You Can Have Real Fun, Fun, Fun in the Presence of Genius

The one and only Brian Wilson

By Dave Price

Imagine you were celebrating your birthday in 2020 and you could go back to 1962 when you were an elementary school student. Or 1965 when you were in 9th grade. Or 1966, 1967, 1968 when you walked the hallways of your high school. Or 1969 when you started college. Or 1973 when you graduated college, got married, and had a son.

Well, of course, there are no time machines, but last night, on the date of my wife’s 69th birthday, Judy and I vicariously had a chance to do the next best thing as we listened to Brian Wilson and his 11-member band perform many of the greatest hits he composed for his Hall of Fame California surf-sound group The Beach Boys at the MGM Casino just outside Washington, DC.

It’s been said that each song we hear from our past is like a tiny time capsule that unlocks to let us vividly recall all the places we were and all the people we were with when we first heard the tune.

And few songwriters have the ability to transport us back to our past better than Brian Wilson and the exquisite harmonies and sense of time and place he incorporated into the string of smash hits, ground-breaking albums, and B-sides he created for the Beach Boys. 

The story of Wilson’s rise to become one of the best of rock & roll music’s greatest songwriters and his subsequent descent into depression and mental illness has been thoroughly documented in print and film. Indeed, Wilson still periodically struggles with mental issues. For example, he had to cancel a portion of his tour last year, saying he felt mentally insecure. In a letter to his fans Wilson wrote: “It is no secret that I have been living with mental illness for many decades. I’ve been struggling with stuff in my head. I’m going to rest, recover, and work with my doctors on this. The music and my fans keep me going and I know this will be something I can AGAIN overcome”.

And on a chilly Wednesday night, Wilson’s fans, ecstatic that he was well enough to resume touring, showered their idol with applause after each song, even those few obscure enough only to be familiar to fervent Beach Boys enthusiasts.

And while Wilson, who will turn 80 in June, today struggles to hit some notes and is forced to rely on a teleprompter for the words to some songs, these were minor setbacks that the audience was willing to ignore as they danced in the aisles and rose as one for a heartfelt standing ovation when the 90-minute, 27-song concert ended. The night had clearly demonstrated they were in the presence of a genius who had created an entire genre (surf music), wrote two dozen Top 40 hits for the Beach Boys, composed a tune – “God Only Knows” – which no less of an expert than Paul McCartney has called the best song ever written, and has had his creations compared favorably with those of such legendary classical composers Bach, Beethoven, and Brahms.

Earlier, Wilson had been interviewed by Jason Fraley of WTOP. Wilson told the reporter that although he hasn’t written any songs for a few years, he has some new ideas which he would like to record soon.

But for now, while new Wilson material would be great, his audience, which spans multiple generations, is quite content to enjoy the hits, the oldest of which would now be qualified to be members of AARP.

Asked why he thinks the Beach Boys and their music have remained so popular, Wilson told Fraley “It’s evergreen. It’s forever”.

And many of his rock contemporaries agree. Here’s a sample of what some of rock’s s best have said about Brian Wilson, his tunes, and his prodigious talent.

Bob Dylan

            Jesus, that ear. He should donate it to the Smithsonian. Brian Wilson, he made all his records with four tracks, but you couldn’t make his records if you had a hundred tracks today.    

Beatles Producer George Martin

            If there is one person that I have to select as a living genius of pop music, I would choose Brian Wilson. Without Pet Sounds, Sgt. Pepper wouldn’t have happened. Pepper was an attempt to equal Pet Sounds.

David Crosby of CSNY

            Brian was the most highly regarded pop musician in America, hands down. “In My Room” was the defining point for me. When I heard it, I thought “I give up – I can’t do that – I’ll never be able to do that.”

David Gilmour of Pink Floyd

            Even in those very early days of the Beach Boys, songs like “In My Room” and “Don’t Worry Baby” were giving the indication that Brian Wilson wanted to paint with a much more colorful palette than was offered by surf music he was so adapt at. His brilliance leapt from strength to strength over a very short period and, in a little over four years, he mastered the art of songwriting, record production, orchestral arrangements and every form of studio trickery to culminate with the wonderful songs on Pet Sounds.

Tom Petty

            I think I would put him up there with any composer – especially Pet Sounds. I don’t think there’s anything better than that, necessarily. I don’t think you’d be out of line comparing him to Beethoven – to any composer. The word genius is used a lot with Brian. I don’t know if he’s a genius or not, but I know his music is probably as good a music as you can make.

From “California Girls” to “Love and Mercy” Brian’s band was hot.

MGM Set List

  1. California Girls (1965)
  2. Dance, Dance, Dance (1964)
  3. I Get Around (1965)
  4. Shut Down (1963)
  5. Little Deuce Coupe (1963)
  6. Little Honda (1964)
  7. Salt Lake City (1965)
  8. Surfer Girl (1962)
  9. Don’t Worry Baby (1964)
  10. California Saga: California (1973) – written by Al Jardine
  11. Do It Again (1968)
  12. Let Him Run Wild (1965)
  13. Darlin’ (1967)
  14. Heroes and Villains (1967)
  15. Feel Flows* (1971) –written by Carl Wilson
  16. Wild Honey * (1967) 
  17. Sail On, Sailor* (1973)
  18. I Can Hear Music (1969) – Ronettes cover
  19. Wouldn’t It Be Nice (1966)
  20. Sloop John B (1966)
  21. God Only Knows (1966)
  22. Good Vibrations (1967)
  23. Help Me, Rhonda (1965)
  24. Barbara Ann (1965)
  25. Surfin’ USA (1963)
  26. Fun, Fun, Fun (1964)
  27. Love and Mercy (1968)

*Sung by Blondie Chaplain

Notes and Noise from the Show

  • There were many highlights during the night, but my personal concert capstone was the three-song mini-set song by Sonny Chaplain. Chaplain, a South African musician who has toured extensively with the Beach Boys and the Rolling Stones, also played lead guitar on the three numbers – “Feel Flows,” “Wild Honey” and “Sail On, Sailor.” Chaplain brought both psychedelic guitar effects and an invigorated feel to the show. It was clearly evident that he was enjoying playing with Wilson again, whom he called “the maestro.”
  • When the Beach Boys began, they were known as a family band since Wilson was joined by his two brothers, Carl and Dennis, both of whom are dead. But the family concept is being continued on this tour as Matt Jardine, the son of Beach Boys Al Jardine, who is co-featured on this tour with Wilson, sings high harmony and even some lead vocals.
  •  Wilson was one of the first rock songwriters to use a theremin (a musical instrument with high, outer-space like sounds that is played not by touch, but by running your hands over the instrument to control frequency and volume). It was extremely cool to hear the theremin live on a few songs, especially Wilson’s classic “Good Vibrations”. 
  • Of course, with a catalog as extensive as Wilson’s, not all of his hits can be performed in every show. The one I missed most tonight was “In My Room,” one of the greatest songs about loneliness ever composed.
  • How many artists could close a show with this many super hits in a row – “God Only Knows,” “Good Vibrations,” “Help Me Rhonda,” “Barabara Ann,” “Surfin’ USA,” and “Fun, Fun, Fun?”  Well, Brian Wilson can and did.
  • The last song was an extremely poignant, powerful, and, given the current divisiveness in Washington, DC and the country, appropriate “Love and Mercy,” which gave its title to the recent critically acclaimed biographical movie about the head Beach Boy. Wilson played the song alone on his piano, while the other 11 band members joined in on harmony vocals. Here are the first stanzas of Wilson’s moving message we all need to hear in these troubled times:

I was sittin’ in a crummy movie with my hands on my chin
Oh the violence that occurs seems like we never win

Love and mercy that’s what you need tonight
So, love and mercy to you and your friends tonight

I was lyin’ in my room and the news came on T.V.
A lotta people out there hurtin’ and it really scares me

Love and mercy that’s what you need tonight
So, love and mercy to you and your friends tonight

Encore

If you would like to discover more about Wilson and the Beach Boys, you can read my book Come Together: How the Baby Boomers, the Beatles, and a Youth Counterculture Combined to Create the Music of the Woodstock Generation. Come Together contains a relatively in-depth look at two Brian Wilson songs – “The Warmth of the Sun” and “Surfin’ USA”. It can be purchased at the Politics and Prose book store in Washington, DC. or by clicking here.

Keep Watching the Skies

Photo from UFO sighting in Riverside, California, November 23, 1951. Photograph via National Archives, Records of Headquarters U.S. Air Force (Air Staff).

By Dave Price

In 1947, just three years after the start of the Baby Boom Era, reports of flying saucers over United States caused a wave of UFO hysteria to sweep the country. Fascination with these supposed ships from outer space prompted a series of alien invasion movies such as The Thing from Another Planet, The Day the Earth Stood Still, and Earth vs. The Flying Saucers.

Those reports also sparked a federal investigation to try to determine the origin of the unidentified flying objects.

For more than 20 years, the U.S. Air Force analyzed all reported UFO sitings to determine if they posed any danger or security threats. They called the investigation, launched in 1952, Project Blue Book.

However, after 17 years years of investigation, the Air Force announced the termination of Project Blue Book on December 19, 1969. Of the 12,618 UFO sightings reported between 1947 and 1969, 701 remained “unidentified”. The Air Force investigators determined that the overwhelmingly majority of the sightings were the result of mass hysteria, delusion, or intentional fabrication. Many of the reports were simply the misidentification of known objects such as planes or weather balloons.

But the conclusion of the investigation 50 years did little to stop the American fascination with the possibility of visitations from strange beings from other planets. And not all Americans then, or now, were convinced by the government’s findings.

Domestic unrest during the Cold War, the Civil Rights Movement, and the Vietnam War peace protest had spurred growing distrust of the American government, especially on the part of Baby Boomers.

Aware this skepticism, the Air Force declassified Project Blue Book and transferred all its investigative records to the National Archives here in Washington, DC., which was itself a city with several UFO sightings in 1952.

As this comic book sensationalizing the sightings over Washington, DC, in 1952 shows, not all Americans were convinced by the government’s conclusions. Image via National Archives, Records of Headquarters US Air Force (Air Staff).

In recognition of the 50th anniversary of the termination of Project Blue Book and Americans’ still ongoing fascination and curiosity about UFO’s, the Archives is staging a small exhibit at the East Rotunda Gallery in their DC institution. The displayed documents and selected photographswill be on display through January 8, 2020.

Wistfully Wishing for a Christmas Wish Book of Holidays Past

By Dave Price ( this article first appeared in Booming Encore)

Like so many magical stories of childhood, this one begins with a most familiar phrase…

Once upon a time (say about 1950 to 1980 or so), Baby Boomers all over North America rushed to their mailboxes in late August or early September, hoping to find the Sears Christmas Catalog – or simply The Wish Book as it eventually came to be called – waiting for them.

The annual catalog was filled with pages and pages of toys, games, sporting items, scientific instruments, books, bicycles, and bright, shiny wagons guaranteed to thrill youngsters who looked at its pages.

Whenever they had free time, children of all ages would rush to their favorite sitting spots and, with excited eyes, spend hours perusing the big book in hopes of finding the gifts from Santa and family that would make for a perfect Christmas.

The catalogs were so popular that even today siblings in their sixties recall arguing over who would get to read the books first.

Actually, the widely popular Wish Book was just one of a series of catalogs that Sears published, beginning with the initial non-holiday one mailed to potential buyers in 1894.

The first Christmas catalog arrived in homes in 1933. Featured items in that book included the then-popular Miss Pigtails doll, Lionel electric train sets, a Mickey Mouse watch, and even live singing canaries.

The cover of 1933 offered illustrations displaying some of the featured items found in the 87-page catalog. The next year Sears started the tradition of putting warm, colorful Christmas scenes on the cover and a holiday icon was born.

As its popularity soared, the catalog continued to grow, reaching its maximum size of 605 pages in 1968, four years after the last of the Baby Boomers were born.

Interestingly, while almost everyone nostalgically remembers the catalog as filled with nothing but toys, that isn’t true. The initial 1933 book offered 62 pages of gifts for adults and only 25 pages of toys. In 1968, there were 380 pages for adults and 225 devoted to youngsters.

By 1943, the catalogs were being heralded as “a mirror of our times, recording for future historians today’s desires, habits, customs, and mode of living.”

That message proved prophetic. 

Today, producers of Hollywood movies and Broadway shows frequently refer to old catalogs for styles of a specific period, while cultural historians use them to examine life in days long gone.

However, as is the case with so many things of the past, the Christmas Wish Book fell victim to changing times, specifically modern trends in retailing and technology. The company decided to halt producing the large catalogs for Americans in 1993.

Now obviously, youngsters today are just as excited about the holidays as their counterparts of the past. So what do they do? Instead of spreading the big-book catalogs on their laps, they now grab their computers or portable electronic devices to track down toy listings online.

Of course, what technology takes away in one form, it often saves in another.

For example, very few of us still have our favorite Sears catalogs from the past. But in 2006, two catalog preservation enthusiasts came up with the idea of WishbookWeb.com, and since that time have been scanning and posting holiday catalogs online, allowing nostalgic viewers to relive their childhood Christmas dreams.

A word of warning, however. If you are a Baby Boomer who decides to trigger some Christmas memories by visiting that site, beware.

The internets’ Ghosts of Christmas Past are strong and you just might find yourself drawn into the burgeoning world of collecting toys, games, and other items from the 50s to the 80s you once had or always wanted to possess.

For some, it might be returning to that Barbie collection you so recklessly gave away when you moved into your first apartment. For others, it might be classic Matchbox or Hot Wheel cars, colorful Hula hoops, or even original Mr. Potato Head sets (where you would still have to use actual potatoes).

As for me, I was once hooked on Marx playsets. I believed that between Santa, my parents, and my allowance, I had at one time or another possessed every set Marx ever produced. The Blue and the Grey. Roman gladiators. The Wild West. The Alamo. World War II. I had them all.

But in the course of researching this article, I found two obscure ones I never had.

Of course, that discovery left me with a big Christmas problem. How could I get those two sets 50 years later?

I don’t think I have enough time to write Santa, mail my letter to the North Pole, and have the jolly fellow construct and deliver the two sets by Christmas Eve.

So does anyone out there know if Santa has a personal email address or a secret Skype number?

Beatles Tunes Power Pepperland

By Dave Price

1967 was a year filled with psychedelic sights and mind-expanding sounds. 

On London’s Carnaby Street, fashion boutiques were offering hip, wild, colorful clothing for with-it British men and women. Meanwhile, young Americans from San Francisco to New York City were letting their hair grow long, while simultaneously tuning in and turning on to marijuana, LSD, and the sounds of Jimi Hendrix, Pink Floyd, and the Vanilla Fudge. And reflective of all that was swirling around them, the Beatles produced their pot and acid-drenched masterpiece Sgt. Pepper’s Lonely Hearts Club Band.

To say that the album was revolutionary in its time is understatement. But earlier this month, the Mark Morris Dance Group proved that more than 50 years later, there still is innovation to be found in the musical masterpiece.

For three sold-out nights at the Kennedy Center in Washington DC, the New York City-based dance company, directed by noted ballet and opera choreographer Mark Morris, presented the group’s reworking of Sgt. Pepper’s titled Pepperland, a stunning visual dance performance set to six much-altered Beatles songs and seven original pieces composed by pianist Ethan Iverson. 

Here is a summation of the one-hour performance from score notes by Iverson, who led the seven-member live pit band which included a single vocalist, two keyboardists, a trumpeter, a trombonist, a percussionist, and, most interestingly, a theramin player. (For those not familiar with the theramin, and many in the performance hall were not, the one-of-a-kind electronic instrument is a single oscillator with two metal rods used to change pitch and amplitude controlled by a single performer using hand gestures above the rods):

Sgt. Pepper’s Lonely Hearts Club Band

  • The original album ended with an unprecedented effect, a very long chord. Fifty years later, perhaps a similar chord is a good place to begin …

Magna Carta

  • A formal invocation of personalities from the LP cover

With a Little Help from My Friends

  • When Ringo sang it, he was on top of the world. Our version is more vulnerable.

Adagio

  • In an age of Tinder, a Lonely Heart advertisement might seem hopelessly quaint. But everyone has always needed to find a match.

When I’m Sixty-Four

  • In between 6 and 4 is 5. All three counts (to the bar are heard) are heard beneath the music-hall scuffle.

Allegro

  • A single offhand line from “Sgt. Pepper” germinates into a full-fledged sonata.

Within You Without You

  • George Harrison’s sincere study of Indian music aligns easily with another Harrison interested in bringing the East to the West: the great composer Lou Harrison, one of Mark Morris’s most significant collaborators. The hippie-era sentiment of the lyric remains startlingly fresh and relevant today.

Scherzo

  • Glenn Gould said he preferred Petula Clark to the Beatles. Apparently, Gould, Clark, and a chord progression from “Sgt. Pepper” all seemed to have inspired this mod number.

Wilbur Scoville

  • The first thing we hear on the LP is a blues guitar lick, here transformed into a real blues for the horns to blow on. Wilbur Scoville invented the scale to measure hot sauce: The original Sgt. Pepper?

Cadenza

  • After seeing Bach’s Brandenburg on the telly, Paul McCartney came into the studio and told George Martin to add piccolo trumpet to “Penny Lane”. Indeed, detailed references to European classical music are one reason so many Beatles’ songs still stump the average cover band.

Penny Lane

  • Not on “Sgt. Pepper,” but nonetheless originally planned to be, and, of course, especially relevant to the city of Liverpool.

A Day in the Life

  • Theremin nocturne, vocal descant, apotheosis.

Sgt. Pepper’s Lonely Hearts Club Band

  • Another unprecedented effect on the original LP was a reprise of the first theme, which is part of why it is called the first concept album. Our later vantage point enables us to project into the next decade, the ‘70s, and conjure a disco ball. Thank you, Beatles. Thank you, Sgt. Pepper.

Dave Price to Tour To Promote His Classic Rock Book Come Together

If you consider 1965’s “Like a Rolling Stone” by Bob Dylan and “(I Can’t Get No) Satisfaction” by the Rolling Stones as the first two great classic rock singles and the Beatles’ Rubber Soul as the initial classic rock album (which most musicologists do), then that makes the genre 55 years old next year. 

But as 2019’s evidence shows, you can rightfully claim classic rock is barely showing its age for a type of music that, if it were a person, would be eligible for membership in AARP in 2020.

Times for older classic rock artists continue to be productive. For example, three of the top five grossing concert acts this year – Elton John, Metallica, and Fleetwood Mac – perform classic rock. Bruce Springsteen offered 236 solo shows over two years on Broadway, with ticket prices averaging $500 a seat from the box office and more than $1,000 from re-sale. Aerosmith, John Fogerty, Santana, Sting, Rod Stewart, Def Leopard, and Journey all played sold-out residency shows at Las Vegas’ top casinos. The Rolling Stones wrapped up their three-leg, three-year No Filter tour, a series of stadium concerts that attracted 2,290,871 fans and grossed $415.6 million for the band. And the Beatles’ re-release of Abbey Road climbed to #1 on the charts, exactly 50 years after the album first accomplished that feat 50 years ago.

These eye-opening facts evoke two big questions – how did the rock music now deemed classic, which evolved from 1950s rock & roll, become so popular with the Woodstock Generation and why does it continue to thrive despite the fact that most of its first listeners are now in their 50s, 60s, or 70s? 

In a three-book series he jokingly refers to as his Rock of Agers trilogy, Washington DC author and former journalist, educator, and classic rock keyboard player Dave Price explores the history of the music of the generation who came of age in the turbulent 1960s and ‘70s and attempts to explain the music’s popularity then and now.

The first book in the series, Come Together: How the Baby Boomers, the Beatles, and a Young Counterculture Combined to Create the Music of the Woodstock Generation was released in November. 

Come Together begins with the dropping of the first atomic bomb in 1945 and ends with the final notes Jimi Hendrix played on the last day of the historic Woodstock Festival in 1969. The saga is told in six chronological chapters. In the first, you’ll see how a connected series of innovations, influences, and influencers in the late 1940s and early 1950s paved the way for the rise of rock & roll. The second introduces you to some of the most important early performers of this new music. The third allows you to see how the Beatles reshaped rock & roll both on stage and in the studio. The fourth places you in San Francisco in the summer of 1967, where a new youth “hippie” counterculture was being formed around revolutionary ideas about the role of drugs, sex, and rock & roll in American society. The fifth demonstrates how two of the most significant artists of the late 60s – Jimi Hendrix and the Rolling Stones – crafted some additional touches to the type of music that would be encountered at Woodstock. In the 6th chapter, we’ll end our musical journey and join a crowd of 400,000 to vicariously experience the most-noted music festival of all-time at the historic upper New York state farmland where rock & roll emerged as something which now would soon be known simply as rock.

The second volume in the series, What’s That Sound?  80+ Artists Who Defined the Music of the Woodstock Generation, will pick up with Hendrix’s fading final notes and conclude 50 years later at the 50th anniversary commemoration of that 1969 festival, held at the original site. It is scheduled to be published in late 2020.

The third and final “Rock of Agers” book is tentatively titled Long Live Rock: Why Do the Classic Sounds of the Woodstock Generation Continue to Resonate So Loudly Today. It will delineate two connected stories – the various ways the sounds of classic rock are being preserved and passed on to new listeners and how you can experience the entire history of classic rock by sailing on four Woodstock-like music themed cruises. Long Live Rock is planned for a late 2021 released.

Price will begin a four-month tour to promote his new book with an appearance in his former hometown of Bridgeton, New Jersey, where he lived for 59 years. On Saturday, Dec. 7th, he will stage a meet and greet and a book signing at the Bridgeton Free Public Library from 11 a.m. to 3 p.m. He will be donating $1 from the sale of each book to the library.

“The Bridgeton Library is a very special place to me so it’s fitting that I begin there,” Price says. “Libraries in general, and the Bridgton Library in particular, have always served as my secular cathedrals. They truly are amazing places. You can learn just about anything you need to know if you take advantage of all the resources a local library offers”. 

“I’m sure I wouldn’t have been in position to write any book without the enjoyment, elucidation, and enlightenment that I found in all the libraries I have visited over the years,” Price added. “To me, my library card is just as important as my credit card or my driver’s license. I never leave home without it.”