Thank you Lewis for the nice surprise post. Had the privilege of meeting Brian 10 or so years ago at his show at the Paramount Theater in Oakland. Got to tell him how much his songs meant to an adolescent growing up in 60s Los Angeles. A great musical mind.
Thank you, Lewis! This is great. The Beach Boys always bring back that nostalgic vibe — they take me right back to my high school days, when I was really into pop music!!
I came of age in the 70`s. I was into jazz and early blues..a bit of weirdo at my high school! A musician friend of mine was into vocal groups and was fascinated with the harmonies of the doowop era etc. He worshipped Brian Wilson and introduced me to the Beach Boys deeper catalogue. I was astonished at the unique genius of Mr. Wilson who seemed to be reaching out to all of us to assuage his own pain ..and ours. RIP..
What was so impressive about Brian Wilson's music of the 1960s was those brilliant harmonies. Your choices are "deep cuts" and I appreciate your words and your choices!
Thank you, Lewis, for this lovely musical appreciation. His death made me go back to listen to a sampling of the Four Freshman, who were a major influence on his vocal sound and arrangements. Their hybrid of barbershop and jazz is rich and fascinating. In pop music you can never predict where the influences may come from.
Yes, the Four Freshmen were fine singers as well as instrumentalists. Another group with even more rich harmonies was the HiLos--Herbie Hancock famously said he learned from their harmonies, especially some of the more unexpected arrangements by Clare Fischer. THANK YOU JON!
"Before Motown" (Lars Bjorn w/Jim Gallert, Univ of Mich Press), credits the Four Freshmen sound to "The Four Sharps," a group that consisted of Kenny Burrell, Harold McKinney, Paul Chambers, and Hindal Butts. Kenny sang lead on "The Nearness of You when they recorded it. Butts recalled "Kenny called me up one day and said, 'turn the radio on.' He was mad . . . . I turned the radio on and the Four Freshmen were singing 'The Nearness Of You,' almost note for note." Butts observed that "they sat there and we did it three times at Klein's, they'd come in and ask for it, and we did it. Mrs. Blair [at the West End Hotel] paid for that recording, we did it on Hastings at a place called Joe's Record Shop . . . Kenny sane the lead, we sang the backup and we did the bridge in unison."
I've always heard The Singers Unlimited as an evolution of the HiLos.
Oops, Yes, I meant the HiLos--I changed my comment above to reflect that. As for the Four Sharps, I don't know of any recording where they did "The Nearness of You." I wonder if it was "My Funny Valentine," which was indeed recorded by both groups? I haven't compared them. THANKS JIM
Good question. The book seems to have been well researched, and is heavily footnoted. Indeed, the footnote to this quotation reads "Butts, interview with Bjorn. This is Burrell's first recording under his own name. The personnel vary in existing discographies, and a circa 1950 recording date is given, which would be at least three years too early. The Four Sharps recorded 'Kenny's Sound' and 'My Funny Valentine for Joe Von Battle's J-V-B. This Burrell recording was done on a 78 and is very rare."
Perhaps it is correct that "The Nearness of You" is the subject of the story about the guys coming in to listen and the early Freshmen recording later being heard on the radio. The Mosaic set says the Freshmen recorded it in Feb '54. The first Freshman recording I found in that set was Feb '60, with a chart credited to Dick Reynolds. Was there an earlier Freshman recording of either tune? The preface says the two authors met and began collaborating in "the mid-80s" and that Gallert had already done a lot of interviews for his jazz show on WDET.
Many of the interviews include a date when first cited, with footnotes printed in the margins of the text, and re-numbered for each chapter. Butts is cited at least a dozen times throughout the book. But searching all the way through it, I didn't find a date.
I'm going to keep a little bit of doubt in my mind about this. I do know Bjorn and Jim and I know they are very good researchers. But it's never a good idea to take interviews as complete fact. THANK YOU JIM
Yes, I appreciate that. When I'm reading work of this quality, I read the footnotes. And memories can get foggy, which is why I tried to chase down the date of that interview. As I get older, I run into that.
Such a great musical talent! He was not the best poet (like Sting), but his words were honest and straight from his heart. The group's harmonies are so unique and infectious.
If you choose to define his entire career by that, you are of course welcome to do so. But you will miss a world of music that he got into much later--the three pieces that I posted are from a different planet than those early blues-oriented riffs. Thank you Richard.
Your comment suggests that Brian Wilson achieved nothing other than to adapt the riff of 'Sweet Little Sixteen' and use it with the close harmonies associated with surf music. This demonstrates a lack of knowledge and understanding of pop in general and of Wilson and Chuck Berry in particular. While Berry's influence is clear in much of the Beach Boys' music between 1961 and 1965 - as it is in most manifestations of rock and R&B, from the Beatles and the Stones on - I'd challenge you to find many echoes of 'classic' rock'n'roll in records such as 'Pet Sounds' and 'Smile'. These are the albums, in particular, in which Brian rewrote the white pop music rulebook, melding together Lennon/McCartney, Phil Spector, Bach, Duke Ellington and musique concrète to create harmonic structures that were uniquely his own. Rather than reduce Wilson's work to a simplistic 'without Berry he's nothing' misconception, perhaps listen to a few more records than merely 'Surfin USA'?
Thanks so much. He was so important to us all
THANK YOU STEVE
Thank you Lewis for the nice surprise post. Had the privilege of meeting Brian 10 or so years ago at his show at the Paramount Theater in Oakland. Got to tell him how much his songs meant to an adolescent growing up in 60s Los Angeles. A great musical mind.
That's amazing that you got to meet him. THANK YOU RICHARD
Thank you, Lewis! This is great. The Beach Boys always bring back that nostalgic vibe — they take me right back to my high school days, when I was really into pop music!!
Thank you Lewis
Succinct and powerful/poignant.
I came of age in the 70`s. I was into jazz and early blues..a bit of weirdo at my high school! A musician friend of mine was into vocal groups and was fascinated with the harmonies of the doowop era etc. He worshipped Brian Wilson and introduced me to the Beach Boys deeper catalogue. I was astonished at the unique genius of Mr. Wilson who seemed to be reaching out to all of us to assuage his own pain ..and ours. RIP..
Nicely Put. THANK YOU ROB
What was so impressive about Brian Wilson's music of the 1960s was those brilliant harmonies. Your choices are "deep cuts" and I appreciate your words and your choices!
THANK YOU RICHARD
Thank you, Lewis, for this lovely musical appreciation. His death made me go back to listen to a sampling of the Four Freshman, who were a major influence on his vocal sound and arrangements. Their hybrid of barbershop and jazz is rich and fascinating. In pop music you can never predict where the influences may come from.
Yes, the Four Freshmen were fine singers as well as instrumentalists. Another group with even more rich harmonies was the HiLos--Herbie Hancock famously said he learned from their harmonies, especially some of the more unexpected arrangements by Clare Fischer. THANK YOU JON!
"Before Motown" (Lars Bjorn w/Jim Gallert, Univ of Mich Press), credits the Four Freshmen sound to "The Four Sharps," a group that consisted of Kenny Burrell, Harold McKinney, Paul Chambers, and Hindal Butts. Kenny sang lead on "The Nearness of You when they recorded it. Butts recalled "Kenny called me up one day and said, 'turn the radio on.' He was mad . . . . I turned the radio on and the Four Freshmen were singing 'The Nearness Of You,' almost note for note." Butts observed that "they sat there and we did it three times at Klein's, they'd come in and ask for it, and we did it. Mrs. Blair [at the West End Hotel] paid for that recording, we did it on Hastings at a place called Joe's Record Shop . . . Kenny sane the lead, we sang the backup and we did the bridge in unison."
I've always heard The Singers Unlimited as an evolution of the HiLos.
Oops, Yes, I meant the HiLos--I changed my comment above to reflect that. As for the Four Sharps, I don't know of any recording where they did "The Nearness of You." I wonder if it was "My Funny Valentine," which was indeed recorded by both groups? I haven't compared them. THANKS JIM
Good question. The book seems to have been well researched, and is heavily footnoted. Indeed, the footnote to this quotation reads "Butts, interview with Bjorn. This is Burrell's first recording under his own name. The personnel vary in existing discographies, and a circa 1950 recording date is given, which would be at least three years too early. The Four Sharps recorded 'Kenny's Sound' and 'My Funny Valentine for Joe Von Battle's J-V-B. This Burrell recording was done on a 78 and is very rare."
Perhaps it is correct that "The Nearness of You" is the subject of the story about the guys coming in to listen and the early Freshmen recording later being heard on the radio. The Mosaic set says the Freshmen recorded it in Feb '54. The first Freshman recording I found in that set was Feb '60, with a chart credited to Dick Reynolds. Was there an earlier Freshman recording of either tune? The preface says the two authors met and began collaborating in "the mid-80s" and that Gallert had already done a lot of interviews for his jazz show on WDET.
Many of the interviews include a date when first cited, with footnotes printed in the margins of the text, and re-numbered for each chapter. Butts is cited at least a dozen times throughout the book. But searching all the way through it, I didn't find a date.
I'm going to keep a little bit of doubt in my mind about this. I do know Bjorn and Jim and I know they are very good researchers. But it's never a good idea to take interviews as complete fact. THANK YOU JIM
Yes, I appreciate that. When I'm reading work of this quality, I read the footnotes. And memories can get foggy, which is why I tried to chase down the date of that interview. As I get older, I run into that.
Such a great musical talent! He was not the best poet (like Sting), but his words were honest and straight from his heart. The group's harmonies are so unique and infectious.
Thank you Karen!
Lewis, many thanks for sharing these thoughts. I now hear "I went to sleep" as a Zen-inspired waltz with bluesy touches and so much more.
Exactly. THANK YOU JOSH
He made a difference in the world through his music, and will be deeply missed.
As far as I'm concerned, Brian Wilson was a plagiarist, only paying royalties to Chuck Beerry for "Surfin' USA" only after he was sued.
That's not correct. The lawsuit never happened. By all accounts, Wilson, who was 16 years younger than Berry and had infinitely less experience in the music business, thought he was writing a tribute to Berry. and that that was legitimate. As soon as Berry's lawyers informed the Wilsons that they would sue, the Wilsons gave the copyright and royalties to Berry. One of many sources is here: https://opentext.uoregon.edu/payforplay/chapter/chapter-36-landmark-musical-work-copyright-infringement-cases/#:~:text=After%20Berry%20had%20his%20lawyers,thus%20avoiding%20an%20embarrassing%20lawsuit
If you choose to define his entire career by that, you are of course welcome to do so. But you will miss a world of music that he got into much later--the three pieces that I posted are from a different planet than those early blues-oriented riffs. Thank you Richard.
Your comment suggests that Brian Wilson achieved nothing other than to adapt the riff of 'Sweet Little Sixteen' and use it with the close harmonies associated with surf music. This demonstrates a lack of knowledge and understanding of pop in general and of Wilson and Chuck Berry in particular. While Berry's influence is clear in much of the Beach Boys' music between 1961 and 1965 - as it is in most manifestations of rock and R&B, from the Beatles and the Stones on - I'd challenge you to find many echoes of 'classic' rock'n'roll in records such as 'Pet Sounds' and 'Smile'. These are the albums, in particular, in which Brian rewrote the white pop music rulebook, melding together Lennon/McCartney, Phil Spector, Bach, Duke Ellington and musique concrète to create harmonic structures that were uniquely his own. Rather than reduce Wilson's work to a simplistic 'without Berry he's nothing' misconception, perhaps listen to a few more records than merely 'Surfin USA'?
Thank you Richard B !
sooo beautiful--it actually got me choked up, not gonna lie. thanks for sharing with us, LP. ur the best.
Thanks for listening, friend. THANK YOU WAYNE