Once more unto the beach, dear friends!
Welcome back again for the fourth album, '20/20', and fifth installment overall of my Beach Boys Retrospective series (click for the full Spotify playlist), 'Turn That Frown Upside Down, 1967-'71' covering the years after 'Pet Sounds' and the collapse of the 'SMiLE' sessions through to the final release of material from those sessions on the 1971 album 'Surf's Up'. 1968 was a pivotal year for the Beach Boys when Brian Wilson's reclusion from life and the band began in earnest. Also covered is Dennis Wilson's unfortunate association with convicted murderer and cult figure, Charles Manson. '20/20' is generally regarded as the weakest album from the period and yet, I wouldn't say there's a bad song on it. In fact, much of the material still stands up today as among the best in the Beach Boys canon. There's still a wealth of fantastic material on the album despite much of it being made without Brian who had briefly institutionalized himself during early sessions for the album. It was the end of the lofi, home studio era and the beginning of the Beach Boys' most democratic era, forced by necessity to make up for Brian's withdrawal from the group's activities. It would culminate in a very prolific year and a wealth of material that would be drawn from to complete their next album, 'Sunflower' (1970), which is now regarded as one of the best albums they ever made.
But the road is traveled by walking one step at a time, so until then, here are my selected tracks from '20/20' ...
The Beach Boys: Turn That Frown Upside Down, 1967-71 - IV. 20/20
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| No Brian |
- released 10 February 1969
Produced by Brian Wilson, Carl Wilson, Bruce Johnston, Dennis Wilson, Al Jardine
'20/20' would be the 15th studio album released by the Beach Boys, so named because it was their 20th album overall with the inclusion of live albums and 'best of' collections. This included 'The Best of the Beach Boys Vol. 3' and 'Stack-o'Tracks'--an album of the instrumental backing tracks to songs spanning their history; both albums were hastily released by Capitol Records after the dismal chart showing for the Beach Boys' previous album, 'Friends'. The former, while successful in the UK (no. 9), fared worse in the States then even 'Friends' had, only reaching no. 153; the latter failed to chart at all in either country, a failure fortunately not duplicated until 1992's 'Summer in Paradise', the only album on which Brian Wilson was entirely absent. As it was, Brian was present on fewer than half of the songs recorded specifically for '20/20' with three unfinished songs having been pulled from the archives to complete the album. Most significantly, two of those tracks were pulled from the unfinished 'SMiLE' sessions: "Our Prayer" and "Cabinessence".
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| Also no Brian |
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| Note the date. Manson was already bad news when Dennis met him. (Definitely NOT Brian) |
Technically, you could say the album had a fourth cover, though it was not credited as such. Of course, I'm referring to the song originally called "Cease to Exist", written by infamous cult leader and convicted murderer, Charles Manson, written apparently by Manson on behalf of the group to address their internal struggles. (Yeah... probably not the guy you want giving you advice on how to keep your family together.) As mentioned previously, Dennis Wilson had befriended Manson in April of 1968. Shortly thereafter, Manson and his "Family" crashed and essentially took over Dennis's Sunset Boulevard home; apparently, this arrangement was more or less copacetic until December of that year as Dennis spoke fondly of Manson in an interview printed in Record Mirror at the time. This was after the Manson Family had been evicted from the house as Dennis chose not to renew his lease; he had also spent as much as $100,000 of his own money supporting the Family, including on treatments for many of the members' persistent gonorrhea. (Yikes!) In the meantime, Dennis had introduced Manson to several musical associates including Terry Melcher (Byrds and later Beach Boys producer, as well as co-writer of "Kokomo") who, according to engineer Stephen Desper, co-produced several of Manson's songs at Brian's home studio with Dennis. These recordings have never been, and perhaps will never be, released. (Dennis, in the aftermath of the Tate-LaBianca murders, apparently told prosecutor Vincent Bugliosi that he had destroyed them because "the vibrations connected with them didn't belong on this earth.")
Things did come to a head that December, however, and Dennis dissociated himself from Manson after Family members wrecked both his Ferrari and Mercedes Benz, but especially after the release of "Cease to Exist", recorded the previous September (following the release of 'Friends'), retitled "Never Learn Not to Love"; the song was released as the B-side to "Bluebirds Over the Mountain". Changes to the lyrics (such as "Cease to exist" to "Cease to resist") infuriated Manson and he allegedly threatened Dennis directly. According to various sources such as Melcher and Love, Dennis was aware that Manson and the Family had, by that point, killed people and that he was personally afraid of Manson. (Van Dyke Parks, however, has suggested otherwise, that when Manson threatened Dennis, Dennis beat him up.) In any case, "Never Learn Not to Love" would be credited solely to Dennis as Manson had sold off his rights for money and a motorcycle; whether this happened before or after Dennis made changes to the song and its title are unclear. Desper, however, claimed that they denied Manson credit for the song as a result of his thievery.
The only other thing I'll say about this song is that, while most critics at the time and subsequently have more or less slammed the song, I will say that it's not a bad track by any means. How much credit really goes to Manson and how much goes to Dennis and the other Beach Boys is debatable. At least part of the song came from Dennis as can be heard in his demo "Peaches" and the arrangement can be credited to Dennis, Brian and Carl. On behalf of the Beach Boys, it's worth listening to Manson's recording (here) and comparing it to the Beach Boys version (here)--In my mind, there's no question which one is better; Manson's version is rather manic and unrhythmic, though his voice is surprisingly good all things considered, but the Beach Boys made it into something worth listening to.
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| Brian! (on the inner gatefold of the album) |
Lastly, there was Brian Wilson's absence from much of the album precipitated by his institutionalization at some point in the Summer of 1968. Though I had written previously that Brian's institutionalization likely had to do in part with his drug use and the failure of 'Friends' in the US, his family issues may have played an even larger part. One of the songs on 'Friends' as previously mentioned was about childbirth, specifically Brian's first child, which he expected to be a boy based on the lyrics of the song, "When a Man Needs a Woman". Recording for the album was completed in early April and Carnie, a daughter, was born later that month. This taken with Murry's previously mentioned letter--which if you haven't read it suggested that their mother Audrey "raised you boys almost like girls" and this was in part responsible for the Wilson boys' moral failings--has given some Redditors to theorize that Brian's breakdown was in part due to Carnie's birth, exacerbating his feelings of inferiority, not being masculine enough (because he had a daughter instead of a son!?), and his belief in his inability to be a good father.
Early sessions for '20/20' began in May, shortly after Carnie's birth, and though several songs were attempted and left in various states of completion, only three were ever finished: "Do It Again", "I Went to Sleep" (sounding very much like a 'Friends' outtake), and Bruce Johnston's first solo contribution "The Nearest Faraway Place". The previously mentioned "Ol' Man River" was recorded at this time when tensions within the group were particularly high, and "Walkin'" in which you can audibly hear Brian throw down his headphones and say he doesn't want to sing it. "Walkin'" along with several other songs would be considered for inclusion for the following album 'Sunflower', but most would remain unheard until the 'I Can Hear Music: The 20/20 Sessions' compilation album was released in 2018.
Sessions for the album continued in September, presumably following Brian's checking out from the psychiatric hospital, but regardless of when he was institutionalized he was still absent from most of the subsequently recorded material, though he reportedly assisted with the production, usually via Carl. Of the tracks recorded during this period, "Cotton Fields" (recorded in mid-November) appears to be the only track Brian took an active role in with Jardine having prevailed upon him to produce in hopes of repeating their past success rearranging a folk tune as they had with "Sloop John B" (also at Jardine's suggestion). Brian would remain inactive for much of the next year apart from co-writing and producing "Break Away" with his father Murry (of all people!) the following Spring.
The next couple of years, despite the setback of Brian's institutionalization and withdrawal from the Beach Boys, would see a resurgence of activity from Brian as well as a significant increase in song contributions from other band members. Dennis, in particular, would come into his own as his songs would dominate the next album 'Sunflower', but Bruce Johnston along with Mike, Al and Carl would all be of considerable assistance in the songwriting. In fact, the group would be so prolific in late 1969 that an album's worth of material would be left unreleased (not all of it great), a couple being released on subsequent albums, one as late as 1980's 'Keepin' the Summer Alive' (one of the weakest, especially lyrically--Looking at you, Mike!), and others being released on various compilations over the ensuing decades. Regardless, it was a very productive and musically rich time for the group, but troubles still lay ahead. They just couldn't ever shake off the specters of past mistakes long enough to regain their balance.
18. Bluebirds Over the Mountain (Ersel Hickey) 2:51
- released as a single on 29 November 1968 (UK; no. 33); 2 December 1968 (US; no. 61)
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| "blue beards"!? (French single cover) |
Although begun the previous year (September 1967), "Bluebirds" was by no means the oldest track on the album. "Time to Get Alone" dated from the following month with the oldest, of course, being the two 'SMiLE' tracks. All four tracks were completed in November of '68 for inclusion on '20/20'. Most unusual for a Beach Boys track was that "Bluebirds" was Bruce Johnston's first production credit (along with Carl Wilson). What I never knew was that Johnston's career as a musician, writer, arranger and producer preceded even Brian Wilson's. Johnston had not only done session work for Ritchie Valens, the Everly Brothers, and Eddie Cochran before joining the Beach Boys but also produced and recorded records under his own name as well as with Terry Melcher, who would go on to produce the Byrds among others as well as produce and co-write the Beach Boys late career hit "Kokomo" (1988).
Albeit a cover of a relatively unknown early rock'n'roll song from 1958, the song even in its original version, written and performed by Ersel Hickey, has a vaguely Caribbean flavor to it. The Beach Boys do a fair job of elevating Hickey's version or at least making it something quite different and all their own. It's a fun song--Mike does one of his best vocals; Ed Carter lends his fiery lead licks to the cool, laid-back groove; and Johnston adds some nice touches to the arrangement such as with the song's gently winding down coda.
19. All I Want to Do (D. Wilson/S. Kalinich) 2:02
A solid rock, R&B-inflected track from Dennis, "All I Want to Do" even has a lead guitar (again played by Ed Carter) that evokes the Beatles' own homage to the Beach Boys, "Back In the USSR". The second of only two songs on which Mike Love serves as the primary lead vocalist, it is Love at his most rock'n'roll ever in the entirety of the Beach Boys canon, and he does a fine job of it. This song's a jam, make no mistake. Of course, this song is also (in)famous for Dennis's recording just what it was he wanted to do with a groupie, audible albeit faintly in the song's fadeout.
20. Cottonfields (The Cotton Song) - 1970 single version (Huddie Ledbetter) 3:05
- released as a single on 20 April 1970 (US, no. 103; UK no. 5)
Rather than the album version of "Cotton Fields", I have gone with the single version which was not released until over a year later in the lead up to the 'Sunflower' album a few months later. The version on the album was recorded in mid-November of 1968 (after Brian's institutionalization) and would be the only new track on '20/20' on which Brian was involved in any capacity.
In what would be a typical maneuver for the Beach Boys, Al Jardine brought this Leadbelly-penned folk tune (original version) to Brian in hopes of replicating their past success as with "Sloop John B" (US no. 3; UK no. 2). However, Jardine would be dissatisfied with Brian's arrangement and convince the group to re-record it the following year. Jardine would be proved right as the later version, while underperforming in the US, would be a hit in the UK. The album version only featured Al and Brian (along with many of Brian's Wrecking Crew chums such as Hal Blaine, Lyle Ritz, and Al Vescovo), whereas the single version was a full group effort with all the band members (apart from Brian and Mike) providing the instrumentation along with several session players including Orville "Red" Rhodes on pedal steel guitar. Al wanted to capitalize on the rising popularity of country-rock (ala groups such as the Flying Burrito Brothers) and he succeeded with the help of his fellow Beach Boys, but it's also fair to say that Brian's original arrangement laid the groundwork for the later version.
In any case, the single version is stronger, more vibrant, and suits Al's voice particularly well. "Cottonfields" (as the later version was retitled) is a solidly enjoyable track in the Beach Boys canon if not a groundbreaking one. The band was perhaps working at its most democratic at the time and would produce some of their best work, but the period would prove short lived.
21. Time to Get Alone (B. Wilson) 2:40
One of two tracks along with "Darlin'" that Brian Wilson initially wrote and produced for the group Redwood (later Three Dog Night), the backing track dates back to the 'Wild Honey' sessions in October of 1967. Most of the backing track had already been finished at the time and this incomplete version was included on the '1967 - Wake the World' collection; it's possible that the version by Redwood was completed prior to the finished Beach Boys version, but that one would not be release until 1993 on a Three Dog Night retrospective collection. (It's not better, so ...) Three Dog Night singer, Danny Hutton, played one of the several keyboards on the track that play on the different beats of the verse, creating a wonderfully evocative quality to the song, but his recollection of Brian's prowess in the studio even then--after 'SMiLE' had been abandoned--is worth checking out on the song's Wikipedia page.
Carl would complete the song about a year after the initial sessions, recording the group's vocals and a few other instruments--likely with Brian's guidance--as can be seen in this 1968 video filmed during the later sessions. (Note that Brian is absent from the video.) It's a solid track with some very interesting aspects to the arrangement, such as the alternating keyboard sounds, though far less radical harmonically than many of Brian's other works. Most unusual are Brian's lyrics which portray a wintery, snow-bound scene, exceedingly rare for the surfing-inspired, summery California Beach Boys (excluding their Christmas-themed material, natch).
22. Cabinessence (B. Wilson/V.D. Parks) 3:34
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| 2011 Mojo single cover (for 'The SMiLE Sessions' release) |
The dispute occurred in late 1966 during vocal sessions for "Cabinessence". Van Dyke Parks was called into the studio to explain some lyrics that Mike Love felt uncomfortable with. The lyrics in question were as follows:
Over and over, the crow cries uncover the cornfield
Over and over, the thresher and hovers the wheatfield
Love's stated concern with the lyrics was that they were somehow a veiled reference to drug culture, which he didn't want to be associated with. I call bullshit--a sentiment shared by many commentators, I expect. In any case, a quick scan of the lyrics in their entirety should quickly make clear that the song is meant to evoke aspects of westward expansion throughout American history, beginning with the cabin-bound pioneer, through the construction of the railroads ("Who built the Iron Horse?"), and onward clear through to the modern-day truck driver as expressed by Dennis's buried lead vocal in the second "Iron Horse" section. The lyrics sung by Love at the end of the song were quite clearly evoking the agrarian developments that came with westward expansion, albeit in an oblique manner. Are not "amber waves of grain" a perfectly understandable evocation of the American countryside?
(One commenter on a Beach Boys forum made the suggestion that the lyrics were simply inverted and can be rearranged properly as "Over and over, the crow cries and hovers the cornfield / Over and over, the thresher uncovers the wheatfield" -- This observation can be found in an extensively detailed blog on the song by Arkhonia here. Parks cites James Joyce as an influence and stated that the words were intended more to be "felt" than understood, which may also explain the peculiarity of the lyric in question and the lyrics in general.)
The fact the Love complained about the lyric and that Parks was either unwilling or unable to explain them is one of the most frustrating episodes of the entire 'SMiLE' saga, because "Cabinessence" is an incredible piece of work, both musically and lyrically; from the gentle fireside musings to the intense cacophony of the music paired with some of the most beautifully rendered and, indeed, meaningful lyrics ever put to a Beach Boys song, "Cabinessence" achieves a real sense of grandeur and majesty that was rare in pop music at the time and is even rarer today. What's more, when one begins to consider together all of the songs and pieces of music from 'SMiLE' that were released in this period ("Heroes and Villains"; "Our Prayer"; "Cabinessence"; "Surf's Up"), the album was clearly poised to make a grand statement on manifest destiny, westward expansion, and the history of America, or at least present Brian and Van Dyke's impressions of how the country the knew came to be.
(A side note on the above: "Our Prayer" was intended to lead into "Gee", a 1953 doo-wop standard originally recorded by the Crows. It's my contention that the pairing of these two pieces was intended to evoke the passage from the Old World up to the present day. "Gee" was likely one that Brian heard in his youth that turned him on to music and so the pairing speaks to the historic journey of the album as a kind of overture for the listener. As a matter of fact, it turns out that "Gee" was the first rock'n'roll song that Paul Simon ever heard as he explained in an interview with Stephen Colbert, giving additional weight to the idea Brian's choice to use it in the segue from "Our Prayer" into "Heroes and Villains" was of a special significance in transitioning from Old World hymn to the music of Brian's youth and into Brian's own work, his "teenage symphony to God".)
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| Van Dyke Parks, c. 1978 (?) |
Well ... that's cryptic, and Parks has never elaborated on that statement apparently either, though the implication that Mike Love could be a bully is obvious and similar behavior has been thoroughly documented over the years. Regardless of what Parks meant by the previous statement, he would also go on to say in a later interview to biographer Peter Carlin that Love "was terribly jealous of me, as it became evident that he wanted my job [as Brian's lyricist]" and that the "Cabinessence" dispute was when "the whole house of cards began tumbling down."
More significantly than the house of cards that was 'SMiLE' began tumbling down, but the Beach Boys as a group and Brian Wilson in particular came tumbling down with it. The main reason for the song's inclusion on '20/20' is likely a simple one--it had already been more or less completed by the time the 'SMiLE' sessions came to a halt. Brian, for his part, was firmly against putting "Cabinessence" on the '20/20' album, representing as it did what he perceived to be his greatest failure. The group, however, was in desperate need for material to complete the album and were already in dire financial straits; Brian relented probably because he didn't feel he had any choice tied as his own fortunes were to the continued fortunes of the Beach Boys, for better and for worse. By the time "Cabinessence" was finally released to the public, well over two years since the song's first sessions, Brian and the Beach Boys' fortunes had unfortunately tended for worse.
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Well, there you have it! '20/20', the second beginning of the ... uh ... first ending ... of this five-year period in the Beach Boys history. (Dammit! Now, I can see why they had so much trouble making a satisfying documentary of the Beach Boys entire career--There's just too much of it!) Anyway, it's all fascinating stuff; it brings up so many questions about group/family dynamics, cultural expectations, views on masculinity, mental health, drug abuse and so on. There's a lot to mine here, but I would hasten to add that it's not out of some exploitative desire to lay out--once again--the dirty laundry of this particular group of guys. I really dig a lot of this music, and I hadn't necessarily expected that I would when I started listening to it. I also think there is a lot to learn from the past experiences of, well, all human endeavors throughout history; I just happen to be particularly interested in music, musicians and creators of music, especially those who exhibit real genius but seem to lose their grasp on it (or reality) for one reason or another. I hope that reading about the history behind these albums and these songs gives a deeper appreciation for the music and the people who created it.
I have three more installments to go; the next will cover some of the music that happened in between '20/20' and its follow up 'Sunflower' with an emphasis on tracks by Brian and Dennis Wilson. Both were quite prolific at the time with Dennis working towards a solo album that would never quite materialize, perhaps as a result of the fallout from his well-publicized association with Charles Manson. It's unfortunate, because glimpses of Dennis's own genius were emerging but only slowly bore real fruit--his remarkable 1977 solo album, 'Pacific Ocean Blue'.
This one has gotten pretty long, so I best bring it to a close.
Until next time, surf's up!
- DH
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| Brian with Carnie and Wendy c. 1997 |
(If anyone wonders why I haven't included "Do It Again" among the songs in this collection, it's a fine song but fairly conventional and regressive--being a throwback as it was--when compared to the great variety of material that was created in this period. However, if you'd like to hear the song, let me recommend this version made in happier times, which features Brian and his daughters--who were both born in the post-'Pet Sounds' period--Carnie and Wendy Wilson.)
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