This week, we go from "Cotton Fields" to "Cabinessence," with many diversions in between, wrapping up our look at "20/20" and the Beach Boys in the first three months of 1969!
Great to know "20/20" is your favorite! It's definitely got a lot of great material, including, of course, the excellent "Cabinessence." Thanks for the feedback, Dave!
@@thebeachboysbasementwithst6444 For me, it took a LONG time to acclimate to the internal "jarring." I couldn't see what the fuss (over how great the song was) was all about. Much later, I ran into a clip of Al saying it was one of the most difficult vocal tracks he'd ever been a part of.
Very cool! I've had the t-shirt for about a year. (A viewer, rangergrrrl, mentioned it to me that it was available because it's based on a shirt featured in "Two Lane Blacktop" with James Taylor and Dennis Wilson.) I imagine you can find still one on-line, if you're interested. Good eye, spotting the shirt and thanks for the comments, Derek! Always good to hear from England (by way of Glendale!)
I remember showing 'Time to Get Alone' to a group of friends in high school - thinking I was about to turn them on to the greatest thing they'd never heard. I was dumbfounded when not a single one of them got it in the least. I was almost personally offended!
Man! I know how frustrating that kind of thing can be. I've been there! (Not with that particular track, but I've sure had that experience.) On the plus side, I've also had the experience of friends coming back years later and saying, "I remember you played this for me and I didn't get it...Now it's one of my favorites." You never know! Great to hear from you, JFeast!
Thanks, Jamie! Glad you enjoyed the "crossover" with Betamax. That was a lot of fun to do...like your show was! Thanks for the feedback and keep up the great work! (I see you've got a new one up: "GOK, The Shadows 1973..." I'm looking forward to checking it out once I'm a little caught up on the comments here.)
Thanks for a interesting episode, as usual, Steve. The updated lyrics to Cotton Fields are the work of Al. I think on Made in California there’s a clip of either Brian or Mike saying the Al “changed the words around.” I also want to point out that I Went To Sleep is great for relaxing when trying to fall asleep. Just hum or sing it softly to yourself and you’ll destress and fall asleep in no time. Another way The Beach Boys find their way into my life!
Thanks for the comments and for the confirmation that those additional lyrics came from Al. (I'll see if I can find that clip to follow-up in a later episode.) Great suggestion on "I Went To Sleep" too! I'm going to try it next time I have trouble falling asleep. (Though, nowadays, I usually have more trouble staying awake!) Thanks again for the great comments and info, Joel!
@@joeljr4982 Fantastic! I just pulled out the CD and listened to it. There it is! You must have an amazing memory. I'd have taken decades ever running across that again! Thanks for the follow-up and for the great info, Joel!
Some very interesting point's here Steve, I was always under the impression that it was Brian who was responsible for producing and re-recording and the single version of "Cottofields". Also I was not aware that Dennis actually paid Manson for NLNTLM in cash and his bike. Thanks for those facts. I have to agree that the album is a bit of a collection of songs rather than an actual album?, but it did work at the time with some great contributions from every member of the group. I have to say I was waiting for this album to come out since January1969, It did get some decent reviews in all the music press when it was released in Febuary and I must say it didn't disapoint and I still listen to it these days with some very happy thoughts. 1969 was a great time to be a Beach Boys fan in the UK.
Thanks for the great feedback, John! I probably should have looked more closely at contemporary reviews of the album for this episode. From what I saw, and as you point out, "20/20" did seem to get decent reviews at the time. (Of course, it deserved them too!) It looks like, understandably, critics picked up on side two as being the strongest. Of course, "20/20" did much better on the charts in the US than "Friends" had done. I hope those positive reviews had something to do with it! Thanks again, as always, for the excellent comments and for the UK perspective, John!
I uploaded Part 2 of our collab last Wednesday. Lots of people have come by and left great comments. What do you say for doing a Part 3? Thanks again for doing the collaboration- that was really fun! I think 20/20 is the best example of an album that showcases everything the Beach Boys can do- from folk rock to surf rock to weird psychedelic ballads to classic rock covers. It's one of the few mishmash Beach Boys albums that actually benefits from being random in my eyes. There are so many different mixes/version of "Time to Get Alone" but I still think the one from 20/20 is the best. I know the "Never Learn Not to Love" single mix is different than the album one; I think it is shorter on the fade but I can't recall. The song and the 20/20 album got a shoutout in a deleted scene from Tarantino's "Once Upon a Time in Hollywood." You can find it on TH-cam, it's pretty fun, with Manson having dialogue about The Beach Boys ruining his music. I always thought it was weird that the Beach Boys used an outttake from the cover photo session as the original cover to "Live in London." It doesn't go with those recordings much at all. Great job as always! Loved this two parter!
I'll have to catch the comments on part 2 of our "cross-over episode." Thanks for hosting me and for posting the videos and I'd LOVE to do a part 3! Excellent point about "20/20" being a showcase for the broad spectrum of work the Beach Boys could produce. As I've been thinking about the album while reading the comments today, it's struck me that it's the kind of album where you expect wild stylistic swings between tracks; very much like the Beatles "White Album" which was released on a few months earlier. Thanks for mentioning the single version of "NLNTL" being different from the album. I'll have to check it out! Good point about the photo on the cover of "Live In London." Though I know it's an "official EMI/Capitol release," it's always seemed to have the air of a bootleg about it. (I believe, at one point at least, Bruce called it a "corporate bootleg.") In any case, it doesn't seem to have ever been treated very well. (It also strikes me that I should do an episode on it sometime soon!) Glad you enjoyed the episodes and thanks, as always, for the fun and informative comments, BB!
Steve , as much as I love , “ I Can Hear Music “ , you have my agreement that side two has the stronger of the 20/20 tracks . “ Time To Get Alone “ , has always been my personal favorite . It’s one of those unique songs wherein Brian excels as both composer AND lyricist. I chuckled when you pointed out that the winter weather subject matter reminded you of the teen film , “ Ski Party “ . That movie has one of the greatest and most incongruous scenes in Hollywood history as James Brown , ( and the famous Flames ) , emerge from outdoors complete with snow flurries and St . Bernard dogs . Of course , James and the Flames break into “ I Feel Good “ as invisible drums , bass , and saxophones make the ski lodge funky . You handled , “Never Learn Not To Love” , in perfectly understated fashion . When the album was released , no one had ever heard of Charles Manson . Similarly , nobody imagined that Dennis was , in fact , the most troubled of the Wilson brothers . Because Dennis could be so charming , that misconception persists to this day .
When I first heard the Beach Boys late 60s work in 1980, "Time To Get Alone" was one of the tracks that immediately "grabbed me" (and it's never let go!) Thanks for mentioning that wild James Brown and the Famous Flames scene in "Ski Party!" It's so hilariously incongruous that I've always loved it. I think it's Yvonne Craig who just says, "It's James Brown and the Famous Flames." after they enter, just as matter-of-factly as "The mail is here." Like it's the kind of thing you'd expect any day. I also love James Brown's exit, shimmying back out into "the snow" leaving his coat behind. Anyway, it's an all-time favorite scene for me! As for the "Manson thing," I think people get confused on the timeline and don't realize that, at the time of the recording, Manson most certainly may have been creepy and potentially dangerous, but he wasn't yet an infamous mass murderer. (I considered mentioning that Leadbelly had been convicted of murder many decades before the Beach Boys recorded "Cottonfields," but I thought that was being "too clever" and, with the circumstances being, obviously, completely different, I didn't want to open that particular "can of worms.") Thanks, again, as always, for the excellent and thoughtful feedback, Beanie!
@@thebeachboysbasementwithst6444 "Never Learn" was one of my faves on this album in the first few run-throughs listening to it. I clearly remember that.
Excellent storytelling and analysis. It seems you were right Steve, as far as i can also tell these new lyrics came from the Beach boys. Their version is also the only version I can find with the added "(The Cotton Song)" in the title, though I could be wrong. Additionally, Three Dog Night's, or Redwood's, version of Time to Get Alone is in fact available on streaming, on the anthology set, "Celebrate: The Three Dog Night's Story, 1965-1975". It is likely the same as the backing track is the exact same as the Beach boys version. Excellent job Steve!! Great set of videos.
Thanks for the kind feedback and for the info, Strad! I knew the Redwood version was "out there" and I've heard it, but I didn't know it had been officially released anywhere. Thanks, especially, for that info! (I've made a note of it and hope to mention it in a future episode, with a "shout out" to you, of course, for having let me know about it.) Thanks again, Strad! Much appreciated!
20/20 is an essential album just for true stereo versions of "Our Prayer" & "Cabinessence" alone. "Time to Get Alone" is another fine Brian Wilson composition and "Never Learn not to Love", the Beach Boys turn what was originally a negative, hateful song into something beautiful.
Thanks for the excellent perspective and feedback, Dennis, and especially for pointing out the tracks in true stereo. Well said and I heartily agree on all points!
Wow Steve, you have really taken the wind from my sails as many of your points here are exactly what i was going to say.........let me explain. ..... Well, first of all i was going to say that 20/20 was a mish mash of different tracks from various unfinished or outakes from their other work at that time, rather like MIU had been a decade later but unlike MIU 20/20 does somehow flow better and many of these songs are very heavily played here in UK to this very day and ALL the radio stations that i can think of constantly play Do It Again, I can Hear Music and the re worked Cottonfields. and i would say that across the board and in general that without doubt, these tracks are the most played across the main stations and given the fact that 20/20 was probably the hardest album for me to find in the late 70s, that it remains very treasured. I was about to say that Als contribution Cottonfields was huge here in the summer of 1970, but i admit it was the re recording and Brians influence on I Went To Sleep could be seen as Busy Doin Nothings little brother and to me sums up a lovely sunny day in the park, relaxing and closing your eyes and from that song onward, the listener is compelled to listen very intently as each song has deep meaning, even Never Learn not to love, which at the time i had no idea of Charles Manson being involved in writing and it certainly never put me off. And then the Golden Nugget the Smile tracks which were considered so special at the time and i was desperate to find this album, which eluded me for many years though i did manage to borrow an original copy from a nurse i had befriended who had invited me to tea and she only had a few albums one being 20/20 which was a bit battered, but the artwork was wonderful and i must admit that i avoided her for a couple of months to enable me to " forget " to return such a treasure., which i had to resort to copying onto cassette and i hate cassettes as i feel they lose quality. Eventually i did find the album as part of a 2fer, but it was minus the original artwork , but overall, i rate this album as one of the best and i had to wait until the CD release to obtain the original artwork.
Thanks, Chris! It's interesting that "20/20" was difficult to find in the late 70s, though I can certainly understand that it might have been, having been out-of-print for quite a while. (As I've probably mentioned before, when I started tracking down the '60s albums in 1980, when they were, pretty much, all out of print here, I just happened to walk into a used store where someone had recently traded in the entire set. I picked up everything from "Surfin' Safari" to "20/20", including "Stack 'O' Tracks" in one stop just shortly after I started looking for them. It was so easy that it took me a long time to realize just how lucky I had been!) Funny story about you avoiding the nurse for a couple of months so you didn't have to return her copy of "20/20"! It's interesting that you mention that, though it’s composed of a mish mash of tracks, “20/20” flows better than albums like “M.I.U.” I definitely felt that way when I first heard it. Over the years, I’ve read many comments about “20/20” not having a good “flow.” I think I’ve finally concluded that it’s the kind of late 60s album on which you expect a lot of different feel from one track to the next. (The Beatles’ “White Album” would be another example.) On an album like this, you expect each track to be rather unique from the ones around it, so the “flow” feels just fine for the kind of album it is. (I hope that makes sense!) Anyway, it’s an album of songs that remain very unique and special to me. I really appreciate your thoughts, feedback and “UK perspective,” as always! Thanks again, Chris!
I always preferred the album version of Cotton Fields, despite the single obviously having more kick. I think Brian's more laidback track compliments the sentimentality and 'humble' feel of the song. A lyric like "It sure feels good to breathe the air back home" feels more appropriate with the open, unassuming arrangement. I also appreciate that it prevents the aesthetic of Cabinessence from feeling TOO out of left field, considering both tracks are highlighted with a banjo
Thanks for the perspective, Nicholas! I especially appreciate your point on "Cotton Fields" tying in to "Cabinessence," aesthetically, particularly with the use of banjo. That definitely works well to open and close the side and, as you say, prevents the track from feeling too out of left field. (Wish I'd thought to mention that in the episode and glad you pointed it out!) Thanks, again, as always, for the excellent observations! Great to hear from you, Nicholas!
i believe i commented this on the earlier adventure into 20/20, but it's weird seeing the north american gatefold be misaligned like that! looks far better on my UK copy with it nice and aligned and the eye chart in full working order great video as always steve, i always adore these album deep dives!
The gatefold sleeve does look weirdly misaligned, though, I suppose, it's something I've just gotten used to over the years. Thanks for pointing out that it's different in the UK pressings. I will definitely want to track that down and, hopefully, follow up on it in a future episodes. Thanks, as always, for the great feedback, Mate!
I agree Tine to get alone is a favorite track overall. The album itself I would place it somewhere in the middle of my pile. Another enjoyable episode Steve, continued success.
I can definitely see that! It's a "mixed bag" of tracks, certainly, with "Time To Get Alone" an undeniable beauty! Thanks for the thoughts and perspective, Don!
Greetings from Liverpool! 20/20 was well received in the UK - it had three hit singles with Do It Again a No 1 - also I like both versions of Cottonfields - the single was big UK hit and I remember the BBs opening with it when they played live in 1970 at Liverpool Empire - Cottonfields was the opening track of the UK Sunflower LP - strangely it was in mono whilst the rest of the LP was in fantastic stereo with some tracks in quadrophonic - by the way Breakaway was also a big UK hit - thanks for your videos which I always enjoy!
Always great to hear from Liverpool, Daniel! (A visit to your city is still high on my "bucket list.") Thanks for the UK perspective, too! I hadn't realized that "Cottonfields" opened the UK "Sunflower." (I've made a note of it and will try to mention it when we get to "Sunflower" with a "shout out" to you for having let me know about it.) When I was reviewing "Cottonfields" for this episode, it occurred to me that it was a song that probably went down great in concert. The BB must have thought so too if they were opening with it in 1970! Again, thanks for the great info, comments and perspective, Daniel! Much appreciated!
Daniel?, Great that you were at the concert in the Empire in Liverpool in 1970. I was there with about 20/30 others from Caernarfon in north Wales. I distinctly remember the group opening the show with "Cottonfields. It was a fantastic show we met Bruce that night he signed everything we gave him and had time for everyone.
One of the early books about the Manson murders (possibly "The Family" by Ed Sanders- don't have it anymore) mentioned that after the release of the 45, "family" members were heard humming the vocal tag to "Never Learn..." but didn't say anything about Charlie's reaction. "Cabinessence" is my favorite track on the album, and I was pleasantly surprised that, once I got a decent quality stereo system, it sounded great, just like most of the rest of the lp (Kudos to Steve Desper). "I Can Hear Music" charted at #20 in both Cashbox and Record World.
Thanks for the info and feedback, George! I remember what a revelation "Cabinessence" was for me, when I first heard it in 1980, as to what "SMiLE" might have been. I'm glad you mentioned Steve Desper! I should have talked more about his contribution to the album in these episodes! Thanks, too, for the "I Can Hear Music" chart positions in Cashbox and Record World! (I need to start looking at those, in addition to Billboard, more often.) Thanks again and great to hear from you, George!
@@thebeachboysbasementwithst6444 A long time ago I offered some ideas for future shows. One of them was on Beach Boys engineers used over the years. Of course, I'd hoped Desper would have been a big part. He was so much more than just a knob-twirler !
Once again...very interesting program. I'm with you. I have always thought Time To Get Alone is one of the best songs of the entire BB catelog. In 1969, I was a member of the BB fan club($2 dues per year). Before the Kraft Music Hall appearance, the fan club mailed out to the members a 5x7 card with a pic of the band(no Brian) announcing they would be performing their brand new single I Can Hear Music on the Kraft program. I watched the entire show and was surprised when California Girls showed up instead. 13:39 I wish I had kept the postcard they sent me. Looking forward to 1970!
Wow! Thanks SO much for the confirmation that "I Can Hear Music" wasn't in the show from someone how watched the actual broadcast! (The version of the show I saw here on youtube was just over 53 minutes, which, I was pretty sure, was the running time of a one hour show allowing for commercials in those days, but I couldn't be sure it wasn't some later "alternate cut" of the show.) It's great that you were in the fan club in those days! That postcard would be a pretty cool and unique item today! Thanks, once again and as always, for the excellent feedback and information, Lamont!
@@thebeachboysbasementwithst6444 When I was in the fan club....I received 2 major mailings. One was the summer of '66 when Pet Sounds had been just out. The other was in 1969 and talked about their new sound system for the road. I saw it at Lagoon in Sept 1969.... It WAS really good in smaller venues. I still have the various pics and booklets they sent me. I don't know why I didn't get fan club stuff between '66 and '69. I must have spent my $2 on something else those years. By the way.... I would buy mot of my BB albums at JC Pennys for $3.00 for mono and $4.00 for stereo. Most of my original vinyl is mono. Thanks.
@@thebeachboysbasementwithst6444 I still have much of the fan club info they mailed be. I received a booklet and some photos in '66 after Pet Sounds had been released. The next time I received anything was the postcard in Feb '69 and then a package with a booklet and various pics, buttons, etc. The button is pretty cool(still have it). The '69 booklet talked about their new $250,000 sound system for their concerts. I used it at Lagoon in Sept 1969. It really was a nice system for smaller venues. Don't know why I didn't receive any fan docs between '66 and '69. I must have spent my $2 on BB records instead of fan club dues. Thanks..Lamont
@@lamontsouth5301 I've always wondered what fans got for their $2 BB Fan Club membership fee. Sounds like it was a pretty good value. It's great that you've held on to so much of it! Thanks for the great follow-up, Lamont!
@@thebeachboysbasementwithst6444 Steve...... One other thing I remember about the BB fan club..... They always seemed to be having a contest of some sort. I remember once they had a contest titled "WIN DENNY'S DRUMS". Don't remember what the contest rules were, but they were giving away a drum kit that supposedly Dennis had played. Thanks.
My only copy is the 2001 HDCD that combines with "Friends" . The bonus tracks includes "Break Away" with writing credits to Brian Wilson and Reggie Dunbar, a.k.a. Murry Wilson. "We're Together Again" lists B. Wilson - R. Wilson.
I'm planning to cover "Break Away" in a couple of weeks in "US Pop Culture 1969 Part 3." It's been a really interesting single to research. I believe the "R. Wilson" credited on "We're Together Again" is Ron Wilson (no relation) who recorded the 1968 single "I'll Keep On Loving You/As Tears Go By" which he co-produced with Brian. I know nothing else about him. (I'll bet he'd also be interesting to research!) Thanks for the comments, Bill! Always great to hear from you!
Never Learn Not To Love is one of those tracks that really seem to capture the essence of the era, in this case the seamy side of flower power. While I have my doubts about both Dennis' version of the story and Manson's, I have no doubt that the Beach Boys really turned it into a minor masterpiece. Manson's version is suitably creepy, but it is very bare-bones and awkward in places. The Beach Boys' arrangement gives it a truly hypnotic feel, without completely erasing the creepiness. For a long time, it was the highlight of 20/20 for me, although now I've come to appreciate some of the other songs more. A whole movie could be made about the Charles Manson/Dennis Wilson episode, and this could be its theme song.
I'm glad that Manson's version is available for comparison's sake. It's unmistakably the same song, of course, but I do recognize and appreciate Dennis' work in bringing it up to a suitable level of professionalism for the Beach Boys to record. It was an early highlight for me too. I don't think I made the connection between the song and Manson until long after I'd heard it, which is odd because I'd read Byron Priess' Beach Boys book before I bought the album, which, surely must mention it. (Now that you have me thinking of it, I'll have to check!) Thanks for the interesting perspective and great feedback, SC!
@@thebeachboysbasementwithst6444 If you want a different perspective on Manson (not sympathetic, but a largely unknown one) read "Chaos" by Tom O'Neill. I have. It's a massive book. It took him down many trails and over 20 years of research. Dennis is covered but Terry Melcher received much more attention.
Hello Steve. I think your take on side two of 20/20 is spot on. I recently listened to Cotton Fields from the 20/20 album just because I had forgotten what it sounded like. I have always listened to the other version of the song ever since I discovered it. It reminds me of how I never listen to the other version of Help Me Rhonda. As I said before, I was oblivious to the Smile project for longer than any Beach Boys fan should. So having said that, I knew nothing of the significance of the Smile tracks being on the album till much later. I'm always amazed how you can tell what songs Brian had any involvement in. Anyway, thanks as always for your perspective on these things.
I'd love to have a better idea of how many fans knew about the "SMiLE"-saga or that the final two tracks on "20/20" were from it in 1969. As hard as it was to get information when I first started following rock music in the 70s (when we had Creem, Circus, etc, in addition to Rolling Stone), I've got to believe it was even harder to get info at the time and that, for most fans, those were simply "two new Beach Boys tracks." (Wish I had a better way to gauge it than a guess!) I know what you mean about being able to tell what songs Brian was involved in. That was so clear to me reviewing this album for the episode when I reached "I Went To Sleep." Talented as the others are, Brian's touch is always unique. Thanks, as always, for the great feedback, Robert!
@@michaelthemovieattic I am SO sorry Michael! I can't believe I did that. (If it's any consolation, I did call Robert "Michael" a couple of months ago. I'm not kidding!) I'll try harder to keep my brain "de-fogged" in the future! Thanks...Michael!
Excellent analysis, Steve. I never owned 20/20, but love several of the tunes on this album. I agree it's a collective mess with bright spots. I'm looking forward to your insights on "Breakaway" and Al Jardine's production of "Cottonfields," of which I enjoy very much. Definitely an oddball, but a cool track nonetheless.
Thanks, Chris! "Break Away" is coming up in "US Pop Culture Part 3" in a couple of weeks. I really enjoyed researching that one and I'll be looking forward to your feedback! (BTW, I've started putting together research for the episode on "Beach Boys In Concert" for early in the fall. Your notes are very helpful! Thanks again, Chris!)
As I mentioned in last weeks post "20/20" did have four top 40 UK hits on it, "Do it again", "I can hear music", "Bluebirds over the mountain", and "Cottonfields". Am I right in thinking that this was the first and only time a Beach Boys album's atcheved this in the UK?.
That's a really good question, John! Off hand, I would think that's probably the "first and only." It's a very interesting point and something I'm going to look into. It's an impressive achievement in any case! Thanks for mentioning it, John!
This was a great episode, Steve! And like we discussed in the comments of the previous video: I do feel side two is a really solid piece of work, maybe one of the best album sides in the history of music, every song complements the others surrounding it. I do agree with you on 'Cotton Fields' and when you really think about it, it was a real odd track to cover, but somehow made more sense than 'Bluebirds'. I do think in terms of concept that it especially works considering the side closes with 'Cabin Essence' as the two are both rural themed. Actually: opening and ending the side with both of them, especially with them being so different stylistically, really makes it that much more interesting. I feel that Al's reworking of it wasn't drastically different from Brian's production as it just added the steel guitar in lieu of the electric piano and was a cleaner, punchier mix. The two are almost interchangeable and I kind of prefer Brian's a little more. 'I Went To Sleep' and 'Time To Get Alone' definitely are two masterworks and do rank highly in my list of Brian compositions/productions. It is really baffling that 'Time To Get Alone' wasn't released as a single as it did have a memorable hook. I was also thinking today that 'Never Learn Not To Love' could've been a double-a side with 'Bluebirds' as it was just as commercially viable. I think at worst it would've charted around the same as 'Bluebirds', but giving it a chance would've made the band seem more progressive and hip to the times. In the end though it's probably better that it wasn't though as Manson's hand in the writing of it prohibits me from becoming endeared to it entirely. I always appreciate the fact that Carl just casually tacked the two 'Smile' tracks on to the end of the album like 'ok, here's these amazing, distinctive songs for you guys.' I'd like to have gone into the album blind with no knowledge of the 'Smile' project and formed my opinion based on the songs themselves and not the legend around them. I'm sure there were plenty of listeners who bought the album who got the privilege. I know they would've intrigued and blew me away as I think both tracks are amongst the best songs I've ever heard in my life. '20/20' was actually a pretty progressive album, maybe even a little strong than the next two, it was just the missed opportunities on Side One that drug it down. And maybe with a little more promotion and context it could've been a bigger hit than it was. Also: I watched both parts of the Betamax Blocker collab and I agreed with almost every one of your choices. The only albums I was really surprised at your choices were '15 Big Ones' and 'Love You'. On the former I thought 'Susie Cincinnati' was the oddball as it was already released 6 years prior and kind of a lame song and on the latter I feel that 'I Wanna Pick You Up' was out of place as it's really sketchy subject matter and it's really the only song on the album I wish wasn't there. It even trumps 'Hey Little Tomboy' in having a similar topic as I feel 'Tomboy' is almost parodying the band's 60s work when they were appealing to a teen audience and it could almost be Brian making commentary on Mike the formula hound who is more than happy to be singing the teen related songs well into adulthood. But, great work once again, Steve!
Excellent point on the rural theme and feel of "Cotton Fields" working well by bookending "Cabinessence" on side two. (I wish I'd thought to make that observation in the episode!) I agree it's a better choice for a Beach Boys cover than "Bluebirds." I suspected, and viewer comments have confirmed, the "Cotton Fields" went down great in concert too. I think you're right, too, that "Never Learn Not To Love" would have made every bit as strong (or even stronger) an a-side than "Bluebirds." In retrospect, it seems unlikely that it would have done worse on the charts and, as you point out, it had a more progressive, hip sound than "Bluebirds." I'd love to have a better idea of how many fans were aware of the "SMiLE" and that "Our Prayer" and "Cabinessence" were drawn from it when "20/20" was released in 1969. I'm sure some people knew about it, but, I'm guessing, to most causal fans, they were just a couple of great new tracks. Glad you enjoyed the shows with Betamax Blocker! I've been thinking about some of the choices I came up with and, in some cases, I definitely could have gone another direction. (I'm surprised I didn't come up with "Hey Little Tomboy" for "MIU" for example.) "Susie Cincinnati" would have been an excellent choice for "15 Big Ones" for the reasons you mention. I wish I'd thought of it! Great to hear from you, as always, Mike, and thanks for the excellent feedback and perspective!
@@thebeachboysbasementwithst6444 I honestly didn't have that thought about the rural themes bookending the side until I was literally typing that comment. It kind of proves the points there more facets to the album and there's more to it than just a series of songs stuck together to form an album, although I'm almost certain Carl didn't think of that thematic link between the two tracks. I'm really starting to think about how much of a missed opportunity it was not to slot another 'Smile' track onto the album, like I said it would've livened up the first side. I really think 'Do You Like Worms' would've been perfect and with it being fresher in Brian's mind, he would've been able to recall the intended lyrics and melodies and we would've gotten a Beach Boys vocal rendition as opposed to Brian's band, whom while good, do not have that unique blend the band did. And the 'Hey Little Tomboy' being included on 'MIU Album' is super perplexing. Of all the songs from the rejected 'Adult/Child' that's the one Al picked for 'MIU'?! I'm sure Brian didn't pick it as his involvement with the project was doing just enough to get them to leave him alone. Also: I'm almost through the 'Mind Games' deluxe set we discussed prior. I'm streaming it, so the six disc deluxe edition was available on Spotify and I won't get too much into it in this comment, but it does revitalize my admiration for the album, especially with the better mixing. The multiple discs of alternate mixes of the same songs though is getting a little redundant. Maybe you could do a quick video review of it once you listen to the version you purchased as it'd be interesting to hear your opinion. But: thanks again for your response, Steve! Like always: I enjoy pondering these topics with you!
@@novim9 I'm sure you're right that some of the apparent themes, like the rural connection between "Cotton Fields" and "Cabinessence" are probably accidental...and I know what you mean about points coming to you as you're typing! So often in putting episodes together, I'm halfway through making my notes when I'll suddenly think of some point that seems absolutely central to the subject that I had just about omitted. "Do You Like Worms" would have been an excellent addition to the record! I wonder if they stopped at two tracks in order to not make it appear too much like a "SMiLE sessions" set? From my memory of the bootleg releases, I think "Do You Like Worms" might have been left in a less finished state than the other two, so maybe Carl had less of an idea how to finish it. (I'm going from memory, so I could definiltey be wrong about that.) My two-disc Mind Games set arrived yesterday. I haven't heard it yet. The packaging reproduces the front and back cover five times in the set I've got, which seems a bit pointless. There's an insert with the front and back cover and the "Mind Games" 45 picture sleeve reproduced together in a little color "strip," which seems utterly useless. An enclosed "Nutopian ID card" is kind of cool. (At least it's something different.) The liner notes in the booklet are a little sparse. It's mostly devoted to the lyrics and there are only a couple of recording dates listed, which is something I always look for in archival sets. (I have the book ordered, which, I expect, will contain all that information and more.) Hopefully, I can get to the main event: the music, pretty soon! Thanks for the excellent follow-up, as always, Mike! Seems like your comments never fail to get a long-winded response from me. (Sorry about that!)
@@thebeachboysbasementwithst6444 Hey Steve, sorry for the delay in response! But: yeah, I'm sure with all the information you cover in the episodes that the various ideas you get come sporadically and the time constraints you have while preparing for the episode kind of hold you back a bit. I'm sure when one is writing a biography they take years to do it to ensure they don't miss any point or information, a luxury you don't have with the deadlines you set for yourself. You still do a really good job though, obviously! And: I mentioned 'Do You Like Worms' as I get the vibe it was more or less assembled, it just needed the lead vocal overdubs on it. I think the mix that was on the 1993 box set was the almost definitive one. It's structure is quite similar to 'Cabin Essence' with the verse and chorus parts repeating themselves, then the outro bridge or whatever you'd call it. I feel like those two tracks, 'Wonderful' and 'Wind Chimes' were probably the three tracks closest to completion. But now we're veering into that 'what-if' territory of 'Smile' that people have been pondering for years and it's maddening as we'll never have the real answers, although I feel that my perception of it isn't far from the truth. And: yo, you definitely have to do a 'Mind Games' review video. I can already hear you making that observation about the redundant album art replication in your normal dry, sarcastic humor that makes your videos hilarious. I'm glad I didn't actually buy any variation of the set though for the reasons you listed. I feel that this is Sean's first venture into taking over John's legacy and he got a little overzealous with a minor album project that John himself didn't put that much into. I think a three disc set would've been sufficient for the material available. It got very tedious to listen to the six discs after a while, and I was really invested when I started. Also: history dictates that Yoko and him split before the sessions began, yet some of the studio outtakes have her voice over the talkback mic in the recording booth interjecting inconsequential observations and I feel that Sean took them from sessions for one of John's prior albums and spliced them in to give the illusion Yoko was present to downplay their separation, which obviously is terrible historical revisionism. Maybe that's why the information in the accompanying book is scarce as they're tiptoing around the fact it was part of John's 'Lost Weekend' and they're trying to paint a prettier picture of their personal lives, which is insincere. But here I am with a really long winded response, haha. I hope you had a great weekend, Steve!!
@@novim9 Thanks for the great observations on the "SMiLE" material and also on "Mind Games." If Yoko's studio chatter has been spliced in on sessions where she wasn't present, that is definitely a disturbing bit of historical revisionism. John and Yoko were always remarkably candid and revising their history to "pretty things up" really runs contrary to that legacy. (That said, I think one of the enduring Beatle "myths" is that John and Yoko didn't get together until after John returned from India. I think it's pretty clear that it happened earlier. I've never been sure if the relationship just wasn't considered "serious" until after India, or, as I've suspected, John's divorce attorneys advised him to keep quite about the relationship prior to Cynthia learning about it...Just a guess on my part, of course.) In any case, I definitely agree that a three album set would have been sufficient for "Mind Games." I think another unfortunate trend with Beatles releases is to create "overkill" "ultimate versions" designed, mainly, to relieve hardcore fans of hundreds of dollars. Which reminds me of yet another thing: Do you know why the "Get Back" DVD release was so low-key? It's entirely sufficient but the low price-point, lack of hype and minimal packaging took me by surprise. I'd have thought it, too, would have been available in several versions with booklets and lots of extras. (Maybe that'll come with an eventually re-release of the "Let It Be" movie?) I'm not complaining, really, but the move surprised me. Anyway, this has turned out to be another long-winded response! Always a pleasure to correspond with you, Mike!
1. I have the exact same feeling as you about the 20/20 version of Cotton Fields, I try hard to appreciate it, but to me it seems too tentative, maybe because it was Brian's first production in a while following a lot of time off in late 1968. For the Al-produced single version, I really like the recently released version with the cute intro by Al's son, which I think was from a TV show. 2. Interesting that the Beach Boys correctly credit Leadbelly with Cotton Fields, but the Highwaymen credit Dave Fisher. If anything, the credit should have been Arr: Dave Fisher if not Ledbetter., although the arrangement mention for Fisher is just below the writing credit. 3. I really like I Went To Sleep, but I far prefer the a capella version. I always felt the fidelity of the 20/20 version was a little off, and I think it prompted a writer (I forget which) to say it was in fake stereo. 4. Time To Get Alone is indeed an all-time classic, and I love all the released versions. But I wonder if the production credit for the 20/20 version should have been Brian and Carl rather than just Carl. I've read conflicting information as to whether they used some of the 1967 version with overdubs or recorded it from scratch. 5. Speaking of the Smile songs, the first 1979 Rolling Stone Record Guide had a real howler, it claimed that the Beach Boys put out Friends and 20/20 because Brian was taking the time to do Smile, and that Smile was finally released in the mid-1970s, but didn't have the forcefulness of the early surf and car hits. Of course, the clueless RSRG reviewer was referring to Smiley Smile and likely referencing the twofer version released by Brother/Reprise. This travesty of misinformation was corrected in the 1983 edition of the guide. 6. I really like that the Beach Boys shows I've seen in recent years used the Kraft Music Hall Don Adams and Don Rickles intro to the Beach Boys as part of the video introduction to their concerts. I couldn't hear what the two Dons were saying as the audiences were applauding, but I much later found the TH-cam video of the show.
I think "tentative" is a excellent description of the feeling of Brian's production of "Cotton Fields." Wish I had thought of it to use in the episode! I noticed that Dave Fisher writing credit too. It seems like a lot of people were playing "fast and loose" with the writing credits in the 50s and early 60s, especially on anything that might be a folk song or "traditional." (I wonder if they simply assumed "Cotton Fields" was "traditional" so Dave Fisher felt free to take credit for it, following the "custom of the day.") Thanks for reminding me of the a cappella version of "I Went To Sleep." It's outstandingly beautiful and it's been a long time since I've given it a listen. I had the same problem with conflicting information on whether the basic track of "Time To Get Alone" is from the Redwood version, or whether it's a complete remake. I researched it for this and was never able to find a definitive answer. Thanks for the info on the Rolling Stone Record Guide! It sounds less like "mis-information" than some "alternate universe fever dream." It's hard to believe they could be THAT far off, even in 1979! (I'm going to keep an eye out for an inexpensive used copy of it. It'd be worth having for that wild story!) I hadn't noticed the Don Adams/Don Rickles intro being used in the video introductions. It's a great idea, though I can understand most of the audience missing it under the circumstances. Thanks, as always, Joel, for coming through with such great info and insights!
The album version of "Cotton Fields," with "Time to Get Alone" as the B-side, was released as a single in the Netherlands. It spent 8 weeks in the Dutch Top 40, peaking at #12 on September 13, which was lower than their usual performance on the Dutch chart for that era. The 1970 single version (with one-word title) doesn't seem to have been released there. It's interesting to note that Dave Fisher, not Huddie Ledbetter, is credited as the writer for the Highwaymen's version.
Thanks for the info on the Dutch release of "Cotton Fields." I had no idea that the album version was the single there. Interesting! I noticed that "Dave Fisher" credit on the Highwaymen version too! It sure seems like a lot of people were playing "fast and loose" with writing credits in the 50s and early 60s (especially, I think, on folk tunes.) Thanks, as always, for the great feedback and info, Orbyfan!
The thought came to mind that on songs like "I Went To Sleep" and "Time To Get Alone," as beautiful and peaceful as they are, it depends on which direction you are coming from. I clearly remember being underwhelmed the 1st few times I heard them (1971 ?) because I was looking for more tracks like "Good Vibrations" or "I Get Around." Powerful yet with full harmonic richness the group was capable of. NOT just a sweeter version of a rocker like "Born To Be Wild" or "Get Back." I was coming from a "hits all the time" Top 40 perspective. Most of us raised in that mid-60s world couldn't afford LPs & even if we could we were looking for "Greatest Hits" type of albums (maybe why "Endless Summer" was so popular, as late as '74!) Now, if you are doing a retrospective look at albums like "Friends" or "20/20," you've been exposed to mediocrity like "Beach Boys," "M.I.U." or (dare I say it) "Love You" where there's been a drop off in songwriting, melody and performance. So these two songs really stand out for their beauty and peacefulness, even though neither come up to the level of a "hit." I think your characterization of "20/20" as a "grab bag" is right on. It seems like they were just sweeping up the studio, and these were the tracks that were laying around. And, they came up a little short & had to break open the "Smile" vault. I'm sure Brian wasn't too pleased with THAT decision ! Great job, Steve. Thanks for your clarity and conciseness.
Thanks for the great perspective, Bill! Now that you've mentioned it, I really see the point that "I Went To Sleep" and "Time To Get Alone" would not have been what most fans would have been looking for from the Beach Boys in 1969. As you point out, I'm sure people were mainly looking for "the next 'Good Vibrations'," and, understandably in that context, would have found those tracks underwhelming. (In part, I try to put myself in the place of a contemporary record buyer of the time when reviewing albums for the channel and I wish I'd thought of that!) Inevitably, too, as you mention, it's hard to completely set aside having heard later albums like "MIU" and not, in some way, compare the music not only to what came before, but also to what came later. Those are great points. I've made note of them and, if I can, I'd like to follow-up by mentioning them in a future episode (with "props" to you, of course, for having pointed it out.) Thanks so much for all the great feedback, Bill! I really enjoyed your perspective on the album, too and wonder how Brian did feel at the time about the "SMiLE" vault being raided to fill out the album. Thanks again and have a great week!
@@thebeachboysbasementwithst6444 Thanks for taking time out to provide a personalized response (as you always do.) I think in restrospect "20/20" is a very good album overall, maybe about as good as fans could have expected (although maybe not obvious at the time) & given the overall turmoil in the group. This was in the early stages of Brian's post-SMiLE cooling-out period, and the Beach Boys (especially Carl) were starting to realize they'd have to assume a greater role on an individual level, not relying on big brother Brian to do it all any more. You always have my OK on stuff. Overall, this episode engendered some terrific comments -- lots to consider. It often feels like we are sitting in a postgrad master's course, with you as a weekly lecturer but with some really talented and experienced "classmates" also in the room. It's a privilege to be part of this! Sorry for being "late to class" this time!
@@burlingtonbill1 Thanks for the follow-up, Bill! The great thing about this channel, for me, is that I do feel like I'm just opening up the subjects for discussion, rather than just throwing my opinion out there. I always learn so much, and get such great perspective from you and the other commenters that it becomes like a two-step learning process for me: First, researching and refining my thoughts to present in the episode and, then, getting the additional information and perspective in the comments. After the comments, I always wish I could do the episode again incorporating what I learned. (The best way I've found to do that is with the "Cool Stuff" episodes, which have become some of my favorites to put together.) Never worry about being "late to class!" I'm just glad when you get here, Bill! Thanks again!
Great video, Steve! I forgot to comment on your Side 1 video that UK copies of the single I Can Hear Music credited the B side to Dave Wilson! At least my copy does. My UK copy of the LP is a folddown mono mix and sounds surprisingly good (to my ears anyway). That is CRAZY about the colour performance of I Can Hear Music, I had no idea they taped one and seeing that freeze frame blew my mind! I know the show but have only ever seen the clip of California Girls. The Camco drum kit Dennis is using is both the first and last time I have seen him use that finish, plus it is very late for him to still be using Camco. My last thought on 20/20: when Surf's Up (the album) was about to come out there was a buzz among fans "hey wow, unreleased Smile stuff is gonna be on it!" I have no idea if this was the case for 20/20. Do you know? Was it hyped at the time? Having 2 Smile songs on it is amazing, thinking about it! I think I remember hearing somewhere that people got excited before Sunflower came out that there was gonna be a Smile song on it.
I had never heard about the UK credit on the b-side of "I Can Hear Music." That's pretty hilarious! Thanks for letting me know about it! I've already found a photo of the side with the "Dave Wilson" credit on discogs and plan to show it, with "props" to you for letting me know about it, in a future "Cool Stuff" episode. It's a really good question as to how much the "SMiLE" material was hyped when "20/20" was released. I've wondered the same and wish I knew! Like you, I know that, by the time of "Surf's Up," "SMiLE" had acquired mythical status among fans and the inclusion of "Surf's Up" was a major draw on that album (and that the group was promising to finish "SMiLE" and release it "soon.") I'm not clear on how well-known the "SMiLE" story was to fans in 1969. Info was definitely hard to come by in those days. With a few exceptions, like the new "Rolling Stone" magazine, rock journalism was still pretty much of the "What's your favorite color?" school. There was no definitive Beach Boys biography. I know "SMiLE" was promoted as their upcoming album in late 66 and early 67, but I've wondered how many fans just figured that was an early name for "Smiley Smile." Undoubtedly, the story was known to some fans who were excited to hear "Our Prayer" and "Cabinessence," but whether it was well-known enough to play a part in promoting it in 1969, I don't know. (I'm hoping someone who was following the band at the time will chime in here with more information!) Thanks, Nathan, for the great info and for raising a very interesting question!
Wasn't the first gatefold Beach Boys album Party? And I know Concert was as well but that's not a studio album. Anyways, great video as per usual Steve!
You are absolutely right! I don't know how I missed "Party!" Thanks for catching it, Ted! I'll be sure to make the correction in a future episode (with "props" to you for being the first one to point it out!)
Steve- enjoyable review of 20/20- part 1 and 2. I think “Learn not to Love” and “I can hear music” are my favorite tracks. I’ve never been a fan of “Do it again”. Doesn’t have much of a tune and it was far to early for nostalgia for something that was only 5-6 years in the past! In 1985, it was time for nostalgia and I love “Getcha Back” which is kind of in the same vein but a much stronger track I feel. I was introduced to “Cotton Fields” by Creedence Clearwater Revival on the 1969 Willy and the Poor Boys album. CCR’s version resonates with me much more than the BB version. The arrangement is much punchier and more “country”. It’s probably the best version of the song. Check it out if you are not familiar with it. John Fogerty pretty much makes any song he covers “his own”!
Thanks for the feedback and perspective, Chris! Good point that it was a little strange to be trading in nostalgia with "Do It Again" so soon after the actual time (though I suppose, in some ways, it's indicative of just how fast things were changing on the 60s.) Nice comparison with "Getcha Back," which does cover the same kind of territory. It's an excellent track and I also appreciate the fact that the nostalgia on "Getcha Back" is kind of understated and indirect. Thanks for mentioning the CCR version of "Cotton Fields" too! It's an excellent track and I prefer it to either of the Beach Boys versions. (Weirdly, CCR's version came out nearly half way between the Beach Boys' "20/20" version and their single version.) I revisited the CCR version when I was researching this episode to confirm that the "nail in my tire" verse wasn't in it. (It isn't, of course.) The song seems like a better choice for him and I agree that John Fogerty definitely makes the songs he covers his own. Thanks for the info and insights, Mike! The comments are always enjoyed and appreciated!
@@thebeachboysbasementwithst6444 I was surprised at how many of the BB lyrics I didn't recognize from the CCR version. I have not done a side by side comparison but overall the lyrics are quite different. I'm not sure which adheres more closely to the original. My guess would be the CCR version. Are there any notes on the BB versions about "additional lyrics by..."?
@@chrismarzoli2170 The additional lyrics on the BB version aren't credited. With minor variations, CCR uses the lyrics that are used in all the other versions I could find, going all the way back to Leadbelly. I'm hoping someone will be able to confirm whether the additional lyrics came from the Beach Boys. Thanks for the follow-up, Chris!
I seem to recall seeing, in one of the thousands of Beach Boys documentaries I’ve watched over the years, that Al Jardine took credit for writing the updated “nail in my tires” stuff in Cotton Fields, and since Al isn’t exactly the strongest lyricist in the band, that rang true to me. But I don’t think I could support the claim with a citation….
Also, I completely agree with your impression that 20/20 seems to be a collection of previously unreleased material. That, in fact, is what I always just assumed it was…
Thanks for that info, Nick! I agree, and got a laugh too, from your very accurate observation about it ringing true because Al isn't exactly the strongest lyricist. (It is a really mangled verse with some of the most strained rhymes I've ever come across. Until I was reviewing it for this episode, I had kind of overlooked it.) Great to hear from you, as always, Nick, and thanks for the info! I'll keep an eye out to see if I can find the documentary with Al's comment.
Mostly agree with your feelings about the songs on Side 2 of the Beach Boys' 20/20 album. For me, the best song on side 2 is "Time To Get Alone", which I think could have been considered as a single release (A side), with "Cotton Fields" on the B side. Think Brian did a better job producing "Sloop John B" than he did with "Cottonfields", which I think he went overboard/too much "Spectoring", or laying too much on a Folk song, whose subject matter should have been given a bare bones production. Like Al's 1970 Country-Rock version of the song better, released on the Rarities album. Like the two Smile tracks, "Our Prayer" and "Cabinessence", but in hindsight, wish they had been kept off the album. Initial reactions to the two songs were along the lines of "Wow, the Beach Boys sounding like a Church choir, and Okay, the Beach Boys are doing Opera singing about the building of the transcontinental railroad." Today, "Cabinessence" I think is a forerunner to Queen's "Bohemian Rhapsody", which Brian praised when it came out. Instead, "Breakaway" and "Celebrate The News" could have gone on the album, which would have been held back until "Breakaway" was finished.
Thanks, as always, for the great feedback, Robert! I, too, prefer Al's production of "Cottonfields" and I'm looking forward to talking about it when we get to "1970." Thanks for the interesting, and very apt, comparison between "Cabinessence" and "Bohemian Rhapsody," which I'd have never thought of. I definitely see your point! Good observation, too, that the album would have been stronger with both sides of "Break Away" included. It would have made a stronger album and, for those fans who were paying attention, made the album feel more like "new work" than a collection of recent a-sides plus older stuff "from the vaults." The excellent insights are always greatly appreciated! Thanks again, Robert!
@@thebeachboysbasementwithst6444 Was able to watch the Don Adams/Don Rickles special (with the Beach Boys) on TH-cam. Enjoyed it! Impressed at how well both were able to imitate others voices, in the look back at Hollywood segment. Didn't know that they had ever worked together on anything. Thought they made a good team! Oh, to be a "Fly on the wall" at Beach Boys meetings that occurred during this time. Would've been interesting to hear the others reactions when Dennis was pitching Manson to them as a possible new recording artist. Even before the internet and everyone having their own computer, wouldn't have taken much by doing a little digging around, to find out Manson's personal background was less than ideal, that he was a user and manipulator of people. Will check out Betamax's Pt. 2 with yourself. Pt. 1 stopped after the Holland album. Have my own guesses on which songs will be picked from 15 Big Ones, Love You, etc.
I really love the album and haven't done a full review yet. It's something I should do sometime soon! Thanks for the reminder on it and for the kind feedback, Pedro!
I actually like the Redwood version of Time to get alone better than The Beach Boys version. I feel it’s a bit more gritty. Also I prefer Al’s version of cottonfields, and I also wondered about who wrote those additional lyrics. The CCR version of cottonfields does not include those extra lyrics. It’s also a bit underproduced like Brian’s version.
I was very surprised just how different the Redwood version of "Time To Get Alone" is. I had "heard of it" for years before I ever had the opportunity to hear it and had assumed Brian would have done it largely the same with Redwood as the Beach Boys. "More gritty" is an excellent description of the Redwood version! (Those additional lyrics are still a mystery. I checked the CCR version, too, to see if they were there.) Thanks for the feedback, Go! Always great to hear from you!
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I really loved these two videos about 20/20
Thanks for the comments, Fred! Happy to know the episodes were enjoyed!
Time To Get Alone is a genius study in beauty and feel. In my top 5 all time BB tunes
I think I'd probably put in in my top five too! Great to hear from you, as always, Martin!
We’ll see! 🤣
My favorite Beach Boys album. Cabinessence is wonderful
Great to know "20/20" is your favorite! It's definitely got a lot of great material, including, of course, the excellent "Cabinessence." Thanks for the feedback, Dave!
@@thebeachboysbasementwithst6444 For me, it took a LONG time to acclimate to the internal "jarring." I couldn't see what the fuss (over how great the song was) was all about. Much later, I ran into a clip of Al saying it was one of the most difficult vocal tracks he'd ever been a part of.
Great video. Both sides are amazing!
Thanks, Chris! and I agree about the album. Great stuff!
Hi I live in England, and I like your t shirt, I lived in Glendale for sometime,and loved it.
Very cool! I've had the t-shirt for about a year. (A viewer, rangergrrrl, mentioned it to me that it was available because it's based on a shirt featured in "Two Lane Blacktop" with James Taylor and Dennis Wilson.) I imagine you can find still one on-line, if you're interested. Good eye, spotting the shirt and thanks for the comments, Derek! Always good to hear from England (by way of Glendale!)
I remember showing 'Time to Get Alone' to a group of friends in high school - thinking I was about to turn them on to the greatest thing they'd never heard. I was dumbfounded when not a single one of them got it in the least. I was almost personally offended!
Man! I know how frustrating that kind of thing can be. I've been there! (Not with that particular track, but I've sure had that experience.) On the plus side, I've also had the experience of friends coming back years later and saying, "I remember you played this for me and I didn't get it...Now it's one of my favorites." You never know! Great to hear from you, JFeast!
Interesting as ever Steve! Liked videos with Betamax,shame you missed his phone call haha 😂
Thanks, Jamie! Glad you enjoyed the "crossover" with Betamax. That was a lot of fun to do...like your show was! Thanks for the feedback and keep up the great work! (I see you've got a new one up: "GOK, The Shadows 1973..." I'm looking forward to checking it out once I'm a little caught up on the comments here.)
Time To Get Alone is my all time favorite Beach Boys song.
I can understand that! It's a great one! Great to hear from you, James!
Thanks for a interesting episode, as usual, Steve. The updated lyrics to Cotton Fields are the work of Al. I think on Made in California there’s a clip of either Brian or Mike saying the Al “changed the words around.” I also want to point out that I Went To Sleep is great for relaxing when trying to fall asleep. Just hum or sing it softly to yourself and you’ll destress and fall asleep in no time. Another way The Beach Boys find their way into my life!
Thanks for the comments and for the confirmation that those additional lyrics came from Al. (I'll see if I can find that clip to follow-up in a later episode.) Great suggestion on "I Went To Sleep" too! I'm going to try it next time I have trouble falling asleep. (Though, nowadays, I usually have more trouble staying awake!) Thanks again for the great comments and info, Joel!
The reference on the lyrics to Cotton Fields is track 17 disc 2 of Hawthorne CA “Dennis Introduces Cotton Fields”
@@joeljr4982 Fantastic! I just pulled out the CD and listened to it. There it is! You must have an amazing memory. I'd have taken decades ever running across that again! Thanks for the follow-up and for the great info, Joel!
Some very interesting point's here Steve, I was always under the impression that it was Brian who was responsible for producing and re-recording and the single version of "Cottofields". Also I was not aware that Dennis actually paid Manson for NLNTLM in cash and his bike. Thanks for those facts. I have to agree that the album is a bit of a collection of songs rather than an actual album?, but it did work at the time with some great contributions from every member of the group. I have to say I was waiting for this album to come out since January1969, It did get some decent reviews in all the music press when it was released in Febuary and I must say it didn't disapoint and I still listen to it these days with some very happy thoughts. 1969 was a great time to be a Beach Boys fan in the UK.
Thanks for the great feedback, John! I probably should have looked more closely at contemporary reviews of the album for this episode. From what I saw, and as you point out, "20/20" did seem to get decent reviews at the time. (Of course, it deserved them too!) It looks like, understandably, critics picked up on side two as being the strongest. Of course, "20/20" did much better on the charts in the US than "Friends" had done. I hope those positive reviews had something to do with it! Thanks again, as always, for the excellent comments and for the UK perspective, John!
I uploaded Part 2 of our collab last Wednesday. Lots of people have come by and left great comments. What do you say for doing a Part 3? Thanks again for doing the collaboration- that was really fun!
I think 20/20 is the best example of an album that showcases everything the Beach Boys can do- from folk rock to surf rock to weird psychedelic ballads to classic rock covers. It's one of the few mishmash Beach Boys albums that actually benefits from being random in my eyes. There are so many different mixes/version of "Time to Get Alone" but I still think the one from 20/20 is the best. I know the "Never Learn Not to Love" single mix is different than the album one; I think it is shorter on the fade but I can't recall. The song and the 20/20 album got a shoutout in a deleted scene from Tarantino's "Once Upon a Time in Hollywood." You can find it on TH-cam, it's pretty fun, with Manson having dialogue about The Beach Boys ruining his music. I always thought it was weird that the Beach Boys used an outttake from the cover photo session as the original cover to "Live in London." It doesn't go with those recordings much at all.
Great job as always! Loved this two parter!
I'll have to catch the comments on part 2 of our "cross-over episode." Thanks for hosting me and for posting the videos and I'd LOVE to do a part 3!
Excellent point about "20/20" being a showcase for the broad spectrum of work the Beach Boys could produce. As I've been thinking about the album while reading the comments today, it's struck me that it's the kind of album where you expect wild stylistic swings between tracks; very much like the Beatles "White Album" which was released on a few months earlier. Thanks for mentioning the single version of "NLNTL" being different from the album. I'll have to check it out!
Good point about the photo on the cover of "Live In London." Though I know it's an "official EMI/Capitol release," it's always seemed to have the air of a bootleg about it. (I believe, at one point at least, Bruce called it a "corporate bootleg.") In any case, it doesn't seem to have ever been treated very well. (It also strikes me that I should do an episode on it sometime soon!)
Glad you enjoyed the episodes and thanks, as always, for the fun and informative comments, BB!
Steve , as much as I love , “ I Can Hear Music “ , you have my agreement that side two has the stronger of the 20/20 tracks . “ Time To Get Alone “ , has always been my personal favorite . It’s one of those unique songs wherein Brian excels as both composer AND lyricist.
I chuckled when you pointed out that the winter weather subject matter reminded you of the teen film , “ Ski Party “ . That movie has one of the greatest and most incongruous scenes in Hollywood history as James Brown , ( and the famous Flames ) , emerge from outdoors complete with snow flurries and St . Bernard dogs . Of course , James and the Flames break into “ I Feel Good “ as invisible drums , bass , and saxophones make the ski lodge funky .
You handled , “Never Learn Not To Love” , in perfectly understated fashion . When the album was released , no one had ever heard of Charles Manson . Similarly , nobody imagined that Dennis was , in fact , the most troubled of the Wilson brothers . Because Dennis could be so charming , that misconception persists to this day .
When I first heard the Beach Boys late 60s work in 1980, "Time To Get Alone" was one of the tracks that immediately "grabbed me" (and it's never let go!)
Thanks for mentioning that wild James Brown and the Famous Flames scene in "Ski Party!" It's so hilariously incongruous that I've always loved it. I think it's Yvonne Craig who just says, "It's James Brown and the Famous Flames." after they enter, just as matter-of-factly as "The mail is here." Like it's the kind of thing you'd expect any day. I also love James Brown's exit, shimmying back out into "the snow" leaving his coat behind. Anyway, it's an all-time favorite scene for me!
As for the "Manson thing," I think people get confused on the timeline and don't realize that, at the time of the recording, Manson most certainly may have been creepy and potentially dangerous, but he wasn't yet an infamous mass murderer. (I considered mentioning that Leadbelly had been convicted of murder many decades before the Beach Boys recorded "Cottonfields," but I thought that was being "too clever" and, with the circumstances being, obviously, completely different, I didn't want to open that particular "can of worms.") Thanks, again, as always, for the excellent and thoughtful feedback, Beanie!
@@thebeachboysbasementwithst6444 "Never Learn" was one of my faves on this album in the first few run-throughs listening to it. I clearly remember that.
Excellent storytelling and analysis. It seems you were right Steve, as far as i can also tell these new lyrics came from the Beach boys. Their version is also the only version I can find with the added "(The Cotton Song)" in the title, though I could be wrong. Additionally, Three Dog Night's, or Redwood's, version of Time to Get Alone is in fact available on streaming, on the anthology set, "Celebrate: The Three Dog Night's Story, 1965-1975". It is likely the same as the backing track is the exact same as the Beach boys version. Excellent job Steve!! Great set of videos.
Thanks for the kind feedback and for the info, Strad! I knew the Redwood version was "out there" and I've heard it, but I didn't know it had been officially released anywhere. Thanks, especially, for that info! (I've made a note of it and hope to mention it in a future episode, with a "shout out" to you, of course, for having let me know about it.) Thanks again, Strad! Much appreciated!
20/20 is an essential album just for true stereo versions of "Our Prayer" & "Cabinessence" alone. "Time to Get Alone" is another fine Brian Wilson composition and "Never Learn not to Love", the Beach Boys turn what was originally a negative, hateful song into something beautiful.
Thanks for the excellent perspective and feedback, Dennis, and especially for pointing out the tracks in true stereo. Well said and I heartily agree on all points!
Great points !
Wow Steve, you have really taken the wind from my sails as many of your points here are exactly what i was going to say.........let me explain. .....
Well, first of all i was going to say that 20/20 was a mish mash of different tracks from various unfinished or outakes from their other work at that time, rather like MIU had been a decade later but unlike MIU 20/20 does somehow flow better and many of these songs are very heavily played here in UK to this very day and ALL the radio stations that i can think of constantly play Do It Again, I can Hear Music and the re worked Cottonfields. and i would say that across the board and in general that without doubt, these tracks are the most played across the main stations and given the fact that 20/20 was probably the hardest album for me to find in the late 70s, that it remains very treasured.
I was about to say that Als contribution Cottonfields was huge here in the summer of 1970, but i admit it was the re recording and Brians influence on I Went To Sleep could be seen as Busy Doin Nothings little brother and to me sums up a lovely sunny day in the park, relaxing and closing your eyes and from that song onward, the listener is compelled to listen very intently as each song has deep meaning, even Never Learn not to love, which at the time i had no idea of Charles Manson being involved in writing and it certainly never put me off.
And then the Golden Nugget the Smile tracks which were considered so special at the time and i was desperate to find this album, which eluded me for many years though i did manage to borrow an original copy from a nurse i had befriended who had invited me to tea and she only had a few albums one being 20/20 which was a bit battered, but the artwork was wonderful and i must admit that i avoided her for a couple of months to enable me to " forget " to return such a treasure., which i had to resort to copying onto cassette and i hate cassettes as i feel they lose quality.
Eventually i did find the album as part of a 2fer, but it was minus the original artwork , but overall, i rate this album as one of the best and i had to wait until the CD release to obtain the original artwork.
Thanks, Chris! It's interesting that "20/20" was difficult to find in the late 70s, though I can certainly understand that it might have been, having been out-of-print for quite a while. (As I've probably mentioned before, when I started tracking down the '60s albums in 1980, when they were, pretty much, all out of print here, I just happened to walk into a used store where someone had recently traded in the entire set. I picked up everything from "Surfin' Safari" to "20/20", including "Stack 'O' Tracks" in one stop just shortly after I started looking for them. It was so easy that it took me a long time to realize just how lucky I had been!) Funny story about you avoiding the nurse for a couple of months so you didn't have to return her copy of "20/20"!
It's interesting that you mention that, though it’s composed of a mish mash of tracks, “20/20” flows better than albums like “M.I.U.” I definitely felt that way when I first heard it. Over the years, I’ve read many comments about “20/20” not having a good “flow.” I think I’ve finally concluded that it’s the kind of late 60s album on which you expect a lot of different feel from one track to the next. (The Beatles’ “White Album” would be another example.) On an album like this, you expect each track to be rather unique from the ones around it, so the “flow” feels just fine for the kind of album it is. (I hope that makes sense!)
Anyway, it’s an album of songs that remain very unique and special to me. I really appreciate your thoughts, feedback and “UK perspective,” as always! Thanks again, Chris!
@@thebeachboysbasementwithst6444 Excellent description ! Agree 100%.
Hey Steve gonna be talking with Sting soon! Pass on the word thanks 🙏🏻
Wow! Fantastic! Thanks for letting me know! Can't wait and, to coin a phrase, "I'll be watching you...."
I always preferred the album version of Cotton Fields, despite the single obviously having more kick. I think Brian's more laidback track compliments the sentimentality and 'humble' feel of the song. A lyric like "It sure feels good to breathe the air back home" feels more appropriate with the open, unassuming arrangement. I also appreciate that it prevents the aesthetic of Cabinessence from feeling TOO out of left field, considering both tracks are highlighted with a banjo
Thanks for the perspective, Nicholas! I especially appreciate your point on "Cotton Fields" tying in to "Cabinessence," aesthetically, particularly with the use of banjo. That definitely works well to open and close the side and, as you say, prevents the track from feeling too out of left field. (Wish I'd thought to mention that in the episode and glad you pointed it out!) Thanks, again, as always, for the excellent observations! Great to hear from you, Nicholas!
i believe i commented this on the earlier adventure into 20/20, but it's weird seeing the north american gatefold be misaligned like that! looks far better on my UK copy with it nice and aligned and the eye chart in full working order
great video as always steve, i always adore these album deep dives!
The gatefold sleeve does look weirdly misaligned, though, I suppose, it's something I've just gotten used to over the years. Thanks for pointing out that it's different in the UK pressings. I will definitely want to track that down and, hopefully, follow up on it in a future episodes. Thanks, as always, for the great feedback, Mate!
I agree Tine to get alone is a favorite track overall. The album itself I would place it somewhere in the middle of my pile. Another enjoyable episode Steve, continued success.
I can definitely see that! It's a "mixed bag" of tracks, certainly, with "Time To Get Alone" an undeniable beauty! Thanks for the thoughts and perspective, Don!
Greetings from Liverpool! 20/20 was well received in the UK - it had three hit singles with Do It Again a No 1 - also I like both versions of Cottonfields - the single was big UK hit and I remember the BBs opening with it when they played live in 1970 at Liverpool Empire - Cottonfields was the opening track of the UK Sunflower LP - strangely it was in mono whilst the rest of the LP was in fantastic stereo with some tracks in quadrophonic - by the way Breakaway was also a big UK hit - thanks for your videos which I always enjoy!
Always great to hear from Liverpool, Daniel! (A visit to your city is still high on my "bucket list.") Thanks for the UK perspective, too! I hadn't realized that "Cottonfields" opened the UK "Sunflower." (I've made a note of it and will try to mention it when we get to "Sunflower" with a "shout out" to you for having let me know about it.) When I was reviewing "Cottonfields" for this episode, it occurred to me that it was a song that probably went down great in concert. The BB must have thought so too if they were opening with it in 1970! Again, thanks for the great info, comments and perspective, Daniel! Much appreciated!
Daniel?, Great that you were at the concert in the Empire in Liverpool in 1970. I was there with about 20/30 others from Caernarfon in north Wales. I distinctly remember the group opening the show with "Cottonfields. It was a fantastic show we met Bruce that night he signed everything we gave him and had time for everyone.
@@thebeachboysbasementwithst6444 Can't wait for you to get to "Sunflower." Likely my favorite BBs album of all time. (At least at this moment!)
One of the early books about the Manson murders (possibly "The Family" by Ed Sanders- don't have it anymore) mentioned that after the release of the 45, "family" members were heard humming the vocal tag to "Never Learn..." but didn't say anything about Charlie's reaction. "Cabinessence" is my favorite track on the album, and I was pleasantly surprised that, once I got a decent quality stereo system, it sounded great, just like most of the rest of the lp (Kudos to Steve Desper). "I Can Hear Music" charted at #20 in both Cashbox and Record World.
Thanks for the info and feedback, George! I remember what a revelation "Cabinessence" was for me, when I first heard it in 1980, as to what "SMiLE" might have been. I'm glad you mentioned Steve Desper! I should have talked more about his contribution to the album in these episodes! Thanks, too, for the "I Can Hear Music" chart positions in Cashbox and Record World! (I need to start looking at those, in addition to Billboard, more often.) Thanks again and great to hear from you, George!
@@thebeachboysbasementwithst6444 A long time ago I offered some ideas for future shows. One of them was on Beach Boys engineers used over the years. Of course, I'd hoped Desper would have been a big part. He was so much more than just a knob-twirler !
Once again...very interesting program. I'm with you. I have always thought Time To Get Alone is one of the best songs of the entire BB catelog. In 1969, I was a member of the BB fan club($2 dues per year). Before the Kraft Music Hall appearance, the fan club mailed out to the members a 5x7 card with a pic of the band(no Brian) announcing they would be performing their brand new single I Can Hear Music on the Kraft program. I watched the entire show and was surprised when California Girls showed up instead. 13:39 I wish I had kept the postcard they sent me. Looking forward to 1970!
Wow! Thanks SO much for the confirmation that "I Can Hear Music" wasn't in the show from someone how watched the actual broadcast! (The version of the show I saw here on youtube was just over 53 minutes, which, I was pretty sure, was the running time of a one hour show allowing for commercials in those days, but I couldn't be sure it wasn't some later "alternate cut" of the show.) It's great that you were in the fan club in those days! That postcard would be a pretty cool and unique item today! Thanks, once again and as always, for the excellent feedback and information, Lamont!
@@thebeachboysbasementwithst6444 When I was in the fan club....I received 2 major mailings. One was the summer of '66 when Pet Sounds had been just out. The other was in 1969 and talked about their new sound system for the road. I saw it at Lagoon in Sept 1969.... It WAS really good in smaller venues. I still have the various pics and booklets they sent me. I don't know why I didn't get fan club stuff between '66 and '69. I must have spent my $2 on something else those years. By the way.... I would buy mot of my BB albums at JC Pennys for $3.00 for mono and $4.00 for stereo. Most of my original vinyl is mono. Thanks.
@@thebeachboysbasementwithst6444 I still have much of the fan club info they mailed be. I received a booklet and some photos in '66 after Pet Sounds had been released. The next time I received anything was the postcard in Feb '69 and then a package with a booklet and various pics, buttons, etc. The button is pretty cool(still have it). The '69 booklet talked about their new $250,000 sound system for their concerts. I used it at Lagoon in Sept 1969. It really was a nice system for smaller venues. Don't know why I didn't receive any fan docs between '66 and '69. I must have spent my $2 on BB records instead of fan club dues. Thanks..Lamont
@@lamontsouth5301 I've always wondered what fans got for their $2 BB Fan Club membership fee. Sounds like it was a pretty good value. It's great that you've held on to so much of it! Thanks for the great follow-up, Lamont!
@@thebeachboysbasementwithst6444 Steve...... One other thing I remember about the BB fan club..... They always seemed to be having a contest of some sort. I remember once they had a contest titled "WIN DENNY'S DRUMS". Don't remember what the contest rules were, but they were giving away a drum kit that supposedly Dennis had played. Thanks.
My only copy is the 2001 HDCD that combines with "Friends" . The bonus tracks includes "Break Away" with writing credits to Brian Wilson and Reggie Dunbar, a.k.a. Murry Wilson.
"We're Together Again" lists B. Wilson - R. Wilson.
I'm planning to cover "Break Away" in a couple of weeks in "US Pop Culture 1969 Part 3." It's been a really interesting single to research. I believe the "R. Wilson" credited on "We're Together Again" is Ron Wilson (no relation) who recorded the 1968 single "I'll Keep On Loving You/As Tears Go By" which he co-produced with Brian. I know nothing else about him. (I'll bet he'd also be interesting to research!) Thanks for the comments, Bill! Always great to hear from you!
@@thebeachboysbasementwithst6444 Maybe you can find where Murry got the name of "Reggie Dunbar" ? Did he just make it up out of thin air?
Never Learn Not To Love is one of those tracks that really seem to capture the essence of the era, in this case the seamy side of flower power. While I have my doubts about both Dennis' version of the story and Manson's, I have no doubt that the Beach Boys really turned it into a minor masterpiece. Manson's version is suitably creepy, but it is very bare-bones and awkward in places. The Beach Boys' arrangement gives it a truly hypnotic feel, without completely erasing the creepiness. For a long time, it was the highlight of 20/20 for me, although now I've come to appreciate some of the other songs more. A whole movie could be made about the Charles Manson/Dennis Wilson episode, and this could be its theme song.
I'm glad that Manson's version is available for comparison's sake. It's unmistakably the same song, of course, but I do recognize and appreciate Dennis' work in bringing it up to a suitable level of professionalism for the Beach Boys to record. It was an early highlight for me too. I don't think I made the connection between the song and Manson until long after I'd heard it, which is odd because I'd read Byron Priess' Beach Boys book before I bought the album, which, surely must mention it. (Now that you have me thinking of it, I'll have to check!) Thanks for the interesting perspective and great feedback, SC!
@@thebeachboysbasementwithst6444 If you want a different perspective on Manson (not sympathetic, but a largely unknown one) read "Chaos" by Tom O'Neill. I have. It's a massive book. It took him down many trails and over 20 years of research. Dennis is covered but Terry Melcher received much more attention.
Hello Steve. I think your take on side two of 20/20 is spot on. I recently listened to Cotton Fields from the 20/20 album just because I had forgotten what it sounded like. I have always listened to the other version of the song ever since I discovered it. It reminds me of how I never listen to the other version of Help Me Rhonda. As I said before, I was oblivious to the Smile project for longer than any Beach Boys fan should. So having said that, I knew nothing of the significance of the Smile tracks being on the album till much later.
I'm always amazed how you can tell what songs Brian had any involvement in. Anyway, thanks as always for your perspective on these things.
I'd love to have a better idea of how many fans knew about the "SMiLE"-saga or that the final two tracks on "20/20" were from it in 1969. As hard as it was to get information when I first started following rock music in the 70s (when we had Creem, Circus, etc, in addition to Rolling Stone), I've got to believe it was even harder to get info at the time and that, for most fans, those were simply "two new Beach Boys tracks." (Wish I had a better way to gauge it than a guess!)
I know what you mean about being able to tell what songs Brian was involved in. That was so clear to me reviewing this album for the episode when I reached "I Went To Sleep." Talented as the others are, Brian's touch is always unique. Thanks, as always, for the great feedback, Robert!
@@thebeachboysbasementwithst6444 Robert? You have so many Great people in the comments section, you can call me any of them. Lol!
@@michaelthemovieattic I am SO sorry Michael! I can't believe I did that. (If it's any consolation, I did call Robert "Michael" a couple of months ago. I'm not kidding!) I'll try harder to keep my brain "de-fogged" in the future! Thanks...Michael!
@@thebeachboysbasementwithst6444 No problem Steve. It was actually a good laugh at the end of a long day.
Excellent analysis, Steve. I never owned 20/20, but love several of the tunes on this album. I agree it's a collective mess with bright spots. I'm looking forward to your insights on "Breakaway" and Al Jardine's production of "Cottonfields," of which I enjoy very much. Definitely an oddball, but a cool track nonetheless.
Thanks, Chris! "Break Away" is coming up in "US Pop Culture Part 3" in a couple of weeks. I really enjoyed researching that one and I'll be looking forward to your feedback! (BTW, I've started putting together research for the episode on "Beach Boys In Concert" for early in the fall. Your notes are very helpful! Thanks again, Chris!)
@@thebeachboysbasementwithst6444 Hey Steve - Good to hear! BTW, I just emailed you as well.
The single version of Cotton Fields is much better
I agree, Pedro! I'm looking forward to talking about the single version in-depth when we get to 1970. Thanks for the feedback!
As I mentioned in last weeks post "20/20" did have four top 40 UK hits on it, "Do it again", "I can hear music", "Bluebirds over the mountain", and "Cottonfields". Am I right in thinking that this was the first and only time a Beach Boys album's atcheved this in the UK?.
That's a really good question, John! Off hand, I would think that's probably the "first and only." It's a very interesting point and something I'm going to look into. It's an impressive achievement in any case! Thanks for mentioning it, John!
This was a great episode, Steve! And like we discussed in the comments of the previous video: I do feel side two is a really solid piece of work, maybe one of the best album sides in the history of music, every song complements the others surrounding it. I do agree with you on 'Cotton Fields' and when you really think about it, it was a real odd track to cover, but somehow made more sense than 'Bluebirds'. I do think in terms of concept that it especially works considering the side closes with 'Cabin Essence' as the two are both rural themed. Actually: opening and ending the side with both of them, especially with them being so different stylistically, really makes it that much more interesting. I feel that Al's reworking of it wasn't drastically different from Brian's production as it just added the steel guitar in lieu of the electric piano and was a cleaner, punchier mix. The two are almost interchangeable and I kind of prefer Brian's a little more. 'I Went To Sleep' and 'Time To Get Alone' definitely are two masterworks and do rank highly in my list of Brian compositions/productions. It is really baffling that 'Time To Get Alone' wasn't released as a single as it did have a memorable hook. I was also thinking today that 'Never Learn Not To Love' could've been a double-a side with 'Bluebirds' as it was just as commercially viable. I think at worst it would've charted around the same as 'Bluebirds', but giving it a chance would've made the band seem more progressive and hip to the times. In the end though it's probably better that it wasn't though as Manson's hand in the writing of it prohibits me from becoming endeared to it entirely. I always appreciate the fact that Carl just casually tacked the two 'Smile' tracks on to the end of the album like 'ok, here's these amazing, distinctive songs for you guys.' I'd like to have gone into the album blind with no knowledge of the 'Smile' project and formed my opinion based on the songs themselves and not the legend around them. I'm sure there were plenty of listeners who bought the album who got the privilege. I know they would've intrigued and blew me away as I think both tracks are amongst the best songs I've ever heard in my life. '20/20' was actually a pretty progressive album, maybe even a little strong than the next two, it was just the missed opportunities on Side One that drug it down. And maybe with a little more promotion and context it could've been a bigger hit than it was.
Also: I watched both parts of the Betamax Blocker collab and I agreed with almost every one of your choices. The only albums I was really surprised at your choices were '15 Big Ones' and 'Love You'. On the former I thought 'Susie Cincinnati' was the oddball as it was already released 6 years prior and kind of a lame song and on the latter I feel that 'I Wanna Pick You Up' was out of place as it's really sketchy subject matter and it's really the only song on the album I wish wasn't there. It even trumps 'Hey Little Tomboy' in having a similar topic as I feel 'Tomboy' is almost parodying the band's 60s work when they were appealing to a teen audience and it could almost be Brian making commentary on Mike the formula hound who is more than happy to be singing the teen related songs well into adulthood. But, great work once again, Steve!
Excellent point on the rural theme and feel of "Cotton Fields" working well by bookending "Cabinessence" on side two. (I wish I'd thought to make that observation in the episode!) I agree it's a better choice for a Beach Boys cover than "Bluebirds." I suspected, and viewer comments have confirmed, the "Cotton Fields" went down great in concert too.
I think you're right, too, that "Never Learn Not To Love" would have made every bit as strong (or even stronger) an a-side than "Bluebirds." In retrospect, it seems unlikely that it would have done worse on the charts and, as you point out, it had a more progressive, hip sound than "Bluebirds."
I'd love to have a better idea of how many fans were aware of the "SMiLE" and that "Our Prayer" and "Cabinessence" were drawn from it when "20/20" was released in 1969. I'm sure some people knew about it, but, I'm guessing, to most causal fans, they were just a couple of great new tracks.
Glad you enjoyed the shows with Betamax Blocker! I've been thinking about some of the choices I came up with and, in some cases, I definitely could have gone another direction. (I'm surprised I didn't come up with "Hey Little Tomboy" for "MIU" for example.) "Susie Cincinnati" would have been an excellent choice for "15 Big Ones" for the reasons you mention. I wish I'd thought of it!
Great to hear from you, as always, Mike, and thanks for the excellent feedback and perspective!
@@thebeachboysbasementwithst6444 I honestly didn't have that thought about the rural themes bookending the side until I was literally typing that comment. It kind of proves the points there more facets to the album and there's more to it than just a series of songs stuck together to form an album, although I'm almost certain Carl didn't think of that thematic link between the two tracks. I'm really starting to think about how much of a missed opportunity it was not to slot another 'Smile' track onto the album, like I said it would've livened up the first side. I really think 'Do You Like Worms' would've been perfect and with it being fresher in Brian's mind, he would've been able to recall the intended lyrics and melodies and we would've gotten a Beach Boys vocal rendition as opposed to Brian's band, whom while good, do not have that unique blend the band did.
And the 'Hey Little Tomboy' being included on 'MIU Album' is super perplexing. Of all the songs from the rejected 'Adult/Child' that's the one Al picked for 'MIU'?! I'm sure Brian didn't pick it as his involvement with the project was doing just enough to get them to leave him alone.
Also: I'm almost through the 'Mind Games' deluxe set we discussed prior. I'm streaming it, so the six disc deluxe edition was available on Spotify and I won't get too much into it in this comment, but it does revitalize my admiration for the album, especially with the better mixing. The multiple discs of alternate mixes of the same songs though is getting a little redundant. Maybe you could do a quick video review of it once you listen to the version you purchased as it'd be interesting to hear your opinion. But: thanks again for your response, Steve! Like always: I enjoy pondering these topics with you!
@@novim9 I'm sure you're right that some of the apparent themes, like the rural connection between "Cotton Fields" and "Cabinessence" are probably accidental...and I know what you mean about points coming to you as you're typing! So often in putting episodes together, I'm halfway through making my notes when I'll suddenly think of some point that seems absolutely central to the subject that I had just about omitted.
"Do You Like Worms" would have been an excellent addition to the record! I wonder if they stopped at two tracks in order to not make it appear too much like a "SMiLE sessions" set? From my memory of the bootleg releases, I think "Do You Like Worms" might have been left in a less finished state than the other two, so maybe Carl had less of an idea how to finish it. (I'm going from memory, so I could definiltey be wrong about that.)
My two-disc Mind Games set arrived yesterday. I haven't heard it yet. The packaging reproduces the front and back cover five times in the set I've got, which seems a bit pointless. There's an insert with the front and back cover and the "Mind Games" 45 picture sleeve reproduced together in a little color "strip," which seems utterly useless. An enclosed "Nutopian ID card" is kind of cool. (At least it's something different.) The liner notes in the booklet are a little sparse. It's mostly devoted to the lyrics and there are only a couple of recording dates listed, which is something I always look for in archival sets. (I have the book ordered, which, I expect, will contain all that information and more.) Hopefully, I can get to the main event: the music, pretty soon! Thanks for the excellent follow-up, as always, Mike! Seems like your comments never fail to get a long-winded response from me. (Sorry about that!)
@@thebeachboysbasementwithst6444 Hey Steve, sorry for the delay in response! But: yeah, I'm sure with all the information you cover in the episodes that the various ideas you get come sporadically and the time constraints you have while preparing for the episode kind of hold you back a bit. I'm sure when one is writing a biography they take years to do it to ensure they don't miss any point or information, a luxury you don't have with the deadlines you set for yourself. You still do a really good job though, obviously! And: I mentioned 'Do You Like Worms' as I get the vibe it was more or less assembled, it just needed the lead vocal overdubs on it. I think the mix that was on the 1993 box set was the almost definitive one. It's structure is quite similar to 'Cabin Essence' with the verse and chorus parts repeating themselves, then the outro bridge or whatever you'd call it. I feel like those two tracks, 'Wonderful' and 'Wind Chimes' were probably the three tracks closest to completion. But now we're veering into that 'what-if' territory of 'Smile' that people have been pondering for years and it's maddening as we'll never have the real answers, although I feel that my perception of it isn't far from the truth.
And: yo, you definitely have to do a 'Mind Games' review video. I can already hear you making that observation about the redundant album art replication in your normal dry, sarcastic humor that makes your videos hilarious. I'm glad I didn't actually buy any variation of the set though for the reasons you listed. I feel that this is Sean's first venture into taking over John's legacy and he got a little overzealous with a minor album project that John himself didn't put that much into. I think a three disc set would've been sufficient for the material available. It got very tedious to listen to the six discs after a while, and I was really invested when I started. Also: history dictates that Yoko and him split before the sessions began, yet some of the studio outtakes have her voice over the talkback mic in the recording booth interjecting inconsequential observations and I feel that Sean took them from sessions for one of John's prior albums and spliced them in to give the illusion Yoko was present to downplay their separation, which obviously is terrible historical revisionism. Maybe that's why the information in the accompanying book is scarce as they're tiptoing around the fact it was part of John's 'Lost Weekend' and they're trying to paint a prettier picture of their personal lives, which is insincere. But here I am with a really long winded response, haha. I hope you had a great weekend, Steve!!
@@novim9 Thanks for the great observations on the "SMiLE" material and also on "Mind Games." If Yoko's studio chatter has been spliced in on sessions where she wasn't present, that is definitely a disturbing bit of historical revisionism. John and Yoko were always remarkably candid and revising their history to "pretty things up" really runs contrary to that legacy. (That said, I think one of the enduring Beatle "myths" is that John and Yoko didn't get together until after John returned from India. I think it's pretty clear that it happened earlier. I've never been sure if the relationship just wasn't considered "serious" until after India, or, as I've suspected, John's divorce attorneys advised him to keep quite about the relationship prior to Cynthia learning about it...Just a guess on my part, of course.) In any case, I definitely agree that a three album set would have been sufficient for "Mind Games." I think another unfortunate trend with Beatles releases is to create "overkill" "ultimate versions" designed, mainly, to relieve hardcore fans of hundreds of dollars. Which reminds me of yet another thing: Do you know why the "Get Back" DVD release was so low-key? It's entirely sufficient but the low price-point, lack of hype and minimal packaging took me by surprise. I'd have thought it, too, would have been available in several versions with booklets and lots of extras. (Maybe that'll come with an eventually re-release of the "Let It Be" movie?) I'm not complaining, really, but the move surprised me. Anyway, this has turned out to be another long-winded response! Always a pleasure to correspond with you, Mike!
1. I have the exact same feeling as you about the 20/20 version of Cotton Fields, I try hard to appreciate it, but to me it seems too tentative, maybe because it was Brian's first production in a while following a lot of time off in late 1968. For the Al-produced single version, I really like the recently released version with the cute intro by Al's son, which I think was from a TV show. 2. Interesting that the Beach Boys correctly credit Leadbelly with Cotton Fields, but the Highwaymen credit Dave Fisher. If anything, the credit should have been Arr: Dave Fisher if not Ledbetter., although the arrangement mention for Fisher is just below the writing credit. 3. I really like I Went To Sleep, but I far prefer the a capella version. I always felt the fidelity of the 20/20 version was a little off, and I think it prompted a writer (I forget which) to say it was in fake stereo. 4. Time To Get Alone is indeed an all-time classic, and I love all the released versions. But I wonder if the production credit for the 20/20 version should have been Brian and Carl rather than just Carl. I've read conflicting information as to whether they used some of the 1967 version with overdubs or recorded it from scratch. 5. Speaking of the Smile songs, the first 1979 Rolling Stone Record Guide had a real howler, it claimed that the Beach Boys put out Friends and 20/20 because Brian was taking the time to do Smile, and that Smile was finally released in the mid-1970s, but didn't have the forcefulness of the early surf and car hits. Of course, the clueless RSRG reviewer was referring to Smiley Smile and likely referencing the twofer version released by Brother/Reprise. This travesty of misinformation was corrected in the 1983 edition of the guide. 6. I really like that the Beach Boys shows I've seen in recent years used the Kraft Music Hall Don Adams and Don Rickles intro to the Beach Boys as part of the video introduction to their concerts. I couldn't hear what the two Dons were saying as the audiences were applauding, but I much later found the TH-cam video of the show.
I think "tentative" is a excellent description of the feeling of Brian's production of "Cotton Fields." Wish I had thought of it to use in the episode! I noticed that Dave Fisher writing credit too. It seems like a lot of people were playing "fast and loose" with the writing credits in the 50s and early 60s, especially on anything that might be a folk song or "traditional." (I wonder if they simply assumed "Cotton Fields" was "traditional" so Dave Fisher felt free to take credit for it, following the "custom of the day.") Thanks for reminding me of the a cappella version of "I Went To Sleep." It's outstandingly beautiful and it's been a long time since I've given it a listen. I had the same problem with conflicting information on whether the basic track of "Time To Get Alone" is from the Redwood version, or whether it's a complete remake. I researched it for this and was never able to find a definitive answer. Thanks for the info on the Rolling Stone Record Guide! It sounds less like "mis-information" than some "alternate universe fever dream." It's hard to believe they could be THAT far off, even in 1979! (I'm going to keep an eye out for an inexpensive used copy of it. It'd be worth having for that wild story!) I hadn't noticed the Don Adams/Don Rickles intro being used in the video introductions. It's a great idea, though I can understand most of the audience missing it under the circumstances. Thanks, as always, Joel, for coming through with such great info and insights!
The album version of "Cotton Fields," with "Time to Get Alone" as the B-side, was released as a single in the Netherlands. It spent 8 weeks in the Dutch Top 40, peaking at #12 on September 13, which was lower than their usual performance on the Dutch chart for that era. The 1970 single version (with one-word title) doesn't seem to have been released there. It's interesting to note that Dave Fisher, not Huddie Ledbetter, is credited as the writer for the Highwaymen's version.
Thanks for the info on the Dutch release of "Cotton Fields." I had no idea that the album version was the single there. Interesting! I noticed that "Dave Fisher" credit on the Highwaymen version too! It sure seems like a lot of people were playing "fast and loose" with writing credits in the 50s and early 60s (especially, I think, on folk tunes.) Thanks, as always, for the great feedback and info, Orbyfan!
The thought came to mind that on songs like "I Went To Sleep" and "Time To Get Alone," as beautiful and peaceful as they are, it depends on which direction you are coming from. I clearly remember being underwhelmed the 1st few times I heard them (1971 ?) because I was looking for more tracks like "Good Vibrations" or "I Get Around." Powerful yet with full harmonic richness the group was capable of. NOT just a sweeter version of a rocker like "Born To Be Wild" or "Get Back." I was coming from a "hits all the time" Top 40 perspective. Most of us raised in that mid-60s world couldn't afford LPs & even if we could we were looking for "Greatest Hits" type of albums (maybe why "Endless Summer" was so popular, as late as '74!)
Now, if you are doing a retrospective look at albums like "Friends" or "20/20," you've been exposed to mediocrity like "Beach Boys," "M.I.U." or (dare I say it) "Love You" where there's been a drop off in songwriting, melody and performance. So these two songs really stand out for their beauty and peacefulness, even though neither come up to the level of a "hit."
I think your characterization of "20/20" as a "grab bag" is right on. It seems like they were just sweeping up the studio, and these were the tracks that were laying around. And, they came up a little short & had to break open the "Smile" vault. I'm sure Brian wasn't too pleased with THAT decision ! Great job, Steve. Thanks for your clarity and conciseness.
Thanks for the great perspective, Bill! Now that you've mentioned it, I really see the point that "I Went To Sleep" and "Time To Get Alone" would not have been what most fans would have been looking for from the Beach Boys in 1969. As you point out, I'm sure people were mainly looking for "the next 'Good Vibrations'," and, understandably in that context, would have found those tracks underwhelming. (In part, I try to put myself in the place of a contemporary record buyer of the time when reviewing albums for the channel and I wish I'd thought of that!)
Inevitably, too, as you mention, it's hard to completely set aside having heard later albums like "MIU" and not, in some way, compare the music not only to what came before, but also to what came later.
Those are great points. I've made note of them and, if I can, I'd like to follow-up by mentioning them in a future episode (with "props" to you, of course, for having pointed it out.)
Thanks so much for all the great feedback, Bill! I really enjoyed your perspective on the album, too and wonder how Brian did feel at the time about the "SMiLE" vault being raided to fill out the album. Thanks again and have a great week!
@@thebeachboysbasementwithst6444 Thanks for taking time out to provide a personalized response (as you always do.) I think in restrospect "20/20" is a very good album overall, maybe about as good as fans could have expected (although maybe not obvious at the time) & given the overall turmoil in the group. This was in the early stages of Brian's post-SMiLE cooling-out period, and the Beach Boys (especially Carl) were starting to realize they'd have to assume a greater role on an individual level, not relying on big brother Brian to do it all any more.
You always have my OK on stuff. Overall, this episode engendered some terrific comments -- lots to consider. It often feels like we are sitting in a postgrad master's course, with you as a weekly lecturer but with some really talented and experienced "classmates" also in the room. It's a privilege to be part of this! Sorry for being "late to class" this time!
@@burlingtonbill1 Thanks for the follow-up, Bill! The great thing about this channel, for me, is that I do feel like I'm just opening up the subjects for discussion, rather than just throwing my opinion out there. I always learn so much, and get such great perspective from you and the other commenters that it becomes like a two-step learning process for me: First, researching and refining my thoughts to present in the episode and, then, getting the additional information and perspective in the comments.
After the comments, I always wish I could do the episode again incorporating what I learned. (The best way I've found to do that is with the "Cool Stuff" episodes, which have become some of my favorites to put together.)
Never worry about being "late to class!" I'm just glad when you get here, Bill! Thanks again!
Great video, Steve! I forgot to comment on your Side 1 video that UK copies of the single I Can Hear Music credited the B side to Dave Wilson! At least my copy does. My UK copy of the LP is a folddown mono mix and sounds surprisingly good (to my ears anyway). That is CRAZY about the colour performance of I Can Hear Music, I had no idea they taped one and seeing that freeze frame blew my mind! I know the show but have only ever seen the clip of California Girls. The Camco drum kit Dennis is using is both the first and last time I have seen him use that finish, plus it is very late for him to still be using Camco.
My last thought on 20/20: when Surf's Up (the album) was about to come out there was a buzz among fans "hey wow, unreleased Smile stuff is gonna be on it!" I have no idea if this was the case for 20/20. Do you know? Was it hyped at the time? Having 2 Smile songs on it is amazing, thinking about it! I think I remember hearing somewhere that people got excited before Sunflower came out that there was gonna be a Smile song on it.
I had never heard about the UK credit on the b-side of "I Can Hear Music." That's pretty hilarious! Thanks for letting me know about it! I've already found a photo of the side with the "Dave Wilson" credit on discogs and plan to show it, with "props" to you for letting me know about it, in a future "Cool Stuff" episode.
It's a really good question as to how much the "SMiLE" material was hyped when "20/20" was released. I've wondered the same and wish I knew! Like you, I know that, by the time of "Surf's Up," "SMiLE" had acquired mythical status among fans and the inclusion of "Surf's Up" was a major draw on that album (and that the group was promising to finish "SMiLE" and release it "soon.")
I'm not clear on how well-known the "SMiLE" story was to fans in 1969. Info was definitely hard to come by in those days. With a few exceptions, like the new "Rolling Stone" magazine, rock journalism was still pretty much of the "What's your favorite color?" school. There was no definitive Beach Boys biography. I know "SMiLE" was promoted as their upcoming album in late 66 and early 67, but I've wondered how many fans just figured that was an early name for "Smiley Smile." Undoubtedly, the story was known to some fans who were excited to hear "Our Prayer" and "Cabinessence," but whether it was well-known enough to play a part in promoting it in 1969, I don't know. (I'm hoping someone who was following the band at the time will chime in here with more information!)
Thanks, Nathan, for the great info and for raising a very interesting question!
Wasn't the first gatefold Beach Boys album Party? And I know Concert was as well but that's not a studio album. Anyways, great video as per usual Steve!
You are absolutely right! I don't know how I missed "Party!" Thanks for catching it, Ted! I'll be sure to make the correction in a future episode (with "props" to you for being the first one to point it out!)
Steve- enjoyable review of 20/20- part 1 and 2. I think “Learn not to Love” and “I can hear music” are my favorite tracks. I’ve never been a fan of “Do it again”. Doesn’t have much of a tune and it was far to early for nostalgia for something that was only 5-6 years in the past! In 1985, it was time for nostalgia and I love “Getcha Back” which is kind of in the same vein but a much stronger track I feel. I was introduced to “Cotton Fields” by Creedence Clearwater Revival on the 1969 Willy and the Poor Boys album. CCR’s version resonates with me much more than the BB version. The arrangement is much punchier and more “country”. It’s probably the best version of the song. Check it out if you are not familiar with it. John Fogerty pretty much makes any song he covers “his own”!
Thanks for the feedback and perspective, Chris! Good point that it was a little strange to be trading in nostalgia with "Do It Again" so soon after the actual time (though I suppose, in some ways, it's indicative of just how fast things were changing on the 60s.) Nice comparison with "Getcha Back," which does cover the same kind of territory. It's an excellent track and I also appreciate the fact that the nostalgia on "Getcha Back" is kind of understated and indirect.
Thanks for mentioning the CCR version of "Cotton Fields" too! It's an excellent track and I prefer it to either of the Beach Boys versions. (Weirdly, CCR's version came out nearly half way between the Beach Boys' "20/20" version and their single version.) I revisited the CCR version when I was researching this episode to confirm that the "nail in my tire" verse wasn't in it. (It isn't, of course.) The song seems like a better choice for him and I agree that John Fogerty definitely makes the songs he covers his own. Thanks for the info and insights, Mike! The comments are always enjoyed and appreciated!
@@thebeachboysbasementwithst6444 I was surprised at how many of the BB lyrics I didn't recognize from the CCR version. I have not done a side by side comparison but overall the lyrics are quite different. I'm not sure which adheres more closely to the original. My guess would be the CCR version. Are there any notes on the BB versions about "additional lyrics by..."?
@@chrismarzoli2170 The additional lyrics on the BB version aren't credited. With minor variations, CCR uses the lyrics that are used in all the other versions I could find, going all the way back to Leadbelly. I'm hoping someone will be able to confirm whether the additional lyrics came from the Beach Boys. Thanks for the follow-up, Chris!
Have to say I agree. The song is much better suited to CCR than the BBs anyway. Al should stick to "Loop de Loop."
@@burlingtonbill1 Thanks for the comment, Bill...and for the laugh on "Loop de Loop!"
I seem to recall seeing, in one of the thousands of Beach Boys documentaries I’ve watched over the years, that Al Jardine took credit for writing the updated “nail in my tires” stuff in Cotton Fields, and since Al isn’t exactly the strongest lyricist in the band, that rang true to me. But I don’t think I could support the claim with a citation….
Also, I completely agree with your impression that 20/20 seems to be a collection of previously unreleased material. That, in fact, is what I always just assumed it was…
Thanks for that info, Nick! I agree, and got a laugh too, from your very accurate observation about it ringing true because Al isn't exactly the strongest lyricist. (It is a really mangled verse with some of the most strained rhymes I've ever come across. Until I was reviewing it for this episode, I had kind of overlooked it.)
Great to hear from you, as always, Nick, and thanks for the info! I'll keep an eye out to see if I can find the documentary with Al's comment.
Mostly agree with your feelings about the songs on Side 2 of the Beach Boys' 20/20 album. For me, the best song on side 2 is "Time To Get Alone", which I think could have been considered as a single release (A side), with "Cotton Fields" on the B side. Think Brian did a better job producing "Sloop John B" than he did with "Cottonfields", which I think he went overboard/too much "Spectoring", or laying too much on a Folk song, whose subject matter should have been given a bare bones production. Like Al's 1970 Country-Rock version of the song better, released on the Rarities album. Like the two Smile tracks, "Our Prayer" and "Cabinessence", but in hindsight, wish they had been kept off the album. Initial reactions to the two songs were along the lines of "Wow, the Beach Boys sounding like a Church choir, and Okay, the Beach Boys are doing Opera singing about the building of the transcontinental railroad." Today, "Cabinessence" I think is a forerunner to Queen's "Bohemian Rhapsody", which Brian praised when it came out. Instead, "Breakaway" and "Celebrate The News" could have gone on the album, which would have been held back until "Breakaway" was finished.
Thanks, as always, for the great feedback, Robert! I, too, prefer Al's production of "Cottonfields" and I'm looking forward to talking about it when we get to "1970." Thanks for the interesting, and very apt, comparison between "Cabinessence" and "Bohemian Rhapsody," which I'd have never thought of. I definitely see your point! Good observation, too, that the album would have been stronger with both sides of "Break Away" included. It would have made a stronger album and, for those fans who were paying attention, made the album feel more like "new work" than a collection of recent a-sides plus older stuff "from the vaults." The excellent insights are always greatly appreciated! Thanks again, Robert!
@@thebeachboysbasementwithst6444 Was able to watch the Don Adams/Don Rickles special (with the Beach Boys) on TH-cam. Enjoyed it! Impressed at how well both were able to imitate others voices, in the look back at Hollywood segment. Didn't know that they had ever worked together on anything. Thought they made a good team! Oh, to be a "Fly on the wall" at Beach Boys meetings that occurred during this time. Would've been interesting to hear the others reactions when Dennis was pitching Manson to them as a possible new recording artist. Even before the internet and everyone having their own computer, wouldn't have taken much by doing a little digging around, to find out Manson's personal background was less than ideal, that he was a user and manipulator of people. Will check out Betamax's Pt. 2 with yourself. Pt. 1 stopped after the Holland album. Have my own guesses on which songs will be picked from 15 Big Ones, Love You, etc.
Your videos are great! Would love to hear your thoughts on Thats Why God Made The Radio
I really love the album and haven't done a full review yet. It's something I should do sometime soon! Thanks for the reminder on it and for the kind feedback, Pedro!
I actually like the Redwood version of Time to get alone better than The Beach Boys version. I feel it’s a bit more gritty. Also I prefer Al’s version of cottonfields, and I also wondered about who wrote those additional lyrics. The CCR version of cottonfields does not include those extra lyrics. It’s also a bit underproduced like Brian’s version.
I was very surprised just how different the Redwood version of "Time To Get Alone" is. I had "heard of it" for years before I ever had the opportunity to hear it and had assumed Brian would have done it largely the same with Redwood as the Beach Boys. "More gritty" is an excellent description of the Redwood version! (Those additional lyrics are still a mystery. I checked the CCR version, too, to see if they were there.) Thanks for the feedback, Go! Always great to hear from you!
Gritty... and bouncier.