Posts Tagged ‘The Beach Boys’

Song-Off Jr.: Surfing

“When a movie cuts to a beach shot with waves breaking in the background, it matters not how dramatic the cinematic moment, how drastic and ingenious the plot turn — my mind is immediately absent from the narrative proceedings. I’m off on an imaginary surf check, assessing the size and health of the swell up there on the silver screen, noting the wind direction and state of the tide, maybe muttering for the actors to please step aside a moment so I can see if that boomer behind them holds its shape through the inside section.

“For a surfer, this Sea of Cortez beside which I am camped is an altogether different sort of piece of water from the Pacific Ocean, the illusoriness of the boundary distinction notwithstanding. (Big Blue is a contiguous presence, worldwide.) This is despite the fact that the two may appear identical to an observer standing on the beach — both are wet and stretch to the visible horizon.

“There is a corollary to the assertion that the sea is at any given moment capable of being something other than what it is: bodies of water, like human beings, are not created equal, in terms of what they may be. The Sea of Cortez, for example, is largely incapable of producing good surf, due to its limited breadth. This narrowness results in what surfers and oceanographers refer to as a short fetch; “fetch” is the reach of unbroken water across which wind can blow in order to raise a groundswell.

“By contrast, the Pacific Ocean has a fetch of many thousands of miles. Looking south from my last west coat campsite, for example, there is nothing of any significance to impede the production of a groundswell until we come upon the pack ice of Antarctica, some 8,000 miles distant. So even when the sea is flat, you may still find yourself gazing horizonward with an alertness in your surfing soul, for — however many miles out there, however many days’ journey away — there likely is a slew of waves in transit in your direction at that very moment.”

–from In Search of Captain Zero by Allan Weisbecker

(more…)

CD Review: The Jayhawks, “Music From the North Country: The Jayhawks Anthology”

Jayhawks - Music From the North Country: The Jayhawks AnthologyThe Jayhawks, Music From the North Country: The Jayhawks Anthology – Deluxe Edition (Sony Legacy)

In the grand history of pop music, there haven’t been all that many voices that blended perfectly. Oh sure, there’s been lots of harmony singing, but what I’m talking about is two voices that just sound like they were born to be together. There were the Louvin Brothers, the Everly Brothers, and the Wilson brothers, but those are kin. In the non-related category, I’d offer Bobby Hatfield and Bill Medley of the Righteous Brothers, David Crosby and Graham Nash, and John Lennon and Paul McCartney as examples. I’m sure that you can add your own favorites. Since they were not related, they had to find each other, and the stories of how that happened are often the stuff of music history.

Gary Louris and Mark Olson belong in that category. The story of how they met is really nothing that special. Both were kicking around in different bands in Minneapolis, and when the timing was right in 1985, they got together. Along with bassist Marc Perlman and drummer Norm Rogers, they formed one of the most important roots bands in American music. Call it alt-country, Americana, or No Depression, The Jayhawks were pioneers in the movement. Together with Uncle Tupelo, and later Wilco, they forged the path that many, many artists have followed over the years. Named not for the fabled bird as many suspect, but as an homage to the Dylan-backing Hawks, who became the Band, the Jayhawks have been through some changes over the years, both in their music, and in the band’s membership. They’ve never really achieved the sort of success that they’d hoped for, but they have soldiered on.

Originally inspired by the Sweetheart of the Rodeo-era Byrds, the Flying Burrito Brothers, and anything else that Gram Parsons had to do with, the Jayhawks added something of their own to the stew, and eventually had a sound that defied categories, and ignored trends. They were originally signed to a local Minneapolis label, the legendary Twin/Tone Records, and in 1988 their early demos were spruced up and released on an album called Blue Earth. The beautiful sound of Louris and Olson’s voices blending together became their trademark, and the songs that the two co-wrote were no small part of the equation. In 1989 the august Village Voice called the Jayhawks “the only country rock band that matters.” (more…)

Lost in the ’70s: The Beach Boys, “Here Comes the Night”

lit70s

Of all the artists who jumped on the disco bandwagon in the late ’70s, one of the most unexpected (and unwelcome) this side of Ethel Merman, was the Beach Boys.  Who thought it would be a good idea for the progenitors of surfin’ music to crank up the drum machine, put the foot to the wah-wah pedal, and cue the orchestra for a ten-minute plus disco opus?  Well, whoever it was, you better stay in hiding, lest you face justice.

Originally recorded in 1967 for the Wild Honey album, “Here Comes the Night” was re-recorded for the L.A. (Light Album) record and expanded to a full-fledged, nearly 11-minute disco opus, complete with a 12″ version (download). Released as a single edit, it actually came close to scraping the bottom of the Top 40, a sign of how much disco had permeated the charts.  Beach Boys fans who heard it were aghast, however, and after making only a few live appearances during a 1979 tour, the song was quickly and quietly dropped from the set, despite being the lead single from the album the tour was supporting.

So, is it really that bad?  Yes.  “Here Comes the Night” is the sound of a irrelevant group straining desperately to glom on to any hot trend, no matter how misguided.  Since he co-wrote it, I can say without hesitation, fuck Mike Love.  Seriously.  To be fair, it was written in 1967, but really, any excuse to say “Fuck Mike Love.”

L.A. (Light Album) was salvaged from complete commercial failure by the second single, a complete throwback to the doo-wop surf sound that made the Boys famous, “Good Timin’,” which peaked at a massive #40 in 1979, just barely disqualifying itself from making an appearance in Bottom Feeders.  And since “Here Comes the Night’ peaked at #44 that same year, you dodged that bullet as well, Steed.

Lucky bastard.

“Here Comes The Night” peaked at #44 on the Billboard Hot 100 Chart and at #48 on the Club Play Singles Chart in 1979.

Get Beach Boys music at Amazon or on The Beach Boys

Song-Off Jr.: Doing It Again

recycle

Welcome to our first reader-requested Song-Off Jr.  A while back, forwardgirl proposed a threesome…and although we felt a bit uncomfortable with it at first, we’ve finally decided it’s time for a little bit of adventure.  Apologies to those who got shut out of the bedroom (The Chemical Brothers, Jay-Z, Queens of the Stone Age, Nada Surf, Stroke 9, Dianna Krall, Wall of Voodoo, Mase, Bone Thugs N Harmony, Matthew Sweet, Aimee Mann, etc.) but there are only so many bodies that can fit on a king-sized bed.

The Beach Boys – “Do It Again”

Steely Dan – “Do It Again”

The Kinks – “Do It Again”

n

n
n

What kind of lover are you looking for?

View Results

Last week, Madness sent Iron Maiden sulking to its room, as “Madness” took home 59% of the vote over “Can I Play With Madness.”  Join us again next week for a jurisdictional battle, as we tackle the subject of Non-Traditional Law Enforcement.