My Pop Life #216 : MacArthur Park – Richard Harris

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MacArthur Park – Richard Harris

MacArthur’s Park is melting in the dark
All the sweet green icing flowing down
Someone left the cake out in the rain

I don’t think that I can take it
‘Cause it took so long to bake it
And I’ll never have that recipe again, oh no

*

We couldn’t believe those lyrics back in 1968 when this song was being played regularly on Radio One.  I was ten, almost eleven.  It was curious, hilarious, preposterous.  Utterly memorable.  The arrangement matched the baroque absurdity of the chorus : an ornamented rococo seven-minute Pearl & Dean phenomenon six long years before Bohemian Rhapsody was a twinkle in Freddie Mercury’s eye.   It caught the public ear and imagination and reached number 4 in the charts. It also drew a fair amount of ridicule I recall, even at the age of eleven I was aware of the pop culture poking fun at the cake image.  It stood big and tall, a large target for mirth.  It often makes Worst Song Ever lists.   I always found it haunting and strangely moving but rather silly and not one of my favourite songs at all.  That has happened in the intervening years.  It grows and grows, deepens and gets richer with time, age and experience.

What did I know of failed marriage in 1968?  Well I had witnessed my parent’s separation two years earlier, a depressing spectacle of fights and arguments, sulky silences and TV shows being switched off, being sent to bed, then a divorce and Dad was gone.  Gone to Eastbourne, 10 miles from Selmeston.   Selmeston O Selmeston.   Songwriter Jimmy Webb had already scored with some of the greatest tunes of the 1960s – Glen Campbell’s Galveston (O Galveston), Wichita Lineman and later By The Time I Get To Phoenix – they are all quite superb examples of complex emotional songwriting. But despite my mum confiding in the ten-year old me in faintly inappropriate conversations where I pretended to be old enough to understand, I still didn’t get MacArthur Park.  It wasn’t for me. Yet.

Spring was never waiting for us, girl
It ran one step ahead
As we followed in the dance

Between the parted pages and were pressed
In love’s hot, fevered iron
Like a stripéd pair of pants

Dad and I never had these emotional confidences.  He immediately became even more emotionally distant than he had been at home.  We’d see him, go for walks, listen to football results, eat crumpets and talk about  literature or politics or school, but nothing emotional.

How’s Heather?”  or “How’s your Mum?” never got asked, or answered.  Locked away inside were all those questions.  We each dealt with them privately, silently.  And Mum wasn’t so great to be fair.  I rewrote my family history so that the nervous breakdown and first visit to hospital (nine months : see My Pop Life #55 ‘Help!’) became the other way around.  The separation and divorce caused the breakdown.  I understood that story.  In fact the breakdown came first.  I didn’t understand that sequence so easily.

Anyway.

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MacArthur Park looking east towards downtown LA

In the 1990s my wife and I lived in Los Angeles –  in West Hollywood just off Beverley Drive near Jans where the cops ate, or the King’s Road Cafe where the hipsters ate.  We chose the former naturally.   If you drive east from there and drop down a few blocks down to Wilshire Boulevard, where my boutique agency lived (Susan Smith & Associates), past the La Brea Tar Pits through the Mid-Wilshire deco district and The Wiltern Theater on towards Downtown LA, through Koreatown, there just after Rampart Blvd you find MacArthur Park, either side of the road.  It has a lake, trees, grass.  It’s nice.  In the late 1960s Jimmy Webb lived near here and he and his girlfriend Susie Horton would meet there for lunch, and court, and spark.

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The early years of cake and rain

They’d been high school sweethearts in Colton, California and now Susie was working for Aetna Insurance nearby.  Jimmy had written some hits already – ‘Up, Up & Away‘ for The 5th Dimension for example – but he was still smitten with his Susie…

I recall the yellow cotton dress
Foaming like a wave
On the ground around your knees
The birds like tender babies in your hands
And the old men playing checkers
By the trees

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Jimmy Webb

It seems that he was more smitten than her because the song MacArthur Park is a tragic break-up outpouring from the heart.  In later years Webb would admit that everything in the song is real, seen and true, yes even the cake.  It only takes a small leap of imagination to see it as a wedding cake melting in the rain.

My friend Paul Carafotes lived near there in early 2002 after his own marriage to Paula had crumpled.  We’d been to their wedding in New Orleans in 1997 along with his buddy James Gandolfini but that’s for another story.  In 2002 Paul was living alone and working out in the park at the playground where people could do pull ups and sit ups and so forth.  I have some old time photos of us in the park somewhere in a box… actual photos.

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And of course we would see actor Richard Harris (who sang MacArthur Park) down in Santa Monica for the football early on Saturday mornings -7am in the Cock & Bull on Lincoln Avenue, full of Arsenal, Liverpool or Man Utd fans.  During the World Cup in 1994 Harris had a permanent Irish shirt on and was always totally sozzled and in high spirits.  Happy.   He was 64.  I’d first seen him on our black and white TV set in Selmeston O Selmeston during the mid-1960s in This Sporting Life in which he played a rugby league player, married to the wonderful Rachel Roberts.  Sensational film.  Directed by Lindsay Anderson, another hero of mine (see My Pop Life #41 ‘Poor People’).

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Rachel Roberts & Richard Harris – This Sporting Life 

His final screen performance was in 2002 as Albus Dumbledore in Harry Potter & the Chamber of Secrets, the 2nd in the series.  Back in 1968 when Harris recorded MacArthur Park he was at the height of his career having just been nominated for an Oscar for playing King Arthur in Camelot, a role he would play on Broadway for years.  Somehow he’d rubbed shoulders in Hollywood with Jimmy Webb (who’d just been rebuffed by The Association who didn’t like MacArthur Park) and Harris subsequently recorded the LP called A Tramp Shining : written, arranged and produced by Webb.

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The seven-minute 20-second single reached number 2 on the Billboard charts in the USA and sold a million copies. Frank Sinatra (& also the Four Tops) famously recorded only the middle eight, or “the bridge” if you prefer, which is completely stupendous –

There will be another song for me
For I will sing it
There will be another dream for me
Someone will bring it

I will drink the wine while it is warm
And never let you catch me
Looking at the sun

And after all the loves of my life
After all loves of my life
You’ll be the one

I will take my life into my hands
And I will use it
I will win the worship in their eyes
And I will lose it
I will have the things that I desire
And my passion flow like rivers through the sky
Oh and after all the loves of my life
After all the loves in my life
I’ll be thinking of you
And wondering why

Other versions abound, notably by Waylon Jennings, Donna Summer and The Three Degrees.  In the magnificent original, Harris mispronounces the name of the park in the song throughout, calling it “MacArthur’s Park“, even after it was pointed out to him.  That’s what Camelot does to you. Or drink.

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The song floated back into my consciousness when I was much older, in my 40s, the early 2000s.  God knows why.  I started to listen to it over and over and over, ten or fifteen times a day.  I think Stephen Wrigley and Glen Richardson (Brighton Beach Boys both) were obsessed with Jimmy Webb the songwriter and went to see him playing live in Brighton, shook his hand and glowed in the dark for a few weeks afterwards.  Then one night in 2016 they were doing their regular night at The Greys in Brighton, a wonderful pub venue, and had decided to do a Jimmy Webb night.  I was back from New York that week, living at Millie’s just up the hill there and turned up at the interval, wondering if they’d already sung MacArthur Park?  No said Steve, and you’re very welcome.  So to a small but enthusiastic crowd in the pub I sang all seven and a half minutes, after explaining the backstory of Jimmy & Susie to the audience.   By 2016 I was completely obsessed with the song and could recite it backwards.  The best version – far and away – is Richard Harris’.  Not a natural singer, but the performance is so emotional and direct.  He understands the song completely.  And that counts for a great deal.  It is simply a masterpiece.

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Oh and after all the loves in my life, after all the loves in my life – I’ll be thinking of you and wondering…

Why?

 

Richard Harris live :

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My Pop Life #131 : Santa Claus Is Coming To Town – The Crystals

Santa Claus Is Coming To Town   –   The Crystals

Jimmy, I just came back from a lovely trip along the milky way
I stopped off at the North Pole to spend the holiday
I called on old, dear Santa Claus to see what I could see
He took me to his workshop and told his plans to me
Now Santa is a busy man, he has no time for play
He’s got millions of stockings to fill come Christmas day
You better write your letter now and mail it right away
Because he’s getting ready, his reindeers and his sleigh…

You better watch out, you better not cry, you better not pout I’m telling you why….                                  Santa Claus Is Coming To Town…

I expect most of us raised as christians can remember the day when we discovered that Santa Claus would Not in fact Be Coming To Town.  For the simple reason that he didn’t actually exist.  A moment of private devastation.  But we carried on telling each other the story, spinning the yarn.

I was eight years old at the little flint-walled village school in Selmeston in East Sussex, in the shadow of the South Downs.  My holy ground now, filled with echoes and ghosts.  Then, it was filled with wonder and nature.   Seasons changing.   Discovery.  One December day a small group of us were discussing Santa Claus before the teacher arrived.  One child, which one I simply cannot recall, ventured the terrible truth to a sceptical audience of believers that Santa Claus didn’t actually exist.  Like an anvil dropping through the floor this news broke each and every one of us.  Something which perhaps we’d suspected but secretly hoped wasn’t true.  Now it seemed confirmed, announced, solid news to sulk over.  Would Christmas still happen ?  Of course it would.  The stocking was filled by Mum and Dad when we were asleep.  I decided to stay awake all night on Christmas Eve and catch them doing it.  Like probably millions of other small children around the world.  Did I then proceed to break the news to my brother Paul who was a two two innocent years younger than I ?  Memory does not supply the answer but perhaps I needed company in my newly-found Christmas loneliness.  Or perhaps I locked the secret away.

The Crystals in 1963

I never did see my parents or my Mum when she was single fill my stocking, or indeed deliver it unto my bed.  I never did feel it either.  It remains the greatest single thrill available to my memory of Christmas, to wake up on Christmas morning and feel a bulging mysterious generously-filled football sock stuffed with surprises, fruit, nuts, PRESENTS !  God it was exciting, whether Santa did it or not.  At some point (12 – 13-14?) the sock was over, and I felt suddenly grown-up.

My wife Jenny was raised Catholic in North London and has a much more scarring tale of Santa Claus Not Coming To Town.  Her brother Jon, older, and Jenny herself at five, had been bothering their mother, Esther, about writing to Santa Claus, when would he be coming, what would he bring, would they meet him, could they see him, how was he going to get in, there wasn’t a chimney.  “Be quiet both of you !!” Esther suddenly screamed : “Father Christmas is dead !!!”  There was a shocked silence.  Esther decided to explain, I imagine their little faces were as shocked as it is possible to witness.  “He died over 300 years ago his real name is Saint Nicholas, so stop asking me about him it is just a story !!!”  What Esther perhaps hadn’t calculated was that Santa Claus, Father Christmas, St Nick and their avatars are a useful tool for keeping young children in line in December, perhaps earlier.  As the lyrics of the song go : “He’s making a list, he’s checking it twice, he’s gonna find out who’s naughty or nice…

There were two younger sisters in the Christmasses following, Mandy and Lucy, and to protect them against a similar fate, Jon and Jenny kept up the Santa Claus myth, colluded in the cover story and even helped to fill the stockings on Christmas Eve.  But Jenny told me, today, that she never did have a stocking on Christmas morning, ever.  I have to confess that I felt sorry for her, and vowed that I would create that experience for her at some future date.  Next Christmas !

Santa Claus Is Comin’ To Town was written by Tin Pan Alley partners John Frederick Coots (who also wrote Love Letters In The Sand) and Haven Gillespie (who also wrote You Go To My Head)  and it was performed live on the radio in November 1934.  The morning after the Eddie Cantor show there were over 10,000 requests for the sheet music, and it remains one of the biggest hits in popular music.  Covers include Perry Como in 1951, Four Seasons in 1963, The Jackson Five in 1970 and Bruce Springsteen in 1975 (1985 release), as well as Frank Sinatra, Lou Rawls, The Beach Boys, The Carpenters, Dolly Parton, Miley Cyrus, Bing Crosby, The Pointer Sisters, Justin Beiber and Mariah Carey among many many others.

I’ve chosen The Crystals version which appears on the famous LP  Phil Spector : A Christmas Gift For You simply because, like so many tracks on that glorious album, it is the best version to my ears, both in arrangement, feeling and enjoyability.  The LP was put together in Los Angeles with Spector’s own artists Darlene Love, The Ronettes, The Crystals and Bobb B. Soxx & The Blue Jeans backed by the world-famous “Wrecking Crew” in a production arrangement that mirrored the Detroit scene at Tamla Motown.

Jack Nitzsche, Darlene Love, Phil Spector recording The Christmas album in 1963

The Wrecking Crew (whose moniker is disputed by bassist Carol Kaye who claims it was invented in the 1990s by drummer Hal Blaine) were young session musicians at the beginning of an illustrious career which would see them backing Nancy Sinatra, The Beach Boys, Glen Campbell, The Mamas & The Papas, The 5th Dimension, The Carpenters and Simon & Garfunkel among others.   Here under the direction of Spector and Jack Nitzsche they were creating what would become known as “The Wall Of Sound” where everything including the kitchen sink was thrown into the mix and the resulting songs changed pop history, such as Be My Baby by The Ronettes (July 1963) which epitomises the effect, and on this LP,   the magnificent Sleigh Ride – an auditory and musical marvel of a piece of work, alongside The Crystals wonderful re-working of the standard Santa Claus Is coming To Town.

The Crystals

The Crystals were signed as teenage talent in 1961 from Central Commercial High School at E33rd St in New York City, and famously, Myrna Giraud, Barbara Alston and Mary Thomas recorded their first single There’s No Other (Like My Baby) in their prom dresses having been driven to the studio directly from their High School Prom in 1961.

They went on to cut three of the best singles of all time : Da Do Ron Ron, He’s A Rebel and Then He Kissed Me, all on Phil Spector’s Philles label, but their line-up changed constantly and Spector would sometimes put out records with The Crystals name on it and other singers such as Darlene Love or The Ronettes singing the song.  This tended to strain the relationship, if you can call svengali/teenage girl  “a relationship”.

Same Crystals line-up in their civvies

Eventually the group left for United Artists in 1964, but ironically all their best work was with the manipulative and oppressive pop genius Spector and his partner Jack Nitzsche.  The one constant in the constantly-changing group line-up was Dolores Dee Dee Kenniebrew who was also present at that famous first recording in Manhattan and she still sings with The Crystals today.

Dee Dee Kenniebrew

Their version of Santa Claus Is Coming To Town, recorded in 1963, was the first to change the chorus to take the first note off the one-beat, onto the off-beat giving it the drum break and the excitement we hear in the Motown versions, Springsteen‘s live take, The Beach Boys and all others since that date – more or less making earlier versions seem plodding and square.   Do we have to credit Spector with that ?  Or Nitzche ?

After The Brighton Beach Boys had been together for a few years the idea of performing a Christmas gig became irresistible, and after we’d worked out Brian Wilson’s  Little Saint Nick (itself a homage to Phil Spector like much of The Beach Boys early work) we looked at other songs from The Beach Boys Christmas Album, and this one leaped out and demanded an outing.   We’d been booked to play The Pavilion Theatre (poster above by Rory Cameron) which was as close as we ever got to cultural establishment respectability and we wanted to make an effort.  For that particular show I found an amazing triptych mural which my friend Jan Gage had painted for our  wedding reception – a three-part giant homage to Hokusai’s The Wave on which we had printed our invitations.  It felt appropriate to Catch A Wave and so it hung behind the drum kit.  Rather amazingly Jan Gage and her boyfriend Vince came down to Brighton for this show and it remained the only time a) that she saw the band and b) that we used that triptych because Jenny, rightly, said she wanted it preserved for all eternity rather than have it driven around to gigs in the back of a van.

Hokusai : The Wave

As for the song in question, we ended up doing a slightly star-spangled version arranged by Stephen Wrigley  which started like The Beach Boys with close vocal acapella, styled like The Jackson 5 with their underpinned harmony and finished with Springsteen – a Clemons-style raging baritone saxophone solo courtesy of Charlotte Glasson, in-between sounding absolutely nothing like The Crystals, but owing them a debt of arrangement.  I sing the bass on this song, from deep F to even deeper Bb.  We stole Clarence Clemons‘ baritone aside “You better be good for goodness sake” from the Springsteen version because we are frankly shameless musically, especially at Christmas.

Clarence Clemons & Bruce Springsteen

So Santa Claus Is Coming To Town this week (it is December the 21st 2015) and …he also isn’t.  We like to tell each other these stories.  We prefer stories to The Truth.  Obvious reasons.  Stories are better, good guys win, we live happily ever, we learn life lessons etc etc, all that.  Santa Claus is pretty harmless though isn’t he?  She ? Is he black ?  Malaysian ?  We are all Santa Claus aren’t we ?  Coming to Town.  Driving Home For Christmas.  Are you hanging up your stocking on the wall ?

Barbara, Dee Dee, La La and Fran

Enjoy your holiday, wherever you may be.

just for fun we nicked the harmonies from The Jackson 5:  

My Pop Life #111 : Heroes & Villains : The Beach Boys

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Heroes & Villains   –   The Beach Boys

I’ve been in this town so long that back in the city I’ve been taken for lost & gone & unknown for a long long time…

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This extraordinary creation was one of the songs on The Beach Boys 20 Golden Greats, one of the handful of LPs in our council house in Sussex in the mid 70s.  The album pulled together all the big singles, and had a couple of interesting choices including this song, which we also had on 45rpm Capitol Records black label 7-inch from 1967 when it was released.  My mum must have bought it – I was 10 years old in ’67.

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Back in those days, The Beach Boys were a chart-pop act for me, even when Simon and I hitch-hiked around the USA in the summer of 1976 the great discovery was their greatest hits LP Endless Summer which contained songs I hadn’t heard before like Be True To Your School and the exquisite jewel Girls On The Beach.   I had no interest or awareness in their LPs until I got to college later in 1976 and my girlfriend Mumtaz had the LP Holland from 1973.  I think Surf’s Up (1971) was the next Beach Boys LP I was aware of, during the LSE days, but they remained a singles band for me apart from those two exceptions.   Pet Sounds you ask ?  Didn’t hear it – in full – until the early 1990s when Jenny and I were living in Los Angeles.    Perhaps it was because they are the quintessential LA band that I bought the box-set Good Vibrations in 1993 in Amoeba Records – an Aladdin’s cave of musical treasure – and played it endlessly due to the immense discoveries thereon – including the Pet Sounds songs.  Featured image

The 1966 LP Pet Sounds is for another post – but for now I’ll simply acknowledge it as an extraordinary piece of music – a deep, rich, carefully arranged and orchestrated work of delicate beauty, terrible sadness & infinite fascination.  It was Beach Boy’s head honcho and songwriter Brian Wilson’s response to hearing the Beatles’ Rubber Soul, an inspirational leap into the studio and the possibilities of playing pop music in a completely different way.   The Beatle’s responded with Sgt Pepper,  itself influenced by Pet Sounds, but while they were recording Pepper, Brian Wilson was working on his own follow-up to the Pet Sounds album.   One of the problems for The Beach Boys was that Pet Sounds hadn’t shifted large numbers of units, and even today it is considered complex and less obvious than most of the music of 1966.

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Brian salvaged his pure pop credentials with the single Good Vibrations in October ’66 which outsold the Beatles and won Single Of The Year in all the polls.  This pop rivalry was pushing the respective songwriters to unheard-of peaks of creativity.  Good Vibrations was recorded at four different studios in Los Angeles and endlessly polished before release – but it is an undoubted masterpiece which was Brian Wilson’s first installment on the Pet Sounds follow-up LP – to be called “Smile”.    The album never came out.   But the second single Heroes & Villains did – and it is another towering slice of baroque harmony pop which goes where no 7″ single has gone before.   Apparently the bigwigs at Capitol Records in Hollywood weren’t impressed with it (??) and the start of Brian’s great mental decline can be measured from this song.   Which kind of makes this a peak moment in 1967.

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I’ve always been obsessed with Heroes & Villains.   Jimi Hendrix called The Beach Boys ‘psychedelic barbershop‘, and some people took that as an insult.   But it applies here.   The vocal arrangement is second-to-none in a pop milieu.   It sounds impossibly complex, but the Beach Boys would happily sing it live.   They had a natural blend – three brothers and a cousin plus one mate – and in a live setting they could pull off the most beautiful layered harmonies either acapella or rockin’ out.  The 1993 Good Vibrations box-set though had something else going on – at least 3 other songs called “Heroes & Villains” with different words, different tempos, different arrangements, little pieces of music using parts of the song like strands of sound, stunning piano shapes, harpsichord modulations, vocal experiments, percussive expressions, doo-wop, strings, animal noises, hand-claps, swoons, cantinas, laughs, a whole universe of sound.  A series of clues.  This was like a suite of songs all with the same title.  It’s just a little bit mental.  The final release of SMiLE in 2011 had over 30 tracks called Heroes & Villains.

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Indulgent ?  LSD ?  Genius  ?  Or just unable to settle – a spasm in D minor which couldn’t be resolved.  Probably all of these.  Brian Wilson was mentally disintegrating as he was writing his greatest work, and the pressure to compete with Sgt Pepper, the lack of support from other band members and the record company, and Brian’s own inability to shape the endlessly brilliant pieces of music he was giving birth to into a coherent whole meant that the SMiLE project was finally ditched in May 1967.   It wouldn’t surface again until 2004 when I saw the Brian Wilson band playing it live onstage at The Royal Festival Hall in London – a world premiere.  I went to see it a further five times that week.  It is clearly a masterwork in the pop medium, but apparently, isn’t as it was originally intended.  Sadly no-one can remember what was originally intended least of all Brian himself.  My own theories are centred on this song, it was clearly a musical thread which was to run throughout the work, but don’t forget that in those days all tape was analog and pieced together one part at a time – not like today’s digital world where we can shuffle pieces of music at the touch of a click and experiment with what sounds best.  Brian had written and recorded a musical puzzle which no-one could put together.  He spent the first few months of 1967 shaping Heroes & Villains into a reasonably regular pop song, and it remains a high water mark of musical joy.

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Original artwork for the aborted SMiLE LP by Frank Holmes

In September 1967 a Beach Boys album called Smiley Smile was released, with Good Vibrations and Heroes & Villains on it, and a few survivors of the abandoned project.   It is an average album, a cobbled-together record-company compromise, not a masterpiece, and not a Pet Sounds 2.   It would be 2011 when Alan Boyd and Mark Linnett would finally put together the box-set The Smile Sessions with the Beach Boys approval.  It is everything I hoped it would be, a fitting companion piece to Pet Sounds, and better in many ways, even more adventurous musically  containing humour, American history (care of lyricist Van Dyke Parks) and the masterpiece Surf’s Up – a kind of choral farewell.  Wilson called SMiLE ‘a teenage symphony to God‘ and I can’t better that LSD-drenched description.

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Carl Wilson, Al Jardine, Brian Wilson, Mike Love & Dennis Wilson in 1967

When Stephen Wrigley and I formed The Brighton Beach Boys in early 2002 we started with In My Room, Surfer Girl and Surfin’ USA.   Joined by Glen Richardson, Adrian Marshall, Charlotte Glasson, Rob Breskal, Rory Cameron and Theseus Gerrard we did our first gig later that year, in the Hanbury Ballroom.   Paul Gunter joined on percussion, Rob departed and Tom Arnold arrived.   Andy Doe joined on French Horn, left and was replaced by Dom Nunns.   We started doing some of the more complex songs.  Wouldn’t It Be Nice.  And Your Dream Comes True.   And – yes : Heroes & Villains.   Glen did all of our vocal arrangements and taught us the notes, and week by painstaking yet thrilling week we pieced the song together.   I sang the lead part – it’s right in my range – and it’s the easiest part – and we wheeled it out one night in a live show.   It brought the house down because it sounds so impossibly complex, Glen’s brilliant arrangement giving us each a specific vocal job.   And the song itself is so thrilling, a rush of words and music.   It was an absolute privilege to perform it each time we played live.

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Charlotte, Adrian, Stephen, Stevie, me, Rory, Dom, Glen, Theseus – Herne Bay 26.08.06

Later on the band would be introduced to beat poet and lyricist Stephen J. Kalinich who wrote a number of songs with Dennis Wilson, and later with Brian too.  Stevie was in England for a mini-tour, and he sat in on a BBB rehearsal then travelled to a gig with us in Herne Bay, Kent, which I’ll save for another post.   But I’ve been friends with Stevie ever since and we always spend time together when I am in Los Angeles.  He is a gentle and lyrical soul with a unique sensitivity to life which he expresses in words and poems.  Featured image

Stevie in Los Angeles 2012

Again I will save Stevie for another post (see My Pop Life #169) but he introduced me to Mark Linnett while Stevie was living in his house in Glendale in 2009-2010.    Stevie also introduced me to other members of the wider Beach Boys family including David Marks, guitarist on the first five LPs, Marilyn Wilson-Rutherford, Brian’s first wife and her husband Daniel, and also the wonderful Alan Boyd, The Beach Boys’ archivist and the only person that all former and current members actually talk to.   Alan is a beautiful man with a fine collection of vintage celluloid and 1920s pop music and it was he who laboured night and day to put the final 2011 SMiLE Sessions Box-Set together, with Mark Linnett engineering.   He won a totally-deserved Grammy for his pains.   I’ve talked to Alan about the Heroes & Villains conundrum and he agrees that the musical pieces are the cornerstone of SMiLE but the many parts mean that it is impossible to know how to assemble it satisfactorily or otherwise.   Alan has spent more time with this song than anyone since Brian Wilson in 1966-67, and I think it drove him a little bit bonkers trying to piece it all together.   In the end Heroes & Villains takes up a whole side of vinyl on the box-set, its different parts laid out for us to all to hear and make of what we will.   It is astonishing.   Me – I always liked the original single, but Al Jardine always said that the actual original was way better.    I’ll leave you with the Stereo Mix from the 2011 SMiLE Sessions.  It’s a little bit like the one The Brighton Beach Boys used to sing live, and perhaps will again one day…