Sometimes the Internet Works For Us

Yesterday, I visited YouTube to see what the algorithms had for me and saw this video:

Brian Wilson – Don’t Talk (Put Your Head On My Shoulder) (Demo Vocal Tracks)”

It’s 2 1/2 minutes of Brian and I guess some of the other Beach Boys performing background vocals for a beautiful song on the Pet Sounds album, my all-time favorite (and #2 in the recent Rolling Stone Top 500 — “Who’s gonna hear this shit?” Beach Boys singer Mike Love asked. . . ).

This morning, the video popped up again. While I was listening, I noticed a link to a song by Fleet Foxes, one of my favorite groups:

Fleet Foxes – Shore (Full Album) 2020 

Fleet Foxes has a new album out? I didn’t know. So I played the first track:

“Wading In Waist-High Water”

It’s beautiful. Fleet Foxes often remind me of the Beach Boys. I wondered how the new album, released in September, was being received. A search for “Fleet Foxes Shore” turned up a review from Pitchfork magazine.

On his fourth album, singer-songwriter Robin Pecknold refines and hones Fleet Foxes’ crisp folk-rock sound, crafting another musically adventurous album that is warm and newly full of grace. 

They gave the album an 8.3, which sounds high.  

As I was looking at the review, I saw this:

Elsewhere, there are explicit nods to contemporary classical music, as on “Jara,” which features hocketing by Meara O’Reilly, and “Cradling Mother, Cradling Woman,” which pairs O’Reilly with a snippet of Brian Wilson counting to resemble Philip Glass’ Einstein on the Beach, and, in its sampling, also recalls the early work of Steve Reich. 

A snippet of Brian Wilson counting? Well, I had to click on that.

Surprise, surprise! It turned out to be:

Brian Wilson – Don’t Talk (Put Your Head On My Shoulder) (Demo Vocal Tracks)”

Yes, YouTube had twice recommended one of the thousands of Beach Boys/Brian Wilson videos they offer, of which I’ve watched many, and that took me to somebody else’s album, which uses part of that particular Pet Sounds session, which is in a YouTube video that’s probably getting attention because Robin Pecknold borrowed Brian Wilson counting “one-two-three-four” for his new Fleet Foxes album, Shore.

In the old days, only ten years ago, I might have quickly ordered the new Fleet Foxes CD. The internet would have succeeded in selling me something. But since CD technology is fast disappearing and I almost never play one except in our 16-year old car, there’s no rush. I can play the whole thing on Spotify and see if I want a copy for the car. 

Was I manipulated? Sure. Were a few more bytes of my data stored away in Google’s innards, only to be mined for heaven knows what purposes? Yeah. But sometimes it’s nice to be a tiny cog in a vast machine, even something to be a little bit thankful for.

Smiles from 1967, 2004, 2011 and even 2002

After releasing Pet Sounds and “Good Vibrations” in 1966, Brian Wilson tried to keep it all going with Smile in 1967. Things didn’t work out, so Smile became rock music’s most famous, most well-regarded, unfinished, semi-existing album. Brian and the other Beach Boys went on to lesser things (as did Brian’s lyricist for the project, Van Dyke Parks), while the legend of Smile grew.

d93426a7-f061-49ab-8580-b35a48ebb43f-Van_Dyke_Parks_and_Brian_Wilson

I use the word “legend” because in this case it’s appropriate. The story was told again and again. Unreleased recordings were quietly shared. Speculation abounded among certain Beach Boys fans. Would the group ever finish Smile? What would it be like when we finally got to hear it? What would people have thought in 1967 if Smile had come out before Sergeant Pepper? The Beach Boys and Beatles were having a friendly competition in the mid-60s. We know how that came out.

Brian Wilson, having begun a solo career in the 80s, changed the Smile story in a big way in 2004. Overcoming considerable obstacles, he and his band debuted Smile at a February concert in London. From The Guardian:

So how good, finally, is Smile, the great lost song cycle that Brian Wilson kept the world waiting 37 years to hear? The only possible answer, after Friday night’s world premiere in London, is that it is better than anyone dared hope. Multiple spontaneous ovations were the reward for the former Beach Boy and his musicians, whose pristine performance breathed life into a 45-minute work previously known only through various shattered and dispersed fragments.

Seven months later, Brian Wilson presented us with Brian Wilson Presents Smile. Metacritic, a site that tries to synthesize critical opinion, has it down as the third-best reviewed album of the 21st century:

Well, better 37 years late than never. Originally intended to be the Beach Boys’ 1967 follow-up to their legendary ‘Pet Sounds,’ ‘Smile’ was finally recorded as originally intended in April 2004 by Wilson and his current band, including co-songwriter Van Dyke Parks.

“Originally intended” is a stretch, since nobody, including Mr. Wilson, really knows how he intended to put Smile‘s pieces together in 1967. (Not being able to put the pieces together was a very big part of the problem.)

In 2011, Capitol Records released a big set of Beach Boys recordings from the 60s, The Smile Sessions, also to great acclaim. And that was that.

gettyimages-86110974-612x612

Except that while we were waiting those 37 years, a number of us (hundreds of us? thousands?) created our own versions of Smile, using whatever pieces were available (legally and otherwise). I did one in 2002, two years before Brian did. If only he’d asked me for help in 1967!

Mine differs from the typical unofficial arrangement, mainly in two ways. I started with something someone put together from mostly instrumental tracks and called “The Elements”. I think it’s an excellent prelude to what comes later. I also used a version of the song “Wonderful” from the Smiley Smile album (what the Beach Boys released in lieu of Smile), not the original “Wonderful” with a harpsichord that most fans seem to prefer. I like the later one a lot more.

Anyway, here’s my Smile from 2002 in two formats up in the Microsoft cloud (YouTube objected due to copyright):

Audio only (MP3, 55 mb)

Audio plus unsophisticated video that identifies the tracks (MP4, 52 mb)

unnamed

(By the way, whether or not you watched any of that ridiculous “debate”, please vote and send the maniac back to private life and almost certain criminal prosecution.)

Take a Visual Break from Reality with the Beach Boys

Someone going by the name Summertime Blooz has a YouTube channel that features “amazing music accompanied by colorful and imaginative slideshows”. That is an accurate description. Actually, it’s putting it mildly.

I count 28 videos on his channel devoted to the Beach Boys or Brian Wilson (there are a few for other artists as well). Here are three with some of Mr. Blooz’s comments.

This is a slideshow video for the Beach Boys’ 1964 classic “The Warmth Of The Sun”. I made this video tribute because I think it is probably the most beautiful song in the Beach Boys catalog (sorry, “God Only Knows”).

Brian Wilson and (the unpleasant) Mike Love wrote it in the wake of the 1963 Kennedy assassination. The graphics truly evoke Los Angeles and Southern California from years ago.

… a video for the Beach Boys’ 1966 song “I Just Wasn’t Made For These Times” from their album masterpiece Pet Sounds. I think the themes of feeling alienated and not fitting in are universal and timeless. In making this video I gained an even greater appreciation of the intricacies of the record’s production and believe it’s truly one of the finest and most daring productions Brian Wilson ever created.

“I Just Wasn’t Made For These Times” is the climax to Pet Sounds, appearing near the end of what used to be side 2.

… a slideshow set to my edited version of the Beach Boys’ “Wind Chimes”, recorded in 1966 for the legendary, aborted Smile album. All thanks to Brian Wilson and the Beach Boys for the awesome music. Please enjoy responsibly.

More than one version of “Wind Chimes” is available. This is the older, longer version. Keep listening when the video fades to black about 3 minutes in.

Visit Summertime Blooz’s YouTube channel for more, including 17 videos devoted to Smile. 

Something Joyful for a Change

Maybe I should put different kinds of things on this blog. Maybe I will. But with our ongoing crisis — I don’t mean the virus, I mean You Know Who in the White House — it’s hard to feel like anything else is ever worth mentioning.

So I was killing time on YouTube this morning and their algorithm(s) suggested one of those “Listening to Something for the First Time” videos. The idea is that someone who has never heard a song that’s familiar to some of us, or most of us, hears that song for the first time and immediately gives their reaction. Often, it’s a song an older generation knows very well. Or it’s music the person in the video wouldn’t be expected to appreciate.

I’ve never watched one of these videos all the way through. But the one that popped up today was a young black man hearing the Beach Boys’ “Don’t Worry, Baby” for the first time. I was a little worried that he’d think it silly or old-fashioned (it’s from 1964) or that he’d view some of the lyrics as dumb. It is, after all, a combination love song/car song — the guy being in love with his girl, and worried about a drag race — that, in my opinion, is wonderful, even sublime.

Check out his reaction:

About the song.

Two Times the Fendertones Have Replicated the Beach Boys

The Fendertones are a group of singers and musicians who get together every so often to recreate recordings by the Beach Boys. Their performances not only sound great, they reveal how many voices and instruments Brian Wilson wove together when he was making classic records in the 60s.

First up, “Kiss Me Baby”, a beautiful song with an unfortunate title. It’s from The Beach Boys Today!, the group’s eighth studio album, released in March 1965. Wikipedia says “the album signaled a departure from their previous records with its orchestral approach, intimate subject matter, and abandonment of themes related to surfing, cars or superficial love”. It’s one of their best albums and “Kiss Me Baby” is one of their best songs. Here are the Fendertones doing it only forty-nine years after The Beach Boys Today! (I see I posted this video five years ago. I must like it a lot.)

Next is “Surf’s Up”. Brian Wilson and Van Dyke Parks wrote this non-surfing song for the Smile album, which was supposed to be finished in 1967. The Fendertones recreate it with the help of two actual (aged) Beach Boys and some of the non-Beach Boys who helped Wilson finish Smile in 2004. That album, Brian Wilson Presents Smile, scratched a 37-year-old itch and was greeted with euphoric reviews.