david anderle's won-won-wonderfully weird portrait of brian wilson

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

between the buttons and dandelions, we love you!

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!

God damn the pusher man

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

on Wild in the Streets as political and social satire

 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

talking with ken barnes on his career as a rock journalist

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

the byrds, the mind gardens, the slings and arrows, the outrageous fortune

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

a whiter shade of pale in some spectacular ruins

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