The Beach Boys album-by-album thread - part 2

Not sure what effect being passe in the 70s counted at Monterey (since it hadn't happened yet), but the revisionist rock history needs some correcting here.

Monterey wasn't just acid rock and Hendrix smashing guitars. The Mamas & Papas, The Association, and Simon & Garfunkel all played Monterey. None of them were booed off the stage. None of them were exactly hippy favorites, or had that much better of an image than the Beach Boys.

Besides, the biggest hit the Beach Boys ever had was from October 1966 with Good Vibrations. They were on top of the world then, they ranked higher than the Beatles in some British polls. All they had to do at Monterey was play a decent set and they would have gone over just fine.

It all comes down to bad (or no) management. The Beach Boys went on to play Hawaii 2 months after Monterey (WITH Brian Wilson in tow) and nobody cared by then. And after having heard some of the Hawaii music, maybe it's better that they didn't play Monterey after all. Truly lame stuff.

 

Is it time for Stars And Stripes or the solo albums?

 

Stars and Stripes. It's a Beach Boys studio album irregardless of what common opinion of it may be.

 

Should we?
Really?

 

I just mentioned Stars And Stripes because it's the final Beach Boys (sort of) album. It has one great track, "The Warmth Of The Sun" with Willie Nelson and Lorrie Morgan's "Don't Worry Baby" is pretty good.

Much more interesting are Brian, Denny, Carl, Al, Mike, Bruce, Blondie and Murry solo albums and also The Honeys/American Spring, The Flame and The Sunrays. Maybe that should be a separate thread.

Your choice.

 

And, Peerke, you are probably the only guy on the planet who could make it sound interesting!

 

If Peerke can make The Many Moods Of Murry Wilson and Andrea sound interesting, he's a miracle worker!

 

Stars And Stripes Volume 1

As requested.
Who can resust such praise?




In November 1994 Brian started working with producer/musician Andy Paley. In the course of the next year, they wrote and recorded demo's together for some 24 songs. While some have stated that these were the best songs Brian had written in years, in truth the quality of the material was very uneven. Some of it is really great, like ‘Soul Searchin'’, ‘It's Not Easy Being Me’, ‘You're Still A Mystery’, and ‘I'm Getting In Over My Head’, while other material ranges from so-so to not so good (‘Saturday Morning In the City’, ‘Proud Mary’…).

The purpose of these songs was not clear, but at some point there was talk of a new Beach Boys album, that was earmarked for release on Don Was’ short-lived Karombolage label. Don had just made a beautiful documentary and a soundtrack album with Brian: I Just Wasn't Made For These Times.

Throughout 1995 Brian and the band slowly moved closer to each other. In February he and Andy Paley helped Carl recording the vocals for ‘Baywatch Nights’ -- a song for the TV-show Baywatch -- and when some scenes were filmed for the show, on April 25, Brian (and David Marks) were present on the set.


In Fall 1995 at least three songs were worked on by the Beach Boys. Don Was got involved to oversee these sessions, while Brian and Andy Paley would produce. Apparently the sessions were filmed.
For as start, new backing tracks were recorded in Ocean Way for two of the better Wilson/Paley numbers, 'Soul Searchin'' and 'You're Still A Mystery'. “After the movie, we went in the studio with the Beach Boys," declared Don Was, "and it was just like the old days. The band weren't around when we cut the tracks."
Session musicians include guitarists Waddy Wachtel and Mark Goldenberg, Benmont Tench, bassist Bob Glaub and drummer Jim Keltner.

"…and then they came in," continues Don Was, 'and Brian told them what to sing. Everybody got along great, there was a really warm, nice feeling. And they sounded terrific."
For the vocal sessions, the group is augmented with Al's son Matt Jardine.

Next, a new composition written by Brian with Mike is planned.
A backing track for that song, 'Dancin' The Night Away', is recorded, with the rhytm section of the Paley Brothers, Brian, Carl (on guitar as well as vocals) are joined by Michael Andreas on sax.
Some backing vocals (the "somewhere near Malibu"-part) sung by Mike, Carl en Brian are added. Then, while Carl starts singing his lead, something must have happened. Somehow Carl went into a discussion and he walked away from the project.

According to Beach Boys historian Peter Reum, "…there were a lot of reasons why that album didn't happen, but the biggest one was that Brian and Carl could not agree on some tunes for it." Apparently someone rejected 'Walk Don't Run', which Carl had offered. The song would later appear on the Beckley-Lamm-Wilson album Like a Brother.

Was is the quality of the songs? Was it the involvement of Don Was? Did he feel the Beach Boys were treated as session singers again?

Don Was remained optimistic: "Both Brian and I agreed that while the songs were OK, they were going to be subject to incredible scrutiny, and that they weren't up to the standard of Pet Sounds. I think he's still capable of rising to that level, so I encouraged him to write some other songs and we'd try it again."


In October 1995, just before these Don Was sessions, Brian had started working on another project.
His new wife, Melinda, who happens to like Willie Nelson singing, suggested it would be great if the country singer covered 'Warmth Of The Sun'. David Leaf contacted Willie's people and it was agreed that Brian would do the production and add backing vocals.

Brian recounts Willie Nelson’s contribution to the album: “When we arrived in Austin to record the first track for the album, Mike and I were in the control room when Willie came into the studio from a friend’s barbecue with lyrics stuffed into his back pocket. Mike went out to give Willie some phrasing tips; you know, the way The Beach Boys do it – and Willie gave him a look that would kill and said ‘I thought you hired me for my phrasin.’ Mike made a hasty retreat back into the recording booth.”

Mike Love, always eager to grab an opportunity when it presents itself, proposed a whole album of covers, with country artists doing the lead and the "boys" doing the backing vocals. He also suggested using Joe Thomas, co-founder of River North Records as co-producer. Thomas, an ex-wrestler who became a MOR producer, had previously put some old rock 'n' rollers fading careers back on track.

When introduced to each other Brian and Joe Thomas immediately found each other. "We hit it off just like that, Brian enthuses, "The chemistry was great. I asked, 'Can we go at my pace?' He said sure. Everything clicked. We have the same musical blood.''

A second track, 'Little Deuce Coupe" was recorded on December 14, with James House doing the lead.


On February 19, 1996 'Fun, Fun, Fun' b/w 'Mortified' is released in the UK by Status Quo. The single is taken from the album Don't Stop, a collection of cover versions of contemporary hits by the British rockers.
The members of the two bands had met in 1994 when they co-headlined 'The Farewell Party' in Berlin, a massive open air show to celebrate the withdrawal of troops from Berlin.
Status Quo recorded their parts in Surrey, England before sending the tapes to America where The Beach Boys, including Brian Wilson, recorded their vocals in various studios and hotel rooms while on tour. Especially for this version, Mike has written a new verse, which he also sings lead on. The rest of the verses are sung by Francis Rossi. While the vinyl single has the short version, on the cd single (POLYGRAM TV 576 263-2) there's also an extended fade version.
The single unexpectedly gets much attention when the BBC refuses to give the single airplay. As a result it reaches a respectable #24.


Once back from England, the sessions for the country covers album started in earnest and continued on and of in different studios until June.

"The collaborations have been pretty impromptu," explained Mike Love. "Bruce and I met Doug Supernaw years ago when he was just a kid getting into the music business. We bought him lunch and took him down to South Padre Island with us to one of our shows. Then, last Spring, Doug crashed a party at the Grand Wailea in Hawaii to tell me that he’d love to do a song on the new album. Since he’s a long, tall Texan himself, it only made sense that he recorded that cut. Lorrie Morgan told us that working on this album was one of the highlights of her career. As far as we’re concerned, seeing and hearing her sing ‘Don’t Worry Baby’ was one of the highlights of our career.”

In early June, The Beach Boys, including Brian, head to Nashville, TN to finish the recordings for their country album. While there, they present their forthcoming album at the annual country music Fan Fair on the 4th.
Kathy Troccoli is the last to add her vocals, to 'I Can Hear Music' on the 12th.

On July 30, 1996, two singles are released simultaneously: 'I Can Hear Music' (w/Kathy Troccoli)/same and 'Little Deuce Coupe' (w/James House)/same. Both miss the regular charts but the the first peaks at #16 on the Adult Contemporary Chart, while the last reaches #69 in the country listings.

This is followed by a North American tour, titled Beach Boys Give America a Boost: Tour ’96. The line-up includes Brian Wilson, Matt Jardine and, for a week, James House.



The album Stars And Stripes Volume 1 is released on August 22, 1996 on the River North label (River North 51416 1205 2).

1. Don't Worry Baby - with Lorrie Morgan
2. Little Deuce Coupe - with James House
3. 409 - with Junior Brown
4. Long Tall Texan - with Doug Supernaw
5. I Get Around - with Sawyer Brown
6. Be True to Your School - with Toby Keith
7. Fun, Fun, Fun - with Ricky Van Shelton
8. Help Me, Rhonda - with T. Graham Brown
9. The Warmth of the Sun - with Willie Nelson
10. Sloop John B - with Collin Raye
11. I Can Hear Music - with Kathy Troccoli
12. Caroline, No - with Timothy B. Schmit

Stars and Stripes essentially is a tribute album from The Beach Boys to themselves. Pitty it is a lacklustre affair at best. Marred by obvious song selection and merely average production, there's nothing distinctive on these bland versions. It would have been far more interesting to hear how country musicians would interpret some Beach Boys songs. Now they have chosen to let these country singers doing the lead over uninspired rock/pop arrangements. Any competent cover band could have made a similar album.

As usual the backing vocals are close to perfection: listen to the stunning coda on Timothy B. Schmidt's (and Jimmy Webb's) 'Caroline, No'. Of the other songs, the best is Willie Nelson's tender interpretation lifting 'The Warmth of the Sun' to new heights. Perhaps it's not a coincidence this is one of the few tracks using authentic country instrumentation: acoustic guitar, fiddle, pedal steel and harmonica.

The album easily outsold Summer in Paradise, during a chart stay of 8 weeks. But it was not the hit everyone involved hoped it would be: it stalls at #101 on the Billboard chart. In the country rankings however, a respectable showing is made, peaking in the top 20. “We knew this project would be something special,” enthuses executive producer Mike Love, “but we had no idea that our fans were country music lovers."

In Europe, apart from Nelson and ex-Poco/Eagles bassist Tim Schmit, none of these country singers names mean anything. The album doesn't even get a proper release there, apart from a German 3-track CD single in 'shell' picture sleeve: 'I Can Hear Music' with 'Little Deuce Coupe' and 'Help Me Rhonda'.

Like they did so many times before, some of the best cuts remained in the vaults: the rocking versions of 'Sail On, Sailor' by Rodney Crowell and a frail Tammy Wynette valiantly tackling 'In My Room', with Brian delivering the harmony behind her cracking voice.
These two tracks, saved for the forever delayed Volume 2, are (partly) included on the "making of" video documentary The Beach Boys: Nashville Sounds. This offers the surplus of seeing some wonderful and spontaneous moments of the Boys with their guard down. Brian often appears unfocused and fragile and Mike makes a fool of himself in the presence of Willie Nelson.
Rumour has it that Al's newly recorded 'California' (from the ESQ-CD) was meant as a demo for Merle Haggard.
The version of 'In My Room' released in September 1998 on the tribute cd Tammy Wynette: Remembered is a re-recorded with new Brian vocals surrounding Tammy's vocal - that in the process omits Carl's prominent part.


In September 'Don't Worry, Baby' (w/Lorrie Morgan)/same is released. Again the hot 100 is missed, but it makes #73 in the country charts.

The last single is 'Long Tall Texan', with Doug Supernaw singing lead and Mike Love adding some novelty input. Top charting is #69 on the country charts.

Two performances at the Navy Pier in Chicago on the 8th of October 1996 mark the last time Brian has performed with The Beach Boys.

At that time, there was a last chance for a Beach Boys album with new material. The British millionaire Richard Branson offered The Beach Boys a lot of money to be the first group releasing on this new label V2 Records. On one condition: the bulk of the songs should be written by Brian and Mike together.

Realising they needed outside help, Bruce Johnston contacted Sean O'Hagan. The Irish guitarist and songwriter had with his band The High Llamas just released Hawaii, an album that drew heavily on Smile-era Beach Boys.
In an interview, published in December 1997, O'Hagan looked back: "The Beach Boys were fans of Hawaii, so I was supposed to bring the band together to make an artistic record. The band wanted me to be artistically involved. Brian Wilson's bunch -- his wife and some very peculiar producers he's hanging out with -- didn't. I myself had no intention of getting that involved. I didn't want to go down as the person who finally finished off Brian Wilson!"

“I went to dinner with him in Chicago," confirms Brian Wilson, "Bruce did turn me on to [his work]. It touched me, I am always flattered when someone copies my work.
At that time I wanted to produce a Beach Boy album, but evidentially, they didn't have enough confidence in my ability to do that, so they set up this Sean O'Hagan meeting.
He was a real sweet guy, but I didn't think I needed him to show me how to do the things I had already done 30 years earlier. With that in my I felt I needed to go do my own album and that's what I did. I love working with the guys, but when they lost confidence in my ability it was a bad trip for me. It happened in the 60's and I really didn't want to go down that road again. That's why I do my own deal now. No pressure, no one telling me what I can and can not do.”

"As is the great habit of the Beach Boys, they didn't get it together," Sean O'Hagan concludes. "I spent three months flying around the U.S. with various members of the band and then reporting back to Brian. It was all so ridiculous that I recommended that the album not happen."

As Brian went on to pursue his solo career (he had signed a deal with Irving Azoff's Giant Records label in June) and Carl became seriously ill, it was the last time The Beach Boys tried to make something together. After this they would meet in each other far more in courtrooms then on stage or in a studio.

Lets have Brian have the last word: “I get asked all the time if I'll ever do another Beach Boys record, and the answer is no, I really don't think so. Carl's death shook us up enough that it screwed things up pretty good. I thought it was interesting to have the Boys put their voices behind some country singers, it was a good idea. But you know what the problem was? The God damn thing didn't ****in' sell.”

 

Fascinating as always, thank you peerke. I have no intention of ever owning this album, but it is part of Beach Boys history therefore I have to know about it!

Tom

 

Thanks for this perfect article, once again!
But "Stars and Stripe Vol I." WAS released in Europe. I saw it very often (but never bought it) - and I'm almost sure it wasn't an US import.

Martin

 

Great review Patrick!!!!! I now know about 10 times more about the history of Stars And Stripes Vol. 1 than I did before.

I didn't know about Tammy Wynette and Brian's "In My Room". It's a shame it didn't make it onto the album. Now I have to get Nashville Sounds and Tammy Wynette: Remembered.

Stars And Stripes is the last Beach Boys original I got other than Summer In Paradise (UK version) , and that's only because SIP was so hard to find. A real country tribute to The Beach Boys would probably have been much better. This album is mainly just a Beach Boys album with inferior lead vocalists. Like Patrick noted, "The Warmth Of The Sun" is exceptional. The song sounds like it was written for Willie and he had the gumption to make it his song. It sounds like Willie singing a Beach Boys song instead of Willie trying to be a Beach Boy and it's sublime! Lorrie Morgan's "Don't Worry Baby" is also lovely. All the rest of the songs just make me want to hear The Beach Boys versions.

The Status Quo's version of "Fun, Fun, Fun" is brilliant. Certainly not better than the original, but different and "Fun, Fun, Fun".

Brian's sessions with Andy Paley are fantastic, with some clunkers duly noted by Patrick. I really like "Saturday Morning In the City" though.

 

It's a shame The Beach Boys didn't do an album with the High Llamas. I think it could have been great. According to:

http://manvsclown.cracked.com/2006/07/why_i_hate_mike_love.php

"He [Mike Love] introduced himself to Sean O'Hagan of the High Llamas, a huge Beach Boys fan who Bruce Johnston brought in to produce an album for them, by saying, as soon as he met him at the airport, "You're English, right? Aren't all you English guys fags?""

If that is true, what a way to break the ice.

 

There's another quote from Bruce, who met Sean O'Hagan at the airport to bring he to the first meeting. His advice was: "Talk corporate. The Beach Boys love corporate talk!"

 

What a great thread this has been! Before we wrap it and move on to the solo albums, should ENDLESS HARMONY and HAWTHORNE, CA be done? We did RARITIES, didn't we? And those two albums aren't too much different in purpose.

Just a thought ...

 

You really want to keep me busy, don't you?
What's more, we skipped the Good Vibrations box set!

 

You're The Man To Do It, Peerke!

 

Both of these comps have some great unreleased tracks.

Also did we do Songs From Here And Back (Hallmark)?

 

What a drag this album was after we'd been hearing in the press about Brian & Mike writing again and a Beach Boys reunion album with Don Was. Even at 16, I thought it was the lamest thing they could've done. Jumping on the country bandwagon....

Having said that, the boys sound incredible on 3 tracks: Don't Worry baby, Warmth Of the Sun and Caroline, No. All of which I still listen to.

 

Agreed that Stars And Stripes Vol. 1 is mostly a lame album. Yet The Beach Boys did some marvelous country or at least country flavored music:

Cottonfields (single version)
H.E.L.P. Is On the Way (Landlocked version)
We're Together Again (unreleased pedal steel version, amazing!!)
Living With A Heartache (The greatest track on Keepin' The Summer Alive)
Okie From Muscogee (Live)
Marcella (In Concert, with Blondie's wailing slide guitar, their greatest ever live performance!)

I think The Beach Boy could have done a whole country album, especially with Blondie's and Red Rhodes' help, and it would have been a marvel.

By the way, Brian does a marvelous yodel on "Wonderful" (SMiLE 1966-67).

 

Possibly we should limit the Good Vibrations box set discussion to previously unreleased tracks and disc 5 (and disc 6 of the Japanese issue).

 

I used to think that it would've been a good idea, but O'Hagan is a real musical force. Brian doesn't do the kind of music that O'Hagan does. His music is like Friends on steroids + Bacharach and Jobim mixed in. I think his musical vision would have overwhelmed the group. They would've received a lot of flack for it. It probably would've sounded nice though. Hell, a High Llamas album sung by the Beach Boys would sound fantastic.

In theory, Brian shouldn't need O'Hagan, but on the other hand, I'm not sure that even in 1994 (or 1974, for that matter), Brian was capable of doing Pet Sounds or Smile sounding music without help.

 

Can you imagine leaving off In My Room and Sail on Sailor and not having Haggard record California and then including the execrable versions of BTTYS and Long Tall Texan?! This was never going to be a good idea, but it could have been so much better.

 

Unfortunately it's easy to imagine. Stars & Stripes sure wasn't the first Beach Boys album on which stupid choices were made.

Tammy Wynette, Merle Haggard and Rodney Crowell would certainly have added some class to the album.

 

True!

True.

 

I have to say that I hate the Quo version of Fun, Fun, Fun and consider it one of the most embarrassing moments in the BB canon.

Let's not forget that the BB backed country rock outfit Southern Pacific on a version of GTO in 1990 and their flirtation with "country" continued when backing Collin Raye and Jeff Foxworthy (to no great artistic avail) on Winter Wonderland and Howdy from Maui, respectively - and that Al sang on a tribute album to Garth Brooks!