WEBVTT - David Beard

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<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Left Sets podcast.

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<v Speaker 1>Our guest today is David Beard, who has a new book,

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<v Speaker 1>All Summer Long Conversations with the Beach Boys, from Surfing

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<v Speaker 1>to Smile. David, how'd you get involved in the Beach

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<v Speaker 1>Boys universe?

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<v Speaker 2>Bob? It goes a long ways back. It started with

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<v Speaker 2>me discovering Jan and Den. First. I'd heard the Beach

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<v Speaker 2>Boys on the radio, of course, but when I saw

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<v Speaker 2>The Night the nineteen seventy ninety nineteen eighty, the Dead

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<v Speaker 2>Man's Curve television movie about Jan and Dean, that was

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<v Speaker 2>kind of my road in because I remember to this

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<v Speaker 2>day so vividly the moment in that TV movie when

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<v Speaker 2>Richard Hatch is Jan standing next to Bruce Davidson is

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<v Speaker 2>Dean with their surfboards at the ocean, and I'm saying,

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<v Speaker 2>this would sound so great on tape, and he goes,

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<v Speaker 2>what and then they cut to a montage of Janandine

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<v Speaker 2>in the studio singing surfing with the actual surfers on

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<v Speaker 2>the waves. And that's the moment that I just went,

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<v Speaker 2>what is this and I have to get more of it.

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<v Speaker 2>That's that's where it started.

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<v Speaker 1>Okay, when this happens though You're not living in California, right.

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<v Speaker 2>No, I'm up. I'd actually just moved from upstate New

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<v Speaker 2>York to Charlotte, and I, for the life of me,

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<v Speaker 2>can't remember if I saw like an advertisement on it,

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<v Speaker 2>you know, on television that made me want to watch it,

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<v Speaker 2>or what the case was, because I don't know how

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<v Speaker 2>I accidentally stumbled across. I don't remember how I came

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<v Speaker 2>across it, but I remember I watched it from the

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<v Speaker 2>very beginning. And when that, when that moment happened, I

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<v Speaker 2>just was. It just sucked me in. I just I

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<v Speaker 2>was ruined. And the next thing I know, I was,

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<v Speaker 2>I was as you know, back then, there was retail

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<v Speaker 2>music stores everywhere, lots of used record stores everywhere, and

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<v Speaker 2>I went to the main one in downtown Charlotte, I

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<v Speaker 2>think it was called Camelot, and I bought the Jan

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<v Speaker 2>and Dean Anthology two record set, and that kind of

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<v Speaker 2>just galvanized my interest in them, because you know, it

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<v Speaker 2>was the perfect, perfect first Jan and Deine thing for

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<v Speaker 2>me to buy because it had all the liner notes

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<v Speaker 2>in it. It had Dave marsh from Cream's Liner Notes,

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<v Speaker 2>and it talks so much about Brian Wilson and then I.

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<v Speaker 2>So that made me pay attention to the songwriting credits

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<v Speaker 2>and I thought, well, I got to know more about

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<v Speaker 2>the Beach Boys, and so that's that was kind of

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<v Speaker 2>the doorway and I picked up immediately immediately. I was

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<v Speaker 2>fourteen or fifteen years old, and I immediately just picked

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<v Speaker 2>up on that Jan and Deine humor that was so

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<v Speaker 2>evident throughout all their materials, but especially on side for

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<v Speaker 2>the Anthology album, which was that wonky sound effect which

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<v Speaker 2>would which was their original version of Fileus in an

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<v Speaker 2>abridged form. But that's really what it was, that two

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<v Speaker 2>record set that just really drew me in. And having

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<v Speaker 2>in the television movie Dick Clark, Mike Love and Bruce

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<v Speaker 2>Johnston make the cameo at the end was kind of

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<v Speaker 2>another crossover thing where it piqued my interest and drew me,

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<v Speaker 2>you know, wanting to know more about them.

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<v Speaker 1>Okay, so you bought the Genadine Anthology, how'd you start

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<v Speaker 1>with the Beach Boys?

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<v Speaker 2>I remember that I bought Pet Sounds on a record

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<v Speaker 2>because I wanted to know more, and I remember going

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<v Speaker 2>going in and buying Pet Sounds, but not I took

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<v Speaker 2>it home, listened to it, and I also had Best

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<v Speaker 2>of the Beach Boys. Do you remember the record clubs,

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<v Speaker 2>the Columbia or r C Rety Plus, Yeah, so I had.

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<v Speaker 1>Six records for a penny and then the Pet Shit, Yeah,

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<v Speaker 1>so I had.

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<v Speaker 2>I had I'm sure the best of the Beach Boys

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<v Speaker 2>through that, along with Manilo Live and a whole bunch

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<v Speaker 2>of other things. And I grew up in New York.

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<v Speaker 2>I was a Kiss fan, major Kiss fan. All the

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<v Speaker 2>kids were Kiss fans. And I think what put me

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<v Speaker 2>in the headspace of loving oldies was actually Kiss Alive too,

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<v Speaker 2>because side for Kiss Alive two was studio tracks, and

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<v Speaker 2>one of the studio tracks was any Way You Want

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<v Speaker 2>It with Paul Stanley singing lead. And again I had

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<v Speaker 2>no idea that that was a Dave Clark five song,

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<v Speaker 2>but I remember vividly walking down the hallway in junior

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<v Speaker 2>high school singing that song. So when I see dead

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<v Speaker 2>Man's Curve and then when I have Best of the

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<v Speaker 2>Beach Boys and I go buy Pet Sounds, I play

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<v Speaker 2>it and I remember, I think that's not me was

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<v Speaker 2>the one song that I kind of liked because of

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<v Speaker 2>the melody and it felt like, you know, singaple where

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<v Speaker 2>you could sing along, but it didn't stick with me

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<v Speaker 2>until years later. But when it hit me when I

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<v Speaker 2>was around twenty four, by eight to ten years later,

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<v Speaker 2>when it hit me, when I was driving in my

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<v Speaker 2>car with the Pet Sounds cassette. When that hit me,

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<v Speaker 2>it hit me like a ton of bricks. Like I thought,

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<v Speaker 2>how did I not get this any sooner? You know?

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<v Speaker 2>But when I got it, it really it really stuck.

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<v Speaker 1>Okay, But you ultimately become involved with a beach boys,

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<v Speaker 1>let's call it a fianzine or a newsletter. How does

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<v Speaker 1>that happen?

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<v Speaker 2>Well, so I start collecting records and going to used

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<v Speaker 2>record stores around town, and I went to my junior prom.

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<v Speaker 2>But then when senior prom comes up, I ask three

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<v Speaker 2>girls they all had dates, and my parents, you know,

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<v Speaker 2>said here's your money for your prom. And I thought, well, okay,

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<v Speaker 2>and I took the money that they had given you

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<v Speaker 2>for the senior prom and went off to a record convention.

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<v Speaker 2>And at so that I became. I started doing those frequently,

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<v Speaker 2>and within a couple of years I went to one

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<v Speaker 2>and by this time I had discovered Smile because of

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<v Speaker 2>Malcolm Leo's Wonderful and American Band documentary in nineteen eighty five.

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<v Speaker 2>So I was really that had really piqued my interest,

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<v Speaker 2>and I was standing behind a guy very impatiently as

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<v Speaker 2>he was going one record at a time through the

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<v Speaker 2>Beach Boys section, and he turned around and we started talking,

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<v Speaker 2>and then that was Lee Dempsey. And Lee at the

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<v Speaker 2>time was writing for Endless Summer Quarterly because it was

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<v Speaker 2>originally founded out in San Diego by Rick Edgell and

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<v Speaker 2>Phil Mast And he told me about the publication and

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<v Speaker 2>I said, oh, okay, well, so I subscribed for a

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<v Speaker 2>year and it just it was a lot of picture

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<v Speaker 2>and technology is very different now than it was then,

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<v Speaker 2>but the magazine just had a lot of photos of

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<v Speaker 2>like you know, covers of sheet music, photos of like

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<v Speaker 2>the editors with their arms around the Beach Boys backstage

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<v Speaker 2>and that type of thing, and it just there was

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<v Speaker 2>nothing about it that had that felt meaty to me

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<v Speaker 2>where I could find something out. And so one of

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<v Speaker 2>the first books, and I don't remember how I found it,

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<v Speaker 2>was Dominic Priori's Look, Listen, Vibrate and Smile The Dumb

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<v Speaker 2>Angel Gazette, and that be kind of came my bible

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<v Speaker 2>early early on in my discovery of the Beach Boys

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<v Speaker 2>and my love to this day and infatuation of smile.

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<v Speaker 1>But you ultimately take over the Quarterly.

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<v Speaker 2>Right yes? So yeah. So summer of ninety three, Rick

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<v Speaker 2>and Phil contact Lee. They say, hey, we're burnt out

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<v Speaker 2>the beach Boys. I don't know how the conversation went

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<v Speaker 2>because I wasn't a part of it, but they asked

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<v Speaker 2>Lee if he would take it over. He was interested

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<v Speaker 2>in buying a business license. So by that time Lee

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<v Speaker 2>and I was a morning show producer at a oldies

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<v Speaker 2>station and I had him helping me with jingles for

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<v Speaker 2>the show. And he contacted me and said, hey, I'll

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<v Speaker 2>do this if you want to do this with me,

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<v Speaker 2>because I won't do it alone it's too much work.

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<v Speaker 2>So I said sure, what a yeah? Absolutely, are you kidding?

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<v Speaker 2>I get to write about you know, I got to

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<v Speaker 2>dig into something that interests me and actually write about it. Absolutely,

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<v Speaker 2>And I got lucky right out of the bat in

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<v Speaker 2>August of ninety three and got to do my very

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<v Speaker 2>first interview with Dean Torrent. So Jan and Dean like the.

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<v Speaker 1>Fun let me stop, Let me stop for a second.

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<v Speaker 1>When you take it over? How long has the Quarterly

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<v Speaker 1>been in existence? And how many subscribers are there.

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<v Speaker 2>It was founded in eighty seven and this is ninety three,

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<v Speaker 2>so six years in and just over two hundred at

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<v Speaker 2>the time.

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<v Speaker 1>Okay, is the quarterly still in existence?

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<v Speaker 2>Yes?

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<v Speaker 1>And is it growing? You know, what's the status of

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<v Speaker 1>the subscribership now.

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<v Speaker 2>It's uniquely kind of just you know, it comes. It

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<v Speaker 2>has peaks and valleys, but it just kind of it

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<v Speaker 2>just manages to We've got over We've got nearly two

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<v Speaker 2>thousand names in our database, but it kind of comes

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<v Speaker 2>and goes because people will renew at different times and

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<v Speaker 2>a lot of people know of the magazine or what

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<v Speaker 2>will happen is they'll just want a specific one. Let's

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<v Speaker 2>say I do one about Sunflower, that's the one they want,

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<v Speaker 2>or pet Sounds, that's the one they want, and they'll

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<v Speaker 2>just order them individually. And I did a whole series

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<v Speaker 2>over the course of winter twenty twenty four all the

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<v Speaker 2>way to early this year. I think it was of

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<v Speaker 2>four issues just on Brian Wilson outside the Beach Boys productions,

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<v Speaker 2>which was a joy, you know, going down that rabbit

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<v Speaker 2>hole and talking to all these ancillary people about Brian

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<v Speaker 2>working with them, and some of that ended up in

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<v Speaker 2>the book.

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<v Speaker 1>Okay, I get a ski newsletter Ski History, and they

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<v Speaker 1>burnt through the major topics and now it's really obscure

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<v Speaker 1>stuff and sort of reruds. You know, how do you

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<v Speaker 1>find new material or what do you deliver?

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<v Speaker 2>Well, it's amazing to me. I don't know if you

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<v Speaker 2>run across this with things as you get into them, Like,

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<v Speaker 2>it's amazing to me all the different layers of something

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<v Speaker 2>that you can explore. And like if you just take

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<v Speaker 2>one person's name out of the Beach Boys, Brian Wilson

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<v Speaker 2>and you and you just start to think, Okay, all

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<v Speaker 2>the things that Brian has worked on, all the things

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<v Speaker 2>that he's arranged, all the things that he's produced. And

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<v Speaker 2>then I, you know, along the way, I get to

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<v Speaker 2>talk to Glenn Campbell, and Glenn's interaction with them was

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<v Speaker 2>uniquely its own. And so it's just every time I

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<v Speaker 2>get to talk to someone, something else unfolds in the

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<v Speaker 2>conversation that maybe I knew about or and was prepared

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<v Speaker 2>to talk about with the subject, or maybe they, you know,

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<v Speaker 2>kind of unveil something to me historically that I wasn't

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<v Speaker 2>quite aware of or knew something of. But it allows

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<v Speaker 2>me to dig deeper. So I always it's never ending.

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<v Speaker 1>Okay, so you take over the quarterly. Your first interview

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<v Speaker 1>is with Dean. How do you make contact with Dean

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<v Speaker 1>and what do you learn in that interview?

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<v Speaker 2>My good buddy Elliott Kendall set that up. And I

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<v Speaker 2>didn't know Elliott at the time. He knew Lean, so

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<v Speaker 2>he was kind enough to get that going.

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<v Speaker 1>And just John, I'm just interested. If you didn't know him,

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<v Speaker 1>how'd you make the connection to make it happen?

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<v Speaker 2>Well, Elliott Kendall. Elliot Kendall knew him, and he got

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<v Speaker 2>the phone number. And at the time, I was working

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<v Speaker 2>in radio, so I called Dean from the radio station.

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<v Speaker 2>I was so nervous, Bob, because Dean was like, you know,

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<v Speaker 2>I discovered Jan and Deane got it. I was so nervous,

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<v Speaker 2>and you know, I had the shaky voice, you know

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<v Speaker 2>that we're not worth anything going on. And we got

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<v Speaker 2>talking and I interviewed. What I wanted to know about

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<v Speaker 2>was the Jan and Dean television pilot because I knew

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<v Speaker 2>of it, but I had not seen it. And so

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<v Speaker 2>we started talking and he immediately picked up on the

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<v Speaker 2>genuine interest, you know, not fanboy stuff, but genuine interest

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<v Speaker 2>in history, and we got on great, right out of

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<v Speaker 2>the gate and he has since become a mentor of

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<v Speaker 2>mine graphically. He's been so wonderful over the years. So

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<v Speaker 2>going back to your question, he just he was just

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<v Speaker 2>so open and what I learned from him in that

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<v Speaker 2>interview was it surprised me the most was how cool

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<v Speaker 2>he was and how open he was. I think he

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<v Speaker 2>was really the perfect first interview for me to have

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<v Speaker 2>conducted for that reason.

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<v Speaker 1>Okay, you have a good experience with Dean. What's your

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<v Speaker 1>next step?

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<v Speaker 2>Well, I'm the more creative between Lee and I. I'm

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<v Speaker 2>always thinking about what can we do next? What can

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<v Speaker 2>we do next? Hey and the Beach Boys come through.

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<v Speaker 2>November of nineteen ninety three, they opened their unplugged box

0:13:10.160 --> 0:13:13.320
<v Speaker 2>set tour, the Good Vibrations box Set. They opened that

0:13:13.440 --> 0:13:19.640
<v Speaker 2>tour in Charlotte, and I'm just I that that just

0:13:19.800 --> 0:13:23.840
<v Speaker 2>absolutely I felt like the heavens were shining down, you know,

0:13:23.960 --> 0:13:26.680
<v Speaker 2>to watch Carl Wilson on stage go over and play

0:13:26.720 --> 0:13:29.840
<v Speaker 2>the keyboards for Wonderful with the spotlight on him. The

0:13:29.920 --> 0:13:35.520
<v Speaker 2>whole show was amazing and that kind of became the

0:13:35.559 --> 0:13:38.559
<v Speaker 2>inspiration and the motivation for me to go, this is

0:13:38.920 --> 0:13:43.400
<v Speaker 2>just too cool to not just dig deeper and to

0:13:43.440 --> 0:13:47.559
<v Speaker 2>get more into it. And again the more that I

0:13:47.600 --> 0:13:50.040
<v Speaker 2>just so we start the mag Lee and I start

0:13:50.040 --> 0:13:53.720
<v Speaker 2>the magazine, the box set comes out, we see this tour,

0:13:55.559 --> 0:13:59.559
<v Speaker 2>and I'm just like, this is this is exactly what

0:13:59.640 --> 0:14:02.760
<v Speaker 2>I'm supposed to be doing right now, this is exactly

0:14:03.320 --> 0:14:06.160
<v Speaker 2>So I just start reading books. And as you know,

0:14:06.320 --> 0:14:10.080
<v Speaker 2>back then, there was no Google, there was no any

0:14:10.120 --> 0:14:12.960
<v Speaker 2>everything at your disposal. You really had to put the

0:14:12.960 --> 0:14:17.280
<v Speaker 2>time and the energy in to discover and I just

0:14:18.160 --> 0:14:19.440
<v Speaker 2>I just dove in.

0:14:20.680 --> 0:14:21.680
<v Speaker 1>So keep going.

0:14:23.240 --> 0:14:28.040
<v Speaker 2>So once I dove in the first things that they

0:14:28.040 --> 0:14:30.280
<v Speaker 2>were somewhat you know, back then there was Carl was

0:14:30.320 --> 0:14:32.480
<v Speaker 2>a part of the touring band. Carl had not passed

0:14:32.480 --> 0:14:35.480
<v Speaker 2>away yet, so and no one knew that was coming

0:14:35.560 --> 0:14:40.240
<v Speaker 2>when it was. But at that time, so what really,

0:14:40.920 --> 0:14:44.200
<v Speaker 2>Because I love Smile. When we started doing the magazine,

0:14:44.400 --> 0:14:48.120
<v Speaker 2>they do some Smile tracks in that show, and and

0:14:48.280 --> 0:14:50.880
<v Speaker 2>you know, I'm as giddy as a fan to see

0:14:50.880 --> 0:14:55.400
<v Speaker 2>those things. And so I just start thinking about how

0:14:55.480 --> 0:14:59.480
<v Speaker 2>can what how do I take what's important to me

0:14:59.560 --> 0:15:04.200
<v Speaker 2>about the Beach Boys and translate that into this magazine

0:15:04.840 --> 0:15:08.560
<v Speaker 2>so that the reader feels as though they're with me,

0:15:10.040 --> 0:15:13.000
<v Speaker 2>And that kind of became to this day, that is

0:15:13.120 --> 0:15:16.360
<v Speaker 2>still what I try to do to this day because

0:15:16.400 --> 0:15:19.200
<v Speaker 2>I want the reader. If I get to go backstage

0:15:19.240 --> 0:15:22.520
<v Speaker 2>and do an interview backstage, if I can have photos

0:15:22.560 --> 0:15:24.960
<v Speaker 2>to go with that and put the reader right there

0:15:25.000 --> 0:15:27.560
<v Speaker 2>with me, that's that's what I'd love to do. So

0:15:27.600 --> 0:15:30.640
<v Speaker 2>that's that's kind of what has fed my energy, my

0:15:30.680 --> 0:15:34.360
<v Speaker 2>creative energy, and kind of one idea after the other.

0:15:34.400 --> 0:15:38.760
<v Speaker 2>I'm always thinking about, is this, you know, this particular year,

0:15:38.920 --> 0:15:41.800
<v Speaker 2>what is it the anniversary of no I didn't think

0:15:41.880 --> 0:15:44.920
<v Speaker 2>that so much in the beginning. So it was just

0:15:45.040 --> 0:15:51.800
<v Speaker 2>really their openness, like Dean, their openness to uh, you know, chatting,

0:15:52.000 --> 0:15:54.920
<v Speaker 2>chatting with us. And initially it wasn't interviewing, it was

0:15:55.040 --> 0:15:57.680
<v Speaker 2>just talking us up and we put out a few,

0:15:58.040 --> 0:16:01.920
<v Speaker 2>you know. By summer of ninety four, they came into

0:16:01.960 --> 0:16:04.880
<v Speaker 2>town again and played a Knight's Castle, which is a ballpark,

0:16:05.760 --> 0:16:08.520
<v Speaker 2>and that's when we're talking the Bruce backstage, and he

0:16:08.560 --> 0:16:11.920
<v Speaker 2>said to me, you guys are cool, and I just

0:16:12.160 --> 0:16:17.840
<v Speaker 2>thought to myself, how am I? How is that possible?

0:16:17.880 --> 0:16:23.520
<v Speaker 2>To him? And I really just think from the beginning,

0:16:25.120 --> 0:16:27.840
<v Speaker 2>I really allow my heart to lead the way. I

0:16:27.920 --> 0:16:30.440
<v Speaker 2>just I don't have a hidden agenda, you know, because

0:16:30.440 --> 0:16:33.120
<v Speaker 2>they have enough stuff in their lives, as I'm sure you're,

0:16:33.800 --> 0:16:36.200
<v Speaker 2>the whole public world is aware. They have so much

0:16:36.240 --> 0:16:41.560
<v Speaker 2>stuff in their history that just is derogatory and doesn't

0:16:41.600 --> 0:16:44.960
<v Speaker 2>shine well on them or reflect well on them. So

0:16:45.040 --> 0:16:47.400
<v Speaker 2>I just never got into that stuff, you know. I

0:16:47.560 --> 0:16:50.160
<v Speaker 2>just I appreciated their time and their energy and their

0:16:50.520 --> 0:16:53.680
<v Speaker 2>commitment of giving me being present with me when I

0:16:53.760 --> 0:16:56.000
<v Speaker 2>was with them, and it just kind of grew from there.

0:16:56.400 --> 0:16:58.960
<v Speaker 2>The seeds of thought and creativity just grew.

0:17:00.080 --> 0:17:03.080
<v Speaker 1>Okay, so you interviewed Dean. What was your next interview?

0:17:04.600 --> 0:17:09.000
<v Speaker 2>I believed in that. I think the second interview was

0:17:10.119 --> 0:17:12.680
<v Speaker 2>it was Bruce at that same show the summer of

0:17:12.760 --> 0:17:16.440
<v Speaker 2>ninety four. We were we just kind of caught him

0:17:16.960 --> 0:17:23.080
<v Speaker 2>and he talked to us about Sunflower briefly, and it

0:17:23.160 --> 0:17:26.240
<v Speaker 2>was just really off the cuff. We were just kind

0:17:26.240 --> 0:17:28.840
<v Speaker 2>of standing there with him with a handheld tape recorder

0:17:29.480 --> 0:17:33.919
<v Speaker 2>and I just started, you know, by that time, I

0:17:34.000 --> 0:17:36.520
<v Speaker 2>just wanted to be prepared in case something happened. So

0:17:36.560 --> 0:17:38.840
<v Speaker 2>we'd have a photographer and I'd have a handheld tape

0:17:38.840 --> 0:17:42.959
<v Speaker 2>recorder and we just would start doing off the cuff

0:17:43.240 --> 0:17:46.919
<v Speaker 2>conversations with him. And when I go back and I

0:17:46.960 --> 0:17:55.080
<v Speaker 2>look at those conversations, they're quite mediocre, but you know,

0:17:55.800 --> 0:17:58.359
<v Speaker 2>they were again, they were so welcoming, and I just

0:17:58.520 --> 0:18:03.440
<v Speaker 2>really thought, is this always this? You know, I really

0:18:03.560 --> 0:18:05.560
<v Speaker 2>didn't know what to attribute it to because it was

0:18:05.640 --> 0:18:08.760
<v Speaker 2>new territory for me. But we just got on so

0:18:08.920 --> 0:18:12.359
<v Speaker 2>well with them, or at least I did, you know.

0:18:12.600 --> 0:18:16.880
<v Speaker 2>And it was just one foot, you know, one step

0:18:17.200 --> 0:18:19.920
<v Speaker 2>right after the other, and they just became very open.

0:18:19.960 --> 0:18:23.880
<v Speaker 2>And I think after Bruce and as the same day,

0:18:23.920 --> 0:18:26.639
<v Speaker 2>he told us we were cool because and he was

0:18:26.680 --> 0:18:29.200
<v Speaker 2>basing that on the way that we changed the magazine,

0:18:29.240 --> 0:18:34.760
<v Speaker 2>the way we were presenting the magazine. I think Mike

0:18:35.040 --> 0:18:38.000
<v Speaker 2>was my next interview after that when and it was

0:18:38.040 --> 0:18:41.840
<v Speaker 2>a year or so later my phone.

0:18:42.320 --> 0:18:47.240
<v Speaker 1>Okay, some of these acts are very familiar with their history.

0:18:47.920 --> 0:18:50.879
<v Speaker 1>They can tell you what year, you know, what, the

0:18:51.040 --> 0:18:53.399
<v Speaker 1>order of it, and other ones. I'm up there on stage,

0:18:53.400 --> 0:18:55.560
<v Speaker 1>I'm playing the songs. You know more about it than

0:18:55.600 --> 0:18:58.399
<v Speaker 1>I do. So the people involved with the Beach Boys

0:18:58.400 --> 0:19:02.440
<v Speaker 1>and members, how much were they mental archivists of their

0:19:02.480 --> 0:19:03.200
<v Speaker 1>own lives?

0:19:04.480 --> 0:19:11.680
<v Speaker 2>Huh? What a great question. Well, at times over this

0:19:11.880 --> 0:19:16.880
<v Speaker 2>thirty plus nail nearly thirty three years now. At times

0:19:18.560 --> 0:19:21.760
<v Speaker 2>they were kind of detrimental to their own memories. But

0:19:21.960 --> 0:19:25.360
<v Speaker 2>I think that's what, you know, being able to have

0:19:25.480 --> 0:19:30.719
<v Speaker 2>multiple conversations over decades with them, sometimes about the same things,

0:19:30.840 --> 0:19:35.040
<v Speaker 2>and then reading responses from them in other publications or

0:19:35.080 --> 0:19:40.800
<v Speaker 2>other outlets, you know, you get a sense of canned

0:19:40.880 --> 0:19:45.240
<v Speaker 2>thought process, you know, the old kind of trigger memory,

0:19:45.359 --> 0:19:47.720
<v Speaker 2>muscle memory where they would just go back to something

0:19:47.760 --> 0:19:50.760
<v Speaker 2>and they and they weren't really kind of it was

0:19:50.840 --> 0:19:55.120
<v Speaker 2>more Q, just a strict Q and a question answer.

0:19:55.680 --> 0:19:58.119
<v Speaker 2>And so that kind of really informed me because I

0:19:58.520 --> 0:20:00.720
<v Speaker 2>realized that if I, if I just say to Mike,

0:20:00.760 --> 0:20:03.080
<v Speaker 2>as an example, so tell me about writing I get

0:20:03.119 --> 0:20:06.320
<v Speaker 2>around right, I'm going to get a very specific answer.

0:20:07.240 --> 0:20:10.119
<v Speaker 2>And instead I after a few years, I would I

0:20:10.359 --> 0:20:13.880
<v Speaker 2>would reapproach him and say it was during the old

0:20:14.080 --> 0:20:16.800
<v Speaker 2>you know all Summerlong is a really wonderful summer album.

0:20:17.400 --> 0:20:19.919
<v Speaker 2>Is during that time that you and Brian ended up

0:20:19.960 --> 0:20:23.960
<v Speaker 2>having to fire Murray. What do you recall about that?

0:20:24.440 --> 0:20:28.080
<v Speaker 2>You know, So without with I try not to lead

0:20:28.119 --> 0:20:31.560
<v Speaker 2>them too much, but kind of give them a pebble

0:20:31.600 --> 0:20:34.600
<v Speaker 2>of memory that will help steer them, you know, in

0:20:34.640 --> 0:20:37.159
<v Speaker 2>the right direction, so they so they don't give me

0:20:37.240 --> 0:20:40.639
<v Speaker 2>the same cand response and hopefully the way I phrase

0:20:40.680 --> 0:20:43.000
<v Speaker 2>the question will lead them down memory lane.

0:20:52.080 --> 0:20:54.720
<v Speaker 1>Okay, the book, for those who don't know, is a

0:20:54.760 --> 0:20:58.320
<v Speaker 1>distillation of your interviews, sort of an oral history of

0:20:58.359 --> 0:21:00.720
<v Speaker 1>the Beach Boys. There's a lot of stuff that you

0:21:00.800 --> 0:21:04.280
<v Speaker 1>go into depth that I have not seen previously. You

0:21:04.440 --> 0:21:10.000
<v Speaker 1>talk about Dave Marx living across the street. How did

0:21:10.040 --> 0:21:12.480
<v Speaker 1>you make contact with David and what was that like?

0:21:13.840 --> 0:21:17.080
<v Speaker 2>Oh? I think David is one of the most enjoyable

0:21:17.119 --> 0:21:20.639
<v Speaker 2>and fascinating characters I've ever had the pleasure of coming across.

0:21:20.960 --> 0:21:24.840
<v Speaker 2>He's such a great hang. So I'm trying to remember

0:21:24.840 --> 0:21:27.040
<v Speaker 2>the first time I talked to him. It was in

0:21:27.080 --> 0:21:31.280
<v Speaker 2>the late nineties because when Carl got Allen was out Dave,

0:21:32.400 --> 0:21:34.240
<v Speaker 2>you know, there was the dust up. Al was out

0:21:34.240 --> 0:21:36.720
<v Speaker 2>and then David came into the fray and that's how

0:21:36.760 --> 0:21:40.639
<v Speaker 2>I met David. Was. In fact, the first time I

0:21:40.680 --> 0:21:43.040
<v Speaker 2>met David is in Atlanta, Georgia. The guys were playing

0:21:43.080 --> 0:21:48.000
<v Speaker 2>a private gig and I contacted him up in his

0:21:48.080 --> 0:21:49.919
<v Speaker 2>room and said, Hey, I'm here in the hotel and

0:21:49.960 --> 0:21:51.520
<v Speaker 2>do you want to go to dinner? So he comes

0:21:51.560 --> 0:21:55.639
<v Speaker 2>down we go, and at that time he was he

0:21:55.800 --> 0:21:58.880
<v Speaker 2>was drinking and we went out to like an Applebee's

0:21:58.960 --> 0:22:02.320
<v Speaker 2>or something, and they were playing oldies music over the

0:22:02.320 --> 0:22:07.560
<v Speaker 2>speakers in the restaurant, and he was not his best

0:22:07.600 --> 0:22:13.760
<v Speaker 2>self that night. He was in a weird place, a

0:22:13.800 --> 0:22:17.480
<v Speaker 2>real enjoyable soul, but he was in a really troubled

0:22:17.480 --> 0:22:21.760
<v Speaker 2>place and he was laying his head down on the table.

0:22:21.920 --> 0:22:28.040
<v Speaker 2>Hendrix would come on and he said, Jimmy's dead. Somebody

0:22:28.040 --> 0:22:30.880
<v Speaker 2>else would come on, maybe his Door's song or something.

0:22:31.840 --> 0:22:33.800
<v Speaker 2>You know. We were, of course already talking about the

0:22:33.800 --> 0:22:37.439
<v Speaker 2>Beach Boys, and Dennis was gone by that point. You know,

0:22:37.600 --> 0:22:42.200
<v Speaker 2>Carl So's he's sitting there and he's saying, they're all dead.

0:22:42.600 --> 0:22:45.560
<v Speaker 2>You know. So it was a very kind of really

0:22:46.400 --> 0:22:52.040
<v Speaker 2>raw first introduction with David Marx. But then by two

0:22:52.119 --> 0:22:54.159
<v Speaker 2>thousand and five, so that was, you know, five to

0:22:54.240 --> 0:22:56.840
<v Speaker 2>six years later, I'm getting to know David, and then

0:22:56.920 --> 0:23:00.320
<v Speaker 2>they have that great I was at the unveiling of

0:23:00.359 --> 0:23:04.640
<v Speaker 2>the Hawthorne Monument where the house used to be, and

0:23:05.119 --> 0:23:09.320
<v Speaker 2>I get to interview him right after that, and the

0:23:09.359 --> 0:23:16.040
<v Speaker 2>emotions that were David's emotions were so frankly beautiful. They

0:23:16.640 --> 0:23:20.800
<v Speaker 2>were just so he just was feeling it, really feeling it,

0:23:21.400 --> 0:23:25.280
<v Speaker 2>and we really got into great conversation about that neighborhood

0:23:25.520 --> 0:23:29.840
<v Speaker 2>and the Lindeners, gil Gil Linder, and how Murray would

0:23:29.880 --> 0:23:31.959
<v Speaker 2>go up there in the in the neighborhood and how

0:23:32.000 --> 0:23:37.040
<v Speaker 2>everybody interacted, and it just I love hearing that you

0:23:37.280 --> 0:23:40.040
<v Speaker 2>liked hearing about that because I loved hearing about it,

0:23:40.560 --> 0:23:43.840
<v Speaker 2>you know, just just that that early childhood and how

0:23:43.880 --> 0:23:49.879
<v Speaker 2>those and how David actually lived in Englewood, which was

0:23:49.960 --> 0:23:52.480
<v Speaker 2>just the other side of the street, but he'd come

0:23:52.520 --> 0:23:54.920
<v Speaker 2>over and he'd poke his head in and listen, and

0:23:55.040 --> 0:23:59.560
<v Speaker 2>then he and Carl taking guitar lessons together from John

0:23:59.600 --> 0:24:03.760
<v Speaker 2>Moss of all people. You know, it's just a fascinating history.

0:24:03.800 --> 0:24:07.040
<v Speaker 2>And then how much I'm glad we're talking about David

0:24:07.119 --> 0:24:14.200
<v Speaker 2>because his influence on that group really informed their direction.

0:24:15.720 --> 0:24:19.080
<v Speaker 2>You know, that style that he really saw because Carl

0:24:19.200 --> 0:24:21.560
<v Speaker 2>from day one, whether he was whether he would have

0:24:21.560 --> 0:24:24.000
<v Speaker 2>gotten in guitar lessons or not, Carl was an R

0:24:24.040 --> 0:24:28.280
<v Speaker 2>and B guy more so than David. David was someone

0:24:28.480 --> 0:24:31.639
<v Speaker 2>who was listening to the surf music of the time,

0:24:31.680 --> 0:24:35.080
<v Speaker 2>but that Dale and jazz at that time, and he

0:24:35.240 --> 0:24:40.240
<v Speaker 2>really I helped, I believe helped Brian form that sound

0:24:40.280 --> 0:24:44.120
<v Speaker 2>in that direction that they're so popular well known for

0:24:44.200 --> 0:24:45.760
<v Speaker 2>from those early records.

0:24:46.440 --> 0:24:50.639
<v Speaker 1>Okay, the traditional story is Al is in the group,

0:24:50.920 --> 0:24:54.639
<v Speaker 1>Al goes away to school, David becomes part of the band,

0:24:55.240 --> 0:24:58.320
<v Speaker 1>Al gives up on schools back in the band. From

0:24:58.320 --> 0:25:01.480
<v Speaker 1>the outside in the sixty it looked like but Dave,

0:25:01.520 --> 0:25:05.360
<v Speaker 1>they just needed another face. So you're saying that when

0:25:05.480 --> 0:25:07.680
<v Speaker 1>he was integrated in the band, he had a big effect.

0:25:08.640 --> 0:25:11.400
<v Speaker 2>I absolutely believe. So. Yeah, when you listen you take

0:25:11.440 --> 0:25:15.280
<v Speaker 2>a song like Surfing, you as if you listen to

0:25:15.320 --> 0:25:17.720
<v Speaker 2>the guitar work on that, if you're able to just

0:25:17.760 --> 0:25:20.360
<v Speaker 2>get a hold of a track of that, it's amazing.

0:25:20.840 --> 0:25:26.040
<v Speaker 2>The guitar lick the downstroke. It's not an up and

0:25:26.080 --> 0:25:28.119
<v Speaker 2>down stroke. I learned to play acoustic guitar and I

0:25:28.119 --> 0:25:30.720
<v Speaker 2>do the up and down stroke. David doesn't do that.

0:25:31.000 --> 0:25:36.400
<v Speaker 2>David does a direct, very intentional downstroke only. And it's

0:25:36.480 --> 0:25:38.439
<v Speaker 2>kind of like how Ringo Star is the only drummer

0:25:38.440 --> 0:25:42.800
<v Speaker 2>who kind of pulls off the beat. David chuck at

0:25:42.840 --> 0:25:45.680
<v Speaker 2>chuk at chug a chugg. I mean, it's down, it's down.

0:25:45.800 --> 0:25:49.000
<v Speaker 2>He never drags it up. It's always down and if

0:25:49.040 --> 0:25:52.800
<v Speaker 2>you listen to those early Beach Boys records, that's David. Now.

0:25:52.880 --> 0:25:59.080
<v Speaker 2>Carl also played the part, but it was David who

0:25:59.240 --> 0:26:04.080
<v Speaker 2>brought that. He brought that absolutely.

0:26:05.040 --> 0:26:09.040
<v Speaker 1>Since you're close and you're the best source we've got. Hey,

0:26:09.600 --> 0:26:12.080
<v Speaker 1>how did David feel about getting kicked out of the band?

0:26:12.440 --> 0:26:15.320
<v Speaker 1>B What did he do for thirty years?

0:26:16.040 --> 0:26:19.919
<v Speaker 2>There's a wonderful book called The Lost Beach Boy and

0:26:19.920 --> 0:26:22.439
<v Speaker 2>then it's by John Stebbins. It's a really great book.

0:26:22.520 --> 0:26:27.560
<v Speaker 2>David when he first he was kicked out of the

0:26:27.600 --> 0:26:30.640
<v Speaker 2>band by Murray, Murray was just looking for an excuse,

0:26:30.720 --> 0:26:33.960
<v Speaker 2>because what Murray will you because Al did come back

0:26:34.440 --> 0:26:36.639
<v Speaker 2>when Brian phoned him, and David and Al were in

0:26:36.680 --> 0:26:38.680
<v Speaker 2>the group, the touring group for a little bit together,

0:26:39.440 --> 0:26:42.520
<v Speaker 2>and Murray was looking Murray just wanted Brian back, in

0:26:42.880 --> 0:26:46.639
<v Speaker 2>which Brian did not want. So Murray was just looking

0:26:46.680 --> 0:26:49.199
<v Speaker 2>for a reason to fire a fifteen year old David Marx.

0:26:49.800 --> 0:26:52.160
<v Speaker 2>And David Marx was a little fifteen year old Brett.

0:26:52.280 --> 0:26:54.960
<v Speaker 2>I mean I was a brat at fifteen, So David

0:26:55.080 --> 0:26:59.199
<v Speaker 2>was no different and he mouthed off to Murray one

0:26:59.280 --> 0:27:04.879
<v Speaker 2>day and Murray pushed him not physically, but was pushing

0:27:04.920 --> 0:27:09.040
<v Speaker 2>his buttons and David just said, I quit, and everybody

0:27:09.080 --> 0:27:13.080
<v Speaker 2>hear that. He says he quit. So Murray drags Brian

0:27:13.160 --> 0:27:16.000
<v Speaker 2>back into the fray, which was the last thing Brian wanted.

0:27:17.640 --> 0:27:21.640
<v Speaker 2>So David then goes and he does music for if

0:27:21.680 --> 0:27:24.760
<v Speaker 2>I'm remembering right, he does something. He does some work

0:27:24.800 --> 0:27:30.160
<v Speaker 2>for Casey Caseum, different and different, and he forms David

0:27:30.200 --> 0:27:33.640
<v Speaker 2>and the Marksman. They don't have that greatest success. And

0:27:34.119 --> 0:27:37.439
<v Speaker 2>what he does, the music he did that I find

0:27:37.560 --> 0:27:41.320
<v Speaker 2>really really interesting is The Moon, which was nineteen sixty

0:27:41.440 --> 0:27:45.080
<v Speaker 2>nine and Moon Without Earth was a record, and then

0:27:45.119 --> 0:27:48.000
<v Speaker 2>the other record was just called the Moon, and both

0:27:48.040 --> 0:27:51.159
<v Speaker 2>records are just really great and they fit into the

0:27:52.200 --> 0:27:56.480
<v Speaker 2>genre of all those records of that time, the late

0:27:56.520 --> 0:28:00.199
<v Speaker 2>sixties early seventies, because I'm a Moody I'm a major

0:28:00.240 --> 0:28:03.679
<v Speaker 2>Moody blues fan, and the Moon fit right into that

0:28:03.720 --> 0:28:05.160
<v Speaker 2>pocket for me as a listener.

0:28:06.359 --> 0:28:08.080
<v Speaker 1>How did he survive financially?

0:28:09.160 --> 0:28:18.160
<v Speaker 2>Oh, he's he struggled, you know, uh, you know, and gosh,

0:28:18.240 --> 0:28:23.320
<v Speaker 2>that's sensitive, that's sensitive territory. I would I feel I

0:28:23.359 --> 0:28:25.359
<v Speaker 2>feel that would be inappropriate for me to talk about

0:28:25.400 --> 0:28:28.400
<v Speaker 2>too much in depth because David's not here with us.

0:28:28.880 --> 0:28:33.600
<v Speaker 1>Okay, So let's talk about Brian's first wife, Marilyn. Yes,

0:28:34.119 --> 0:28:38.480
<v Speaker 1>they had kids together, marriage, where they lived together relative

0:28:38.560 --> 0:28:41.160
<v Speaker 1>to the long life was not that long. You come

0:28:41.200 --> 0:28:45.320
<v Speaker 1>on the scene decades later. Is she rolling the rise

0:28:45.400 --> 0:28:47.760
<v Speaker 1>when you want to talk about the Beach Boys, or

0:28:47.880 --> 0:28:49.959
<v Speaker 1>she saying, oh, yeah, yeah, let's get back into it.

0:28:51.360 --> 0:28:56.240
<v Speaker 2>A combination of both, a little bit of both. It's

0:28:57.000 --> 0:29:00.800
<v Speaker 2>it's it's interesting. I think what I'm going to say

0:29:00.840 --> 0:29:07.720
<v Speaker 2>is one true they. I think at times they've been surprised.

0:29:07.720 --> 0:29:11.560
<v Speaker 2>And when I say they, I mean everybody, Beach Boys,

0:29:11.600 --> 0:29:15.240
<v Speaker 2>the Honeys, you name it. At times they've all been

0:29:15.280 --> 0:29:19.000
<v Speaker 2>surprised by the interest and that it's still there, you know,

0:29:19.560 --> 0:29:22.680
<v Speaker 2>after twenty years, after thirty years, after forty years, and

0:29:22.840 --> 0:29:28.240
<v Speaker 2>I and I think that finally, maybe after twenty twelve,

0:29:28.440 --> 0:29:31.880
<v Speaker 2>it really really sank in after they did that reunion tour,

0:29:32.040 --> 0:29:36.480
<v Speaker 2>that it really sank in that this is important, that

0:29:36.560 --> 0:29:40.160
<v Speaker 2>this is uh, this is worth talking about, this has

0:29:40.240 --> 0:29:45.840
<v Speaker 2>great value. And so that to me was the moment.

0:29:46.840 --> 0:29:51.120
<v Speaker 2>I think that's never been communicated to me, but that's

0:29:51.200 --> 0:29:53.120
<v Speaker 2>what I what I witnessed because I came out to

0:29:53.160 --> 0:29:55.800
<v Speaker 2>the I saw three of the shows in twenty twelve,

0:29:55.800 --> 0:29:57.720
<v Speaker 2>and one of them was in Irvine when Dean was

0:29:57.720 --> 0:30:00.600
<v Speaker 2>with when Dean came out and joined them, and that

0:30:00.880 --> 0:30:03.760
<v Speaker 2>was the show, Bob. That was a bucketless show for

0:30:03.840 --> 0:30:05.880
<v Speaker 2>me because I got to see the Beach Boys in

0:30:05.960 --> 0:30:10.080
<v Speaker 2>California Girls to California Girls. That that was the night.

0:30:10.160 --> 0:30:12.360
<v Speaker 2>And then I was up on the rafters on the

0:30:12.360 --> 0:30:14.040
<v Speaker 2>side of the stage and I got to watch them

0:30:14.120 --> 0:30:16.440
<v Speaker 2>come out for the opening of the second set and

0:30:16.480 --> 0:30:18.360
<v Speaker 2>do add some music to your day around the piano,

0:30:18.680 --> 0:30:24.120
<v Speaker 2>oh man, I mean just and then Dean come out

0:30:24.120 --> 0:30:26.880
<v Speaker 2>at the end to do Barbara Ann with him. It's

0:30:27.080 --> 0:30:30.360
<v Speaker 2>you know, and I do think as the years have

0:30:30.440 --> 0:30:34.360
<v Speaker 2>gone by, reunion concert or not, each and every one

0:30:34.400 --> 0:30:36.240
<v Speaker 2>of them, I've seen it in their eyes when I'm

0:30:36.240 --> 0:30:40.000
<v Speaker 2>sitting with them where they where they where, they know

0:30:41.240 --> 0:30:44.760
<v Speaker 2>that even if they've been taught, even if I'm talking

0:30:44.760 --> 0:30:48.560
<v Speaker 2>to them about a specific song or something that everyone's

0:30:48.560 --> 0:30:51.400
<v Speaker 2>asked them about for years. Maybe with the Honeys, maybe

0:30:51.400 --> 0:30:53.480
<v Speaker 2>I'm asking about He's a doll or something, or we're

0:30:53.520 --> 0:30:56.320
<v Speaker 2>just working with Brian and meeting Brian at the Pandora's box.

0:30:58.280 --> 0:31:03.040
<v Speaker 2>They they see the you know, I'm genuinely interested and

0:31:03.080 --> 0:31:06.120
<v Speaker 2>that I want to make sure their story is told

0:31:06.320 --> 0:31:07.600
<v Speaker 2>the way they wanted to be heard.

0:31:08.200 --> 0:31:11.440
<v Speaker 1>So how did you connect with Marilyn? How many times

0:31:11.440 --> 0:31:14.520
<v Speaker 1>have you spoken with her? Was she forthcoming because there's

0:31:14.520 --> 0:31:17.520
<v Speaker 1>a lot of information in the book, or was it

0:31:17.520 --> 0:31:18.920
<v Speaker 1>over time she opened up?

0:31:20.440 --> 0:31:25.720
<v Speaker 2>It's over time, you know, when you a lot of me.

0:31:26.080 --> 0:31:28.120
<v Speaker 2>You moved to California, and I'm kind of envious at

0:31:28.120 --> 0:31:31.360
<v Speaker 2>that because I think if I lived out there, it

0:31:31.400 --> 0:31:33.440
<v Speaker 2>would have been so much easier to say, you know,

0:31:33.560 --> 0:31:35.040
<v Speaker 2>ring people up and say hey, I want to come

0:31:35.080 --> 0:31:38.240
<v Speaker 2>over and visit with you, that type of thing. And

0:31:38.280 --> 0:31:41.360
<v Speaker 2>so when you live because I live on the East Coast,

0:31:41.520 --> 0:31:45.160
<v Speaker 2>that took a little bit longer and just kind of

0:31:45.160 --> 0:31:47.760
<v Speaker 2>making sure they were getting the magazine and letting them

0:31:47.880 --> 0:31:50.120
<v Speaker 2>see the product and letting them see the way the

0:31:50.200 --> 0:31:53.800
<v Speaker 2>history was being treated. So yeah, so over time it

0:31:53.840 --> 0:31:57.600
<v Speaker 2>was an opening up. And I think that is because

0:31:58.400 --> 0:32:01.640
<v Speaker 2>and you're well aware of this, in the music business.

0:32:01.640 --> 0:32:05.840
<v Speaker 2>In the music industry, there are always takers. There's always

0:32:05.920 --> 0:32:10.800
<v Speaker 2>somebody who wants something from you, and you don't know

0:32:11.080 --> 0:32:14.440
<v Speaker 2>who you can trust. And I've seen that, I've watched

0:32:14.440 --> 0:32:23.240
<v Speaker 2>it and frankly, it discussed me. So uh, that is

0:32:24.080 --> 0:32:27.440
<v Speaker 2>so I have trouble with it. I think they deserve

0:32:27.520 --> 0:32:30.400
<v Speaker 2>better than that. How they treat each other as a

0:32:30.400 --> 0:32:33.160
<v Speaker 2>whole other thing. But that's not me. That's not for

0:32:33.240 --> 0:32:36.720
<v Speaker 2>me to decide or to interfere with. You know, when

0:32:36.760 --> 0:32:38.640
<v Speaker 2>I visit with them and they give me their time,

0:32:39.320 --> 0:32:45.040
<v Speaker 2>I'm I'm just so grateful because they're they're trusting me

0:32:45.200 --> 0:32:48.840
<v Speaker 2>to tell their history. And Maryland, Marylynd is a doll.

0:32:49.960 --> 0:32:54.120
<v Speaker 1>Okay, so you make some stuff come alive and I

0:32:54.240 --> 0:32:58.440
<v Speaker 1>learn new stuff in them meeting at Pandora's Box and

0:32:58.680 --> 0:33:02.080
<v Speaker 1>then spending a lot of time at her parents' house.

0:33:03.160 --> 0:33:07.160
<v Speaker 1>And in addition, it's well established that they get married

0:33:07.200 --> 0:33:10.920
<v Speaker 1>when she is extremely young. Since you in that they

0:33:11.080 --> 0:33:15.840
<v Speaker 1>go far, that far deep, what did the parents think that.

0:33:15.920 --> 0:33:19.520
<v Speaker 2>Well, that's a great question. I'm I'm right now. And

0:33:19.560 --> 0:33:22.880
<v Speaker 2>by saying right now, I'm like current day, very intrigued

0:33:23.280 --> 0:33:28.520
<v Speaker 2>by Irving and may Rovel's story. And I've and I've

0:33:29.000 --> 0:33:32.200
<v Speaker 2>kind of been trying to crack that egg to get into,

0:33:32.240 --> 0:33:34.520
<v Speaker 2>you know, a little bit more about that. And it's

0:33:34.520 --> 0:33:40.560
<v Speaker 2>interesting because Marilyn's somewhat guarded when it comes to that

0:33:40.640 --> 0:33:44.600
<v Speaker 2>part of her life that the parents. I've experienced that

0:33:44.640 --> 0:33:48.360
<v Speaker 2>a number of times with her. Ginger is much more

0:33:48.400 --> 0:33:51.240
<v Speaker 2>open and she's a she's her cousin, you know, fellow honey.

0:33:52.160 --> 0:33:55.880
<v Speaker 2>And Ginger is a lot more talkative about her May

0:33:55.880 --> 0:33:58.040
<v Speaker 2>and Irving, and I've been able to kind of get

0:33:58.120 --> 0:34:01.320
<v Speaker 2>Carnie and Wendy to talk about their grandparents a little

0:34:01.360 --> 0:34:04.640
<v Speaker 2>bit too. I'm actually right now trying to do I'm

0:34:04.680 --> 0:34:07.160
<v Speaker 2>trying to put a whole focus on the female side

0:34:07.160 --> 0:34:09.440
<v Speaker 2>of the family to kind of bring more attention and

0:34:09.560 --> 0:34:12.920
<v Speaker 2>light to them, because Carney and Wundy are so talented,

0:34:13.280 --> 0:34:18.160
<v Speaker 2>and Marilyn and her sister Diane and their baby sister Barbara,

0:34:18.239 --> 0:34:21.920
<v Speaker 2>who most people don't even know of. I'm interviewing Barbera

0:34:22.000 --> 0:34:24.360
<v Speaker 2>right now, so I'm trying to kind of tell the

0:34:24.800 --> 0:34:29.360
<v Speaker 2>Rovell sisters story and bring more focus to it, and

0:34:29.880 --> 0:34:32.760
<v Speaker 2>hopefully through that process, I'm hoping to understand more about

0:34:33.160 --> 0:34:36.920
<v Speaker 2>man Irving. But from what I understand, they were more

0:34:36.960 --> 0:34:40.799
<v Speaker 2>than happy to have Brian come over and stay and

0:34:40.880 --> 0:34:45.200
<v Speaker 2>it just didn't seem to matter, so which goes kind

0:34:45.200 --> 0:34:48.680
<v Speaker 2>of against the times because most people you go back

0:34:48.680 --> 0:34:51.640
<v Speaker 2>to that era that was just not allowed that was

0:34:51.719 --> 0:34:55.600
<v Speaker 2>just like, how could you even But they loved Brian

0:34:55.880 --> 0:35:00.440
<v Speaker 2>and that Bob. That's like the greatest treasure all of

0:35:00.520 --> 0:35:03.759
<v Speaker 2>doing this magazine for so long and discovering these stories

0:35:03.880 --> 0:35:08.440
<v Speaker 2>is the fact that this familial this very rooted familial

0:35:09.160 --> 0:35:12.960
<v Speaker 2>ties that bind them together before you even start to

0:35:13.000 --> 0:35:16.440
<v Speaker 2>talk about the music, you know, and how much family

0:35:16.560 --> 0:35:18.160
<v Speaker 2>was important to them.

0:35:19.160 --> 0:35:21.400
<v Speaker 1>The other thing you make come alive in the book

0:35:21.880 --> 0:35:26.120
<v Speaker 1>is the interim between Brian living the family home and

0:35:26.239 --> 0:35:29.480
<v Speaker 1>moving in with Marylyn. You talk about him living in

0:35:29.520 --> 0:35:32.719
<v Speaker 1>an apartment, having a roommate. You bring up people that

0:35:32.760 --> 0:35:36.160
<v Speaker 1>I've never even heard of him producing all these different records.

0:35:36.160 --> 0:35:37.359
<v Speaker 1>Tell us a little bit about that.

0:35:37.920 --> 0:35:42.080
<v Speaker 2>Oh sure, gosh, man, it was just so cool for

0:35:42.200 --> 0:35:45.640
<v Speaker 2>me to get into Brian his production work outside the

0:35:45.640 --> 0:35:49.799
<v Speaker 2>Beach Boys because one of the common I think, one

0:35:49.800 --> 0:35:52.120
<v Speaker 2>of the common knowledge things when it comes to Beach

0:35:52.160 --> 0:35:54.839
<v Speaker 2>Boy fandom that you don't even have to be too

0:35:54.840 --> 0:35:57.600
<v Speaker 2>hardcore of a fan to even realize is that they

0:35:57.640 --> 0:36:00.399
<v Speaker 2>put out twelve albums in four years and know that

0:36:00.880 --> 0:36:02.960
<v Speaker 2>you go, oh my god, how could they have done that?

0:36:03.440 --> 0:36:03.640
<v Speaker 1>Well?

0:36:03.800 --> 0:36:07.880
<v Speaker 2>Brian, No wonder Brian stopped touring well, he was doing

0:36:07.960 --> 0:36:12.080
<v Speaker 2>more than that which is even which is I guess

0:36:12.160 --> 0:36:15.480
<v Speaker 2>the right. My word might be absurd because he was

0:36:15.560 --> 0:36:19.759
<v Speaker 2>working so hard. It's just he was. He was a sponge.

0:36:20.239 --> 0:36:22.920
<v Speaker 2>And you and I'm going to jump ahead and then

0:36:23.000 --> 0:36:25.800
<v Speaker 2>jump back. You get to hear him being a sponge

0:36:25.840 --> 0:36:28.680
<v Speaker 2>on the pet Sounds box set sessions that you know,

0:36:29.200 --> 0:36:32.839
<v Speaker 2>you when when one of the LA session musicians comes

0:36:32.920 --> 0:36:34.920
<v Speaker 2>up with an idea like Al Delori or Al Blaine

0:36:35.000 --> 0:36:37.480
<v Speaker 2>or somebody, and he'll go play that again or no,

0:36:37.560 --> 0:36:40.279
<v Speaker 2>what was what was it? Let's let's let's go with that.

0:36:40.640 --> 0:36:46.160
<v Speaker 2>So that that element of Brian's personality was rooted in

0:36:46.200 --> 0:36:48.480
<v Speaker 2>his pure love of music. And then you go all

0:36:48.520 --> 0:36:50.799
<v Speaker 2>the way back to the early sixties and he was

0:36:50.840 --> 0:36:54.719
<v Speaker 2>working with Gary Usher, and he was working with uh

0:36:55.680 --> 0:36:59.760
<v Speaker 2>Roger Christian and and and to your point, Bob Norberg

0:36:59.880 --> 0:37:04.080
<v Speaker 2>his his roommate. And then this guy Dave Nolan moves

0:37:04.080 --> 0:37:09.279
<v Speaker 2>in next store and it's it's my greatest regret, Bob,

0:37:09.320 --> 0:37:12.000
<v Speaker 2>when I'm not able to like when someone's not here anymore,

0:37:12.920 --> 0:37:15.360
<v Speaker 2>when I because they talked to Dave. And as you

0:37:15.440 --> 0:37:18.440
<v Speaker 2>read and Richelarian, we learn about this guy rich Larian,

0:37:18.480 --> 0:37:20.960
<v Speaker 2>who is one of the members of the survivors with

0:37:20.960 --> 0:37:24.080
<v Speaker 2>with Bob Norberg and Dave Nolan and Brian, they were

0:37:24.080 --> 0:37:27.759
<v Speaker 2>the survivors and I sow which Rich was still here

0:37:27.800 --> 0:37:30.400
<v Speaker 2>with us today so that we could tell his story.

0:37:30.960 --> 0:37:36.360
<v Speaker 2>But it's it's it's fascinating how much Brian was open

0:37:36.440 --> 0:37:41.160
<v Speaker 2>to incorporating ideas and if you played an instrument, and

0:37:41.200 --> 0:37:44.160
<v Speaker 2>if you were lucky enough to live next store, then

0:37:44.680 --> 0:37:47.399
<v Speaker 2>then by god, bring your guitar over, or hey, I've

0:37:47.400 --> 0:37:50.400
<v Speaker 2>got this song idea, what do you think? And it

0:37:50.600 --> 0:37:53.919
<v Speaker 2>just was like, it's it's like almost kind of when

0:37:53.920 --> 0:37:57.759
<v Speaker 2>I read it now, it's almost like literally watching It's

0:37:57.800 --> 0:37:59.279
<v Speaker 2>like if you go out and plant a garden and

0:37:59.280 --> 0:38:02.760
<v Speaker 2>then you get the walk to grow. It's the musical

0:38:02.840 --> 0:38:05.120
<v Speaker 2>roots of his you know, coming to fruition.

0:38:06.400 --> 0:38:10.280
<v Speaker 1>I'm sure you've dealt with Brian in his later years.

0:38:10.880 --> 0:38:13.360
<v Speaker 1>I certainly have. A lot of people are no longer

0:38:13.440 --> 0:38:18.880
<v Speaker 1>with us, But towards the very end he was more verbal,

0:38:19.160 --> 0:38:22.719
<v Speaker 1>but it was not like talking to an average person's

0:38:22.719 --> 0:38:26.160
<v Speaker 1>so they've seen video of a halting speech. He was

0:38:26.239 --> 0:38:29.720
<v Speaker 1>definitely I'm not a doctor, but appears to be schizophrenic.

0:38:30.320 --> 0:38:32.920
<v Speaker 1>I know from people who worked with him, he was

0:38:32.960 --> 0:38:37.040
<v Speaker 1>afraid of being shot on stage. Are you telling me

0:38:37.080 --> 0:38:42.080
<v Speaker 1>in your mind that he had this open I'm part

0:38:42.120 --> 0:38:45.880
<v Speaker 1>of the group, I have all these friends. He was

0:38:45.920 --> 0:38:51.000
<v Speaker 1>a different guy before things turned bad. It's almost hard

0:38:51.000 --> 0:38:52.840
<v Speaker 1>to believe if you knew him as an adult.

0:38:53.760 --> 0:38:59.160
<v Speaker 2>Yeah, yeah, he was very different. And I and when

0:38:59.160 --> 0:39:02.840
<v Speaker 2>I hear these stories he's from family and friends and colleagues,

0:39:03.680 --> 0:39:06.560
<v Speaker 2>it really makes me wish I knew that guy, you know,

0:39:07.719 --> 0:39:12.360
<v Speaker 2>because he was he was. I I've often said this

0:39:12.440 --> 0:39:15.920
<v Speaker 2>about Brian. I think he was an accidental tourist in

0:39:15.960 --> 0:39:19.680
<v Speaker 2>the music industry. He just was so good. He had

0:39:19.760 --> 0:39:24.799
<v Speaker 2>no idea, and then when it became a parent gat

0:39:24.960 --> 0:39:27.880
<v Speaker 2>how good he was, he still didn't quite know what

0:39:27.960 --> 0:39:30.719
<v Speaker 2>to do with it, right. He still didn't think he

0:39:30.920 --> 0:39:34.560
<v Speaker 2>was you know, the cat's pajamas. He still was just

0:39:34.680 --> 0:39:38.640
<v Speaker 2>doing what he loved. It never changed, you know, Dennis

0:39:38.680 --> 0:39:40.840
<v Speaker 2>bringing the idea of let's do a song about surfing,

0:39:40.880 --> 0:39:43.360
<v Speaker 2>and then they kind of created and crafted that idea

0:39:43.360 --> 0:39:47.600
<v Speaker 2>a lot. You know, that ideological framework for all their

0:39:47.600 --> 0:39:51.440
<v Speaker 2>early records that worked well for them. But it's the

0:39:51.520 --> 0:39:55.120
<v Speaker 2>songs like Lonely See that Peek Through or in My

0:39:55.280 --> 0:39:59.600
<v Speaker 2>Room that jumps at you that here's this. You could

0:39:59.640 --> 0:40:04.560
<v Speaker 2>tell those moments that this was a wounded soul, but

0:40:04.680 --> 0:40:10.400
<v Speaker 2>he had his act together as good as anybody alive

0:40:10.640 --> 0:40:13.120
<v Speaker 2>at the time. And and I'll go back to the

0:40:13.239 --> 0:40:17.800
<v Speaker 2>Endless Harmony documentary from the late nineties where Terry Melcher

0:40:17.920 --> 0:40:22.239
<v Speaker 2>on camera says, Brian changed the industry, you know, and

0:40:22.320 --> 0:40:24.440
<v Speaker 2>he did and he and he almost changed it in

0:40:24.440 --> 0:40:28.000
<v Speaker 2>a way that nobody understood because he did it through love.

0:40:29.760 --> 0:40:32.680
<v Speaker 2>He did it through love, because that's that's he loved

0:40:32.800 --> 0:40:36.319
<v Speaker 2>music and that was his conduit and that's yeah. So

0:40:36.400 --> 0:40:39.920
<v Speaker 2>he was a completely different human being at that period

0:40:40.000 --> 0:40:42.600
<v Speaker 2>in his life. And boy, would I have liked to

0:40:42.600 --> 0:40:43.600
<v Speaker 2>have known that guy.

0:40:52.600 --> 0:40:55.719
<v Speaker 1>Okay, to what do you you know? There's some medical

0:40:56.320 --> 0:41:01.200
<v Speaker 1>biological stuff supposedly, assuming it was schizophrenia, tends to really

0:41:01.200 --> 0:41:05.399
<v Speaker 1>evidence itself between twenty five and thirty. But to what

0:41:05.560 --> 0:41:10.239
<v Speaker 1>degree do you believe his left turn was a result

0:41:10.640 --> 0:41:16.719
<v Speaker 1>of the rejection of both pet sounds and smile or

0:41:16.960 --> 0:41:18.800
<v Speaker 1>LSD or whatever.

0:41:20.480 --> 0:41:26.200
<v Speaker 2>I'm going to do my best unpack that because that's loaded. So,

0:41:27.440 --> 0:41:31.000
<v Speaker 2>as I write in the book in my introduction, one

0:41:31.000 --> 0:41:35.440
<v Speaker 2>of the things that has hasn't deterred me from trying

0:41:35.480 --> 0:41:39.759
<v Speaker 2>to just learn the memories of everyone is to get

0:41:39.760 --> 0:41:41.400
<v Speaker 2>out of the way of what I've read in third

0:41:41.800 --> 0:41:46.359
<v Speaker 2>third party account books or books that editorialize what they

0:41:46.400 --> 0:41:51.759
<v Speaker 2>believe happened. And so I think it's tricky territory if

0:41:51.760 --> 0:41:56.640
<v Speaker 2>you just start to assume. But I can say I

0:41:56.680 --> 0:42:01.839
<v Speaker 2>do believe that Brian got into too many things, and

0:42:01.920 --> 0:42:06.840
<v Speaker 2>things being drugs, too many within a small short timeframe.

0:42:08.080 --> 0:42:11.759
<v Speaker 2>You know, Mike talks about it in the book, and

0:42:11.800 --> 0:42:14.759
<v Speaker 2>I don't agree with disagree with it that. You know,

0:42:14.920 --> 0:42:20.680
<v Speaker 2>some people can do drugs and function just fine. Other

0:42:20.960 --> 0:42:29.080
<v Speaker 2>people can't. And now I can't. I absolutely cannot say

0:42:29.120 --> 0:42:33.319
<v Speaker 2>that Brian smoking marijuana during Pet Sounds was a bad thing,

0:42:33.520 --> 0:42:37.440
<v Speaker 2>because he's called it his marijuana album. When I listened

0:42:37.440 --> 0:42:40.680
<v Speaker 2>to Pet Sounds that I absolutely melt and it's like

0:42:40.719 --> 0:42:44.960
<v Speaker 2>one of the greatest records ever made. So I'm not

0:42:45.040 --> 0:42:47.200
<v Speaker 2>about to say, well, that was a bad thing. In fact,

0:42:47.440 --> 0:42:49.279
<v Speaker 2>I would say because of how great it is, it

0:42:49.320 --> 0:42:51.960
<v Speaker 2>must have been a really great thing, because he really

0:42:52.040 --> 0:42:56.799
<v Speaker 2>brought something special to life through that experimentation and going

0:42:56.840 --> 0:43:01.120
<v Speaker 2>back to California Girls in sixty five, he's he's he

0:43:01.160 --> 0:43:05.160
<v Speaker 2>has said that he was tripping on acid. So I mean,

0:43:05.200 --> 0:43:08.040
<v Speaker 2>does he come up with the with the Western bit

0:43:08.120 --> 0:43:10.680
<v Speaker 2>and the beginning with the Bach choral arrangement. Does any

0:43:10.719 --> 0:43:15.520
<v Speaker 2>of that happen? We don't know, So I just think

0:43:15.520 --> 0:43:18.200
<v Speaker 2>it was the pressure. I think it's a combination Bob

0:43:18.320 --> 0:43:23.719
<v Speaker 2>of the drug use with the pressure of the expectations

0:43:24.840 --> 0:43:28.279
<v Speaker 2>and the demand because he took quite a while with

0:43:28.360 --> 0:43:32.879
<v Speaker 2>good Vibrations, it took five months or so, and I

0:43:32.920 --> 0:43:35.200
<v Speaker 2>think had he been given the time to do the

0:43:35.239 --> 0:43:41.799
<v Speaker 2>same thing with Smile, it would have happened. And you

0:43:41.840 --> 0:43:46.080
<v Speaker 2>know the other wrinkle with Smile is, you know the

0:43:46.120 --> 0:43:48.480
<v Speaker 2>guys coming back from and this started to happen with

0:43:48.560 --> 0:43:50.920
<v Speaker 2>Pet Sounds. You know, they would come back from touring

0:43:50.920 --> 0:43:54.480
<v Speaker 2>and they would listen and then they'd go, how did

0:43:54.520 --> 0:43:59.200
<v Speaker 2>we get here? Because it was such an incredible advancement

0:43:59.480 --> 0:44:05.440
<v Speaker 2>in sound and in creativity. But I don't think Brian purposely.

0:44:06.239 --> 0:44:09.560
<v Speaker 2>That's what's so beautiful about Brian is he never did

0:44:09.560 --> 0:44:12.839
<v Speaker 2>it on purpose. It just came inherently natural to him.

0:44:13.520 --> 0:44:16.320
<v Speaker 2>So I don't know. David Mark said this to me once.

0:44:17.280 --> 0:44:19.520
<v Speaker 2>I'm really glad we're talking about this. David Mark said

0:44:19.520 --> 0:44:23.000
<v Speaker 2>to me, once, you know, Brian didn't need drugs on

0:44:23.040 --> 0:44:27.280
<v Speaker 2>those early records, so why would he have needed them later?

0:44:29.120 --> 0:44:31.399
<v Speaker 2>And I think that's what I think. That's a really

0:44:31.440 --> 0:44:32.480
<v Speaker 2>great point.

0:44:33.239 --> 0:44:36.200
<v Speaker 1>Okay, as you've gone on record here that you have

0:44:36.239 --> 0:44:41.760
<v Speaker 1>a fascination with Smile, it was a mystery album. Ultimately

0:44:41.800 --> 0:44:47.439
<v Speaker 1>there was a box set, then Brian completes it. How

0:44:47.719 --> 0:44:52.280
<v Speaker 1>happy are you with the twenty first century version of Smile?

0:44:56.120 --> 0:44:59.000
<v Speaker 2>What I'll say this is not a musical statement. This

0:44:59.160 --> 0:45:04.640
<v Speaker 2>is for Brian. First. I'm glad Brian became comfortable enough

0:45:04.680 --> 0:45:12.760
<v Speaker 2>to complete it. That I think was important. Uh, it's

0:45:13.120 --> 0:45:15.719
<v Speaker 2>He's got an incredible band and I think they did

0:45:15.719 --> 0:45:20.759
<v Speaker 2>an incredible job of executing his vision. And there's nothing

0:45:20.800 --> 0:45:23.239
<v Speaker 2>you can take away from that. But boy, I just

0:45:23.520 --> 0:45:27.600
<v Speaker 2>you can't. You cannot replace the Beach Boys vocals. You

0:45:27.719 --> 0:45:31.600
<v Speaker 2>just can't do it. And you know, Surf's Up My

0:45:32.320 --> 0:45:36.320
<v Speaker 2>is not my favorite song, it's my second favorite, Okay,

0:45:36.360 --> 0:45:39.160
<v Speaker 2>keep going. Kevin Essence is like my all time favorite

0:45:39.160 --> 0:45:43.520
<v Speaker 2>Beach Boy song ever ever, because I don't know to

0:45:43.560 --> 0:45:45.319
<v Speaker 2>this day, and I'm sure there's a song out there

0:45:45.360 --> 0:45:47.879
<v Speaker 2>that somebody can point me in the direction, but when

0:45:48.040 --> 0:45:51.440
<v Speaker 2>I listen to that song, I feel like I'm listening

0:45:51.520 --> 0:45:56.280
<v Speaker 2>to a painting a painting, I feel like I'm listening

0:45:56.360 --> 0:46:01.120
<v Speaker 2>to an American tapestry, like the color of America, the flag,

0:46:01.280 --> 0:46:04.520
<v Speaker 2>the flab, the fabrics, the very fabric of who we

0:46:04.560 --> 0:46:07.680
<v Speaker 2>are as a society in that moment, in that three

0:46:07.960 --> 0:46:12.120
<v Speaker 2>plus minutes of sound, where they're, where their voices are,

0:46:12.160 --> 0:46:15.319
<v Speaker 2>the steam coming out of the of the engine. And

0:46:16.320 --> 0:46:18.840
<v Speaker 2>I still remember I was one of the first people

0:46:18.880 --> 0:46:21.640
<v Speaker 2>to interview Brian about a Smile track. It was in

0:46:21.920 --> 0:46:25.200
<v Speaker 2>two thousand and it was before Smile was even a thing,

0:46:25.280 --> 0:46:29.279
<v Speaker 2>and I interviewed him about cabinescence and it was just

0:46:29.320 --> 0:46:31.399
<v Speaker 2>out of the blue and he was totally into it.

0:46:31.719 --> 0:46:33.640
<v Speaker 2>And he says, you know how I got that picking sound?

0:46:33.719 --> 0:46:35.319
<v Speaker 2>I said, no, how'd you do how'd you do that?

0:46:35.400 --> 0:46:40.080
<v Speaker 2>He goes, I had everybody take metal guitar picks and

0:46:40.080 --> 0:46:42.520
<v Speaker 2>and click them on there, uh on the on the

0:46:42.600 --> 0:46:45.600
<v Speaker 2>twisting knaves on the guitar. That's how we did that.

0:46:45.840 --> 0:46:50.080
<v Speaker 2>And I'm like, what, So, you know, it's kind of

0:46:50.080 --> 0:46:52.440
<v Speaker 2>like Carolin, know where he was an upside down milk juger,

0:46:52.520 --> 0:46:54.799
<v Speaker 2>water jugg or whatever it was. I mean, just you know,

0:46:55.360 --> 0:47:00.320
<v Speaker 2>just that again, knowing he wanted something and find a

0:47:00.360 --> 0:47:04.359
<v Speaker 2>way to get there and to me, there's just absolutely

0:47:04.400 --> 0:47:07.240
<v Speaker 2>nothing like cabin Essence that I cared.

0:47:08.239 --> 0:47:12.760
<v Speaker 1>The first public version is on twenty twenty. Which version

0:47:13.520 --> 0:47:15.879
<v Speaker 1>you know, it's the same, but they're all different when

0:47:15.880 --> 0:47:17.920
<v Speaker 1>you're talking to and I think your analogy to painting

0:47:18.000 --> 0:47:21.960
<v Speaker 1>is brilliant, But which version is the one that resonates

0:47:21.960 --> 0:47:22.480
<v Speaker 1>with you.

0:47:25.600 --> 0:47:25.719
<v Speaker 3>All?

0:47:25.800 --> 0:47:30.080
<v Speaker 2>The one off the Smile Box, the Smilebox sessions, That's

0:47:30.239 --> 0:47:34.400
<v Speaker 2>that's the one because it goes back to the it's

0:47:34.440 --> 0:47:38.080
<v Speaker 2>a little bit more unpolished than the twenty twenty version.

0:47:38.280 --> 0:47:40.560
<v Speaker 2>They you know, they did it and remark and that's

0:47:40.560 --> 0:47:43.040
<v Speaker 2>how I discovered twenty you know, it was through twenty twenty.

0:47:43.440 --> 0:47:46.400
<v Speaker 2>I discovered cabin Essence on twenty twenty along with our prayer,

0:47:47.480 --> 0:47:51.640
<v Speaker 2>and just had no idea until when I got Dominic's book.

0:47:51.680 --> 0:47:54.120
<v Speaker 2>Then I was able to piece all these different things

0:47:54.160 --> 0:47:57.600
<v Speaker 2>together and understand that it was in fact a smile

0:47:57.719 --> 0:48:03.399
<v Speaker 2>track but easily and actually, my friendly Dempsey who would

0:48:03.440 --> 0:48:06.320
<v Speaker 2>do the magazine with he's got an asset tate of

0:48:06.719 --> 0:48:08.839
<v Speaker 2>an early version of cabin Essence where you can hear

0:48:08.880 --> 0:48:12.879
<v Speaker 2>Dennis is veried catch ass old truck driving man bit.

0:48:13.280 --> 0:48:16.880
<v Speaker 2>It's a little bit higher in the mix. That's that's really.

0:48:16.680 --> 0:48:24.400
<v Speaker 1>Cool since you mentioned Dennis. Dennis in the public consciousness

0:48:24.760 --> 0:48:28.040
<v Speaker 1>has a very good reputation. But if you go back

0:48:28.040 --> 0:48:32.680
<v Speaker 1>to the sixties and seventies, he did not ay. People said,

0:48:32.719 --> 0:48:36.360
<v Speaker 1>could he play the drums? People said he was uncontrollable.

0:48:36.880 --> 0:48:40.919
<v Speaker 1>See he poked the beer. In terms of romantic relationship

0:48:40.960 --> 0:48:54.120
<v Speaker 1>with the offspring of my love, what you learn about Dennis.

0:48:50.120 --> 0:48:55.040
<v Speaker 2>What the type of brother that he was through Brian,

0:48:56.880 --> 0:49:03.040
<v Speaker 2>that he that he was, that he was an attentive brother.

0:49:03.680 --> 0:49:05.640
<v Speaker 2>You know again, you know I touched earlier on the

0:49:05.719 --> 0:49:12.160
<v Speaker 2>kind of that familial element of their story. And you know,

0:49:12.200 --> 0:49:14.879
<v Speaker 2>I've learned a lot about Dennis through again, through through

0:49:14.960 --> 0:49:19.439
<v Speaker 2>different books, through documentaries, and get a sense of who

0:49:19.440 --> 0:49:23.960
<v Speaker 2>he was. I never did get to see him in concert.

0:49:24.000 --> 0:49:25.640
<v Speaker 2>The earliest speech Boy show I ever saw was in

0:49:25.719 --> 0:49:27.480
<v Speaker 2>eighty three, and by that time he was he was

0:49:27.520 --> 0:49:30.360
<v Speaker 2>still alive at the time, but not touring with them,

0:49:30.680 --> 0:49:32.600
<v Speaker 2>So I never did get to see him in concert.

0:49:33.440 --> 0:49:35.000
<v Speaker 2>And don't know how good he would have been in

0:49:35.040 --> 0:49:37.520
<v Speaker 2>eighty three anyways, from the condition he was in at

0:49:37.520 --> 0:49:41.520
<v Speaker 2>that time. But he was a robust human being. There's

0:49:41.520 --> 0:49:44.240
<v Speaker 2>no getting around it. If you watch that Tammy Show.

0:49:44.360 --> 0:49:46.160
<v Speaker 2>You know, if you go back and watch the Tammy Show,

0:49:46.200 --> 0:49:52.920
<v Speaker 2>he was wrote man, he he was the just that energy,

0:49:54.320 --> 0:49:59.400
<v Speaker 2>just that live Uh what do you call it? I

0:49:59.440 --> 0:50:03.759
<v Speaker 2>mean just lighting in a bottle energy, just like just

0:50:03.840 --> 0:50:06.399
<v Speaker 2>kind of the time, just even that time you watch

0:50:06.440 --> 0:50:09.719
<v Speaker 2>the Tammy Show and that that whole show. But my god,

0:50:09.840 --> 0:50:15.560
<v Speaker 2>watching Dennis play drums is fun. He's just so full

0:50:15.600 --> 0:50:19.520
<v Speaker 2>of energy. But so I don't, really, I can't. I

0:50:19.600 --> 0:50:21.960
<v Speaker 2>learned a lot. One of the things I enjoyed learning

0:50:22.000 --> 0:50:26.520
<v Speaker 2>about Dennis was interviewing, and that'll be in the next

0:50:26.520 --> 0:50:30.120
<v Speaker 2>book or the one after that, is interviewing people about

0:50:30.120 --> 0:50:35.000
<v Speaker 2>the Pacific Ocean Blue album, which I absolutely adore because

0:50:35.000 --> 0:50:39.080
<v Speaker 2>it's so emotionally meaty. It's got so much, you know,

0:50:39.880 --> 0:50:43.440
<v Speaker 2>it's as so beautifully raw as anything as pet sounds

0:50:43.480 --> 0:50:47.840
<v Speaker 2>to me. It's so great. But Dennis, I'll give you

0:50:47.880 --> 0:50:51.480
<v Speaker 2>one example. I was talking to Jerry Shilling about Dennis

0:50:51.520 --> 0:50:59.200
<v Speaker 2>and Billy Henshey and Robert Lamb, and it was funny

0:50:59.320 --> 0:51:01.680
<v Speaker 2>that they all have this thing. When I'd be talking

0:51:01.719 --> 0:51:03.799
<v Speaker 2>to the marascue him a question about Dennis, and there'd

0:51:03.800 --> 0:51:06.200
<v Speaker 2>be some point in one of their answers where they'd

0:51:06.200 --> 0:51:09.400
<v Speaker 2>all make this kind of hmm, and it was like

0:51:09.480 --> 0:51:12.760
<v Speaker 2>a like almost like a laugh because you could tell

0:51:13.120 --> 0:51:16.400
<v Speaker 2>something was going on in their memories that was reminding

0:51:16.480 --> 0:51:19.560
<v Speaker 2>them of something that Dennis did in front of them,

0:51:19.880 --> 0:51:24.719
<v Speaker 2>that kind of just like oh, like, oh hell, you know,

0:51:25.320 --> 0:51:27.440
<v Speaker 2>so I know. He was quite the character, and he

0:51:27.520 --> 0:51:29.879
<v Speaker 2>was certainly the things that you know, rock and roll

0:51:30.680 --> 0:51:32.840
<v Speaker 2>tales are made of, especially if you listen to the

0:51:32.880 --> 0:51:34.840
<v Speaker 2>twenty twenty album and the All I Want to Do

0:51:34.880 --> 0:51:36.880
<v Speaker 2>at the end where he's having his way with a

0:51:36.920 --> 0:51:40.279
<v Speaker 2>girl on a mattress in the studio and then left

0:51:40.280 --> 0:51:47.520
<v Speaker 2>it for Mike. You know, Mike, there's a little something

0:51:47.600 --> 0:51:51.960
<v Speaker 2>for you. So he's you know, he's the thing. He's

0:51:52.120 --> 0:51:54.319
<v Speaker 2>it's a rock and roll legend. But you know what,

0:51:54.440 --> 0:51:58.239
<v Speaker 2>he he brought so much uh piss and vinegar to

0:51:58.280 --> 0:52:01.799
<v Speaker 2>that group, and I'm so glad he did because you know,

0:52:02.400 --> 0:52:05.120
<v Speaker 2>every every group needs that kind of because that wasn't

0:52:05.160 --> 0:52:09.719
<v Speaker 2>Brian's thing. Brian wasn't that live get up and Mike

0:52:09.880 --> 0:52:12.279
<v Speaker 2>was back in the sixties was doing all he could

0:52:12.320 --> 0:52:13.960
<v Speaker 2>to kind of hone what he was going to be

0:52:14.080 --> 0:52:17.160
<v Speaker 2>as a as a front man. But Dennis was just

0:52:17.280 --> 0:52:20.160
<v Speaker 2>the shit back there on those drums.

0:52:20.719 --> 0:52:24.440
<v Speaker 1>Okay, since you're so close to it, much more than

0:52:24.480 --> 0:52:29.480
<v Speaker 1>the average person. Was Dennis oblivious when he got involved

0:52:29.480 --> 0:52:33.120
<v Speaker 1>with the Manton family or was there part of his

0:52:33.280 --> 0:52:36.960
<v Speaker 1>personality that this is something he would do and he

0:52:37.000 --> 0:52:40.560
<v Speaker 1>could he could see something wasn't right, but he played

0:52:40.600 --> 0:52:41.440
<v Speaker 1>along anyway.

0:52:43.760 --> 0:52:48.800
<v Speaker 2>Great question, uh, based on my knowledge of the circumstances

0:52:48.840 --> 0:52:51.880
<v Speaker 2>that led to that him picking up a couple of

0:52:51.920 --> 0:53:00.640
<v Speaker 2>cute girls hitchhiking Dennis right, oh, sex tonight, Right, That's

0:53:00.680 --> 0:53:03.120
<v Speaker 2>all that went through the brain and the rest of

0:53:03.160 --> 0:53:07.760
<v Speaker 2>the body. Okay, look, I'm gonna have some fun tonight.

0:53:07.840 --> 0:53:10.680
<v Speaker 2>And so that was the extent of the pickup. I mean,

0:53:10.880 --> 0:53:13.080
<v Speaker 2>I feel pretty sure that that's what was going through

0:53:13.080 --> 0:53:20.640
<v Speaker 2>the mind. Then meeting Charlie, and you know, I there's

0:53:20.680 --> 0:53:23.520
<v Speaker 2>an interview that I've never printed before, and I'm considering

0:53:23.520 --> 0:53:28.919
<v Speaker 2>for the second book with Stan Shapiro. Stan was quite

0:53:28.960 --> 0:53:32.120
<v Speaker 2>close to Dennis and was a driver for him and

0:53:32.200 --> 0:53:34.440
<v Speaker 2>wrote and would and would also co write some songs

0:53:34.440 --> 0:53:39.480
<v Speaker 2>with Dennis. And he talks about the Manson thing to

0:53:39.520 --> 0:53:45.200
<v Speaker 2>a degree, and and Bob, that's just that's just such

0:53:46.120 --> 0:53:52.520
<v Speaker 2>icky shit. It it really is. It's just you know,

0:53:52.719 --> 0:53:56.880
<v Speaker 2>when Dennis shows up at his house and Manson's there unannounced,

0:53:57.480 --> 0:54:01.840
<v Speaker 2>standing on his steps waiting for him, And yeah, granted

0:54:02.640 --> 0:54:05.520
<v Speaker 2>Dennis was interested. Oh look, this guy can control an

0:54:05.680 --> 0:54:09.080
<v Speaker 2>entire room of women and have an orgy. Okay, yeah,

0:54:09.120 --> 0:54:13.319
<v Speaker 2>I'm into that. I can. Yeah, sure. But then as

0:54:13.360 --> 0:54:16.480
<v Speaker 2>the days went on, and then Charlie had songs of

0:54:16.520 --> 0:54:20.840
<v Speaker 2>his own and wanted to be a recording artist, and

0:54:20.840 --> 0:54:23.560
<v Speaker 2>I know, and they they bring him in and introduce

0:54:23.640 --> 0:54:28.480
<v Speaker 2>him to Melcher, and Melcher can immediately immediately reads this

0:54:28.560 --> 0:54:30.600
<v Speaker 2>guy's out of his mind. He's a creepy dude. I

0:54:30.640 --> 0:54:33.200
<v Speaker 2>don't want to be around him. Radar goes off right away,

0:54:34.200 --> 0:54:37.160
<v Speaker 2>you know. And then ultimately that leads Manson to sending

0:54:37.480 --> 0:54:40.359
<v Speaker 2>the people to the house met that was Melcher's house

0:54:40.400 --> 0:54:43.440
<v Speaker 2>that but he's renting out the Roman Polanski and that's

0:54:43.440 --> 0:54:47.719
<v Speaker 2>where those deaths occur. So yeah, it's just you know,

0:54:47.840 --> 0:54:52.759
<v Speaker 2>Dean Torrence told me the night after that happened, when

0:54:52.800 --> 0:54:55.719
<v Speaker 2>they all woke up to the news, he said, everybody

0:54:55.760 --> 0:54:59.359
<v Speaker 2>cut their hair because nobody wanted to be associated as

0:54:59.400 --> 0:55:05.960
<v Speaker 2>a hippie because of Manson. So that's really really strange

0:55:05.960 --> 0:55:07.000
<v Speaker 2>and weird times for them.

0:55:07.719 --> 0:55:14.120
<v Speaker 1>Okay, what about the destruction of the foreign audimobile. I

0:55:14.160 --> 0:55:17.799
<v Speaker 1>believe it was a Ferrari and it not being insured.

0:55:19.200 --> 0:55:20.120
<v Speaker 1>What can you tell us?

0:55:20.160 --> 0:55:29.799
<v Speaker 3>There just another night on the towel, you know, just

0:55:31.280 --> 0:55:32.640
<v Speaker 3>you know, that's again.

0:55:33.600 --> 0:55:35.200
<v Speaker 2>You know, he probably had three out of four other

0:55:35.239 --> 0:55:37.560
<v Speaker 2>cars waiting back in his house for him. You know, Okay,

0:55:37.600 --> 0:55:40.520
<v Speaker 2>well there goes there goes to Ferrari. You know, no,

0:55:40.520 --> 0:55:43.759
<v Speaker 2>no worries. I'll just look I'm walking, right.

0:55:43.960 --> 0:55:44.720
<v Speaker 1>I mean, so.

0:55:46.160 --> 0:55:48.560
<v Speaker 2>He was like that, kind of like Jan Berry was

0:55:48.680 --> 0:55:52.440
<v Speaker 2>like that until he wasn't right. I mean, Jan was

0:55:52.520 --> 0:55:56.640
<v Speaker 2>like Jan was so similar to Dennis. It's crazy. Jan

0:55:56.800 --> 0:56:00.000
<v Speaker 2>had Brian's production skills, but his character in his person

0:56:00.400 --> 0:56:04.839
<v Speaker 2>we're just like Dennis's and that I find fascinating. And

0:56:05.320 --> 0:56:08.359
<v Speaker 2>you you know, you get to a point where Jan

0:56:08.560 --> 0:56:11.319
<v Speaker 2>just finally his his luck runs out, and that did

0:56:11.400 --> 0:56:14.680
<v Speaker 2>not happen with Dennis. But you know, he he ends

0:56:14.760 --> 0:56:18.799
<v Speaker 2>up that whole story about Dennis stuttering and and then

0:56:18.840 --> 0:56:22.480
<v Speaker 2>it just disappearing when after the accident. It's just crazy.

0:56:22.880 --> 0:56:30.640
<v Speaker 2>It's it's like it's it's hard to it's hard to

0:56:30.719 --> 0:56:33.840
<v Speaker 2>kind of quite understand that. But when I when I

0:56:33.880 --> 0:56:37.680
<v Speaker 2>hear these stories, through the the memories of friends or

0:56:37.920 --> 0:56:41.759
<v Speaker 2>family or bandmates. The thing that I take out of

0:56:41.800 --> 0:56:44.680
<v Speaker 2>it is, I don't know about you. When you hear

0:56:44.719 --> 0:56:47.320
<v Speaker 2>these great old stories about these you know, this really

0:56:47.760 --> 0:56:52.160
<v Speaker 2>interesting time, not just in music, but just really interesting time.

0:56:53.160 --> 0:56:56.040
<v Speaker 2>And I was born in sixty five, So I'm kind

0:56:56.080 --> 0:56:58.120
<v Speaker 2>of envious of you that you got to go through

0:56:58.160 --> 0:57:00.520
<v Speaker 2>it as it happened, and by Beatles records and by

0:57:00.520 --> 0:57:03.040
<v Speaker 2>Beach Boys records as they were coming out. Must have

0:57:03.080 --> 0:57:03.960
<v Speaker 2>been incredible.

0:57:04.360 --> 0:57:04.799
<v Speaker 1>It was.

0:57:06.360 --> 0:57:10.640
<v Speaker 2>Yeah, Gary Griffin, who's touring with Al Jardine now, and

0:57:10.680 --> 0:57:12.319
<v Speaker 2>he had been in Brian's band for many years, been

0:57:12.360 --> 0:57:16.200
<v Speaker 2>in the Beach Boys band, Janandine band back into around

0:57:16.280 --> 0:57:19.400
<v Speaker 2>twenty eleven. We were working on some music together and

0:57:19.840 --> 0:57:22.480
<v Speaker 2>we got talking about the year nineteen sixty five, and

0:57:22.520 --> 0:57:26.040
<v Speaker 2>I think it was a paperback Beatles paperback writer picture

0:57:26.080 --> 0:57:30.040
<v Speaker 2>sleeve and he said to me because I said, yeah,

0:57:30.040 --> 0:57:31.560
<v Speaker 2>I was born in sixty five, And he said, Dave,

0:57:31.760 --> 0:57:35.080
<v Speaker 2>I have got to tell you it was so incredible

0:57:35.120 --> 0:57:39.560
<v Speaker 2>in nineteen sixty five. Every day, and you knew every

0:57:39.640 --> 0:57:42.240
<v Speaker 2>day that you woke up and turned on the radio,

0:57:42.640 --> 0:57:45.520
<v Speaker 2>you knew you would hear something cooler than the day

0:57:45.600 --> 0:57:49.320
<v Speaker 2>before it is.

0:57:49.800 --> 0:57:52.840
<v Speaker 1>Wow, Well, music drove the culture, that's for sure.

0:57:53.160 --> 0:57:53.720
<v Speaker 2>Let's talk a.

0:57:53.720 --> 0:57:57.520
<v Speaker 1>Little bit about the money. One thing that you depict

0:57:57.640 --> 0:58:00.680
<v Speaker 1>very well in the book is that a lot of

0:58:00.680 --> 0:58:03.520
<v Speaker 1>the gigs they were playing were what we would consider

0:58:03.600 --> 0:58:06.520
<v Speaker 1>to be low n secondary gigs of it. They're playing

0:58:06.640 --> 0:58:11.840
<v Speaker 1>essentially so cops. People with concert ticket prices today, they

0:58:11.960 --> 0:58:16.680
<v Speaker 1>believe that, oh everybody's rich. So here you have a band.

0:58:17.280 --> 0:58:21.600
<v Speaker 1>It varies, but let's just call it five members. Brian

0:58:21.680 --> 0:58:26.760
<v Speaker 1>writes the tune. Dennis, who had very little input on

0:58:26.800 --> 0:58:30.000
<v Speaker 1>the publishing end at the time you talked about, had

0:58:30.080 --> 0:58:35.200
<v Speaker 1>multiple cars. Two questions. First question, when you talk to

0:58:35.360 --> 0:58:39.320
<v Speaker 1>action from that era, historically, a lot of money has

0:58:39.360 --> 0:58:41.960
<v Speaker 1>flowed through their hands. Either they were ripped off or

0:58:42.000 --> 0:58:45.680
<v Speaker 1>they blew it. Second half is did they really have

0:58:45.880 --> 0:58:46.680
<v Speaker 1>that kind of money?

0:58:48.360 --> 0:58:51.880
<v Speaker 2>Well? Right, So it would take until sixty four to

0:58:51.960 --> 0:58:56.160
<v Speaker 2>sixty five where they had generated enough success where they

0:58:56.160 --> 0:58:59.520
<v Speaker 2>were having the one hit record after another hit record,

0:58:59.640 --> 0:59:03.200
<v Speaker 2>another hit record. So by sixty four they were becoming

0:59:03.480 --> 0:59:06.400
<v Speaker 2>i want to say affluent, but you know, they were

0:59:06.440 --> 0:59:11.840
<v Speaker 2>beginning to enjoy life in a way. Dennis, most certainly

0:59:12.040 --> 0:59:17.680
<v Speaker 2>Carl was still kind of you know, quietly enjoying the

0:59:17.720 --> 0:59:24.120
<v Speaker 2>success with his focus on music. Brian was not the extrovert,

0:59:24.240 --> 0:59:27.400
<v Speaker 2>so he was quietly focused on music, and they were

0:59:27.440 --> 0:59:32.520
<v Speaker 2>just happy to be successful. Mike Mike in those early days.

0:59:35.320 --> 0:59:40.680
<v Speaker 2>His business acumen didn't kick in until decades later. But

0:59:41.120 --> 0:59:44.000
<v Speaker 2>so at that time they were all I mean, Mike

0:59:44.080 --> 0:59:48.160
<v Speaker 2>was divorced by the time they started, So you've got me.

0:59:48.680 --> 0:59:51.360
<v Speaker 2>He's just looking to put a keep a roof over

0:59:51.480 --> 0:59:53.320
<v Speaker 2>his head and have, you know, food to eat in

0:59:53.320 --> 0:59:57.800
<v Speaker 2>front of him. So that was their goal. And yeah,

0:59:57.840 --> 1:00:00.400
<v Speaker 2>so they got They got ripped off, and that's because

1:00:00.480 --> 1:00:03.960
<v Speaker 2>primarily Murray was over his head. He didn't know what

1:00:04.000 --> 1:00:06.840
<v Speaker 2>he was doing. He could have gotten them a far

1:00:06.920 --> 1:00:12.680
<v Speaker 2>better deal. He didn't mean just he was mismanaging his

1:00:12.760 --> 1:00:17.520
<v Speaker 2>way through their careers and just did he was. He

1:00:17.560 --> 1:00:20.280
<v Speaker 2>was in over his head. They should have hired an agent,

1:00:20.360 --> 1:00:23.720
<v Speaker 2>somebody actual too. But again, in those early days, I mean,

1:00:23.760 --> 1:00:26.840
<v Speaker 2>the Beatles got taken advantage of. Everybody gets taken advantage of.

1:00:26.920 --> 1:00:29.840
<v Speaker 2>You don't you don't know until you cross the bridge

1:00:29.880 --> 1:00:34.160
<v Speaker 2>how badly you've been, you know, taken advantage of. And

1:00:34.560 --> 1:00:37.320
<v Speaker 2>they certainly were. So yeah, those early gigs you reference,

1:00:37.880 --> 1:00:41.120
<v Speaker 2>I remind people when I get into talking about early

1:00:41.160 --> 1:00:45.440
<v Speaker 2>Beach Boys, and this isn't just I'll refer somebody to

1:00:45.480 --> 1:00:47.600
<v Speaker 2>the movie That Thing You Do by Tom Hanks and

1:00:47.600 --> 1:00:50.360
<v Speaker 2>say have you seen that movie? And most people see yeah,

1:00:50.600 --> 1:00:53.000
<v Speaker 2>and I'll say, well, that's what it was like if

1:00:53.040 --> 1:00:56.200
<v Speaker 2>you had a hit or two, you'd go on a

1:00:56.240 --> 1:00:58.600
<v Speaker 2>tour with other groups that I had a hit or two,

1:00:59.360 --> 1:01:01.800
<v Speaker 2>and you'd come out and do your set and unplug

1:01:01.840 --> 1:01:05.880
<v Speaker 2>and get off. And what I would have really liked,

1:01:05.880 --> 1:01:08.080
<v Speaker 2>and I haven't seen any photos of it, but Bob

1:01:08.120 --> 1:01:10.280
<v Speaker 2>would I love to see photos of Jan and Dean

1:01:10.360 --> 1:01:13.200
<v Speaker 2>and the Beach Boys together in those early early days

1:01:13.240 --> 1:01:15.640
<v Speaker 2>when the when the Beach Boys would open for Jan

1:01:15.760 --> 1:01:17.840
<v Speaker 2>and Deine and then Jan and Deine would come out

1:01:17.880 --> 1:01:20.600
<v Speaker 2>and the Beach Boys would be their backup band. And

1:01:21.120 --> 1:01:23.320
<v Speaker 2>what I would give to see a photo of that

1:01:23.760 --> 1:01:27.880
<v Speaker 2>or footage of that would be I'd get my right

1:01:27.960 --> 1:01:31.440
<v Speaker 2>leg for, you know, because those those are the things

1:01:31.560 --> 1:01:34.360
<v Speaker 2>or I know they filmed. We get into it a

1:01:34.360 --> 1:01:36.680
<v Speaker 2>little bit in one of the chapters where they were

1:01:36.680 --> 1:01:39.200
<v Speaker 2>at all in Hawaii together. It was the only time

1:01:39.240 --> 1:01:41.560
<v Speaker 2>Bruce and Terry ever did a tour, and they're all

1:01:41.560 --> 1:01:45.320
<v Speaker 2>in Hawaii and there and there, Janadin had already done

1:01:45.320 --> 1:01:47.920
<v Speaker 2>their set and their backstage, and they had gotten winto

1:01:47.960 --> 1:01:49.720
<v Speaker 2>the fact that the Beach Boys were gonna spray and

1:01:49.760 --> 1:01:51.800
<v Speaker 2>with shaving cream or something. So they put on the

1:01:51.840 --> 1:01:54.440
<v Speaker 2>Beach Boys street clothes and they come out on stage

1:01:54.480 --> 1:01:57.200
<v Speaker 2>and they get into this big, you know, food fight

1:01:57.320 --> 1:01:59.800
<v Speaker 2>on stage during the show. And what I want to

1:01:59.800 --> 1:02:03.560
<v Speaker 2>get to just watch the act would be so great.

1:02:03.760 --> 1:02:07.200
<v Speaker 2>So those early days they were meager. I mean, they

1:02:07.400 --> 1:02:09.440
<v Speaker 2>just were Jane and Dean a little bit better off.

1:02:09.840 --> 1:02:12.920
<v Speaker 2>First of all, they came out of Beverly Hills and

1:02:12.960 --> 1:02:17.640
<v Speaker 2>Hollywood's you know, Uni High, and Jan's father was William

1:02:17.680 --> 1:02:20.960
<v Speaker 2>Barry who worked with Howard Hughes, and Dean's parents were

1:02:21.000 --> 1:02:26.040
<v Speaker 2>also very well off, so that was a different circumstance.

1:02:26.080 --> 1:02:28.080
<v Speaker 2>And they've been around and they had lou Adler and

1:02:28.480 --> 1:02:32.800
<v Speaker 2>Herb Albert managing them in the beginning, so they were

1:02:32.960 --> 1:02:36.640
<v Speaker 2>well established enough. They weren't making a lot of money,

1:02:36.840 --> 1:02:41.720
<v Speaker 2>but they were making enough money to give it their

1:02:41.760 --> 1:02:45.680
<v Speaker 2>attention when they weren't in school. Which is another very

1:02:45.800 --> 1:02:50.600
<v Speaker 2>rare thing about any music act, ever, is that Jan

1:02:50.720 --> 1:02:53.720
<v Speaker 2>and Dean kept going back to college and would make

1:02:53.800 --> 1:02:57.600
<v Speaker 2>records when they had time, and which is why they

1:02:57.600 --> 1:03:00.720
<v Speaker 2>were always flipping, you know, holding their middle fingle, middle

1:03:00.880 --> 1:03:04.200
<v Speaker 2>middle finger up to Liberty Records. Every time Liberty tried

1:03:04.200 --> 1:03:05.840
<v Speaker 2>to tell them to do something, I say, we're not,

1:03:06.080 --> 1:03:07.400
<v Speaker 2>We're not, We're not doing that.

1:03:08.920 --> 1:03:10.800
<v Speaker 1>Okay, did Murray do anything good?

1:03:12.640 --> 1:03:20.440
<v Speaker 2>Absolutely it would yes, Murray. Murray fought for his sons.

1:03:20.880 --> 1:03:24.440
<v Speaker 2>Now in the broader statement, he fought for the band.

1:03:25.120 --> 1:03:29.960
<v Speaker 2>He went around and until he found a label for them,

1:03:30.280 --> 1:03:34.439
<v Speaker 2>So he made that happen. Unfortunately, again, he was over

1:03:34.440 --> 1:03:35.920
<v Speaker 2>his head, so he didn't know how to make a

1:03:35.920 --> 1:03:38.680
<v Speaker 2>broker a good deal for them. But he went around

1:03:38.720 --> 1:03:42.320
<v Speaker 2>and found the label, and you know, he he did

1:03:42.360 --> 1:03:48.280
<v Speaker 2>that good old fashioned door kicking. You know, you know,

1:03:48.320 --> 1:03:50.360
<v Speaker 2>I'm going to find a spot for my boys. I'm

1:03:50.360 --> 1:03:52.560
<v Speaker 2>going to find a spot for my boys. And he

1:03:52.600 --> 1:03:55.520
<v Speaker 2>did that and he got them in. But he immediately

1:03:55.560 --> 1:04:01.600
<v Speaker 2>lost touch with with with the whatever idealism he had

1:04:01.600 --> 1:04:03.880
<v Speaker 2>in his mind. I mean, I don't know if you've

1:04:03.920 --> 1:04:05.960
<v Speaker 2>ever seen him, but there's Buttons that said something to

1:04:06.000 --> 1:04:09.440
<v Speaker 2>the effect like I know Brian's dad. Then he would

1:04:09.440 --> 1:04:12.440
<v Speaker 2>hand out at concerts, like at these sock hops, and

1:04:12.480 --> 1:04:17.600
<v Speaker 2>I'm like what who does that? So? So, yeah, Murray

1:04:17.680 --> 1:04:23.440
<v Speaker 2>was instrumental in getting them going, and but he almost

1:04:24.120 --> 1:04:29.439
<v Speaker 2>he almost immediately became irrelevant because Brian was a whiz

1:04:29.520 --> 1:04:33.680
<v Speaker 2>kid and no one including Brian saw it coming.

1:04:42.800 --> 1:04:48.240
<v Speaker 1>Okay, Jack Riley he insinuates himself in the band to

1:04:48.280 --> 1:04:51.080
<v Speaker 1>the point where he even sings on the damn record?

1:04:51.480 --> 1:04:53.120
<v Speaker 2>Yeah, how did that happen?

1:04:53.360 --> 1:04:56.000
<v Speaker 1>Was he really a bad guy? Taker? What was going

1:04:56.040 --> 1:04:56.480
<v Speaker 1>on there?

1:05:00.800 --> 1:05:03.919
<v Speaker 2>I've heard multiple stories about Jack, and what I can

1:05:03.960 --> 1:05:09.480
<v Speaker 2>say is he the fact that Carl Wilson, so really

1:05:09.640 --> 1:05:14.520
<v Speaker 2>Jack's for me? From what I understand, the main emphasis

1:05:14.520 --> 1:05:18.600
<v Speaker 2>of who Jack Riley was within that group structure and

1:05:18.760 --> 1:05:23.160
<v Speaker 2>his interaction with them really circled around Carl Wilson because

1:05:23.200 --> 1:05:27.640
<v Speaker 2>Carl and he wrote on Promised Road together and what's

1:05:27.640 --> 1:05:30.040
<v Speaker 2>the other song off surfs up that I'm blanking.

1:05:29.680 --> 1:05:32.160
<v Speaker 1>On the day in the Life of a Tree.

1:05:32.520 --> 1:05:35.640
<v Speaker 2>Well he sings that one, that one was by Brian

1:05:35.720 --> 1:05:38.600
<v Speaker 2>and on Promised Road and.

1:05:40.920 --> 1:05:44.120
<v Speaker 1>No, I can't think of it, but I keep going.

1:05:46.160 --> 1:05:48.640
<v Speaker 2>So they did the two songs together, and what so

1:05:49.560 --> 1:05:53.080
<v Speaker 2>Jack was trying he got them very popular in the

1:05:53.160 --> 1:05:57.200
<v Speaker 2>underground scene. Right FM radio starts to play the Beach

1:05:57.240 --> 1:06:01.360
<v Speaker 2>boys now Sunflowers surfs up. And he was really good

1:06:01.440 --> 1:06:04.240
<v Speaker 2>at that, I mean getting the word out about those records,

1:06:04.320 --> 1:06:07.800
<v Speaker 2>especially the serf's up record. What they ran into with

1:06:07.880 --> 1:06:11.880
<v Speaker 2>him is he was lying to them. He was telling

1:06:11.960 --> 1:06:14.520
<v Speaker 2>them and everybody else, Oh, I know they're rolling stones.

1:06:14.640 --> 1:06:17.480
<v Speaker 2>Oh I know these people. I know those people. And

1:06:17.560 --> 1:06:21.680
<v Speaker 2>so what happened was he eventually told a lie that

1:06:21.760 --> 1:06:28.360
<v Speaker 2>Carl got wind of, and Carl said, yeah, he can't,

1:06:28.640 --> 1:06:34.920
<v Speaker 2>he can't be a part of this anymore. Carl always

1:06:36.400 --> 1:06:44.480
<v Speaker 2>that was a problem. Carl would not permit inauthenticity. He

1:06:44.480 --> 1:06:48.600
<v Speaker 2>wouldn't permit it because it affected the family.

1:06:49.280 --> 1:06:51.560
<v Speaker 1>Another thing you do not cover in the book, but

1:06:51.600 --> 1:06:55.840
<v Speaker 1>you have come across Brian's health food store. What was

1:06:55.880 --> 1:06:56.760
<v Speaker 1>going on there?

1:06:59.280 --> 1:07:01.720
<v Speaker 2>Oh, that's a probably it's in the next book. It's

1:07:01.760 --> 1:07:05.640
<v Speaker 2>going to be great. So that that is a So.

1:07:05.720 --> 1:07:10.720
<v Speaker 2>I did interviews with Arnie Geller, Richard Mayer, Dickie Muhr,

1:07:11.480 --> 1:07:16.480
<v Speaker 2>and Arnie actually ran the store with Steve Kortof, who

1:07:16.560 --> 1:07:21.400
<v Speaker 2>is Brian's cousin, and Brian. And it's interesting when I

1:07:21.400 --> 1:07:24.680
<v Speaker 2>talked to Arnie how he says he thinks and Dicky

1:07:24.760 --> 1:07:27.160
<v Speaker 2>Mirror agreed because Dickie worked there for a short time

1:07:27.680 --> 1:07:31.240
<v Speaker 2>that they believe the idea for the whole health food

1:07:31.280 --> 1:07:35.280
<v Speaker 2>store started back in the time of Smile with vegetables,

1:07:35.960 --> 1:07:39.080
<v Speaker 2>that that's where the idea started the form. And then

1:07:39.200 --> 1:07:41.600
<v Speaker 2>so by the time he gets to nineteen sixty nine,

1:07:41.640 --> 1:07:45.440
<v Speaker 2>Brian is just you know, the public has this impression

1:07:45.480 --> 1:07:51.880
<v Speaker 2>of Brian that because he stopped touring, because by because

1:07:51.920 --> 1:07:55.640
<v Speaker 2>he did Smiley Smile, that he was retreating, he wasn't

1:07:55.680 --> 1:07:59.040
<v Speaker 2>doing music, and that's not true. Friends is a very

1:07:59.760 --> 1:08:04.200
<v Speaker 2>heavy produced album by Brian, and it's after Friends didn't

1:08:04.240 --> 1:08:07.800
<v Speaker 2>do well on the charts that that really crushed him.

1:08:08.120 --> 1:08:12.000
<v Speaker 2>That that's really where he because you get we were

1:08:12.000 --> 1:08:14.920
<v Speaker 2>talking earlier about the drug use and everything. If the

1:08:15.000 --> 1:08:17.559
<v Speaker 2>drugs really were the were the point where he just

1:08:17.600 --> 1:08:20.799
<v Speaker 2>went off and then never returned, Friends wouldn't have happened.

1:08:21.680 --> 1:08:25.240
<v Speaker 2>Friends is a great record, and I think it's I

1:08:25.280 --> 1:08:28.280
<v Speaker 2>agree with Carney Wilson who has said that's when they

1:08:28.320 --> 1:08:32.240
<v Speaker 2>sound their most pure, and I agree they they're great record.

1:08:32.320 --> 1:08:36.920
<v Speaker 2>So Brian all this time is wondering if you know,

1:08:37.400 --> 1:08:40.120
<v Speaker 2>he's just an active mind, he's a creative mind, and

1:08:40.160 --> 1:08:43.000
<v Speaker 2>he gets to this point where he decides I want

1:08:43.040 --> 1:08:44.160
<v Speaker 2>to do all, you know, I want to do a

1:08:44.200 --> 1:08:47.160
<v Speaker 2>health food store. And it's just kind of like, let's

1:08:47.160 --> 1:08:49.920
<v Speaker 2>go do this now. And he gets Arnie Geller and

1:08:49.960 --> 1:08:52.479
<v Speaker 2>Steve corked off to get you know, find a place.

1:08:53.000 --> 1:08:55.040
<v Speaker 2>And then they find a place and Arnie's in charge

1:08:55.080 --> 1:08:58.280
<v Speaker 2>of getting a sign and you know, having that all

1:08:58.280 --> 1:09:00.400
<v Speaker 2>put together, and then lo and behold they have this

1:09:00.439 --> 1:09:05.160
<v Speaker 2>put together and then it's incredibly successful. It's incredibly They

1:09:05.200 --> 1:09:10.120
<v Speaker 2>can't keep they can't keep the shelves stocked. And Brian

1:09:10.160 --> 1:09:12.560
<v Speaker 2>will trickle it at night from time to time in

1:09:12.680 --> 1:09:15.360
<v Speaker 2>his bathrobe. He'll get in the car and his bathrobe

1:09:15.400 --> 1:09:18.000
<v Speaker 2>and he'll drive down. He'll get behind the counter because

1:09:18.040 --> 1:09:20.600
<v Speaker 2>that was his thing. You've surely seen the photos of

1:09:20.680 --> 1:09:23.200
<v Speaker 2>him behind the cast register. That was this whole thing.

1:09:23.280 --> 1:09:25.000
<v Speaker 2>That's what he wanted to do. He wanted to go

1:09:25.040 --> 1:09:28.120
<v Speaker 2>and get behind the cash register. And just I think

1:09:28.200 --> 1:09:32.320
<v Speaker 2>he liked going there at night because less traffic, less

1:09:32.320 --> 1:09:35.880
<v Speaker 2>people to deal with, and just to help somebody find

1:09:35.880 --> 1:09:39.840
<v Speaker 2>some vitamins that they were looking for. And he enjoyed it.

1:09:40.080 --> 1:09:43.240
<v Speaker 2>But I don't think he knew anything about it from

1:09:43.240 --> 1:09:46.360
<v Speaker 2>a professional perspective other than the types of you know,

1:09:46.439 --> 1:09:50.760
<v Speaker 2>supplements that he may take. But he was Brian's fascinating

1:09:50.800 --> 1:09:53.040
<v Speaker 2>because he also went back in the mid seventies to

1:09:54.600 --> 1:10:00.479
<v Speaker 2>college to study astrology. Astrology and that's how you get

1:10:00.520 --> 1:10:04.280
<v Speaker 2>solar system on the Love You album. So there's I mean,

1:10:04.439 --> 1:10:08.880
<v Speaker 2>he's fascinating that he was always kind of wondering about

1:10:08.920 --> 1:10:13.160
<v Speaker 2>other things in life and how to you know, because

1:10:13.160 --> 1:10:17.240
<v Speaker 2>a healths food store, astrology are both, in my opinion,

1:10:17.400 --> 1:10:22.799
<v Speaker 2>extensions of the human condition. Health, you know, the wonderment

1:10:22.880 --> 1:10:26.760
<v Speaker 2>of the universe, right, these are extensions of us and

1:10:26.800 --> 1:10:31.639
<v Speaker 2>in kind of the mind wandering about beyond our own

1:10:32.280 --> 1:10:35.320
<v Speaker 2>self and how we can be better versions of ourself,

1:10:35.400 --> 1:10:38.559
<v Speaker 2>whether it's through health or through science and learning more.

1:10:39.160 --> 1:10:41.880
<v Speaker 2>And that's how I take those pursuits of his, is

1:10:41.920 --> 1:10:45.479
<v Speaker 2>that he was really he really is really behind it

1:10:45.520 --> 1:10:47.960
<v Speaker 2>in the moment. It's kind of like the sandbox though, right,

1:10:48.000 --> 1:10:49.960
<v Speaker 2>I mean, you know, at one point he wants a

1:10:50.000 --> 1:10:52.760
<v Speaker 2>sandbox at his house and another point he wants Jim

1:10:52.800 --> 1:10:55.559
<v Speaker 2>Matt's in his house. But his behavior in the mid

1:10:55.600 --> 1:10:58.400
<v Speaker 2>sixties around the Smile time was more erratic, and that

1:10:58.400 --> 1:11:00.439
<v Speaker 2>that goes back to what we're talking about earlier with

1:11:00.479 --> 1:11:04.920
<v Speaker 2>the different substances. He was ingesting. You know, he's a

1:11:04.960 --> 1:11:07.360
<v Speaker 2>little bit more erratic because he was doing speed, he

1:11:07.479 --> 1:11:10.639
<v Speaker 2>was doing you know, smoking hash do it drop an LSD,

1:11:11.439 --> 1:11:14.880
<v Speaker 2>and so that that cocktail and that combination of different

1:11:14.880 --> 1:11:17.960
<v Speaker 2>influences had him kind of a little all over the place,

1:11:18.000 --> 1:11:21.160
<v Speaker 2>which is one of the reasons I will say that

1:11:21.200 --> 1:11:24.679
<v Speaker 2>I believe Smile was he just got to the point

1:11:24.680 --> 1:11:28.760
<v Speaker 2>where he didn't know what to do because he just

1:11:28.880 --> 1:11:32.240
<v Speaker 2>had spent too much time on heroes and villains. Heroes

1:11:32.240 --> 1:11:33.880
<v Speaker 2>and villains derailed him, Bob, I.

1:11:33.800 --> 1:11:36.120
<v Speaker 1>Mean, tell us more about that.

1:11:37.240 --> 1:11:41.439
<v Speaker 2>So he was I would say my percentage, guest is

1:11:41.479 --> 1:11:44.280
<v Speaker 2>like easily seventy percent done with Smile. And by the

1:11:44.280 --> 1:11:47.240
<v Speaker 2>time Good Vibrations comes out in October sixty six, the

1:11:47.240 --> 1:11:49.960
<v Speaker 2>Beach Boys in touring have come back and they've lent

1:11:50.000 --> 1:11:53.200
<v Speaker 2>their vocals to whatever Brian has at that point, and

1:11:53.240 --> 1:11:56.759
<v Speaker 2>it's coming along great. I mean, it's it's that album

1:11:56.840 --> 1:12:00.320
<v Speaker 2>is moving right along. And then they you know, somebody's

1:12:00.439 --> 1:12:04.360
<v Speaker 2>and says Brian, the label needs another record that needs

1:12:04.360 --> 1:12:08.360
<v Speaker 2>another single from you. You've got to you've got to

1:12:08.479 --> 1:12:10.320
<v Speaker 2>get a move in another single to follow up to

1:12:10.360 --> 1:12:15.400
<v Speaker 2>Good Vibrations. So January of sixty seven, he just stops

1:12:16.479 --> 1:12:19.639
<v Speaker 2>the Smile work. He had already started Heroes and Villains,

1:12:20.280 --> 1:12:23.639
<v Speaker 2>but he just pays puts all his attention into Heroes

1:12:23.640 --> 1:12:26.040
<v Speaker 2>and Villains, similarly in the way that he did Good

1:12:26.120 --> 1:12:30.280
<v Speaker 2>Vibrations over a period of months, and the other music

1:12:30.400 --> 1:12:34.960
<v Speaker 2>suffers because it sits there. And he gets to the

1:12:35.000 --> 1:12:40.640
<v Speaker 2>point where he has this mix of he whittles the

1:12:40.680 --> 1:12:43.920
<v Speaker 2>beautiful arrange of the original part one in part two

1:12:43.960 --> 1:12:47.320
<v Speaker 2>of Heroes and Villains, which would have been incredible, authentic

1:12:47.360 --> 1:12:49.439
<v Speaker 2>come out as an A side and B side single.

1:12:49.880 --> 1:12:52.960
<v Speaker 2>He whittles it down to one side, sticks your Welcome

1:12:53.000 --> 1:12:55.320
<v Speaker 2>on the back and goes down to the radio station,

1:12:55.640 --> 1:12:57.559
<v Speaker 2>which is the death nail and the whole thing. He

1:12:57.600 --> 1:13:00.840
<v Speaker 2>goes down there and there, you know, a beach Boy

1:13:00.960 --> 1:13:03.360
<v Speaker 2>is walking in with a new single for you to play.

1:13:03.920 --> 1:13:07.080
<v Speaker 2>And the guy won't play it, and he says, I

1:13:07.080 --> 1:13:10.360
<v Speaker 2>got a call station manager. I mean, they should have

1:13:10.439 --> 1:13:12.559
<v Speaker 2>just slapped him in the side of the head and said,

1:13:12.600 --> 1:13:16.639
<v Speaker 2>what's wrong with you? This is Brian, this is Brodie Wilson.

1:13:16.720 --> 1:13:19.880
<v Speaker 2>It he's got the latest Beach Boys single. But that's

1:13:19.960 --> 1:13:22.559
<v Speaker 2>kind of what derailed him is all the time and

1:13:22.680 --> 1:13:26.160
<v Speaker 2>energy that he put into heroes and villains, and then

1:13:26.360 --> 1:13:28.880
<v Speaker 2>he comes to a radio station. The guy won't just

1:13:29.000 --> 1:13:33.080
<v Speaker 2>immediately play it, so there's doubt. Right there, right in

1:13:33.120 --> 1:13:36.839
<v Speaker 2>front of him, there's a stall. So there's that adds

1:13:36.880 --> 1:13:40.720
<v Speaker 2>to this questioning of is what I'm doing right for

1:13:40.800 --> 1:13:44.240
<v Speaker 2>the time. And it's more so about that because I

1:13:44.520 --> 1:13:47.080
<v Speaker 2>read your wonderful review of my book, thank you, about

1:13:47.120 --> 1:13:51.840
<v Speaker 2>how there is no mention about you know, the you know,

1:13:51.880 --> 1:13:55.040
<v Speaker 2>there was a fire nearby, and then suddenly that's it

1:13:55.160 --> 1:13:58.360
<v Speaker 2>wasn't like that, you know, he was he was being

1:13:58.400 --> 1:14:03.080
<v Speaker 2>so visual and create native that Yeah, it's it's I

1:14:03.160 --> 1:14:07.160
<v Speaker 2>love how unusual it is that he had a bucket

1:14:07.200 --> 1:14:10.240
<v Speaker 2>of smoldering wood put in the studio. Not very wise

1:14:10.400 --> 1:14:13.120
<v Speaker 2>because the you know, all those professional musicians are having

1:14:13.120 --> 1:14:16.840
<v Speaker 2>to breathe that stuff. But I'm sure you've seen the

1:14:16.840 --> 1:14:20.160
<v Speaker 2>footage from the American Band documentary. Brian is clearly tripping

1:14:20.200 --> 1:14:27.519
<v Speaker 2>on acid during during that session, and it's it's just,

1:14:28.640 --> 1:14:32.559
<v Speaker 2>you know, there's little things like spending all that time

1:14:32.600 --> 1:14:35.880
<v Speaker 2>on heroes and villains and then having that guy stall

1:14:36.000 --> 1:14:39.400
<v Speaker 2>when he walks in the building with it. I just

1:14:39.439 --> 1:14:42.800
<v Speaker 2>think that's what put enough doubt in him to where

1:14:42.840 --> 1:14:45.920
<v Speaker 2>he just went, well, this is nobody's ready for ready

1:14:45.920 --> 1:14:47.800
<v Speaker 2>for this. I'm here with the single and the guy

1:14:47.840 --> 1:14:51.559
<v Speaker 2>won't even play it. People aren't ready. So I think

1:14:51.600 --> 1:14:56.760
<v Speaker 2>it's less about myth and way way more focused on

1:14:56.920 --> 1:15:01.280
<v Speaker 2>just the actual tangible things that occurred in his life

1:15:01.320 --> 1:15:06.240
<v Speaker 2>and the circumstances at the time. It just and unfortunately

1:15:06.360 --> 1:15:08.759
<v Speaker 2>he didn't have the band with him all the time,

1:15:09.320 --> 1:15:13.400
<v Speaker 2>and depending on your perspective of that, that necessarily might

1:15:13.439 --> 1:15:16.240
<v Speaker 2>not have been a good thing because of the amount

1:15:16.240 --> 1:15:21.720
<v Speaker 2>of drug use. Book, But I mean they were all

1:15:21.800 --> 1:15:25.160
<v Speaker 2>getting high. Mike was getting high, Al's getting high. They

1:15:25.160 --> 1:15:27.040
<v Speaker 2>were all getting high. It was a thing. But I'll

1:15:27.040 --> 1:15:29.640
<v Speaker 2>tell you that we're talking about smile. The most fascinating

1:15:29.680 --> 1:15:35.840
<v Speaker 2>thing to me was how the McCartney perspective right, McCartney's

1:15:35.840 --> 1:15:41.080
<v Speaker 2>coming by the studio, and I would think if somebody

1:15:41.120 --> 1:15:43.439
<v Speaker 2>just told me the story that oh my god, they

1:15:43.520 --> 1:15:45.360
<v Speaker 2>must have been so thrilled that Paul was coming by.

1:15:45.400 --> 1:15:48.360
<v Speaker 2>It's a beatle. It's just like, how incredible would that

1:15:48.360 --> 1:15:53.719
<v Speaker 2>have been. And we learned that Brian was hesitant because

1:15:53.720 --> 1:15:56.640
<v Speaker 2>he was working, and we learned that Al Jardine was

1:15:56.720 --> 1:15:58.400
<v Speaker 2>kind of miffed about the whole thing, that they were

1:15:58.400 --> 1:16:00.559
<v Speaker 2>getting high and playing songs on the piano because he

1:16:00.600 --> 1:16:02.840
<v Speaker 2>wanted to finish the track and get out of there

1:16:02.880 --> 1:16:06.439
<v Speaker 2>and go home. So it's it's interesting because I would

1:16:06.439 --> 1:16:08.720
<v Speaker 2>automatically assume that would have that must have been the

1:16:08.840 --> 1:16:12.640
<v Speaker 2>Night of Knights, right with Derek Taylor and Paul and

1:16:12.720 --> 1:16:16.439
<v Speaker 2>Brian and Paul playing She's leaving home for him there

1:16:16.560 --> 1:16:21.840
<v Speaker 2>on the spot. That just must have been incredible. But

1:16:22.360 --> 1:16:26.200
<v Speaker 2>it's I think just that's getting these first hand accounts

1:16:26.200 --> 1:16:29.519
<v Speaker 2>of these things is so vital for that reason because

1:16:30.800 --> 1:16:34.839
<v Speaker 2>we're we're given these little, you know, third party accounts

1:16:34.880 --> 1:16:39.920
<v Speaker 2>or editorialized myth building perspective, or even if they're not

1:16:40.000 --> 1:16:43.719
<v Speaker 2>myth building, then they're then their attempts at taking apart

1:16:43.800 --> 1:16:47.840
<v Speaker 2>the myth. And I don't that's not that's not for

1:16:47.880 --> 1:16:50.919
<v Speaker 2>me to do. You know, if if one member mariemembers

1:16:51.040 --> 1:16:53.439
<v Speaker 2>it a certain way, another remembers it is another way,

1:16:53.600 --> 1:16:55.640
<v Speaker 2>then that's that's what we have. That's what we have

1:16:55.720 --> 1:16:58.320
<v Speaker 2>to work with. And anytime you got five guys in

1:16:58.360 --> 1:17:01.559
<v Speaker 2>a room, you're gonna have fives, Okay.

1:17:01.680 --> 1:17:05.840
<v Speaker 1>James William Guercio, who starts with the bucking Hams, then

1:17:05.920 --> 1:17:09.160
<v Speaker 1>moves on to Chicago. How does he become the manager?

1:17:09.200 --> 1:17:10.920
<v Speaker 1>And is that a good or bad thing?

1:17:13.120 --> 1:17:16.439
<v Speaker 2>I think it's good. So he becomes the manager because

1:17:17.280 --> 1:17:21.920
<v Speaker 2>they're playing, they're playing venues and it's not filled up,

1:17:23.040 --> 1:17:25.120
<v Speaker 2>and they're trying to sort out what do we do?

1:17:25.520 --> 1:17:29.599
<v Speaker 2>How do we fill up venues again? And they as

1:17:29.640 --> 1:17:31.680
<v Speaker 2>a group they kind of sit together and go what

1:17:31.680 --> 1:17:34.439
<v Speaker 2>do we do? What do we do? And they knew

1:17:34.520 --> 1:17:39.280
<v Speaker 2>Jim by that point and as a group, and when

1:17:39.320 --> 1:17:41.840
<v Speaker 2>I say as a group by the early seventies. The

1:17:41.880 --> 1:17:44.479
<v Speaker 2>reason I was mentioning Carl earlier in his perspective being

1:17:44.520 --> 1:17:47.840
<v Speaker 2>so important when it came to Jack Riley was Carl

1:17:47.880 --> 1:17:51.439
<v Speaker 2>had Brian's vote. Brian just said, Carl, you've whatever you do,

1:17:51.520 --> 1:17:55.840
<v Speaker 2>I'll trust Dennis. If he wasn't there, Carl voted for him.

1:17:57.720 --> 1:18:00.600
<v Speaker 2>So what happened in this particular event, I don't know

1:18:00.640 --> 1:18:02.400
<v Speaker 2>who all was in the room, but I do know

1:18:02.880 --> 1:18:07.160
<v Speaker 2>that it was Carl, Mike, Al and Dennis. I'm not

1:18:07.200 --> 1:18:09.160
<v Speaker 2>sure if Brian was there, but they all voted in

1:18:09.240 --> 1:18:14.040
<v Speaker 2>favor of going and talking to Jim gers Show and

1:18:14.120 --> 1:18:19.679
<v Speaker 2>finding out if he would help them to figure out

1:18:19.800 --> 1:18:24.880
<v Speaker 2>you know how they could fill up venues again. Dennis says,

1:18:25.000 --> 1:18:29.160
<v Speaker 2>I'll go. So Dennis is the one who goes up

1:18:29.160 --> 1:18:35.400
<v Speaker 2>to Caribou. Jim says, okay, I'll come and watch your shows.

1:18:36.560 --> 1:18:39.880
<v Speaker 2>He sees, because I can't answer until I see what

1:18:39.920 --> 1:18:43.240
<v Speaker 2>you're doing. He watches a few of their shows and

1:18:43.280 --> 1:18:45.760
<v Speaker 2>he says, Okay, first of all, you got to get

1:18:45.840 --> 1:18:47.800
<v Speaker 2>rid of these medleys that you're doing, and you have

1:18:47.840 --> 1:18:50.639
<v Speaker 2>to play all the songs. You have to play them.

1:18:51.000 --> 1:18:52.840
<v Speaker 2>You can't crunch them into a car medley or a

1:18:52.840 --> 1:18:54.920
<v Speaker 2>serf medally. You gotta play them. That's what people are

1:18:54.920 --> 1:18:58.640
<v Speaker 2>coming to see. So that's the first advice he gives them.

1:18:58.920 --> 1:19:03.479
<v Speaker 2>Within the year unless Summer comes out. So all of

1:19:03.520 --> 1:19:06.200
<v Speaker 2>a sudden, and because Gercia is already working with Chicago,

1:19:06.720 --> 1:19:10.719
<v Speaker 2>then you have the incredible successful tour that Billy Hinschy

1:19:10.760 --> 1:19:14.360
<v Speaker 2>called the beach Igo Tour with the Chicago and the

1:19:14.360 --> 1:19:17.520
<v Speaker 2>Beach Boys together, and that just became such an incredible

1:19:17.520 --> 1:19:19.800
<v Speaker 2>successful time for them. All of a sudden, they were

1:19:19.800 --> 1:19:24.360
<v Speaker 2>selling out again. So it was it was in fact,

1:19:24.840 --> 1:19:28.080
<v Speaker 2>and I tried it because I've seen so many comments

1:19:28.120 --> 1:19:31.880
<v Speaker 2>for decades now that it's because of Mike love that

1:19:31.960 --> 1:19:35.240
<v Speaker 2>the Beach Boys are a touring oldies act, and that's

1:19:35.320 --> 1:19:36.040
<v Speaker 2>not accurate.

1:19:37.760 --> 1:19:38.000
<v Speaker 1>Mike.

1:19:38.360 --> 1:19:41.519
<v Speaker 2>Mike is definitely honed in on that and that is

1:19:41.560 --> 1:19:44.880
<v Speaker 2>what people come to see. But it was it was

1:19:44.960 --> 1:19:48.200
<v Speaker 2>a group decision to bring in ger show, and it

1:19:48.240 --> 1:19:54.680
<v Speaker 2>was Dennis who initiated it, so because they all recognized

1:19:54.720 --> 1:19:56.639
<v Speaker 2>that again, this goes back to what we were talking

1:19:56.680 --> 1:19:59.240
<v Speaker 2>about earlier about the you know, meager beginnings and not

1:19:59.280 --> 1:20:02.559
<v Speaker 2>having a lot of mone They by that time in

1:20:02.600 --> 1:20:04.880
<v Speaker 2>their lives they need you know, they had families and

1:20:04.920 --> 1:20:07.960
<v Speaker 2>they needed to be able to sustain their livelihood. So

1:20:08.080 --> 1:20:10.800
<v Speaker 2>that was a very serious conversation they had about how

1:20:10.800 --> 1:20:14.200
<v Speaker 2>do we fix this. And when Gershel comes in and says,

1:20:14.240 --> 1:20:16.439
<v Speaker 2>you're going to put all your hits back in, you're

1:20:16.479 --> 1:20:19.280
<v Speaker 2>gonna you're going to play what the people come to see.

1:20:19.600 --> 1:20:22.280
<v Speaker 2>So they're not shouting out play surf in USA while

1:20:22.280 --> 1:20:26.439
<v Speaker 2>you're trying to do the trader, you know, play what

1:20:26.560 --> 1:20:29.800
<v Speaker 2>the people are coming to see. And within a year's time,

1:20:29.880 --> 1:20:33.880
<v Speaker 2>they're they're back on the charts Endless Summer and then

1:20:33.960 --> 1:20:36.920
<v Speaker 2>the year after that Spirit of America or you know,

1:20:37.880 --> 1:20:41.760
<v Speaker 2>everybody's buying their records again. Their early records are now

1:20:41.760 --> 1:20:44.000
<v Speaker 2>and cut out bins. You know, by the early seven

1:20:44.080 --> 1:20:48.160
<v Speaker 2>early to mid seventies, everybody's buying them. So they just

1:20:48.200 --> 1:20:51.080
<v Speaker 2>all of a sudden take off again and they become huge,

1:20:51.160 --> 1:20:55.680
<v Speaker 2>and that's their second coming, and that is thanks to Gerciel.

1:20:56.560 --> 1:20:59.679
<v Speaker 1>Whose idea was Endless Summer.

1:21:01.760 --> 1:21:06.679
<v Speaker 2>The name of the record was Mike's because I think

1:21:06.720 --> 1:21:09.720
<v Speaker 2>Capitol was just going to call it best of our

1:21:09.760 --> 1:21:13.040
<v Speaker 2>Greatest Hits or something, and Mike said, well, don't just

1:21:13.120 --> 1:21:16.360
<v Speaker 2>call it another greatest Hits or best of We've done

1:21:16.400 --> 1:21:19.160
<v Speaker 2>that already, because they had Best of one, Best of

1:21:19.200 --> 1:21:21.760
<v Speaker 2>Volume two, Best of Volume three, and Mike was like,

1:21:22.520 --> 1:21:25.160
<v Speaker 2>there's too many of those. Let's call it something else,

1:21:25.760 --> 1:21:27.759
<v Speaker 2>and he just came up with Endless Summer.

1:21:28.360 --> 1:21:33.559
<v Speaker 1>Okay, the last real Beach Boys album before the twenty

1:21:33.600 --> 1:21:37.280
<v Speaker 1>twelve reunion is Keeping the Summer Alive. How come there's

1:21:37.320 --> 1:21:38.240
<v Speaker 1>no more after that?

1:21:40.080 --> 1:21:45.440
<v Speaker 2>Well, Keeping the Summer Alive from nineteen eighty is. Unfortunately

1:21:45.479 --> 1:21:49.880
<v Speaker 2>it doesn't have Dennis on it. It's drummer Scott Matthews's

1:21:49.880 --> 1:21:56.000
<v Speaker 2>an incredible talent, incredibly talented drummer. He's on there almost

1:21:56.040 --> 1:22:02.240
<v Speaker 2>all the tracks. They had the eighty five album, which

1:22:03.240 --> 1:22:06.120
<v Speaker 2>when I discovered, you know, as I was telling you earlier,

1:22:06.160 --> 1:22:08.040
<v Speaker 2>how I kind of came into their world. And at

1:22:08.040 --> 1:22:10.519
<v Speaker 2>the timing of that, in eighty five we had the

1:22:10.680 --> 1:22:14.479
<v Speaker 2>Malcolm Leo an American Band documentary, and then for that

1:22:14.640 --> 1:22:16.519
<v Speaker 2>Get You Back, because that was in the middle of

1:22:16.520 --> 1:22:19.759
<v Speaker 2>the MTV era. Not a great video, kind of hokey

1:22:19.880 --> 1:22:24.000
<v Speaker 2>the cheese falls off the cracker, for sure, but it

1:22:24.080 --> 1:22:30.479
<v Speaker 2>was those those soaring falsettos that were Jeffrey Fasquette singing

1:22:30.560 --> 1:22:34.519
<v Speaker 2>underneath Brian, but you could hear Brian singing the falsetto again.

1:22:35.160 --> 1:22:38.920
<v Speaker 2>I was Bob that record. I love that record to

1:22:38.960 --> 1:22:42.960
<v Speaker 2>this day. The eighty five record, Carl's got some great

1:22:43.000 --> 1:22:46.000
<v Speaker 2>stuff on there. It's getting late maybe I don't know.

1:22:46.680 --> 1:22:49.280
<v Speaker 2>Bruce has got a lovely ballad on there, she Believes

1:22:49.280 --> 1:22:53.519
<v Speaker 2>in Love Again. And then in eighty nine they did

1:22:53.520 --> 1:22:59.160
<v Speaker 2>the Still Cruisinel and that record has got a song

1:22:59.200 --> 1:23:03.080
<v Speaker 2>on there that I I would tell everybody about, and

1:23:03.120 --> 1:23:06.760
<v Speaker 2>it's called Somewhere Near Japan. And this is by this

1:23:06.800 --> 1:23:10.280
<v Speaker 2>time Melcher and Mike are working a lot more on

1:23:10.400 --> 1:23:13.640
<v Speaker 2>material and what Terry Melcher did so well with the

1:23:13.680 --> 1:23:18.479
<v Speaker 2>Beach Boys vocally is he took. He made sure that

1:23:18.600 --> 1:23:22.720
<v Speaker 2>everybody was having a chance to sing with each other

1:23:22.840 --> 1:23:26.400
<v Speaker 2>on one recording, so you would get a little little Al,

1:23:26.439 --> 1:23:28.520
<v Speaker 2>a little bit of Mike, a little bit of Carl,

1:23:28.840 --> 1:23:34.200
<v Speaker 2>and Somewhere near Japan is an absolutely great adult contemporary

1:23:34.760 --> 1:23:39.559
<v Speaker 2>nineteen eighty nine recording, and I wish more people were

1:23:39.600 --> 1:23:42.000
<v Speaker 2>familiar with it because I think it's one of their

1:23:42.400 --> 1:23:47.439
<v Speaker 2>finer moments. And it's actually originally John Phillips Papa John

1:23:47.439 --> 1:23:55.879
<v Speaker 2>Phillips song called Fairytale Girls that Terry and Mike honed

1:23:55.880 --> 1:23:59.679
<v Speaker 2>and reworked into the song that became, and it became

1:23:59.760 --> 1:24:02.760
<v Speaker 2>much better like Kocomo was also Papa John Phillips with

1:24:04.120 --> 1:24:07.439
<v Speaker 2>Scott Mackenzie. That's how it started. And Terry took that

1:24:08.400 --> 1:24:11.320
<v Speaker 2>and then he the He went back to his nineteen

1:24:11.479 --> 1:24:15.639
<v Speaker 2>Terry's nineteen seventy five Royal Flush album. There's a song

1:24:15.640 --> 1:24:20.200
<v Speaker 2>on there called Mexico, and the phrase get there fast

1:24:20.240 --> 1:24:23.240
<v Speaker 2>and take it slow is in the song Mexico. So

1:24:23.280 --> 1:24:25.240
<v Speaker 2>he took that, brought it all the way up to

1:24:25.320 --> 1:24:28.200
<v Speaker 2>nineteen eighty eight and stuck it in there and had

1:24:28.240 --> 1:24:30.360
<v Speaker 2>Carl sing it. And Carl could sing the phone book

1:24:30.400 --> 1:24:33.120
<v Speaker 2>for all I hear when you get into the eighties

1:24:33.160 --> 1:24:39.240
<v Speaker 2>in Carl Wilson's voice, hearing him hone, his vocals and

1:24:39.280 --> 1:24:45.360
<v Speaker 2>the way that he did it, I always knew. I

1:24:45.439 --> 1:24:49.000
<v Speaker 2>tell everyone this, if Carl Wilson was involved on a

1:24:49.040 --> 1:24:53.280
<v Speaker 2>beach Boy project, that's all I needed to know. Take

1:24:53.320 --> 1:24:55.400
<v Speaker 2>for example, the Beach Boys with the Fat Boys in

1:24:55.520 --> 1:25:00.320
<v Speaker 2>eighty seven wipe Out. Carl's not on it, That's all

1:25:00.360 --> 1:25:06.760
<v Speaker 2>I need to know. That was my gauge. So for

1:25:06.840 --> 1:25:12.320
<v Speaker 2>Carl to be involved. I don't have a specific fondness

1:25:12.320 --> 1:25:14.320
<v Speaker 2>of Full House it was I was too old by

1:25:14.320 --> 1:25:16.479
<v Speaker 2>that time to really get into it. But I did

1:25:16.479 --> 1:25:19.800
<v Speaker 2>see that episode where he was in the video with John.

1:25:20.720 --> 1:25:23.280
<v Speaker 2>Carl would not have done that if he didn't support it,

1:25:24.320 --> 1:25:28.200
<v Speaker 2>because this goes back to Jack Riley. Even Carl only

1:25:28.240 --> 1:25:31.320
<v Speaker 2>did what he believed in ever.

1:25:32.160 --> 1:25:35.920
<v Speaker 1>Okay, one other thing in the book. You're talking about

1:25:35.960 --> 1:25:39.200
<v Speaker 1>surfing USA, and from what I take from the book,

1:25:39.640 --> 1:25:42.560
<v Speaker 1>Ryan did not know what it was sweet Little sixteen.

1:25:43.080 --> 1:25:46.520
<v Speaker 2>Is that really true?

1:25:47.240 --> 1:25:47.639
<v Speaker 1>I did?

1:25:48.880 --> 1:25:52.720
<v Speaker 2>I don't. Yeah, I get that. Yes. From Dean, I

1:25:52.800 --> 1:25:58.320
<v Speaker 2>really got the sense that Brian didn't quite understand. I

1:25:58.360 --> 1:26:01.280
<v Speaker 2>certainly believe that he understood that the same melody but

1:26:01.400 --> 1:26:04.720
<v Speaker 2>I don't think Brian had any clue or understanding that

1:26:04.840 --> 1:26:09.240
<v Speaker 2>by doing that, he was he was literally borrowing Chuck.

1:26:09.479 --> 1:26:14.960
<v Speaker 2>I don't think he understood that, because again, Brian just

1:26:15.000 --> 1:26:17.400
<v Speaker 2>loved music, so I don't think he was thinking that way.

1:26:17.640 --> 1:26:19.720
<v Speaker 2>He wasn't thinking about the business of it. He wasn't

1:26:19.720 --> 1:26:23.000
<v Speaker 2>thinking about publishing rights or licensing or anything. He just

1:26:23.200 --> 1:26:26.120
<v Speaker 2>liked that riff and his dad said it was okay,

1:26:26.320 --> 1:26:29.600
<v Speaker 2>so he just thought it was okay. Yeah. I just

1:26:30.200 --> 1:26:33.360
<v Speaker 2>I can't imagine that Brian, as a musician, even at

1:26:33.360 --> 1:26:37.080
<v Speaker 2>that early stage in his career, didn't realize that when

1:26:37.160 --> 1:26:40.000
<v Speaker 2>he played that for Jan and Dean, that that wasn't

1:26:40.040 --> 1:26:43.479
<v Speaker 2>that song, because they said to him in the moment, Hey,

1:26:43.680 --> 1:26:46.439
<v Speaker 2>we know Chuck's you know that is sweet little sixteen.

1:26:46.680 --> 1:26:49.599
<v Speaker 2>We know we've already met Chuck, we know his manager.

1:26:49.760 --> 1:26:52.879
<v Speaker 2>You should give that to us because we can get it, okayed,

1:26:53.520 --> 1:26:55.280
<v Speaker 2>And He's like, no, no, no, you can have this

1:26:55.360 --> 1:27:01.439
<v Speaker 2>other one, which would ultimately and so you lived it.

1:27:01.479 --> 1:27:04.080
<v Speaker 2>So I'm gonna ask you a question, is that not

1:27:04.360 --> 1:27:08.080
<v Speaker 2>like one of the most incredible periods surf in USA

1:27:08.240 --> 1:27:11.680
<v Speaker 2>coming out in the spring of sixty three, followed by

1:27:11.760 --> 1:27:15.200
<v Speaker 2>Surf City in June of sixty three, those two songs.

1:27:15.960 --> 1:27:18.519
<v Speaker 2>Was that not? Is that part of you wanting to

1:27:18.560 --> 1:27:19.520
<v Speaker 2>go to California?

1:27:19.920 --> 1:27:22.600
<v Speaker 1>Oh, It's all part of me wanting to go to California.

1:27:23.240 --> 1:27:27.439
<v Speaker 1>But I must say I certainly remember a little old

1:27:27.520 --> 1:27:31.080
<v Speaker 1>lady at Capacadeen on the radio, et cetera. I got

1:27:31.080 --> 1:27:34.960
<v Speaker 1>into Jan and Dean. I can't remember the reason why

1:27:35.000 --> 1:27:41.080
<v Speaker 1>I bought Command Performance. Okay, Yeah, So the summer of

1:27:41.320 --> 1:27:46.120
<v Speaker 1>sixty three, you have to understand, Okay, radio was still regional.

1:27:46.560 --> 1:27:48.840
<v Speaker 1>So I'm living on the East Coast at that time,

1:27:49.280 --> 1:27:52.240
<v Speaker 1>it's not the same thing as living on the West coast.

1:27:52.479 --> 1:27:55.240
<v Speaker 1>We were aware of surfing and we all wanted to

1:27:55.280 --> 1:27:58.760
<v Speaker 1>go surfing, and the Jan and Den striped shirts. But

1:27:58.920 --> 1:28:04.639
<v Speaker 1>the I would say even more dramatic was when they

1:28:04.840 --> 1:28:07.320
<v Speaker 1>in the Spring Beach Boys in the Spring come out

1:28:07.360 --> 1:28:11.040
<v Speaker 1>with I get around, because you thought the Beach Boys

1:28:11.040 --> 1:28:15.559
<v Speaker 1>had been wiped out by the British invasion, and this

1:28:15.760 --> 1:28:19.400
<v Speaker 1>proved that they absolutely were not. As far as the

1:28:19.400 --> 1:28:22.479
<v Speaker 1>California myth, I live in California because of the Beach Boys.

1:28:23.080 --> 1:28:24.960
<v Speaker 1>I could go on and on, but just staying on

1:28:25.000 --> 1:28:29.639
<v Speaker 1>this same tip, I mean on the Beach Boys, they

1:28:29.720 --> 1:28:33.639
<v Speaker 1>make the twenty twenty twelve album, they go on the road,

1:28:34.000 --> 1:28:38.760
<v Speaker 1>the tour is over. Brian inherently is a little oblivious,

1:28:39.360 --> 1:28:42.080
<v Speaker 1>but he says, oh, maybe we'll do some more dates,

1:28:42.640 --> 1:28:46.520
<v Speaker 1>and mikemmunit says, oh, I'm booked as the Beach Boys.

1:28:47.160 --> 1:28:50.240
<v Speaker 1>What was going on there?

1:28:50.120 --> 1:28:56.760
<v Speaker 2>There was several moving parts there, and I'm going to

1:28:56.840 --> 1:29:00.439
<v Speaker 2>be a little guarded because there's people not here anymore.

1:29:02.000 --> 1:29:09.200
<v Speaker 2>So what happened is when they started that tour off,

1:29:09.880 --> 1:29:15.599
<v Speaker 2>there was an agreed number of dates and Brian was

1:29:15.640 --> 1:29:19.280
<v Speaker 2>having a blast. He was having so much fun that

1:29:19.320 --> 1:29:23.760
<v Speaker 2>they added dates and he wanted to keep it going.

1:29:26.520 --> 1:29:31.000
<v Speaker 2>And what happened was one of the things that happened

1:29:32.240 --> 1:29:38.439
<v Speaker 2>was he his wife Melinda had kind of gotten to

1:29:38.600 --> 1:29:42.639
<v Speaker 2>the you know, just felt that it was it was enough,

1:29:43.800 --> 1:29:48.479
<v Speaker 2>and so between the different parties, different camps, there was

1:29:48.520 --> 1:29:50.960
<v Speaker 2>a point where they just all thought they had recognized

1:29:51.000 --> 1:29:52.800
<v Speaker 2>that the number of dates was the number of dates,

1:29:52.800 --> 1:29:54.800
<v Speaker 2>and everything was locked down and that was all there

1:29:54.880 --> 1:29:58.519
<v Speaker 2>was going to be. So Mike, with that in mind,

1:29:59.680 --> 1:30:07.240
<v Speaker 2>star to network for future dates with Bruce. So that happened,

1:30:08.400 --> 1:30:12.160
<v Speaker 2>and then Brian again when they started they didn't realize

1:30:12.200 --> 1:30:13.600
<v Speaker 2>that Brian was going to have so much fun and

1:30:13.720 --> 1:30:16.519
<v Speaker 2>experienced so much joy throughout the thing that that he

1:30:16.680 --> 1:30:19.800
<v Speaker 2>just want to like this. This was like Brian would

1:30:19.800 --> 1:30:22.519
<v Speaker 2>want to keep it going, and Brian wanted to keep

1:30:22.520 --> 1:30:26.000
<v Speaker 2>it going. But because of the certain the allotted number

1:30:26.040 --> 1:30:30.400
<v Speaker 2>of dates that they had, Mike, Mike wasn't thinking that way.

1:30:30.680 --> 1:30:33.760
<v Speaker 2>He just thought, Okay, I gotta again. I got to

1:30:33.840 --> 1:30:38.080
<v Speaker 2>keep the you know, the machine rolling. So I'm going

1:30:38.160 --> 1:30:40.120
<v Speaker 2>to go out. I'm just gonna go I'm gonna keep

1:30:40.120 --> 1:30:45.080
<v Speaker 2>booking dates. And you have from a buyer's perspective, that's

1:30:45.120 --> 1:30:48.680
<v Speaker 2>a different amount of money. If you're booking Mike and

1:30:48.720 --> 1:30:51.760
<v Speaker 2>Bruce as the Beach Boys, that's a different amount of

1:30:51.760 --> 1:30:54.120
<v Speaker 2>money than if you're getting Brian Wilson, Al Jardine and

1:30:54.200 --> 1:30:57.760
<v Speaker 2>David Marx with Mike and Bruce, that's that's that's a

1:30:57.800 --> 1:31:02.720
<v Speaker 2>different ballpark. So to go back and try to and

1:31:03.040 --> 1:31:07.640
<v Speaker 2>he could have, uh, Mike could have easily. I you know,

1:31:07.760 --> 1:31:09.960
<v Speaker 2>I don't get into the weeds and these types of

1:31:09.960 --> 1:31:12.280
<v Speaker 2>things with those guys. But he I'm sure if he

1:31:12.280 --> 1:31:16.519
<v Speaker 2>had wanted to, could have restructured, gone back to some

1:31:16.600 --> 1:31:19.880
<v Speaker 2>of the clients or the buyers and said, hey, you know,

1:31:20.000 --> 1:31:22.519
<v Speaker 2>we were thinking about keeping this going. Would you would

1:31:22.520 --> 1:31:25.479
<v Speaker 2>you want the you know, the full you know, the

1:31:25.520 --> 1:31:27.679
<v Speaker 2>full group, And I'm sure most would have said yes.

1:31:28.600 --> 1:31:34.679
<v Speaker 2>But you know, relationship strains being what they are, played

1:31:34.680 --> 1:31:39.240
<v Speaker 2>a factor. And then you end up having this unusual

1:31:39.400 --> 1:31:43.760
<v Speaker 2>public Los Angeles Times thing about Brian saying he felt

1:31:43.800 --> 1:31:50.880
<v Speaker 2>as though he was fired. And that's not that that

1:31:50.880 --> 1:31:57.280
<v Speaker 2>that article wasn't fair to anyone, including Brian. It just

1:31:58.000 --> 1:32:03.400
<v Speaker 2>it just it just wasn't it really wasn't in in

1:32:04.080 --> 1:32:08.080
<v Speaker 2>authentic to the nature of what actually took place.

1:32:17.320 --> 1:32:18.559
<v Speaker 1>What was Melinda's role?

1:32:20.520 --> 1:32:24.960
<v Speaker 2>Well, Melinda, you know, she she did an incredible job

1:32:25.040 --> 1:32:28.920
<v Speaker 2>of helping Brian get on his you know, be kind

1:32:28.960 --> 1:32:32.360
<v Speaker 2>of an active musician again. You know, he was struggling,

1:32:33.080 --> 1:32:37.400
<v Speaker 2>you know, under landy and thank god they got him.

1:32:37.640 --> 1:32:42.640
<v Speaker 2>Carl and Melinda worked together to get you know, to

1:32:43.040 --> 1:32:46.040
<v Speaker 2>get him out of that, and and they did. And

1:32:49.240 --> 1:32:53.120
<v Speaker 2>she she got him the right type of doctor. She

1:32:53.240 --> 1:32:55.360
<v Speaker 2>got she made sure that he was on the right

1:32:55.400 --> 1:32:58.400
<v Speaker 2>type of medicine. And I think she did an incredible

1:32:58.479 --> 1:33:05.640
<v Speaker 2>job of being his caretaker and loving wife and in

1:33:05.680 --> 1:33:10.160
<v Speaker 2>Brian's later years. Now, what I also say that maybe

1:33:10.200 --> 1:33:13.800
<v Speaker 2>she was over protective. From my perspective, I would I

1:33:14.320 --> 1:33:16.559
<v Speaker 2>have felt that at times. But I'm not in the

1:33:16.640 --> 1:33:20.519
<v Speaker 2>music business, so I know there's moving parts and things

1:33:20.520 --> 1:33:22.800
<v Speaker 2>that take place behind the scenes that I know nothing of.

1:33:23.600 --> 1:33:29.240
<v Speaker 2>So I'm not critical of that aspect of her behavior

1:33:29.320 --> 1:33:32.439
<v Speaker 2>at all. But because I know how great Brian looked

1:33:32.439 --> 1:33:35.800
<v Speaker 2>for so long once she came into his life, and

1:33:35.840 --> 1:33:39.080
<v Speaker 2>he really did some interest. I mean that Lucky Old

1:33:39.120 --> 1:33:45.360
<v Speaker 2>Son is a great album. Brian Wilson reimagines Gershwin, great record.

1:33:46.240 --> 1:33:51.080
<v Speaker 2>So those two records are actually my favorite Brian Wilson

1:33:51.400 --> 1:33:52.480
<v Speaker 2>solo pieces.

1:33:52.640 --> 1:33:56.200
<v Speaker 1>Okay, what can you tell me about the adoption of

1:33:56.360 --> 1:34:00.360
<v Speaker 1>kids with Melinda? Brian was an absent for they were

1:34:00.360 --> 1:34:02.960
<v Speaker 1>the first two kids. How involved was he with the

1:34:03.000 --> 1:34:05.000
<v Speaker 1>second set of kids. I mean, this is a guy

1:34:05.080 --> 1:34:08.400
<v Speaker 1>who struggled with his own life.

1:34:08.640 --> 1:34:13.759
<v Speaker 2>Yeah. Well, I'm adopted myself, so I'm a fan of adoption.

1:34:15.280 --> 1:34:17.240
<v Speaker 2>So when I saw that Melinda and Brian were doing that,

1:34:17.400 --> 1:34:20.280
<v Speaker 2>I was you know, initially it was Daria and Delaney.

1:34:21.160 --> 1:34:22.919
<v Speaker 2>So as the years went on and they were adopting

1:34:22.960 --> 1:34:27.040
<v Speaker 2>more children, I was a little surprised because because of

1:34:27.080 --> 1:34:32.080
<v Speaker 2>their age, right, I mean, their grandparents' age, you wouldn't

1:34:32.160 --> 1:34:37.719
<v Speaker 2>think they'd be adopting children at that point. I can't

1:34:37.760 --> 1:34:40.720
<v Speaker 2>speak to how Brian was with them. I you know,

1:34:40.840 --> 1:34:44.640
<v Speaker 2>going to his service last year, and I think it

1:34:44.720 --> 1:34:48.799
<v Speaker 2>was Dash who got up and spoke about his dad.

1:34:49.760 --> 1:34:53.360
<v Speaker 2>I got a sense of his relationship with his father,

1:34:54.080 --> 1:34:58.439
<v Speaker 2>and it seemed as though there was depth there to it.

1:34:59.400 --> 1:35:03.920
<v Speaker 2>So I and glean from that that much, you know,

1:35:04.280 --> 1:35:08.160
<v Speaker 2>I know that Carney and Wendy, as you point out,

1:35:08.280 --> 1:35:10.559
<v Speaker 2>you know when he was in the home, he was

1:35:11.800 --> 1:35:18.960
<v Speaker 2>somewhat absentee. I think navigating those were some troubled times

1:35:19.000 --> 1:35:23.280
<v Speaker 2>for him going into the mid seventies for sure, and

1:35:23.439 --> 1:35:27.200
<v Speaker 2>he he was. I guess the term that comes to

1:35:27.240 --> 1:35:31.479
<v Speaker 2>mind is I would say a lost soul for a while, right.

1:35:31.520 --> 1:35:34.760
<v Speaker 2>The music never left him, but he was he was

1:35:34.800 --> 1:35:36.519
<v Speaker 2>a bit of a lost soul for quite some time.

1:35:37.240 --> 1:35:41.439
<v Speaker 2>And and it's it's quite unfortunate for Carne and Wendy

1:35:41.479 --> 1:35:46.360
<v Speaker 2>because the apple certainly didn't fall far from the tree musically.

1:35:47.200 --> 1:35:50.960
<v Speaker 2>And are you familiar with the Donald not down was

1:35:51.000 --> 1:35:56.880
<v Speaker 2>but the Rob Wasserman Fantasy is reality song that Brian

1:35:56.920 --> 1:35:59.040
<v Speaker 2>and Karney did together. Oh, it's from ninety four it's

1:35:59.080 --> 1:36:01.280
<v Speaker 2>you got to look it up. It's gorgeous, it's amazing.

1:36:03.360 --> 1:36:06.960
<v Speaker 2>It's called Fantasy Is Reality, and it's Rob Wasserman. It's

1:36:06.960 --> 1:36:09.800
<v Speaker 2>called Trios and it's a collection of different artists and

1:36:09.880 --> 1:36:13.400
<v Speaker 2>Carne and Brian do his song Fantasy's Reality together and

1:36:13.439 --> 1:36:16.400
<v Speaker 2>it's amazing. And it was the beginning of them working together.

1:36:17.080 --> 1:36:19.759
<v Speaker 2>And so by ninety seven you have the Wilson album,

1:36:19.760 --> 1:36:22.360
<v Speaker 2>which is Carne and Wendy with Brian and select tracks,

1:36:22.760 --> 1:36:25.960
<v Speaker 2>and it brings Tony asherback in and Brian and Tony

1:36:26.520 --> 1:36:30.280
<v Speaker 2>co write Everything I Need and they're on that together

1:36:30.680 --> 1:36:34.360
<v Speaker 2>and it's it's just it is.

1:36:35.640 --> 1:36:35.800
<v Speaker 3>You know.

1:36:35.840 --> 1:36:37.120
<v Speaker 2>On one hand, I'm going to say it's a shame

1:36:37.160 --> 1:36:39.800
<v Speaker 2>they didn't have the opportunity to work together more. But

1:36:39.880 --> 1:36:45.760
<v Speaker 2>when they did, it special, special moments. So that's that's

1:36:45.760 --> 1:36:48.840
<v Speaker 2>why I wish they worked together more often, because whenever,

1:36:49.240 --> 1:36:51.880
<v Speaker 2>like especially the Don was produced nineteen ninety five, I

1:36:51.960 --> 1:36:55.840
<v Speaker 2>just wasn't made for these times documentary. When Karney and

1:36:55.880 --> 1:36:58.479
<v Speaker 2>Wendy are in there singing with Brian, Oh my god,

1:36:58.520 --> 1:37:02.519
<v Speaker 2>it's gold, it's absolute gold, and well Andrew Gold's in there,

1:37:02.720 --> 1:37:06.640
<v Speaker 2>so but I mean so, but I mean, what a

1:37:06.680 --> 1:37:09.040
<v Speaker 2>great I mean, I go back and I watched that.

1:37:09.120 --> 1:37:12.160
<v Speaker 2>When I watch that down was documentary, I get so

1:37:12.280 --> 1:37:18.280
<v Speaker 2>much joy just watching them singing together. And that's I think,

1:37:18.280 --> 1:37:21.400
<v Speaker 2>that's Bob. That's That's what leads me through all of this,

1:37:22.000 --> 1:37:24.720
<v Speaker 2>is just how much joy this music has brought me,

1:37:25.479 --> 1:37:28.439
<v Speaker 2>and and how much joy I get out of having

1:37:28.520 --> 1:37:32.759
<v Speaker 2>these conversations with these people about these really special moments

1:37:32.760 --> 1:37:33.479
<v Speaker 2>in their lives.

1:37:34.560 --> 1:37:37.120
<v Speaker 1>So what do you do when you're not writing about

1:37:37.120 --> 1:37:37.840
<v Speaker 1>the Beach Voice?

1:37:39.080 --> 1:37:41.519
<v Speaker 2>Well, I'm an office administrator and treasurer at a church.

1:37:42.640 --> 1:37:44.599
<v Speaker 2>I sing in a church choir at a different church.

1:37:47.120 --> 1:37:54.000
<v Speaker 2>But uh, that's that's it. I mean, I I absolutely all.

1:37:54.080 --> 1:37:56.080
<v Speaker 2>I listened to the Moody Blues a hell of a lot.

1:37:56.920 --> 1:38:01.040
<v Speaker 2>I'm a big billy Joel Nut unless to a wide spectrum.

1:38:01.080 --> 1:38:02.960
<v Speaker 2>The older I get, the more the more I've been

1:38:03.000 --> 1:38:06.559
<v Speaker 2>really digging McCartney's latest, The Voice from Dungeon Lane. I

1:38:06.600 --> 1:38:11.760
<v Speaker 2>love it, absolutely love it. Ripples in the Pond then yeah,

1:38:11.760 --> 1:38:13.880
<v Speaker 2>I think that's the one. I'm really loving that song.

1:38:15.600 --> 1:38:19.320
<v Speaker 2>But I I love uh, I wish it's like when

1:38:19.320 --> 1:38:21.800
<v Speaker 2>I hear you know, Ringo and Paul did a song

1:38:21.840 --> 1:38:24.280
<v Speaker 2>together on his record Paul's record and Ringo's got a

1:38:24.280 --> 1:38:25.840
<v Speaker 2>new album out. I've got it, but I haven't had

1:38:25.840 --> 1:38:28.400
<v Speaker 2>a chance to listen to it yet. But the Lemon

1:38:28.439 --> 1:38:31.280
<v Speaker 2>Twigs are are are a great example of music that

1:38:31.479 --> 1:38:34.759
<v Speaker 2>is awesome, that that takes you back to that flavor

1:38:34.800 --> 1:38:38.599
<v Speaker 2>of time. I highly recommend them. Brian and Michael di Dario.

1:38:40.520 --> 1:38:45.200
<v Speaker 2>I'm jumping around here, but it's you know, I feel

1:38:45.240 --> 1:38:51.240
<v Speaker 2>so fortunate, really I would. I'm gonna guess that you

1:38:51.240 --> 1:38:53.720
<v Speaker 2>you must get this a little bit because you get

1:38:53.760 --> 1:39:00.240
<v Speaker 2>to write about and you know, yeah, Okay, that's what

1:39:00.280 --> 1:39:03.240
<v Speaker 2>I thought. Yeah, because it's it's it's you know, how

1:39:03.360 --> 1:39:04.200
<v Speaker 2>how lucky are we?

1:39:05.360 --> 1:39:08.200
<v Speaker 1>Well? I mean, you know, I could talk for hours

1:39:08.200 --> 1:39:10.640
<v Speaker 1>of myself about the Beach Wood but it's your podcast.

1:39:11.080 --> 1:39:14.960
<v Speaker 1>But does your obsession with the Beach Boys interfere with

1:39:15.320 --> 1:39:20.519
<v Speaker 1>romantic relationships and other relationships?

1:39:21.400 --> 1:39:23.880
<v Speaker 2>What? Agree? This is funny that you would bring this up,

1:39:23.960 --> 1:39:26.400
<v Speaker 2>because I can't tell you I was. I'm glad you

1:39:26.400 --> 1:39:29.040
<v Speaker 2>brought that up because I could go back and think

1:39:29.080 --> 1:39:31.479
<v Speaker 2>about when I first discovered Janandine. I was like fourteen

1:39:31.560 --> 1:39:33.960
<v Speaker 2>or fifteen years old, and between that time and like

1:39:34.040 --> 1:39:36.519
<v Speaker 2>my early twenties, I cannot tell you the number of

1:39:36.600 --> 1:39:39.920
<v Speaker 2>times that people would check I mean literally check out

1:39:39.960 --> 1:39:42.080
<v Speaker 2>on me in front of me as I would go

1:39:42.200 --> 1:39:44.599
<v Speaker 2>on and on about Janedine or on and on about

1:39:44.720 --> 1:39:47.600
<v Speaker 2>smile or whatever it was, and how they would just

1:39:47.680 --> 1:39:50.000
<v Speaker 2>kind of they wouldn't necessarily roll their eyes, but you

1:39:50.040 --> 1:39:53.000
<v Speaker 2>see you eventually with their faces which just go blank,

1:39:53.280 --> 1:39:55.559
<v Speaker 2>and they would just kind of like, is this guy

1:39:55.600 --> 1:39:59.559
<v Speaker 2>ever gonna shut up about this stuff? So I've learned

1:39:59.560 --> 1:40:02.400
<v Speaker 2>that over time that there's a there's a time and

1:40:02.439 --> 1:40:04.679
<v Speaker 2>place for everything. That's why I was still looking forward

1:40:04.720 --> 1:40:08.000
<v Speaker 2>to talking with you about Janetide to the Beach Boys.

1:40:08.320 --> 1:40:18.519
<v Speaker 2>But so romantically no, And I think that's because there's

1:40:18.680 --> 1:40:23.599
<v Speaker 2>there's romance in their music and and and I think

1:40:24.360 --> 1:40:28.640
<v Speaker 2>music in general has a romantic stable to it. And

1:40:28.680 --> 1:40:32.800
<v Speaker 2>I and I that's something I tap into. And so

1:40:33.400 --> 1:40:37.880
<v Speaker 2>I think and that and that comes through me in

1:40:37.960 --> 1:40:40.840
<v Speaker 2>my life and in my behavior and my personality.

1:40:41.880 --> 1:40:43.320
<v Speaker 1>Will do you have a significant other?

1:40:45.840 --> 1:40:46.080
<v Speaker 2>Yes?

1:40:47.120 --> 1:40:51.080
<v Speaker 1>Okay, so they can This person can handle the beach

1:40:51.160 --> 1:40:56.520
<v Speaker 1>voice fixation. Just a couple of deep stuff. What causes

1:40:56.600 --> 1:40:57.840
<v Speaker 1>Brian's voice to.

1:40:57.840 --> 1:41:03.400
<v Speaker 2>Change well in the in the mid seventies, it's cigarette use.

1:41:03.600 --> 1:41:07.240
<v Speaker 2>I mean, you know, that that was that was that

1:41:07.360 --> 1:41:10.120
<v Speaker 2>was one of the things that that was very noticeable.

1:41:10.360 --> 1:41:12.000
<v Speaker 2>By the time you get the fifteen big ones, it's

1:41:12.080 --> 1:41:18.519
<v Speaker 2>quite noticeable then it For the eighty five album, Steve

1:41:18.600 --> 1:41:21.519
<v Speaker 2>Levine had told me that Brian showed up and he

1:41:21.720 --> 1:41:24.960
<v Speaker 2>just his vocals just weren't cutting it. So Steve very

1:41:25.000 --> 1:41:26.800
<v Speaker 2>matter of factly looked at him and said, you need

1:41:26.840 --> 1:41:30.920
<v Speaker 2>to take voice lessons. And he did and he went

1:41:30.960 --> 1:41:33.720
<v Speaker 2>back and did he he took it seriously, and he

1:41:33.800 --> 1:41:36.880
<v Speaker 2>and he took voice lessons. And you know, that's not uncommon.

1:41:36.960 --> 1:41:40.439
<v Speaker 2>I know, I know Mickey Dolans has done that for years.

1:41:40.479 --> 1:41:43.400
<v Speaker 2>Like whenever he's you know, going to work on something

1:41:43.439 --> 1:41:48.400
<v Speaker 2>or do work, he's always professionally working on doing vocal

1:41:48.479 --> 1:41:51.360
<v Speaker 2>exercises to make sure because that's a muscle too. Your

1:41:51.400 --> 1:41:54.320
<v Speaker 2>voice is a muscle, you know, well multiple muscles, but

1:41:54.479 --> 1:41:57.080
<v Speaker 2>you know to to to keep it. And I sing

1:41:57.120 --> 1:42:00.800
<v Speaker 2>in a choir, you can't just not singing and then

1:42:00.840 --> 1:42:02.760
<v Speaker 2>all of a sudden expect to be able to have

1:42:02.800 --> 1:42:06.160
<v Speaker 2>that whatever you're able to dumb a first tenor. If

1:42:06.160 --> 1:42:08.200
<v Speaker 2>I just go and try to be a first tenor

1:42:08.840 --> 1:42:11.080
<v Speaker 2>and I haven't sung in a while, it's not possible

1:42:11.120 --> 1:42:15.400
<v Speaker 2>outside of singing in the car, and that doesn't that

1:42:15.439 --> 1:42:19.920
<v Speaker 2>doesn't count. So so Brian cigarettes. You know, he eventually

1:42:19.960 --> 1:42:26.840
<v Speaker 2>does kick that habit by eighty three eighty four when

1:42:26.920 --> 1:42:33.960
<v Speaker 2>Landy comes back into the picture. And Landy was fantastic

1:42:34.040 --> 1:42:38.000
<v Speaker 2>for Brian in respect to all the weight loss and

1:42:38.040 --> 1:42:41.200
<v Speaker 2>getting Brian off of cigarettes and getting Brian off of drugs.

1:42:41.760 --> 1:42:44.600
<v Speaker 2>But then Landy unfortunately got Brian under the influence of

1:42:44.840 --> 1:42:50.439
<v Speaker 2>psychotropics which were damaging to Brian's psyche and damaging for

1:42:50.520 --> 1:42:58.360
<v Speaker 2>Brian's nervous system. And I don't even like talking about

1:42:58.400 --> 1:43:03.639
<v Speaker 2>it because who knows what we lost in those years

1:43:03.760 --> 1:43:07.360
<v Speaker 2>because of that, you know, who knows?

1:43:07.600 --> 1:43:13.439
<v Speaker 1>Okay, we hear all about this discord amongst the group

1:43:14.840 --> 1:43:18.080
<v Speaker 1>was what we read on the external level true, And

1:43:18.120 --> 1:43:21.560
<v Speaker 1>what's the status of the relationship of the remaining players.

1:43:23.360 --> 1:43:24.800
<v Speaker 2>It's not as good as I'd like it to be,

1:43:26.520 --> 1:43:33.360
<v Speaker 2>you know, through the years, I don't know where to pick. So,

1:43:33.680 --> 1:43:38.000
<v Speaker 2>you know, when they started out, they were as do

1:43:38.040 --> 1:43:38.800
<v Speaker 2>you have siblings?

1:43:39.200 --> 1:43:39.720
<v Speaker 1>Yes? They do.

1:43:41.160 --> 1:43:42.760
<v Speaker 2>Yeah, so I've got two brothers. I got an older

1:43:42.760 --> 1:43:44.519
<v Speaker 2>brothers also adopted, and I have a younger brother.

1:43:45.320 --> 1:43:47.439
<v Speaker 1>I'm a kid too, But two sisters.

1:43:47.439 --> 1:43:54.400
<v Speaker 2>Okay, oh great. So you know, at different intervals in

1:43:54.439 --> 1:43:57.120
<v Speaker 2>my life I'm sixty one now, at different intervals in

1:43:57.160 --> 1:44:00.000
<v Speaker 2>my life with my brothers, we've had different types of relationship.

1:44:01.120 --> 1:44:04.320
<v Speaker 2>I've never had a relationship with my parents where my

1:44:04.360 --> 1:44:08.720
<v Speaker 2>father was abusive, So that's something I can't I understand

1:44:08.760 --> 1:44:10.920
<v Speaker 2>what Brian went through, but I can't relate to it

1:44:10.960 --> 1:44:14.759
<v Speaker 2>directly because it's not my own experience. But I'm terribly

1:44:15.320 --> 1:44:20.240
<v Speaker 2>empathetic towards it. So when in the early days, and

1:44:20.280 --> 1:44:22.479
<v Speaker 2>you can see this in photos, you can see this

1:44:23.400 --> 1:44:26.640
<v Speaker 2>in any type of documentary that's been put together with them,

1:44:27.720 --> 1:44:30.679
<v Speaker 2>you can see Dennis as the wild one. He I'm

1:44:30.720 --> 1:44:33.799
<v Speaker 2>sure he pushed Mike's bought in every chance he could.

1:44:34.200 --> 1:44:39.479
<v Speaker 2>But it wasn't because they disliked one another. It was

1:44:39.560 --> 1:44:41.880
<v Speaker 2>because they were cousins and they have a deep love.

1:44:41.920 --> 1:44:46.040
<v Speaker 2>It's family. It's family. And that's what I think a

1:44:46.080 --> 1:44:49.800
<v Speaker 2>lot of people get wrong when it comes to the

1:44:49.840 --> 1:44:54.280
<v Speaker 2>Beach Boys, is they don't there. They're too worried about

1:44:55.200 --> 1:45:00.320
<v Speaker 2>oh if Mike said something about Dennis or took Brian

1:45:00.360 --> 1:45:04.160
<v Speaker 2>to court. Perfect example, when when when Mike went to

1:45:04.200 --> 1:45:09.080
<v Speaker 2>court for songwriting credits, perfect example. Anyone I've ever spoken

1:45:09.120 --> 1:45:14.080
<v Speaker 2>to about that said Mike should have done that. If

1:45:14.120 --> 1:45:16.360
<v Speaker 2>you read the court documents, which you're out there for

1:45:16.400 --> 1:45:21.679
<v Speaker 2>anybody to read and find. Brian says, Mike wrote these songs,

1:45:22.240 --> 1:45:27.040
<v Speaker 2>and Brian, as I understand it, was more than happy

1:45:27.080 --> 1:45:29.640
<v Speaker 2>to give Mike the credit without ever having to go

1:45:29.720 --> 1:45:34.280
<v Speaker 2>to court. He was advised not to do that. So

1:45:34.320 --> 1:45:37.000
<v Speaker 2>it ends up in court. Mike didn't want to go

1:45:37.040 --> 1:45:39.639
<v Speaker 2>to court, and Mike could have gotten a lot more

1:45:39.640 --> 1:45:41.720
<v Speaker 2>money than he did, and he didn't. He didn't take it.

1:45:42.840 --> 1:45:45.640
<v Speaker 2>So and I'm not making any excuses for Mike. I'm not.

1:45:46.160 --> 1:45:48.639
<v Speaker 2>None of them need to be defended by me, none

1:45:48.640 --> 1:45:51.400
<v Speaker 2>of them. They're they, they've they've made their own path

1:45:51.840 --> 1:45:59.200
<v Speaker 2>as far as the relationships that they have is. So

1:45:59.280 --> 1:46:01.920
<v Speaker 2>I've had the the you know, because I've talked to

1:46:01.960 --> 1:46:05.920
<v Speaker 2>them so many years, whether it's over the phone, in

1:46:05.960 --> 1:46:10.160
<v Speaker 2>a zoom or sitting with them in a room, I've

1:46:10.200 --> 1:46:14.400
<v Speaker 2>seen them. I've seen qualities in each and every one

1:46:14.439 --> 1:46:18.080
<v Speaker 2>of them that I treasure where I like, this is

1:46:18.120 --> 1:46:20.680
<v Speaker 2>a good person. This isn't like they're they're down to

1:46:20.760 --> 1:46:25.640
<v Speaker 2>earth with me. They're kind, they're open, and that's all

1:46:25.640 --> 1:46:29.120
<v Speaker 2>I can ask from anybody. So when I see that,

1:46:29.479 --> 1:46:32.519
<v Speaker 2>I mean, there's just a story that Ran I want

1:46:32.520 --> 1:46:35.120
<v Speaker 2>to say about a week ago, that Mike and l

1:46:35.360 --> 1:46:42.880
<v Speaker 2>can't seem to reconcile whatever differences there are that they have,

1:46:44.600 --> 1:46:48.200
<v Speaker 2>and I just wish it weren't so because I know

1:46:48.360 --> 1:46:52.200
<v Speaker 2>Al pretty well, and I know Mike and Mike pretty well,

1:46:52.280 --> 1:46:56.080
<v Speaker 2>and they both have different They're both very different, but

1:46:56.479 --> 1:47:00.240
<v Speaker 2>they both have really great qualities about them, and I

1:47:00.320 --> 1:47:03.479
<v Speaker 2>know these qualities. I just think, why is it that

1:47:04.920 --> 1:47:09.920
<v Speaker 2>Mike being who he is, can't get on with Al

1:47:10.080 --> 1:47:12.320
<v Speaker 2>being who he is? And I don't mean from the

1:47:12.400 --> 1:47:18.120
<v Speaker 2>music business perspective, I just mean as as former colleagues,

1:47:18.320 --> 1:47:20.120
<v Speaker 2>to be able to be in a room together, to

1:47:20.200 --> 1:47:24.760
<v Speaker 2>be able to, you know, enjoy one another's company and

1:47:24.800 --> 1:47:28.280
<v Speaker 2>not be concerned about the music end of it. But

1:47:28.400 --> 1:47:33.639
<v Speaker 2>I think there's just so much emotional baggage that when

1:47:33.640 --> 1:47:36.800
<v Speaker 2>they are in a room together, it's hard for them,

1:47:37.600 --> 1:47:42.360
<v Speaker 2>particularly Al. I think Al really struggles with it. And

1:47:42.360 --> 1:47:47.640
<v Speaker 2>this might I'm just guessing, totally guess, but maybe what

1:47:47.760 --> 1:47:50.960
<v Speaker 2>Al's dealing with is how he was told to turn

1:47:51.000 --> 1:47:53.760
<v Speaker 2>on the TV in nineteen ninety nine because the beach

1:47:53.760 --> 1:47:55.640
<v Speaker 2>Boys were performing at the Super Bowl and they had

1:47:55.680 --> 1:47:57.720
<v Speaker 2>Glenn Campbell and Dean there and Al wasn't there, and

1:47:57.760 --> 1:48:02.439
<v Speaker 2>he had no idea that they were. Has just been austed?

1:48:03.640 --> 1:48:11.719
<v Speaker 2>Why was that? I? I? Yeah, you know, Mike, Mike

1:48:12.320 --> 1:48:20.400
<v Speaker 2>became a businessman and and for better or worse, that's

1:48:20.439 --> 1:48:24.760
<v Speaker 2>just what happened. Mike is a businessman. And uh, I

1:48:24.800 --> 1:48:28.760
<v Speaker 2>don't you know so that that part of it the

1:48:28.880 --> 1:48:35.519
<v Speaker 2>music business. Uh, it's just it's just okay.

1:48:35.560 --> 1:48:38.360
<v Speaker 1>So Al, it comes down to the money. I have

1:48:38.400 --> 1:48:40.519
<v Speaker 1>a friend who says, you never really know your relatives

1:48:40.520 --> 1:48:44.439
<v Speaker 1>to your share and inheritance, and would and would you?

1:48:44.960 --> 1:48:47.880
<v Speaker 1>Would you say that ultimately financial things are the driving

1:48:47.960 --> 1:48:48.639
<v Speaker 1>force here.

1:48:51.840 --> 1:48:54.120
<v Speaker 2>To a degree. I think that's accurate. I mean if

1:48:54.200 --> 1:48:57.360
<v Speaker 2>if if Mike's touring and he doesn't have Al with him,

1:48:57.880 --> 1:49:02.600
<v Speaker 2>that's less that he has to give out. Although I

1:49:02.640 --> 1:49:05.040
<v Speaker 2>don't know how it works now, but prior to the

1:49:05.080 --> 1:49:09.360
<v Speaker 2>sale to Iconic Artists Group, I know that the way

1:49:09.400 --> 1:49:13.160
<v Speaker 2>it worked then was like if Mike went and did

1:49:13.200 --> 1:49:16.200
<v Speaker 2>the show under the Beach Boys name, Brian would get money,

1:49:16.360 --> 1:49:19.800
<v Speaker 2>the you know, Carl Wilson's son Shonah and Justin would

1:49:19.840 --> 1:49:23.240
<v Speaker 2>get money. Al would get money because they were all shareholders.

1:49:23.520 --> 1:49:26.800
<v Speaker 2>Now I think they are minority shareholders now, so I

1:49:26.840 --> 1:49:29.679
<v Speaker 2>think there might still be a distribution that takes place.

1:49:30.080 --> 1:49:33.439
<v Speaker 2>I'm not sure about that though, but it's it's still

1:49:33.479 --> 1:49:36.880
<v Speaker 2>they all, you know. They if Mike performs, they make money.

1:49:37.320 --> 1:49:43.120
<v Speaker 2>So it's I can say that in my experience with

1:49:43.240 --> 1:49:54.879
<v Speaker 2>Mike that al al is not easy for Mike because

1:49:55.760 --> 1:50:00.160
<v Speaker 2>Mike likes to show up and have everything happen right,

1:50:00.479 --> 1:50:04.360
<v Speaker 2>not wonder where somebody is not be concerned. Is somebody

1:50:04.360 --> 1:50:06.320
<v Speaker 2>going to show up on time? Not be concerned with?

1:50:06.800 --> 1:50:08.920
<v Speaker 2>Is when so and so is going to take the stage?

1:50:08.920 --> 1:50:13.880
<v Speaker 2>Are they going to complain about something? So that that

1:50:14.120 --> 1:50:22.160
<v Speaker 2>is something I witnessed over time where it was Mike

1:50:22.400 --> 1:50:26.320
<v Speaker 2>likes a streamlined that's all he wants. He doesn't want

1:50:26.320 --> 1:50:28.400
<v Speaker 2>to have to think about anything. He wants to be

1:50:28.439 --> 1:50:30.120
<v Speaker 2>able to go from point A to point B in

1:50:30.160 --> 1:50:32.320
<v Speaker 2>the show up and be on stage and entertain people.

1:50:32.760 --> 1:50:35.639
<v Speaker 2>He doesn't want to be thinking about anything else. And

1:50:35.720 --> 1:50:39.120
<v Speaker 2>if somebody has him thinking about somebody something else that's

1:50:39.120 --> 1:50:42.040
<v Speaker 2>got other than just going on and doing a great job,

1:50:42.800 --> 1:50:44.720
<v Speaker 2>he doesn't want to deal with it. And once you

1:50:44.720 --> 1:50:48.559
<v Speaker 2>get to your eighties, or late seventies, even why would

1:50:48.640 --> 1:50:52.280
<v Speaker 2>you write? Why not just eliminate that? So life is

1:50:52.320 --> 1:51:02.120
<v Speaker 2>easy and it's you know, al Alic's a sweetheart though,

1:51:02.439 --> 1:51:05.240
<v Speaker 2>So that's what's so perplexing about the whole thing. But

1:51:05.320 --> 1:51:07.599
<v Speaker 2>I guess when you when you're when you're a partner

1:51:07.680 --> 1:51:13.120
<v Speaker 2>of somebody over a you know, decades, the personalities come

1:51:13.160 --> 1:51:14.880
<v Speaker 2>into play. I mean, my god, we've seen it with

1:51:14.920 --> 1:51:18.640
<v Speaker 2>every group there is, right, We've seen it with the Eagles,

1:51:18.680 --> 1:51:23.400
<v Speaker 2>We've seen I mean, they're notorious. We've seen it happened

1:51:23.400 --> 1:51:27.840
<v Speaker 2>in the Moody Blues. It's it's happened with everybody, and

1:51:27.840 --> 1:51:31.519
<v Speaker 2>and so it's it's not surprising that it that it's

1:51:31.560 --> 1:51:36.080
<v Speaker 2>happened with them. But they're such great guys. And I'll

1:51:36.120 --> 1:51:38.760
<v Speaker 2>just tell you I have one son. He's twenty four.

1:51:38.840 --> 1:51:42.960
<v Speaker 2>His name is Ethan is down syndrome. I take Ethan

1:51:43.000 --> 1:51:45.160
<v Speaker 2>to Beach Boys shows and they bring him on for

1:51:45.240 --> 1:51:48.439
<v Speaker 2>Barbara in and melts my heart. They treat him like king,

1:51:48.640 --> 1:51:53.880
<v Speaker 2>like a king, So I I you know, and that

1:51:54.040 --> 1:51:56.200
<v Speaker 2>was never any that was never When I started the

1:51:56.240 --> 1:51:58.560
<v Speaker 2>magazine back, you know, working on a magazine back in

1:51:58.640 --> 1:52:01.320
<v Speaker 2>ninety three, I didn't have a child. So for them

1:52:01.400 --> 1:52:06.519
<v Speaker 2>to just naturally do that for me is a big deal.

1:52:06.760 --> 1:52:09.200
<v Speaker 2>And it's not because they're the Beach Boys. It's just

1:52:10.000 --> 1:52:13.479
<v Speaker 2>they're treating a member of my family well. And I

1:52:13.479 --> 1:52:15.240
<v Speaker 2>don't care who you are, what you do for a living.

1:52:15.280 --> 1:52:17.640
<v Speaker 2>If you treat if you treat other people well, your

1:52:17.680 --> 1:52:19.320
<v Speaker 2>stock goes up with me.

1:52:20.400 --> 1:52:24.840
<v Speaker 1>Okay, how many times did you talk with Brian and

1:52:24.880 --> 1:52:26.479
<v Speaker 1>what were those interactions like?

1:52:29.840 --> 1:52:35.519
<v Speaker 2>Well? First, first few times clumsy because I didn't know

1:52:35.680 --> 1:52:38.479
<v Speaker 2>that if I asked them yes or no question, I

1:52:38.479 --> 1:52:43.360
<v Speaker 2>would get yes or no, that's for sure. Yes. So

1:52:43.720 --> 1:52:48.120
<v Speaker 2>after a few of those, my greatest Bob, I had

1:52:48.160 --> 1:52:52.840
<v Speaker 2>the most wonderful, incredible, memorable evening with Brian Wilson that

1:52:54.400 --> 1:52:57.439
<v Speaker 2>has just gone that just lives with me. So it

1:52:57.680 --> 1:53:02.439
<v Speaker 2>was July of two thousand. I had gone to his

1:53:03.600 --> 1:53:08.280
<v Speaker 2>Roxy performances in April and seen those and just was

1:53:08.400 --> 1:53:10.800
<v Speaker 2>ecstatic about that. You know, I just had so much

1:53:10.800 --> 1:53:13.679
<v Speaker 2>fun at those two shows. And then he was coming

1:53:13.720 --> 1:53:15.760
<v Speaker 2>to see chest Stain done in Atlanta, Georgia. He had

1:53:15.840 --> 1:53:19.559
<v Speaker 2>just started doing his Pet Sounds in its entirety tour

1:53:21.120 --> 1:53:25.200
<v Speaker 2>and they had the full orchestra and everything, and he

1:53:25.720 --> 1:53:28.240
<v Speaker 2>came down and I had set it up that I

1:53:28.360 --> 1:53:30.960
<v Speaker 2>was going to interview him after the show, so I

1:53:30.960 --> 1:53:33.600
<v Speaker 2>got to sit with Melinda at a table right in

1:53:33.640 --> 1:53:36.160
<v Speaker 2>front of the stage, right where Brian was. So that's

1:53:36.160 --> 1:53:38.679
<v Speaker 2>why I that's where I got to watch the pet

1:53:38.720 --> 1:53:41.840
<v Speaker 2>Sounds in its entirety for the first time ever. And

1:53:42.520 --> 1:53:44.200
<v Speaker 2>I had no idea they were going to throw the

1:53:44.680 --> 1:53:47.559
<v Speaker 2>dog and the train in at the end. I wasn't

1:53:47.560 --> 1:53:49.919
<v Speaker 2>even thinking about that because this was a live performance.

1:53:49.920 --> 1:53:52.160
<v Speaker 2>All of a sudden that comes in and I'm already

1:53:52.200 --> 1:53:54.920
<v Speaker 2>standing clapping and the little kid in me where the

1:53:55.040 --> 1:53:58.080
<v Speaker 2>jaw drops, and I mean I must have had such

1:53:58.080 --> 1:54:00.720
<v Speaker 2>a geeky look on my face that looked over at

1:54:00.800 --> 1:54:05.280
<v Speaker 2>me was just laughing, like almost with convulsing with laughter

1:54:05.400 --> 1:54:09.559
<v Speaker 2>at me because I just had geeked out. But then

1:54:09.600 --> 1:54:13.559
<v Speaker 2>I get to go back and interview Brian uh part

1:54:13.600 --> 1:54:16.479
<v Speaker 2>for the magazine and part for his Brian Wilson Breakaway

1:54:16.520 --> 1:54:21.519
<v Speaker 2>newsletter that they were doing at the time. And so

1:54:21.760 --> 1:54:26.439
<v Speaker 2>I had so because I'm in radio, or I was

1:54:26.479 --> 1:54:28.880
<v Speaker 2>in radio. If I can do an impression, I do

1:54:28.880 --> 1:54:31.160
<v Speaker 2>an impression. So I had worked on my Paul McCartney

1:54:32.440 --> 1:54:34.240
<v Speaker 2>and I thought, Okay, I'm going to do my Paul

1:54:34.320 --> 1:54:37.080
<v Speaker 2>McCartney for Brian, because Brian's met Paul McCartney. So I'll

1:54:37.080 --> 1:54:39.800
<v Speaker 2>do I'll do my Paul McCartney. So we get that

1:54:39.880 --> 1:54:41.920
<v Speaker 2>back there and I'm sitting, I mean just a few

1:54:41.920 --> 1:54:45.200
<v Speaker 2>feet away from him, and we do the interview and

1:54:46.040 --> 1:54:48.440
<v Speaker 2>nobody's there to kick me out or anything like that.

1:54:48.480 --> 1:54:50.840
<v Speaker 2>The interview's over and I said, hey, Brian, I want

1:54:50.840 --> 1:54:52.440
<v Speaker 2>to do my I'd like to do my Paul McCartney

1:54:52.480 --> 1:54:57.880
<v Speaker 2>impression for you, and he goes, okay. Well, before I

1:54:57.920 --> 1:55:01.040
<v Speaker 2>do this, I want to say the whole time during

1:55:01.080 --> 1:55:06.880
<v Speaker 2>an interview, Bob, he was engaged, he was lucid, he

1:55:07.080 --> 1:55:11.520
<v Speaker 2>was present with me the whole time. And I think

1:55:11.600 --> 1:55:13.720
<v Speaker 2>it was attributable to the fact that I was sitting

1:55:13.760 --> 1:55:15.840
<v Speaker 2>there with him, and that was a lesson for me.

1:55:15.880 --> 1:55:18.840
<v Speaker 2>That was a really informed moment for me because he

1:55:18.960 --> 1:55:22.520
<v Speaker 2>was just so into it with me. And so we

1:55:22.560 --> 1:55:23.960
<v Speaker 2>get to the point and I go, I'll do my

1:55:23.960 --> 1:55:27.600
<v Speaker 2>Pullman CARDNEYR. Priss and he goes he looks at me like,

1:55:27.760 --> 1:55:30.520
<v Speaker 2>what the hell does that mean? He goes okay, and

1:55:30.560 --> 1:55:34.520
<v Speaker 2>I said, So one morning I woke up and I

1:55:34.560 --> 1:55:36.280
<v Speaker 2>had a bit of a melody. You know, going about

1:55:36.280 --> 1:55:39.560
<v Speaker 2>in my head, and I smelled breakfast, you know, and

1:55:39.640 --> 1:55:42.920
<v Speaker 2>out came scrambled eggs. Oh my darling, how I love

1:55:43.000 --> 1:55:47.360
<v Speaker 2>you legs? And those those were good legs. And he

1:55:47.880 --> 1:55:49.880
<v Speaker 2>gave me I have this on tape to this day.

1:55:49.880 --> 1:55:53.560
<v Speaker 2>He gave me three reactions. He goes, that's freaked out,

1:55:55.760 --> 1:56:01.160
<v Speaker 2>that's unbelievable. That's pretty damn good. And we stand up

1:56:01.200 --> 1:56:04.440
<v Speaker 2>and he gives me this monster hug, Bob, and then

1:56:04.480 --> 1:56:06.920
<v Speaker 2>he walks off. And I didn't know that was a

1:56:06.920 --> 1:56:09.760
<v Speaker 2>bucket list moment, but that was a bucket list moment

1:56:09.840 --> 1:56:12.640
<v Speaker 2>I had. I mean, right then and there, I just went,

1:56:12.720 --> 1:56:17.440
<v Speaker 2>oh my gosh, that that just happened. So no, that

1:56:17.720 --> 1:56:22.880
<v Speaker 2>was that was incredible, that moment. And as I touch

1:56:22.960 --> 1:56:25.360
<v Speaker 2>on in my introduction in the book, well no, I

1:56:25.360 --> 1:56:28.120
<v Speaker 2>think it's in my acknowledgments in the back. What I

1:56:28.240 --> 1:56:32.600
<v Speaker 2>learned from that night was because of how engaged he

1:56:32.760 --> 1:56:36.240
<v Speaker 2>was with me sitting by that time, I had learned

1:56:36.240 --> 1:56:38.760
<v Speaker 2>how to ask him questions so that they weren't yes

1:56:38.800 --> 1:56:41.880
<v Speaker 2>and no. But so going forward, if I got him

1:56:41.920 --> 1:56:45.240
<v Speaker 2>on the phone, I my questions were formed so that

1:56:45.280 --> 1:56:48.000
<v Speaker 2>they weren't yes and no. So I that was easy

1:56:48.080 --> 1:56:50.520
<v Speaker 2>enough for me to work out. But as time went

1:56:50.560 --> 1:56:55.080
<v Speaker 2>on and he got older, I it became kind of

1:56:55.080 --> 1:56:57.920
<v Speaker 2>a science to me to get the best out of him.

1:56:58.560 --> 1:57:01.480
<v Speaker 2>And so what I would do is I would come

1:57:01.560 --> 1:57:04.200
<v Speaker 2>up with my questions. And this became a whole other

1:57:04.240 --> 1:57:07.520
<v Speaker 2>way of informing in the interview process. Is I had

1:57:07.520 --> 1:57:10.320
<v Speaker 2>to come up with questions and then kind of guess

1:57:10.320 --> 1:57:12.760
<v Speaker 2>ahead at what he might say to come up with

1:57:12.800 --> 1:57:15.840
<v Speaker 2>the follow up question and then email those to his

1:57:15.920 --> 1:57:20.400
<v Speaker 2>publicist Gene Severs, who's a wonderful soul, or Jeffrey Fossquett,

1:57:20.680 --> 1:57:23.520
<v Speaker 2>who was who would work, you know, would be Brian's

1:57:23.520 --> 1:57:26.840
<v Speaker 2>caretaker for a time. So either Jeffrey or Jean, or

1:57:26.960 --> 1:57:32.560
<v Speaker 2>Jerry Weiss or later Alberto Raise who was Brian's caretaker

1:57:32.560 --> 1:57:35.320
<v Speaker 2>towards the end, they would all help facilitate and they

1:57:35.320 --> 1:57:38.760
<v Speaker 2>would sit with Brian because I couldn't be there, and

1:57:38.800 --> 1:57:43.400
<v Speaker 2>they were the perfect handoff in that respect that they

1:57:43.400 --> 1:57:45.520
<v Speaker 2>would do that for me, and they would sit there

1:57:45.560 --> 1:57:49.360
<v Speaker 2>with him and they would interview him, asking him the questions,

1:57:49.480 --> 1:57:52.640
<v Speaker 2>and it was great. Jerry Weiss and Jeffrey Fosquett were

1:57:52.640 --> 1:57:57.600
<v Speaker 2>fantastic in that process because like you and I, Jerry

1:57:57.760 --> 1:58:01.400
<v Speaker 2>and Jeffrey are not you know about this music. So

1:58:01.480 --> 1:58:03.960
<v Speaker 2>if maybe even I didn't even have a question that

1:58:04.040 --> 1:58:07.080
<v Speaker 2>I rolled into what I was asking, if Brian would

1:58:07.080 --> 1:58:10.960
<v Speaker 2>say something in response, they would insert a follow up,

1:58:11.360 --> 1:58:15.280
<v Speaker 2>and it just it just it blossomed into the perfect

1:58:15.440 --> 1:58:19.520
<v Speaker 2>way of collecting great content from Brian.

1:58:20.440 --> 1:58:25.040
<v Speaker 1>Okay, at some point everybody involved in the group will

1:58:25.080 --> 1:58:28.160
<v Speaker 1>be gone. Do you think it's like Abba will have

1:58:28.200 --> 1:58:31.600
<v Speaker 1>being animatronic or do you think what's going to be

1:58:31.600 --> 1:58:34.879
<v Speaker 1>the future of the music in the legend.

1:58:37.720 --> 1:58:39.280
<v Speaker 2>Well, the first thing I'll say is I hope it's

1:58:39.320 --> 1:58:41.720
<v Speaker 2>not and I'm intronic, but you never know who will

1:58:41.720 --> 1:58:43.720
<v Speaker 2>get a hold of what and what they'll do. You

1:58:43.880 --> 1:58:47.520
<v Speaker 2>just no control over that. But uh, I think the

1:58:47.600 --> 1:58:51.360
<v Speaker 2>legacy and the Beach Boys is set in stone, and

1:58:51.400 --> 1:58:55.240
<v Speaker 2>it's been set in stone. I you know, a handful

1:58:55.240 --> 1:58:57.440
<v Speaker 2>of years ago a country group What the Heck Where

1:58:57.480 --> 1:59:00.640
<v Speaker 2>the Low Cash came around and they did a song

1:59:00.800 --> 1:59:06.080
<v Speaker 2>called uh get It Get Around as basically a drinking

1:59:06.240 --> 1:59:08.320
<v Speaker 2>gang like past drinks around type of thing, and Mike

1:59:08.360 --> 1:59:10.720
<v Speaker 2>and Bruce are on it, and somebody said to me,

1:59:10.840 --> 1:59:12.880
<v Speaker 2>don't you think that's going to hurt their legacy? And

1:59:12.920 --> 1:59:15.720
<v Speaker 2>I said, nobody is going to even remember this song

1:59:15.800 --> 1:59:20.680
<v Speaker 2>in two years now. Let alone be concerned with the legacy,

1:59:21.160 --> 1:59:24.000
<v Speaker 2>the legacy of the Beach Boys and I and I

1:59:24.040 --> 1:59:28.200
<v Speaker 2>hope it's not, you know, for the long time generational

1:59:28.240 --> 1:59:30.680
<v Speaker 2>fans like you and I. I hope it isn't to

1:59:30.720 --> 1:59:33.400
<v Speaker 2>the point where people are are looking at it. And

1:59:33.560 --> 1:59:36.080
<v Speaker 2>you know, because I see, I just see a lot

1:59:36.160 --> 1:59:39.800
<v Speaker 2>of stuff online about, oh, they're you know, Mike should

1:59:39.800 --> 1:59:43.680
<v Speaker 2>hang it up, you know, he's but he loves it.

1:59:43.880 --> 1:59:45.800
<v Speaker 2>He loves it. He loves what he's doing. He loves

1:59:45.880 --> 1:59:48.200
<v Speaker 2>bringing joy to the fans, and that's why he still

1:59:48.240 --> 2:00:00.240
<v Speaker 2>does it. The legacy is, from my perspective, is remarkable

2:00:00.320 --> 2:00:09.520
<v Speaker 2>music that remains unmatched and unparalleled by anyone anywhere. The

2:00:09.520 --> 2:00:13.200
<v Speaker 2>Beatles would do back in the USSR, which is the

2:00:13.240 --> 2:00:15.640
<v Speaker 2>closest they ever came to doing a Beach Boys song,

2:00:17.200 --> 2:00:26.440
<v Speaker 2>and the Beach Boys, Brian's vocal arrangements, his production style,

2:00:27.320 --> 2:00:32.120
<v Speaker 2>his inherent built in ability to realize something he was imagining,

2:00:33.040 --> 2:00:37.400
<v Speaker 2>is just unmatched. It's unmatched. There are other records that

2:00:37.440 --> 2:00:40.200
<v Speaker 2>I can put on that will reach me on a

2:00:40.320 --> 2:00:44.840
<v Speaker 2>level as beautiful as pet Sounds does. But the moments

2:00:44.880 --> 2:00:49.560
<v Speaker 2>in pet Sounds. There's moments in songs like that. There's

2:00:49.640 --> 2:00:53.000
<v Speaker 2>moments on pet Sounds, moments, just moments like it could

2:00:53.040 --> 2:00:55.080
<v Speaker 2>be a it could be the way an instrument hits,

2:00:55.440 --> 2:00:58.560
<v Speaker 2>or the way that one vocal voice is rubbing up

2:00:58.600 --> 2:01:04.400
<v Speaker 2>against the other voice. That aren't anywhere else. They're not

2:01:04.520 --> 2:01:09.120
<v Speaker 2>anywhere else ever that I've ever heard. And you could say, oh,

2:01:09.160 --> 2:01:11.920
<v Speaker 2>it's that familial blend in it. That might be in

2:01:11.960 --> 2:01:14.120
<v Speaker 2>fact true, But I mean, I'm thinking of a spot

2:01:14.160 --> 2:01:17.000
<v Speaker 2>where it's Bruce and Brian. Bruce isn't a family member,

2:01:17.520 --> 2:01:22.400
<v Speaker 2>so it's just to me. The Beach Boys legacy is

2:01:22.480 --> 2:01:31.600
<v Speaker 2>Brian Wilson, Brian Wilson's incredible gift and the group's incredible

2:01:32.120 --> 2:01:34.280
<v Speaker 2>adaptability to keep up.

2:01:35.960 --> 2:01:38.640
<v Speaker 1>You've been listening to David Beard once again. He has

2:01:38.680 --> 2:01:42.240
<v Speaker 1>a new book, All Summer Long Conversations with the Beach Boys,

2:01:42.400 --> 2:01:45.280
<v Speaker 1>from Surfing to Smile. As you can tell from listening,

2:01:45.840 --> 2:01:49.440
<v Speaker 1>he's been in charge of this magazine for thirty years.

2:01:49.720 --> 2:01:53.560
<v Speaker 1>He's done all these interviews and he's distilled them down

2:01:53.600 --> 2:01:56.240
<v Speaker 1>to tell a story. I know a lot about the

2:01:56.240 --> 2:01:59.040
<v Speaker 1>Beach Boys, but I certainly learned a bunch of stuff.

2:01:59.040 --> 2:01:59.600
<v Speaker 2>It was real.

2:02:00.080 --> 2:02:03.280
<v Speaker 1>You know, the top level stuff who worked on the songs,

2:02:03.280 --> 2:02:06.520
<v Speaker 1>that's available everywhere, but the people and the personalities, that's

2:02:06.600 --> 2:02:09.240
<v Speaker 1>what made it come alive for me. David, I want

2:02:09.280 --> 2:02:11.760
<v Speaker 1>to thank you for taking the time with my audience.

2:02:12.200 --> 2:02:14.760
<v Speaker 2>Bob, thank you. This has really been a pleasure. I

2:02:14.840 --> 2:02:15.160
<v Speaker 2>love it.

2:02:16.160 --> 2:02:19.480
<v Speaker 1>Till next time. This is Bob left sets