THE BEACH BOYS LOST CONCERT COMPLETELY RESTORED WITH THE BEATLES FIRST AMERICAN CONCERT CLOSED CIRCUIT BROADCAST

THE BEACH BOYS LOST CONCERT COMPLETELY RESTORED WITH THE BEATLES FIRST AMERICAN CONCERT CLOSED CIRCUIT BROADCAST

In an Endless Summer Quarterly exclusive, Alan Boyd, director of the documentary Endless Harmony: The Beach Boys Story, provided ESQ with the news of the premiere of The Beatles First American Concert Closed Circuit Broadcast Featuring The Beach Boys and Lesley Gore.  The film also includes the original Roger Christian introduction of The Beach Boys and Gore.

DJ Roger Christian introducing The Beach Boys

The film will make its debut at 7:30pm at The American Cinematheque Egyptian Theater, 6712 Hollywood Boulevard, Hollywood, CA 90028 on February 11, 2011.


The phenomenon known as “Beatlemania” arrived on American shores from Great Britain when the Beatles landed at New York’s Kennedy airport for their first appearance on the Ed Sullivan Show, February 9th, 1964.  On February 11th, the group performed their first American concert at the Coliseum in Washington, D.C.  This historic event was videotaped for a national closed circuit theatre audience, and packaged with pre-taped live sets by the Beach Boys and Lesley Gore for a 90-minute big screen spectacular.


This historic presentation, straight from the original broadcast master two-inch quad videotapes, has been unseen in its entirety since March 1964. Host Domenic Priore (author of Riot on Sunset Strip: Rock ’n’ Roll’s Last Stand in Hollywood) will be joined by rock ’n’ roll visual archivist Ron Furmanek and Boyd in bringing this unique program back to the big screen again after 47 years, the way it was intended to be.

The performance captured at this event is the longest set that would ever be filmed of the Beatles in concert, and easily transmits far more raw energy and attitude than would be present at later Shea Stadium, Australia, Japan or Germany tapings.  John Lennon, Paul McCartney, George Harrison and Ringo Starr all seem to be on stun from the attention and thrill of taking America by storm and becoming the entertainment phenomenon of the century.  The recently-discovered master video tapes of this performance are a vast improvement over the fuzzy kinescopes that were a favorite of the underground movie house circuit during the ’70s; in those, the encore of “Twist and Shout” was cut off at the middle, and, the closing rave-up “Long Tall Sally” has not been screened anywhere since 1964.  The entire performance is presented here in stunning, first-generation picture quality.

The Beatles

The Beach Boys and Lesley Gore

The Beach Boys and Lesley Gore segments were videotaped at the NBC Television Studios in Burbank, California (the same studio that later hosted Elvis Presley’s ’68 Comeback Special, Laugh-In and the Johnny Carson shows).  The sound quality on these segments is a perfect reproduction, and showcases The Beach Boys (Brian Wilson, Dennis Wilson, Carl Wilson, Al Jardine and Mike Love) in their performance prime.

This will be the first time the ENTIRE production has been seen in full since the two days it was screened as a nationwide closed-circuit theater event (the same system more commonly used for live sporting events).  Nowhere will you be able to see The Beatles in a more riveting, rock-solid performance, with the audio and video quality clear as a bell, blasting through theater speakers on The Egyptian Theater's giant screen. Our test screenings left us bedazzled, feeling as though we had just seen The Beatles in person... it’s that good.

Hosts Domenic Priore, Ron Furmanek and Alan Boyd will be joined by special guests TBA.

Carl Wilson — Youngblood

Review by David M. Beard

While there are few defining solo musical efforts from the members of The Beach Boys, Carl Wilson, the youngest sibling to older brothers Brian and Dennis, did mange to briefly capture lightning in a bottle on this 1983 release.  Faced with the lack of creative flexibility within the group dynamic, Wilson left the band after 1980’s Keepin’ The Summer Alive album to pursue personal music interests.

His first self-titled effort, released in 1981, was a meager eight-track submission with the lovely “Heaven” becoming the memorable hallmark. Youngblood was a far more focused event under the production of Jeff “Skunk” Baxter (Steely Dan and Doobie Brothers fame).  While neither album changed Carl’s status in the music world, they did bring his bluesy and impassioned singing style as well as his rhythm & blues sensibilities to the forefront.  Youngblood also demonstrated that Wilson was itching to compose guitar-led compositions.

 “What More Can I Say?,” “Rockin’ All Over The World” and “Young Blood” are prime examples of Carl finding his inner “honky-tonk.”  There are also tracks of deep substance here; the Billy Hinsche (Dino, Desi & Billy) penned “One More Night Alone” and the toe-tapping “What You Do to Me” remain the collection’s strongest recordings.

The liner notes, written by Hinsche, provide a compelling backstory and song-by-song analysis that sheds light on just about every facet of the period and the recordings.

While this album is not as dark and brooding as Dennis’ Pacific Ocean Blue and Bambu albums, or as esthetically evolved as 2004’s Brian Wilson Presents SMiLE, Youngblood is a vivid reminder of why The Beach Boys relied so heavily on the voice of the youngest Wilson, and why they have never been as good since Carl passed away in February of 1998.

Al Jardine — A Postcard From California

Review by David M. Beard

Anyone can tell you that taking a road trip from Los Angeles to Big Sur on the California coastline is an experience full of majesty and beauty. The music of The Beach Boys — in its own unique way — represents that long stretch of road as much as it encompasses the sandy shores of Manhattan Beach, Venice Beach and beyond. Al Jardine's musical beginnings were in the homespun folk roots of The Kingston Trio. Like his high school band mate Brian Wilson, Al also enjoyed the doo-wop and harmony-based groups of the 1950s. The Beach Boys created a marriage of sound using The Four Freshmen, Chuck Berry, Kingston Trio, The Del Vikings… the list goes on.

After a brief stint away in 1962 (in pursuit of an education in Michigan), Jardine returned to The Beach Boys’ fold. Wilson drafted hit after hit with his boys, and Al, when his number was called, sang on the smash hit, "Help Me Rhonda!" The Beach Boys’ critically-acclaimed Holland album from 1973 featured the exotic "California Saga" suite ("Big Sur/The Beaks of Eagles/California"), which provided the listener with a walk through the eyes of a "Beach Boy environmentalist," someone who had and still has a very deep appreciation of wildlife and nature. Al's new album, A Postcard From California, is a 12-song collection that encompasses the amalgam of everything mentioned here.

Part of what creates the full Americana realization of this collection is a great array of guest stars that Jardine brought — in most cases — into the studio. The list includes David Marks (co-founding Beach Boy), Glen Campbell, David Crosby, Neil Young, Steve Miller, Gerry Beckley & Dewey Bunnell (America), actor Alec Baldwin and Flea (The Red Hot Chili Peppers). As eclectically impressive as this group is, the real highlight for Beach Boys fans is the long lost recording "Don't Fight the Sea," which Al initially recorded in the late 1970s with Carl Wilson and Bruce Johnston. As Jardine remembers it, "I could never get all the guys together. That’s why it never became a Beach Boys song. For some reason, after the initial recording with Bruce, Carl and myself it languished unfinished. I could never get Brian to perform on it until Dr. Landy gave his blessing in 1988. It languished it for another 10 years. In 1998 I added Carl on the bridge. Then ProTools came along. Thank God for ProTools. I approached Mike Love about recording a vocal (last year), and wanted to know if he wanted to put his heart and soul into it. He was totally agreeable to it. Thanks to Mike and Brian we’ve got all the fellows on a recording again, which is nice."

Whether it's the countrified title track about Al's family's migration and nomadic lifestyle, the sincere examination of the California coastline on "Looking Down the Coast," the fun and poignant lyrics of "Drivin'" ("BP, you're killin' me, man"), the Beach Boys’ Party album vibe on "Help Me Rhonda" with Steve Miller and Flea as guests (ala Dean Torrence on "Barbara Ann"), or the poetic shift of "Tidepool Interlude" as recited by Alec Baldwin, this is a song cycle that illustrates the culmination of Jardine's personal and musical life.

Yet, as wonderful as this collection feels, the standout recording for me is the pop-friendly "San Simeon," as sung by Al and Gerry Beckley with a quaint nod to "Don't Worry Baby." Matt and Adam Jardine carry the background vocals on this song — as well as throughout the album — with a fluent grace; it's Beach Boys beautiful. Makes sense considering these boys come from the gene pool.

While hard-core Beach Boys fans will be familiar with most of the material on this collection, Al brings new life and vigor to the well-known chestnuts, and completely recaptures his environmental sensibilities while providing the listener with an organic listening experience. As Jardine views it, "This album is more my Moody Blues concept album. It’s like a few years in the life of Al Jardine.”

The album is available now via iTunes download and http;//Amazon.com/ CD-R with packaging. Visit Aljardine.com for song samples and promotional videos.

Summer 2010 edition of ESQ

The Summer 2010 edition of Endless Summer Quarterly

Available now!

Contents: The Beach Boys Television & Film Part II by Ian Rusten (with additional research by David M. Beard)

Complimentary CD with music from: Brian Wilson, Mike Love, Al Jardine, David Marks, Dean Torrence, Dennis Wilson, Carl Wilson and Jan Berry

CD includes:

Brian Wilson appears on four recordings

Al Jardine appears on three recordings

Carl Wilson on three recordings

David Marks appears on three recordings

The Beach Boys restored to T.A.M.I. Show

To view The Beach Boys restored to the T.A.M.I. Show

www.shoutfactory.com/browse/312/the_tami_show.aspx

Beach Boys 1974 Tour by Billy Hinsche

1974 — On The Road With The Beach Boys

Documentary by Billy Hinsche

By David M. Beard

Hard to describe how cool this really is. Having the opportunity to do special themed editions of ESQ through the years, this DVD is really my kind of bag. No matter how many interviews you can do, there is no substitute for being there, and thankfully, Billy Hinsche was.

This was a true labor of love for Billy, so much in fact, that he had very real concerns about sharing his very first video project with the public, particularly one that is so near and dear to his heart.

In a sense, Hinsche tested the waters over the last several years with his "One In A Million" tribute recording and video of Dennis Wilson from this footage, and the very enjoyable "The Match" (both appearing on Billy's "The Road Well Traveled" DVD). Both gave us brief insight into the 1974 tour, but hardly scratched the surface. The quality, because of the age and equipment used, suffers at times, but the insight and testimonials given by Jim Guercio, Ed Carter, Bobby Figueroa, Ricky Fataar, Carli Munoz, road manager Rick Nelson, Steve Moffitt, and Billy add the needed depth to this documentary, making it a priceless treasure.

Billy closes the set with an in-depth explanation of the type of video he used in 1974, and several nice touches are included that add very nice historical nuances. Hinsche's video project is an invaluable resource, as well as true keepsake for any Beach Boys fan. Watching the Beach Boys on tour during a time when they were rediscovering themselves and slowly gaining recognition from a second generation of fans allows for a fascinating look into a otherwise forgotten era, and it's great to see Dennis and Carl Wilson in this vintage footage. One amusing and poignant moment is when Al Jardine is sharing TM practices with Dennis on the group's airplane in an effort to help him deal with things that are bothering him.

This is a DVD that we'll be talking about for the rest of our lives, and for generations to come.

www.billyhinsche.com/1974

The Beach Boys — Christmas Harmonies

THE BEACH BOYS

Christmas Harmonies
Capitol Records

By David M. Beard

For the Beach Boys completist who must have everything, this Beach Boys Christmas collection comes highly recommended, if not for any other reason than the interior packaging and the previously unearthed images of the Beach Boys with Brian dressed up as Santa Clause inside the CD booklet. Musically speaking there’s nothing new here with the exception of which the songs appear. This release compiles the very best of the two combined holiday albums that were initially packaged together in 1998 as Ultimate Christmas.
www.thebeachboys.com

20 Years Ago Still Cruisin' Stalled

THE BEACH BOYS

Still Cruisin'

Capitol Records

By David M. Beard

This hodgepodge of an album still bemuses me after 20 years, because, as good as Side 1 is, Side 2 falls flat. Most longtime Beach Boy fans simply dismiss this album, which is a mistake. If this album had been released in 1991 it would have faired much better (with the addition of "Problem Child" and "Crocodile Rock"). The inclusion of "I Get Around" (mono), "Wouldn't It Be Nice" and "California Girls" (stereo) on the tail end of side 2 watered the album down to such an extent that it's almost unlistenable. A consistency missing from this album: An individual track contribution from Bruce Johnston.

Side 1 had the group being compared by some critics to Fleetwood Mac and U2; not exactly bad company. I won't be reviewing "Wipe Out," as it is a dismissive recording.

"Still Cruisin'" (T. Melcher/M. Love): Mike Love is in prime Beach Boys Adult-Contemporary form with the album's title track; a sort of "Do It Again" for the "Kokomo" generation. Not exactly a song that I would choose to play while watching Mel Gibson's trailer get shot up on the beach in Lethal Weapon 2… But what do I know? It was the only "beach" scene in the movie, so I guess they had to squeeze it in somewhere.

"Somewhere Near Japan" (Phillips/Melcher/Love/Johnston): This song, along with the music video, features the Beach Boys at their Adult-Contemporary best. The vocal structuring is top drawer and enables each member an intertwining moment seamlessly bouncing off of one another. Great mix, and great execution, and a true group effort.

Historical notes: Co-written by the late "Papa" John Phillips, this song was purportedly written about his daughter Mackenzie during her drug addiction to heroin. The lyric, "Now she's trippin' on some Chinese junk…" was sung by Al Jardine, who upon the discovery of the lyric's meaning (post recording) stated he wouldn't have sung it if he had known what the song was about. The alternate radio edit version omitted the gong sound effect beginning.

"Island Girl" (Alan Jardine): Opening with the stellar trio blend of Brian Wilson, Carl Wilson and Al Jardine, this recording does not let up for one second, and is, for my money, Al Jardine's finest moment as a composer and writer of an original Beach Boys recording. This track also features seamless cross-vocal mixing. Carl's wonderful vamp vocal, "Every now and then I get this silly grin when I'm out in her company… " Not exactly the best lyrics, but it's still worth repeated listens.

"In My Car" (Wilson/Landy/Morgan): Primarily a recording overseen by Landy and his crew, Brian brought this song to the table to fill out the album. His vocals with younger brother Carl are excellent, but this would have been a far better recording with vocals from Al, Mike and Bruce complimenting the overall sound.

"Kokomo" (Phillips/Melcher/Love/McKenzie): Beach Boys fans of old dismiss this song without blinking, but the truth is this is a very good song. In fact, if not for "Kokomo," "Papa" John Phillips would not have enjoyed post Mama & Papas hit success. Perhaps the problem lies in the reality that this song outsold Brian's beautiful "Love & Mercy." In a perfect world Brian would have been a Beach Boy at the time, and both recordings would have had the Beach Boys name on it. Either way, the summer of 1988 was a great time for Beach Boys and Brian Wilson fans.

"Make It Big" (Melcher/House/Love): The track features some interesting breaks, and the lyrical message is nice, but that's about it. Considering Troop Beverly Hills is a children's film, the song fits… One of the nicer moments is the break where Mike Love aptly sings: "Baby you're a superstar, lookin' like you're goin' far… Do what ya' wanna. C'mon and do what you wanna… Be my little beauty queen up there on the Silver Screen, c'mon and do what you wanna… "

Here's a stronger lineup for a 14-track Still Cruisin' (combining the idea of soundtrack recordings with new material, released from 1984-1991):

SIDE 1: Soundtrack recordings

"Still Cruisin'" (T. Melcher/M. Love) — Lethal Weapon 2

"Kokomo" (Phillips/Melcher/Love/McKenzie) — Cocktail

"Chasin' The Sky" (Randy Bishop) — Up The Creek

"Make It Big" (Melcher/House/Love) — Troop Beverly Hills

"Problem Child" (Melcher) — Problem Child

"Wipe Out" (The Surfaris) — The Fat Boys (with the Beach Boys)

"Happy Endings" (Johnston/Melcher) — (with Little Richard) — The Telephone

SIDE 2: Other songs

"Crocodile Rock" (Elton John/Bernie Taupin)

"Somewhere Near Japan" (Phillips/Melcher/Love/Johnston)

"Island Girl" (Alan Jardine)

"Lady Liberty" (Alan Jardine/Ron Altbach)

"In My Car" (Wilson/Landy/Morgan)

"Rock n Roll To The Rescue" (Love/Melcher)

"California Dreamin'" (Phillips/Gilliam)

Bonus cuts:

"Kokomo" [Spanish Version]

Among the really cool releases that hasn't happened yet, outside of a few other mythically dangling projects, is a true "Beach Boys At The Movies" compilation. This is something that I've researched in detail (to the point of submitting a complete lineup to EMI in 2008). I'll write more on this in a future blog.