I’m fortunate in that my boss here at Black Gate lets me wander afield from Sherlock Holmes and mystery-related topics. Now, I think I’ve managed to nominally stay within the milieu of Black Gate, though my Humphrey Bogart – George Raft post might have stretched things a bit (I’ve got a reasonable argument ready!). So, for example, I haven’t written anything (yet…) about my hero, Hall of Famer Jackie Robinson. Today I’m going to stretch the rubber band a ways.
I think that Brian Wilson, the musical force behind the Beach Boys, is a genius. Before you could find almost any unreleased song on Youtube, I was avidly collecting bootleg albums, then CDs. I probably have a bigger SMiLE collection than anybody else you know.
It’s a rare week that I don’t listen to at least one Beach Boys song. And if you’re my Facebook friend, you’ve almost certainly learned something about their music from my posts (like this one about the Lei’d in Hawaii album). Today, I’m going to bring the Beach Boys to Black Gate: assuming it actually gets posted.
It’s well documented that Brian increasingly withdrew from the band (and for the most part, life…) after the SMiLE album was aborted in 1967. His participation level varied on succeeding albums (Smiley Smile, Wild Honey, 20/20, Sunflower, Surf’s Up and Carl and the Passions: So Tough), but it’s indisputable that he wasn’t running the Beach Boys anymore and his brother Carl was largely filling his shoes.
In the summer of 1972, the entire band, with family and friends, relocated to the Netherlands, recording in a studio that had been sent over from California and rebuilt (yes, the Beach Boys did those kinds of odd things back then). Brian co-wrote only two of the nine songs on the album, and they were late additions to boot.
But Brian’s contribution to the Holland album loomed large – in a way. The record included a bonus EP (any of you youngsters who don’t know what an EP is, go look it up). You can click here to listen to what we’re going to be talking about.
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