THINGS WERE GETTING WEIRD in Brian Wilson's world when he met David Anderle. By the third quarter of 1966, many significant changes had taken place in his life and his surroundings. PET SOUNDS and Good Vibrations and the SMiLE sessions that everyone in L.A. seemed to know about had brought a very different kind of attention to Brian that previous Beach Boys records such as ALL SUMMER LONG and Barbara Ann had not. It also brought many new and important people into Brian's circle of trust. While the Beach Boys had always projected a very simple, boy-next-door image, Brian's new music gave off much more… Continue Reading david anderle's won-won-wonderfully weird portrait of brian wilson
Year 1967 was full of great singles by established artists that should have been BIG hits but weren't—for example, Buffalo Springfield's Mr. Soul and the Byrds' Lady Friend and the Hollies' Kind Midas In Reverse (and I could go on but that's grist for another mill). But perhaps the biggest disappointment was the Rolling Stones second single of the year, We Love You / Dandelion. These are two sides of one of the great singles of 1967, which remain under-appreciated more than forty years later. Now, at the time of the release of We Love You / Dandelion, I was 15 years old.… Continue Reading between the buttons and dandelions, we love you!
Those of us old enough to have at least witnessed "the Sixties"—even if only as teenagers watching it happen all around us—remember that there was a time when the terms “dealer” and “pusher” were NOT synonymous. A dealer sold only “good” drugs—“head drugs”—like marijuana, hash, and the occasional psychedelic (mostly LSD). 1 A pusher, on the other hand, sold the hard stuff (read “addictive”), the “bad” drugs: the opiates (usually heroin) and speed (usually meth). This was so well understood that the rock group Steppenwolf even wrote a song about it. While never a hit single, it received countless spins as an… Continue Reading God damn the pusher man
When Jerry Rubin said, “Don’t trust anyone over 30” in 1967, there is a good chance that he knew exactly the kind of effect that it would have on young people around the country. He might not have had a clue that it would also have an effect on non-political movers and shakers in Hollywood. At least one movie followed shortly after Rubin's statement, American International Pictures' Wild In The Streets. Earlier this year, several readers suggested that I follow up the post “the return of max frost & the troopers” with a brief say-so on the AIP movie Wild In The… Continue Reading on Wild in the Streets as political and social satire
A few weeks ago, I received an invitation from a young musician in England to make a connection on the LinkedIn site, the “world’s largest professional network.” Reluctantly I accepted it, despite the fact that I have yet to meet anyone who has actually benefited professionally from any of their LinkedIn connections. Nonetheless, I certainly don’t know everyone on that network, so maybe I was missing something. I corresponded briefly with this Englishman through LinkedIn before we actually connected in a more meaningful manner (read about it here). The meeting of him and me inspired me to return to LinkedIn,… Continue Reading talking with ken barnes on his career as a rock journalist
On my other site (nealumphred.com), I just posted an article titled “the ever fallible myopic vindictive emotional biased me (and you).” In the opening paragraph, I used the word “barbs” when I really wanted to use the phrase “slings and arrows of outrageous fortune.” But I thought what a cliché, nay? Those six familiar words comes from one of the most well-known, oft-quoted of all Shakespearean soliloquies: the first scene of the third act of Hamlet. To be, or not to be? That is the question— Whether ‘tis nobler in the mind to suffer The slings and arrows of outrageous… Continue Reading the byrds, the mind gardens, the slings and arrows, the outrageous fortune
In 1967, Procol Harum made a Scopitone video for their hit A Whiter Shade Of Pale. It was shot in some spectacular ruins in Witley Court in Worcestershire, England, once one of the great houses of the Midlands, but by then a spectacular ruin devastated by fire thirty years earlier. This video features the original members—Gary Brooker (piano), Matthew Fisher (organ), David Knights (bass), Ray Royer (guitar), and Bobby Harrison (drums)—in performance and meandering about the ruins. [youtube=http://www.youtube.com/watch?v=-PmisbzxwoQ] It was directed by Peter Clifton, who mixed full-color concert film with washed-out color stock of the group in the ruins. These were interspersed with black and white newsreel… Continue Reading a whiter shade of pale in some spectacular ruins