Wilson Phillips — Exclusive interview with Carnie Wilson

Christmas In Harmony

Sony Masterworks

With the release of Wilson Phillips’ Christmas in Harmony CD Carnie Wilson, Wendy Wilson and Chynna Phillips have returned to their original pop form. Carnie Wilson took time out of her busy schedule to discuss the new release.

          

David Beard: What inspired this release?

Carnie Wilson: Christmas in Harmony came about when Sony Masterworks called us wanting a Christmas CD.  The three of us were actually talking about recording a Christmas CD at my home for this year anyway.  Funny it worked out like that.  It's great have a major label behind us!!  We're grateful.

DB: What are your favorite Christmas memories?

CW: My favorite Christmas memories have always been the same thing: the classic Christmas songs by The Beach Boys, The Carpenters, Nat King Cole, Frank Sinatra, Barbara Streisand and the feeling that all those songs evoke during the holidays.  I love the families getting together and opening presents and eating the amazing food!!!!!  Now, with our children in our lives... Christmas is at a WHOLE NEW LEVEL OF LOVE AND APPRECIATION!!!!!

DB: What do you hope the listener feels form this new release?

CW: I hope the listener feels great and can sing along as they listen to our renditions.  I hope they listen to it year after year and decorate a tree, cook some food, sit with loved ones and just appreciate being alive and together.  It's like a gift to them!!

DB: What is the highlight on the new Christmas album for you? 

CW: I really love every song and each one has a special meaning to me, but the highlight of our CD would have to be my Dad's [Brian Wilson] song “Our Prayer” and my husband's [Rob Bonfiglio] song “Warm Lovin' Christmastime.” [*Note: Bonfiglio performs his renditiontrack also appears on SideB Music’s new holiday compilation Rockin’ The Mistletoe.]  “Our Prayer” is bone chilling and probably the most beautiful vocal piece I have ever heard in my life.  I have listened to it since I was a little girl.  It truly takes my breath away.  Dad told me he thought it was "better than the Beach Boys". I laughed and said, “No Dad, it's  just OUR version.”  He then told me that Bach inspired him to write that. I almost wet my pants!!!! I am his daughter, but I am a fan too. He blows my mind.  Rob's song is my favorite mix on the record.  Catchy, spirited and just has a great feeling.  He's so talented.  I'm so happy we recorded it!!!

DB: Whose decision was it to record "Our Prayer" for this collection?

CW: The funny thing is I can't remember if it was Wendy's or my idea to record Our Prayer! I didn't have the faintest idea of how we were gonna tackle those parts (other than Dad doing it with us). Dad was on the road when we were in the studio  and I asked  my husband Rob to figure out the parts and help give us direction. He studied it for literally 10 minutes in his studio and put scratch vocals of the entire song. He then made a click track for the specific changing of tempos himself and guided us in the studio, giving us our parts. It was the single most challenging thing I have ever had to sing. The vocals were so intricate, and I had to sing the BASS notes. I must say I am very proud of myself. I don't know how I got that low... angels were there with me. Maybe Carl. XOXO

DB: What can fans anticipate from Wilson Phillips in 2011?

CW: Wendy, Chynna and I are committed to recording more records forever!!! We are touring as well. It's just a balancing act for us all between our 9 children!!!!! More to Come in 2011.... definitely touring dates in the USA and possibly overseas. Our next CD?  Well.... we might be starting a new album with our magnificent producer Glen Ballard in January.  We got the bug with him BIG TIME after reuniting for this Christmas CD!!!!

DB: Are there any guest vocal appearances on this collection?

CW: There are no guest vocal appearances on this CD.... just the three of us.  Maybe the next one!!!  Thank you to our fans, for always listening and buying our records. We do it for you!!!!!

The collection is also available digitally via iTunes and Amazon.com

The Malibooz — Queens' English

By David M. Beard

The new 14-track collection Queens’ English encompasses all the variety of 1960s British Pop with an array of guest stars to sweeten the listening experience. Joining the group are Spencer Davis, Chad (Stuart) & Jeremy (Clyde), David Carr (The Fortunes, The Ventures), Tony Hicks (The Hollies), The Quarrymen, Richard Moore (The Troggs), Mark Griffiths (The Shadows), Nokie Edwards (The Ventures), Ian Whitcomb and Andrew Loog Oldham.

All told, the hybrid of influential sounds here range from The Byrds, Elvis Costello, Tom Petty, Paul McCartney, The Beatles, Boyce & Hart, The Archies and The Clash.

Standout tracks include: “Hey Love,” “London Underground” (sounding like a stepchild to Paul McCartney’s  “Don’t Let It Bring You Down”), “It’s A Bit of Awright,” the Beatles-like “Bitter Grey” (a “Strawberry Fields”/“Penny Lane”/“Flying” mash-up), “Dit Dididit,” “Do” and the melodic “Good Tonight” that fill out the collection with pure pop enjoyment.

The closing track, a surf instrumental titled, “Venture Into the Shadows,” is a nod to The Ventures’ Nokie Edwards and The Shadows’ Mark Griffiths, who share the guitar spotlight on the recording. Queens’ English is a strong tribute to the ’60s British Invasion, and yet another notch in The Malibooz’ eclectic musical belt.

Brian Wilson Reimagines Gershwin

By David M. Beard

There was 2004’s majestic Brian Wilson Presents SMiLE, then 2008’s colorful That Lucky Old Sun – both evocative collections in Wilson’s catalogue. Brian Wilson Reimagines Gershwin is an album that is something else altogether; in touching Gershwin’s venerable catalogue, Wilson has taken his own unique approach to composing and has actually made Gershwin his own. The result? Wilson’s career-defining best.  

In addition to his role in the band as a vocalist and multi-instrumentalist, Paul Von Mertens assisted Wilson with song selection as well as arrangements and orchestrations. When I asked Mertens about the album, he submitted, “Many of these songs are so familiar that they’ve been played beyond the point of boredom. They’ve been played into the ground and sort of lost their spark. I’ll give you one example: ‘Summertime’; almost nobody sings the melody correctly the way it was originally written. They take away some of the interesting chromaticism that’s in the melody that Gershwin wrote and turn it into a Blues song. What Brian did was – with almost all these songs – return faithfully to the original melody, which is kind of a big deal because a lot of people have been singing and playing these songs incorrectly and the casual (loungy) versions of these songs have become the norm. Hearing the songs done correctly is kind of a revelation. I know that it sounds like good music done well. It’s Brian and Gershwin done with a lot of care.”

The attention to detail in the arrangements of “Summertime,” “Our Love Is Here To Stay” and “I Loves You Porgy” (sung from the original female perspective), and the wonderfully unexpected adaptations of “’S Wonderful,” “I Got Plenty O’ Nuttin’,” “I Got Rhythm” and “They Can’t Take That Away From Me” make Brian Wilson Reimagines Gershwin a brilliant assemblage of fully realized songs that are as good as anything available in music today. When asked about his reimagining of “They Can’t Take That Away From Me” Brian said, “Well, ‘Little Deuce Coupe’ was like (begins scat singing) – I took it from ‘Little Deuce Coupe.’  I wanted it to have that ‘Little Deuce Coupe’ kind of Beach Boy feeling.”

Perhaps the most intriguing aspect of the song selection is the full realization of two previously incomplete Gershwin recordings, “The Like in I Love You” and “Nothing But Love.” The Gershwin Estate had someone take all this music that was in written form and record very basic piano performances of the songs, so Brian listened to solo piano recordings that were just realizations of the chords and melody of the fragments. Band member Scott Bennett returned to the role of lyricist (That Lucky Old Sun) on the two songs, but the two tracks came together very differently. Mertens explains, “For ‘The Like in I Love You’ I used a piano improvisation that I recorded while Brian was noodling around after soundcheck on the piano. I was kind of following him around while we were on tour with his knowledge and permission, because he liked to play piano after dinner (and before the gig) up on the stage. I said, ‘Would it be okay if I just record some of the stuff that you do, and if you have any Gershwinny [sic] ideas we’ll take ’em down?’ Brian said, ‘Okay.’ That vocal intro is something that he was playing on the piano and I transcribed it and suggested that it might make a good intro for this Gershwin song that he chose; it was in the key of E-flat. I wrote a chart for the Gershwin song with just the chord changes, the band recorded a basic rhythm track and then Brian sang a new melody for it. We tracked the parts that Brian liked and then he created a new melody for it.”

“Nothing But Love” was also from a piano rendition, but went through a different process. Mertens expains, “That was one of the songs that Brian had selected based on the solo piano version of it. Darian (Sahanaja) recorded a waltz-time version instrumental demo of that song and had Brian listen to it and we recorded it. Brian created a new melody in Darian’s waltz-time version of it and somehow it was just not making it and Brian started to feel strongly that the fact that it was a waltz was getting in the way for him. He said, ‘I don’t do waltzes… It’s not workin’.’ We had a lovely song so we decided to: 1) lower the key, and take it down a step; 2) If it’s hard to sing in three let’s just rock it. ‘Nothing But Love’ was really the only song that didn’t come to life almost instantly. It wasn’t until we did it as a rock song that suddenly everyone’s eyes lit up and we were like… ‘Okay, this is gonna work!’”

Of the 14-track album Wilson says, “If you take it one by one, each song has a different personality and a different texture and different rhythm, and different sound. And each lead, how you have to handle the lead, the way you really feel it – and the way you think George would have liked to have heard it… I squared it away until it sounded like Brian Wilson and Gershwin together.”

Brian Wilson Reimagines Gershwin brings together the sounds of The Beach Boys, George and Ira Gershwin, Jazz, R&B – all the great music that came out of Tin Pan Alley.  This collection is for the fan, but it’s also for the uninitiated. There is something for everyone to appreciate… including Brian Wilson.  For under the “Special Thanks” in the album’s liner notes Wilson wrote: To George and Ira Gershwin for creating music that inspired a young boy from Hawthorne, California to follow a dream. It's one thing to touch something. Brian has a firm grasp of his dream. 

Disney.com/PearlSeries

Micky Dolenz — King For A Day

By David M.Beard

Today, Micky Dolenz’s name is synonymous with The Monkees, the pre-fab four who brought us unforgettable songs like “(Theme From) The Monkees,” “Last Train to Clarksville,” “I’m A Believer,” “I’m Not Your Stepping Stone,” “Pleasant Valley Sunday,” “Porpoise Song” (Theme From “Head”) and “That Was Then, This Is Now.”  Micky Dolenz is a part of The Monkees’ extended consciousness.

For this new collection, Dolenz has left behind his pop-comedic sensibilities in favor of the stylized crooner approach that breathes new life into songwriter Carole King’s colorful catalogue.  King For A Day gathers together a handful of Micky’s favorite songs as written by King. While this is a “cover album,” Dolenz approaches the tracks with a confident swagger reminiscent of Frank Sinatra and Johnny Mathis.  His voice is as potent as ever and the production touches from Brian Wilson musical director Jeff Foskett and engineer extraordinaire Gary Griffin bring Micky’s vocals front and center… right where they belong. 

King For A Day features lush harmonies, organic production and an overall earthiness; it also corrects previous misgivings about Micky’s pipes and paves the way for future releases of this ilk.

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.

BRIAN WILSON SONGWRITER 1962 - 1969

By David M. Beard

For years Brian Wilson/Beach Boys fans have been exposed to mostly over-exaggerated and misdirected storylines filled with hyperbolae regarding Brian Wilson. More often than not documentaries have focused more on Brian’s shortcomings of drug abuse and mental illness as opposed to his amazing musical gifts and the way he altered the course of popular music forever. Brian Wilson Songwriter 1962 – 1969 brings into focus Wilson’s studio fortitude and compositional genius.

More importantly, the tightly edited chronology of Brian’s life is articulated with thorough firsthand accounts by David Marks, Bruce Johnston, Danny Hutton, Hal Blaine, Carole Kaye, Billy Hinsche and Fred Vail. The third-party interviewees – Domenic Priore, Peter Ames Carlin and Philip Lambert – perfectly balance history, opinion and musical composition.

Perhaps the most interesting aspect of this particular release is having David Marks tell of Brian’s early success and Bruce Johnston’s reflections on Brian’s career-defining work in 1966, which together create an aptly honed storyline. While this documentary doesn’t exactly reveal anything new, it does provide the viewer with a better understanding of a magical era when Brian Wilson reigned supreme.

This will make an important addition to any collection. 

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

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

Mike Love Appears on JRDF's Hope For The Holidays

JUVENILE DIABETES RESEARCH FOUNDATION

Hope For The Holidays
Various Artists

By David M. Beard

This collection is one of the most inspired Christmas collections of artists to be released in decades simply because of the variety of artists and their individual takes on otherwise over recorded Christmas standards. One example, Axton’s recording of “Joy To The World,” begins traditionally and then vamps to the version made famous by Three Dog Night… Very cool. Beach Boys’ fans will find this collection interesting for a few reasons: 1) Mike & Christian Love sing on two new tracks, “Closing of the Year” and “Peace and Love”; 2) Beach Boys band member Randell Kirsch offers the beautiful “California Love”; 3) John Cowsill and family offer "Christmastime," and; 4) Mike’s 2006 resurrection of the “Kokomo” theme with the smaltzy “Santa’s Goin’ To Kokomo” by “The Beach Boys" all appear here. In 2006, when I first heard, “Santa’s Goin’ To Kokomo” I cringed, but in this format — a children's cause — the song fits extremely well.

www.jdrf.org

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.

Bruce Johnston's Pet Project

Symphonic Sounds — Music Of The Beach Boys

By David M. Beard

In 1998 Bruce went into the Abbey Road studios and produced "Symphonic Sounds: Music of the Beach Boys," creating a vastly overlooked collection. Mike Love is joined by Terry Melcher on "Kokomo," and Johnston succinctly recreates all the dynamic and subtle nuances of his 1971 classic, "Disney Girls." This collection also includes the debut of Matt Jardine on "Darlin'," and Adrian Baker's performance on "Warmth of the Sun."

The album's most endearing and enduring moments are the opening four-minute overture and the beautiful "The Water Planet Suite"; consisting of "Heroes And Villains," "Help Me Rhonda," "Wouldn't It Be Nice," "God Only Knows," "Surfer Girl," "In My Room," "The Warmth Of The Sun," "All Summer Long," "You Still Believe In Me," "Caroline, No" and "Good Vibrations." Both pieces speak directly to Johnston's love of Classical music. If you don't own this, buy it. If you own it, get it back out and revisit it today!