimination of tens of millions of dollars in future royalties, not to mention the fact that, in his altered state of mind, Brian's songs were more accurately his "children" than the two daughters (Carnie and Wendy, never shown or mentioned by name) he had with his first wife Marilyn Rovell.  Murry simply believed that these tunes had already outlived their value and that they should "cash out" while they still had a chance, even mentioning that he didn't get "quite as much as I was hoping for".

Most of the conflict and abuse (both physical and mental) between father and son are only alluded to in the film ... but never fully explored. In reality, it was this dynamic that drove Brian to perfect his craft, never quite good enough in his father's eyes, no matter what heights he reached with the band. 

The Beach Boys' early career and their skyrocketing trip to the top of the charts is all but glossed over ... according to this film, their career began and ended with "Pet Sounds".  How much more effective all of this would have been had they concentrated on how "Pet Sounds" broke the band from the mold of all prior Beach Boys music that had so successfully come before it as Brian accepted the challenge put forth by The Beatles with their innovative album approaches on "Rubber Soul" and "Revolver" to effectively reinvent their sound and raise the bar competition-wise as a new, even greater challenge back to The Fab Four.  In fact, The Beatles (and Paul McCartney in particular) were SO knocked out by Brian's efforts on "Pet Sounds" that they went back and created "Sgt. Pepper's Lonely Hearts Club Band", considered by many to be the greatest album ever made.  (This, too, is reduced to one sentence when someone mentions that McCartney called "God Only Knows" the most beautiful song ever written.)  In an opposite approach, the film attempts to be "hip" and "inside" by mentioning that The Beatles sang "tit - tit - tit - tit" in the background of "Girl" on "Rubber Soul", stealing the sound of The Beach Boys' harmonies in the process ... as if they're revealing some deep dark secret "little known factoid" that, in reality, has since been known by EVERYBODY on the planet for the past 45 years. Instead of coming off as "revealing" or insightful, it comes off as a "cutesy" tidbit ... almost as if the writers and producers did JUST enough research to get by in an attempt to look like they knew what they were talking about regarding the film's subject matter.  (They probably should have spent a little more time fact-checking, too, as some sequences of events come off out of order when compared to the actual unfolding of these events at the time.)  The creative competition between The Beatles and The Beach Boys was intense ... and it drove BOTH of these artists to new and greater heights than either would have likely achieved on their own, were it not for trying to better the other.  This point, too, should have been driven home in the film.  Much like Brian living with the "genius" label stuck on him by music critics, it greatly impacted his growth as an artist ... both for better and for worse long term.

"SMiLE" is hinted at, at best, thanks to the infamous "fire hat" scene in the recording studio.  The chaos and mental anguish that surrounded these sessions is never explored.  Instead, the end credits explain that Brian FINALLY realized his vision of "SMiLE" in 2004 when he released the newly re-recorded, re-imagined CD recorded with his new backing band, disregarding completely the fact that it was the failure of this project that ultimately drove Brian back into his room (and over the edge mentally) way back when. None of this is ever even discussed. 

Much has been said about Paul Dano's performance as young Brian Wilson ... and he DOES seem to capture many of the idiosyncrasies of The Beach Boys' leader's early career.  In fact, I will give the film special props for accurately capturing the look of this era in all things Beach Boys style related.  (However, once again, key chapters like Brian's breakdown and subsequent bout with depression, massive weight gain, mental illness and a refusal to even get up out of bed for a couple of years are, at best, hinted at, but never fully explored.)  To this degree, Dr. Landy was a VERY valuable asset in turning Brian around, both mentally and physically.  However despite being paid an exorbitant amount of money for his services, he still wanted more, even adding his own name to Brian's songwriting credits in an effort to collect royalties!  The logic used was that Brian wouldn't have been able to write those songs, were it not for the loving mental health care provided by one Dr. Eugene Landy.  (Actually, he may be right about that ... even if his "means to an end" were, at best, a bit unorthodox and abusive!!!)  Landy is portrayed on film as WAY over the top, most likely requiring a therapist of his own! 

Melinda, Brian's second (and current wife) is played to the hilt by Elizabeth Banks, who looks absolutely stunning in every single scene.  I have NEVER seen such an elaborate wardrobe used throughout a two hour film ... she must have sold one hell of a lot of cars back in the day to be able to dress that extravagantly!!!   However I never saw or felt anything on film that made their connection believable ... although I could probably say the same thing about their real life situation!  Thankfully, for whatever reason, she saw something in Brian that sparked a need to help him through this difficult time ... and she ultimately saved him, freeing him to appreciate and enjoy life again ... and start making meaningful music again as well.  

Usually with a film like this (whether it be a musical documentary spotlighting a given group or artist like Nilsson or The Cowsills) or a biopic like the recent treatments given to Johnny Cash, James Brown and Ray Charles), there is enough good, solid music throughout to make the film watchable again and again, even just as "background noise" since you know you're always going to hear something good again musically every ten minutes or so. 

I feel that this film comes up short in THIS area, too.  Most of the songs used are very abbreviated and, too often, just the musical backing tracks from the studio or a "working edition" sung by Dano.  Cusak, for his part, doesn't warble at all.  (When it was first announced, the casting of John Cusak as "older" Brian Wilson rubbed many fans the wrong way.  Most felt that Cusak was too established as "John Cusak" to be taken seriously portraying Brian Wilson.  I will admit to going into the film with a similar prejudice ... but all in all, his performance didn't really bother me.  I viewed him as a good actor playing a part ... I just never found him believable as Brian Wilson and, as such, couldn't accept him as that.  Good in his role, yes ... Brian Wilson?  Not so much.) 

Two musical highlights worth noting ... a spot-on recreation of the "Sloop John B" video The Beach Boys filmed back in 1966 ... (you can catch the original clip on the "America's Band" video ... or on YouTube) ... and the film wraps up with the REAL Brian Wilson singing "Love And Mercy" with his new band during the ending credits.  

We watched another film over the weekend called "The Sapphires", the true story of four Aborigines Sisters who went over to Viet Nam to entertain the troops in the late '60's.  

The story content wasn't much ... and pretty predictable throughout ... so as a movie, I could only rate it a "4" out of 10.  However, the music was SO strong (even though it consisted of nothing but late '60's and early '70's cover versions of some well-known soul classics), that I had to rate the musical content a "7".  It's the kind of film I COULD watch again, knowing that, if nothing else, I'd hear a great song every 7-10 minutes or so.  

Sadly, I cannot say the same about "Love And Mercy". 

As a film, I give it a "2" ... with a musical content of "4".

That's not to say I'll never watch it again ... I probably will ... but compared to the Beach Boys "America's Band" documentary from 35-40 years ago ... or either of the two Made-For-TV Movies that have previously aired telling the story of The Beach Boys, this film comes up a very weak last place finisher for me.  I would be FAR more likely to watch ANY of the other above mentioned flicks ... or the recent "Brian Wilson And Friends" concert filmed at The Venetian Hotel in Las Vegas ... or The Beach Boys' 50th Anniversary Concert (which is OUTSTANDING, by the way) than this new, long-awaited "Love And Mercy" film. 

If you're going to take the time to make a film about Brian Wilson, show more than just the tortured artist - tell the whole story.  Show the genius that fell victim to his inner demons and then rebounded again to proclaim his rightful place in music history. There is little sense of Brian's positive accomplishments and achievements here - only the fact that he seems to have been manipulated his entire life by his father, his band mates, his therapist and, to a degree, his wife - some for the better, some for worse.  I wish they would have concentrated on more of the times Brian stood up for what HE believed in musically rather than the times he simply went with the flow.  It would have made for a far more balanced ... and interesting film.  

This is NOT the review I was hoping to write ... but this is ALSO not the film I was hoping to see.  (kk)

Love And Mercy Movie Reviews (Part One)

We received a few reviews after the opening this past weekend of the new Brian Wilson biopic "Love And Mercy".  Some of those that we spoke with closest to the topic (and the man) have requested a bit more time to fully formulate their thoughts on this before committing them to print.  (These include former Beach Boys Manager Fred Vail, former Beach Boys Band Member Billy Hinsche, Denny Tedesco, creator of "The Wrecking Crew" documentary whose father, Tommy Tedesco, played on any number of Beach Boys tracks back in the day, and David Beard, publisher of "Endless Summer Quarterly", the "go to" publication for all things Beach Boys and Brian Wilson related.)  All said they were "still digesting" the film ... and we can respect that ... it's a lot to process ... especially at that level. 

Meanwhile, here are a few comments that DID make it through ...   

Kent -

Weighing in on the new Brian biopic ...

Don’t we all love filmmakers who are willing to take risks? For example, Martin Scorcese's epic "Raging Bull" might have been just another burned out fight film if Scorcese hadn't recognized the layers of Jake LaMotta's conflicted personality that he recognized Robert DeNiro was capable of bringing to the wide screen.Thus, I congratulate Bill Pohldad for his courageous approach to "Love and Mercy", the biopic that explores the tormented genius of Brian Wilson. It is a bona fide four star flick. No, this is not about French bikinis or northern girls who keep their boyfriends warm at night.Here's the issue. I have no doubt that many of your Forgotten Hits readers could be considered experts on the torment, strife, jealousy and unmatched harmony that was so much a part of The Beach Boys. Really how many F.H. regulars can still sing deep cuts like Cherry, Coupe, Check My Custom Machine or Salt Lake City in a So Cal heartbeat.In other words, we expect that a childlike Mike Love will be disgusted with Brian for daring to deviate from surf, sun and 409's to turn out the brilliance of "Pet Sounds". Love could never admit that Wilson made him.Many of us know just exactly who Van Dyke Parks happens to be. However, to the uninitiated, his name is never mentioned during his brief appearance. It's easy for long time fans of America's greatest rock 'n roll band to recognize Van Dyke and the bond he enjoys with Brian.  However, I would guess this sequence would leave many 25 year old kids asking, "What the bleep?"Trust me, when you see the film you will know exactly when "God Only Knows" and  "Good Vibrations" are going to emerge.Brian Wilson sorely lacked validation. He feared finishing "second' to the Beatles. His heart is broken when his father, Murray, scoffs at "God Only Knows". However, his heart is left rendered beyond repair when the old man sells his publishing for a mere $750,000.  The money meant nothing to Brian. The catalogue was his reason for living.Paul Dano absolutely shines as the young Brian, interacting with his brothers and the fabled "Wrecking Crew." Conversely, John Cusak struck out. He simply never convinced me that he was Wilson in his 30's living under the iron-fisted cruelty of Eugene Landy, the noted shrink whose sole intent seemed to be the destruction or, perhaps, ownership of Brian's soul. He can best be described as listless.  

Paul Giamatti doesn't swerve too far from his role as the campaign manager in the George Clooney flick, "Ides of March." In other words, you hate his guts but you recognize he was made to play the role of the screwed up Landy.The scene that breaks your heart: Murray Wilson busting in to a recording session to boast about his new band, the long forgotten Sunrays. While Brian seeks only approval, Murray takes dead aim at his oldest son screaming about just how big the Sunrays are going to be and offers up additional criticism in regards to Brian's evolving musical approach. The sequence is a full blown tear jerker.

In some regards I was letdown by the film ... however, I appreciated the thoughtfulness that went into the project,  Which is to say, I loved the film, but I can’t recommend it unless F.H. readers truly understand the roller coaster existence of the Beach Boys. Just knowing "Surfer Girl" or "Sloop John B" won't make this film resonate for the average viewer.Yet, congrats to Bill Pohlad for sparing us cliches to bring forth a superb piece of cinematography. Much like Clint Eastwood's presentation of "Jersey Boys", Polhdad demands that we think, explore and grasp a man who gave us tunes we will never forget - at a terrible and misplaced price.I love Brian Wilson the songwriter. I treasure Brian Wilson the man for somehow surviving far more obstacles than any human should ever have to confront. Some years back I read a  stunning quote from Brian in response to what he might like to change about his life. You talk about eyebrow raising, Wilson simply said he would have changed the tempo on "California Girls."Strange? Perhaps. But if you're Brian Wilson something that simple, so outwardly meaningless, could mean everything.Chet Coppock
Host: Chicago Blackhawks Heritage Series

There are a number of images we all take with us when remembering the "Brian in bed" phase of his career.  The Beach Boys did, in fact, carry on without him as best the could ... and developed into better, stronger songwriters in the process.  Remarkably the whole "Brian Is Back" campaign was missing in its entirety from this film ... but this was a crucial turning part in regards to Brian Wilson's healing process.  (kk)

You're right ... you know what was missing ... Brian with a beard wearing his blue robe!  (Chet)

Yes!  And it would have been cool to see Belushi and Aykroyd come in in police uniforms and drag him off to surf!  (lol)  There is VERY little humor displayed in this film ... and Brian had a GREAT love of humor.  An in-depth profile of this public a figure really should have explored more sides and layers as to what made up the man.  (You'll see some of this discussed in my review of the film, tomorrow in Forgotten Hits.)  kk

Just back from seeing Love and Mercy, the Brian Wilson bio-pic. First let me say that I have seen the Beach Boys eight times in person. I am a huge fan. I have read pretty much every book or article about Brian Wilson and his demons. I love the music. It is a sound track of my life. The movie is brilliant and what makes it so good is the way the story shifts between the two main characters playing Brian. Paul Dano is Oscar worthy and his scenes in the studio crafting "Pet Sounds" are as real as you can get. The big surprise is how good John Cusack plays the older Brian. He is believable which is the part I did not expect. Elizabeth Banks is terrific and it wouldn't surprise me if she gets some nominations at award season. I can't recommend this movie enough. It deserves all the great reviews it is getting around the country. 
Mark / GoHawksGo   

Here is an interesting perspective on Love & Mercy: "A story about a lifelong struggle to survive the heroes and villains that dominated Brian Wilson's life." See blog post here >>>

Sadly, the heroes in Brian's life (Murry Wilson, who secured a Capitol Records recording contract that launched the Beach Boys' career and banged on doors to get their singles played; Mike Love. who penned brilliant lyrics that captured the ear of the nation; Eugene Landy, who twice pulled Brian from the brink back to health) were also villains (publishing rights sold, resistance and ridicule to new musical approaches, control that became unethical and illegal).

My perspective:  Brian's faith in love and mercy, God's to us and ours to others, saved his life and now, through his courageous revelations in the biopic of his struggle, he may be a hero to many who are fighting their own villains.

Phil

PrayForSurfBlog.blogspot.com

Just saw Love And Mercy.  The scenes with the younger Brian Wilson during the Pet Sounds sessions with the Wrecking Crew were amazing.
Phil - WRCO   

re:  The Wrecking Crew:

FH Reader Tom Cuddy sent us this recent LA Weekly article about Carol Kaye, one of the key players in The Wrecking Crew.  (Just don't call it that in front of her!!!)

Kaye has been VERY vocal since the Denny Tedesco Documentary first started making the rounds on the film festival circuit a few years ago ... and is back in the news now that the home DVD version is about to be released.

She has long criticized Drummer Hal Blaine for capitalizing on the success of these musicians (and coming up with The Wrecking Crew name some time after the sessions had stopped.)

She feels she's been misrepresented in print, in the documentary and even in the new Brian Wilson biopic "Love And Mercy" ... apparently repeatedly duped (in her words) to tell her story, only to then have that story distorted and manipulated in the press.

Here's an update that recently ran in LA Weekly which, by the time YOU read it, will most likely also come under fire!  (kk)

http://www.laweekly.com/music/carol-kaye-is-the-greatest-bass-player-you-probably-never-heard-of-5499694   

re:  Sloop John B:  

Hey Kent,   

On Saturday, you featured the Super Charts survey from June 11, 1966. Coming in at number 42, was "Sloop John B", by The Beach Boys. My brother Jim and I were (and still are) fans of the Kingston Trio and The Beach Boys. The song, from the trio's first album was titled "(The Wreck of the) John B". When we first played the Beach Boys' "Pet Sounds", and heard the song on the last cut of side one, we were confused why Brian Wilson would have included it, but glad he did. It was Al Jardine, a fan of the trio, who took the song to Brian, but Wilson was not a fan of the KT boys, or any folk music, for that matter. Al suggested changing some major chords to minor ones, and Brian ran with it. When Wilson auditioned the guys to sing lead vocals, he decided that HE would sing two versus, Mike Love would sing the other, but not Al. (Now, that's gratitude for ya.) The original title of the song is "The John B. Sails". It is a tradtional folk song from the Bahamas. The trio's Nick Reynolds played the conga drum on the their recording, giving it a Calypso connection. As much as I like Brian Wilson's arrangement, with all that great guitar work and vocal harmony, I wish he would have included a background conga, and even better, if Nick could have played it! On the "Pet Sounds" track, it is interesting that the tempo jumps to cut (or double) time on the last verse. I have read many interpretations of the meaning of the lyrics, from it being a slave-trade song to Brian tripping out on a boat, doing LSD with the Jefferson Airplane and Crosby, Stills, Nash, and Young (Can you believe that one?)! After all, Wilson did change one of the lyrics from "This is the worst trip, since I've been born", to " I've ever been on". "I feel so break up" became "broke up". One time, I heard the crooner, John Gary, sing it, "I feel so broken up" on his TV show. Anyway, I've come to the conclusion that the "John B" was a boat that ferried folks and their luggage from one island to another in the Bahamas, and had a very unruly crew, especially when the captain was away. What I haven't been able to find was who the boat was named after. I read where one guy said it was named after poet, John Berryman, who liked to sail. Wrong; it was composed before his time. There were a couple of historic US Navy captains, John B. Hopkins, who was in service during the American Revolution, and John B. Montgomery, who served during the Mexican-American War. I just don't know the answer to this one.
- John LaPuzza

I remember Jimmie Rodgers (of "Honeycomb" fame) cutting a minor hit version of this tune, too, shortly before The Beach Boys took their crack at it.  Story goes that Capitol Record INSISTED it be included on the "Pet Sounds" album simply because they didn't hear a single in the final mix.  (Ironically, "Sloop John B", "Wouldn't It Be Nice", "God Only Knows" and "Caroline, No" ALL made The National Top 40 when released from this "dud of an album" that Capitol Records didn't know what to do with.  Incredible to believe, even all these years later, that with "Pet Sounds" at #10 Capitol released the first Beach Boys Greatest Hits LP to compete with it ... and "give the fans what they really wanted" instead of this new mish-mosh of sounds.  Perhaps "incredible stupidity" is a better description of this decision.  (kk)

Catch OUR review of "Love And Mercy" tomorrow in Forgotten Hits! (kk)
 

50 Year Flashback - June 8th, 1965

Let's spend another week in LA this week as we flashback to June 8th, 1965.

Last week's big mover on the KFWB chart, "I Can't Help Myself" by The Four Tops, hits the #1 Spot this week on KRLA as "Wooly Bully" holds steady at #2.  The Guess Who jump from #7 to #4 with their first big US Hit, "Shakin' All Over".  (The group is actually Chad Allan and the Expressions ... but the record label gave them this new name in hopes of generating some curiosity about the band, hopefully leading to more airplay.  It worked.)  Were they from England?  (It was a hit there first for Johnny Kidd and the Pirates).  No ... Canada, actually ... and the new name seems to have stuck ... for going on over 50 years now!

Check out The Rolling Stones' climb up the chart ... "Satisfaction" jumps from #41 to #9 this week, second week on the chart.  That's a gain of 32 places ... pretty incredible when you consider the chart only lists the Top 55 Singles!

Them has THREE titles on the chart this week ... their latest, "Here Comes The Night", climbs from #11 to #8 ... while they also hold down the #16 position with a two-sided hit, "Gloria" / "Baby Please Don't Go".  And check out the #13 record ... it's The Olympics falling out of The Top Ten with the original version of "Good Lovin'".  A year later, The Young Rascals would take THEIR version all the way to #1.

I'm guessing that the deejay names next to the titles represent former pick-hits by the jocks themselves ... if you scale down to the bottom of the chart, you'll see this week's pick hits by Bob Eubanks and Dick Biondi.  In 1965, these two disc jockeys hosted The Beatles' concert at The Hollywood Bowl together.  Biondi is STILL on the air here in Chicago while Bob Eubanks earned a second career as a successful game show host.    

Brand new debuts this week include Dino, Desi and Billy's "I'm A Fool", "I Like It Like That" by The Dave Clark Five and The Lettermen's version of "Theme From 'A Summer Place'".