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21
DON'T YOU JUST KNOW IT / Re: Jan Berry Biography
« Last post by Mark A. Moore on August 20, 2019, 02:42:12 PM »
Hi Mark

Just touching base again. Any news on the stand alone?

Thanks

It's wrapping up nicely. It should be out next year sometime.

M.
22
DON'T YOU JUST KNOW IT / Re: Surf City collaboration
« Last post by Mark A. Moore on August 20, 2019, 02:41:07 PM »
Mark raises a very interesting point about the credits, and one which suggests that they might not always be accurate. "Old Ladies Seldom Powershift" is credited to both Jan and Dean, but it is an instrumental. Which bit of it did Dean write then?

Several possibilities come to mind. Dean came up with the title, it made Jan laugh, he gave Dean a credit. Alternatively, Dean's contributions were real but scattered across the songs, and Jan credited him with the instrumental because he deserved some songwriting royalties from the album, so why not credit him with this one.

I raise the second possibility because Dean has suggested several places that the atmosphere was collegial, with people throwing in ideas and contributing in an ad hoc way. This might suggest that th credits were not always shared in a musically accurate way, but on a much looser basis.

Of course its always possible that Dean came up with the melody to the instrumental and Jan expanded upon it and it WAS a completely musically accurate credit. Maybe.

In the case of "Old Ladies Seldom Power Shift," Dean came up with the title and Jan gave him a songwriting credit for it.

But it's much deeper than that. You have to understand that "Old Ladies Seldom Power Shift" was originally titled "Mr. Chan," a song written by Jan Berry.

It was later re-titled "Bucket Seats" and released on the "Rally-Packs" single on Imperial with "Move Out, Little Mustang" (also co-written by Jan). But since Jan purposely withheld his songwriting credits in an effort to bypass his obligations to Screen Gems and place the publishing for these songs with Trousdale Music, Jan gave Don Altfeld the credit for "Bucket Seats." Jan arranged and produced both sides, but again withheld his production credit in order to place the production with Dunhill.

This was all part of Jan's scheme to branch out and make additional money through other publishers and other production companies. But Screen Gems found out and busted Jan for it, and the "Rally-Packs" release mentioned above was one of the reasons Jan and Lou Adler were sued by Screen Gems in 1964.

When it came time to flesh out The Little Old Lady from Pasadena LP in late '64, "Mr. Chan," aka "Bucket Seats," still counted against Jan's Screen Gems quota, so the title was changed to "Old Ladies Seldom Power Shift" . . . and Jan gave Dean credit for the title. Thus, Dean got a songwriting credit for it.

The details are in my book. There was much more to the lawsuit.
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DON'T YOU JUST KNOW IT / Re: Surf City collaboration
« Last post by owen on August 20, 2019, 12:48:37 AM »
Mark raises a very interesting point about the credits, and one which suggests that they might not always be accurate. "Old Ladies Seldom Powershift" is credited to both Jan and Dean, but it is an instrumental. Which bit of it did Dean write then?

Several possibilities come to mind. Dean came up with the title, it made Jan laugh, he gave Dean a credit. Alternatively, Dean's contributions were real but scattered across the songs, and Jan credited him with the instrumental because he deserved some songwriting royalties from the album, so why not credit him with this one.

I raise the second possibility because Dean has suggested several places that the atmosphere was collegial, with people throwing in ideas and contributing in an ad hoc way. This might suggest that th credits were not always shared in a musically accurate way, but on a much looser basis.

Of course its always possible that Dean came up with the melody to the instrumental and Jan expanded upon it and it WAS a completely musically accurate credit. Maybe.
24
DON'T YOU JUST KNOW IT / Re: Surf City collaboration
« Last post by Surfermike on August 01, 2019, 11:00:45 AM »
You’re right Positivemusic. How can I forget Murry. I’m sure Brian would have done the right thing for Mike, but Uncle Murry wanted to keep it in the family, even if Mike was his nephew.
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DON'T YOU JUST KNOW IT / Re: Surf City collaboration
« Last post by positivemusic on July 31, 2019, 03:46:45 AM »
I remember when Michael “Doc Rock” Kelly interviewed Dean years ago in his Sunshine Music fanzine. Just as he mentioned in his latest book, Dean corrected a lot of the words to make more sense with the surfing lingo he was familiar with. According to him, collaborating and changing a few words in a novel like War and Peace is very insignificant, but not in a 2 minute and 24 second song with just a few lines in it. He should have received writers credit along with Berry and Wilson. I’m surprised that Jan wasn’t that generous towards Dean. As for Brian, it’s well known he omitted Mike Love’s name from many songs. Unfortunately, I guess we’ll never know how much Jan or Brian wrote lyrically or musically. Thankfully, Dean knew to put in the proper surfing terms of that era.

Just want to throw out there that it actually wasn't Brian that kept Mike's name off of some of their best known, early songs. That was done at the hands of Murry Wilson, his father.
26
DON'T YOU JUST KNOW IT / Re: Drag City
« Last post by Surfermike on July 21, 2019, 07:19:08 AM »
On my way home from the beach yesterday(a little cooler down there with the sea breeze) I popped in my CD and blasted Drag City. I have to admit, I always liked this song better than DMC. And I like Hot Stocker even better than both of those. But Drag City is one powerful song. The background vocals are top notch and Jan delivers another stellar vocal. Listen to the end of the song when his voice gets deep “goin’ to drag city runnin’ through now”. What a great sound.
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DON'T YOU JUST KNOW IT / Re: Drag City
« Last post by jdman on July 19, 2019, 05:25:29 AM »
Drag City was a masterpiece! Like you, I hardly ever name that one as my favorite, but I listen to it all the time. Great production!!
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DON'T YOU JUST KNOW IT / Re: Drag City
« Last post by NateRuvin on July 19, 2019, 02:25:29 AM »
I totally agree. It's a masterpiece. The backing track sounds really heavy, even today. Double drums, guitars, basses, keys. It's brilliant. The harmonies and modulations are out of this world. Love both Jan & Dean's vocals on this one. Great backups by The Matadors (and Jan, Dean,) and Brian Wilson??)    It all culminates in one of the most exciting rock songs ever produced. Jan was advancing so quickly in 1963 it's insane. Everyone in Jan's team was so talented- Dean, Roger, Don, Brian, Lou, Wrecking Crew, etc --- but Jan was a genius. Those records were totally visionary and ahead of their time
29
DON'T YOU JUST KNOW IT / Drag City
« Last post by surferbee on July 18, 2019, 11:50:18 AM »
When asked to name my favourite Jan and Dean song I usually go for Dead Man's Curve but auditing my listening over time I keep coming back to Drag City.
The driving beat (two drummers and great rhythm guitars) and the immaculate harmonies - plus some great lyrics - it sone of Jan's best arrangements and productions.
I love the way the harmonies build uo and the way Jan layers the vocals - especially his own is incredible.
Almost impossible to do justice live - this is an outstanding studio production.

Listening to the backgrounds vocals on the oddly named From Suf City to Drag City compilation you can tell Jan and the Matadors were having a blast. And I think you can hear that listening to the record.

Great! Truly great!
30
DON'T YOU JUST KNOW IT / Jan Berry Biography
« Last post by surferbee on July 18, 2019, 11:45:03 AM »
Hi Mark

Just touching base again. Any news on the stand alone?

Thanks
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